Reviews

Web‐Teaching ‐ A Guide to Interactive Teaching for the World‐Wide Web by David W. Brooks, New York: Plenum, 1997. ISBN: 0–306–45552–8. Paperback, 214 pages. $30

Special Libraries, September 1967

Volume 58, Issue 7https://scholarworks.sjsu.edu/sla_sl_1967/1006/thumbnail.jp

Population studies of migratory birds in Virgin Islands National Park

The majority of the individual songbirds nesting in the deciduous forests of eastern North America migrate to the West Indies, Central America and South America during the winter. They typically spend more than six months in tropical winter habitats. Until recently relatively little was known about their habitat requirements during the winter, but increasing concern about declining pcpulations of many migratory songbirds combined with widespread alarm about the rapid destruction of tropical forests has led to a flurry of research on this subject (Terborgh, 1989; Askins et al. 1990). In 1987 we initiated a study of the ecology and behavior of migrants in the Virgin Islands, particularly in Virgin Islands NP on St. John. This study has not only yielded information about the winter ecology of migratory birds, but also about the distribution of resident species and (unexpectedly) the impact of a major hurricane on bird populations

Afterword: Kindling the Programmatic Production of Critical and Outsider Legal Scholarship, 1996-2016

This afterword to a conference-based symposium represents not only an inter-generational reflection on LatCrit theory @ XX, but also an aspirational reminder of our foundational propositions and values as we look and venture ahead. Beginning with an introduction to the foundational theoretical principles of LatCrit knowledge production - as embodied principally by LatCrit values and the related functions, guidelines, and postulates - we discuss in detail and depth how these theoretical principles underpin the various projects in the LatCrit portfolio and provide a historical sketch of the development of these projects as programmatic knowledge production. In particular, we aim through this account to sketch and explain our collective efforts to produce shared knowledge progressively as a foundation for community-building and collaborative action. This process happens in part through some of LatCrit\u27s projects, and oftentimes in the form of published legal scholarship from the mid-1990s onward. As we show below, this combination of academic events with formal publications to advance the development of outsider and critical theories, communities, and networks has become during the past two decades a consistent and continuing methodology of LatCrit knowledge production and academic activism. Finally, to conclude this Afterword, we consider briefly how LatCrit values and aspirations-notably collective self-sustainability and solidarity across difference-can provide a purchase for praxis, community building, and knowledge production even in a world where the prima facie givens of the twenty-first century have grown more uncertain, if not hostile, to justice-centric enterprises. We hope, with these thoughts, to support the ongoing work of scholars and activists everywhere struggling for equal justice for all as we begin to engage a third decade of theory, community, and praxis

Book, Video, and Film Reviews

Produced by Center on Disabilities, University of Hawai'i at Manoa, Honolulu, Hawai'i, Frank Sawyer School of Management, Suffolk University, Boston, Massachusetts, and School of Social Sciences, The University of Texas at Dallas, Richardson, Texas for The Society for Disability Studies

INSAM Journal of Contemporary Music, Art and Technology 2

The subject of machine learning and creativity, as well as its appropriation in arts is the focus of this issue with our Main theme of – Artificial Intelligence in Music, Arts, and Theory. In our invitation to collaborators, we discussed our standing preoccupation with the exploration of technology in contemporary theory and artistic practice. The invitation also noted that this time we are encouraged and inspired by Catherine Malabou’s new observations regarding brain plasticity and the metamorphosis of (natural and artificial) intelligence. Revising her previous stance that the difference between brain plasticity and computational architecture is not authentic and grounded, Malabou admits in her new book, Métamorphoses de l'intelligence: Que faire de leur cerveau bleu? (2017), that plasticity – the potential of neuron architecture to be shaped by environment, habits, and education – can also be a feature of artificial intelligence. “The future of artificial intelligence,” she writes, “is biological.” We wanted to provoke a debate about what machines can learn and what we can learn from them, especially regarding contemporary art practices. On this note, I am happy to see that our proposition has provoked intriguing and unique responses from various different disciplines including: theory of art, aesthetics of music, musicology, and media studies. The pieces in the (Inter)view section deal with machine and computational creativity, as well as the some of the principles of contemporary art. Reviews give us an insight into a couple of relevant reading points for this discussion and a retrospective of one engaging festival that also fits this theme

Training Creative Violinists: Taking a Page from Baillot’s L’Art Du Violon

This thesis analyses Pierre Marie Franҫois de Sales Baillot’s L’Art du Violon (1834). My argument is that the ideas in his treatise, although written in the mid-nineteenth century, are again relevant in training tertiary violin students to become cultured, creative and adaptable musicians. Classical musicians today face considerable challenges in attracting and inspiring their audiences. While maintaining classical music traditions, musicians and arts organisations therefore are experimenting with new forms of delivery: broader themes and genres, multi-media performances, and new technologies. Performers today must draw upon considerable knowledge and skills in order to appeal to audiences, whether in concert halls or in listening to recorded music. How do we prepare musicians, violinists in particular, for such a challenge? Baillot wrote L’Art du Violon during turbulent times in post-Revolutionary France and at a transitional time from Classical to Romantic eras of music. An eminent musician and Paris Conservatoire professor, he sought to provide a firm foundation for his students and to encourage them to tackle diverse musical material. Baillot admonished his students to hone their technical skills, but, notably for the time, he also urged them to develop their own musical identities and to build personal qualities, such as resilience and broad-mindedness. This thesis explores four key themes from Baillot’s treatise that resonate in today’s musical context: first, valuing and researching older traditions including the art of improvisation; second, embracing change and diversity in musical genres; third, experimenting in practice and performance; and fourth, developing the skills necessary for a successful life in music including as an entrepreneurial musician