What has art got to do with sport? (guest blog)

Polis Intern Emma Rees reports on the latest Polis Media Agenda Talk by Ruth Mackenzie, the director of the London2012 Cultural Olympiad – she asked what has art got to do with sport? You can listen to the podcast here

The Heckler’s Promise

From gluing audience members to their seats and purposefully selling the same ticket to more than one person, artists associated with the Historical Avant-Garde often sought to provoke and antagonise by employing disruption via interruptive processes. This paper responds to Claire Bishop’s call for more agonism (Bishop, 2004) by inserting the heckler as both method and object into art performance. It is a hybrid of practice and theory, statement and response, test and experiment; it is a combination of all these things because you can’t really envisage a heckler without taking him out for the night putting him in the world and observing the exchanges that take place. We think that practicing heckling has got to be worth the aggravation.  This paper seeks to do two things: first to explore the heckler as a ‘device’ for reassessing the potential of interruption in democratic exchange, in particular in relation to contemporary theories of art and participation and second to try it out; to put the heckler at the centre of an artwork. In short, we propose a rethinking of the heckler.  Part 1: Heckle, Hiss, Howl and Holler asks if there is something worth considering in the process of heckling for democratic exchange and, Part 2: Contract, Collaboration, Countdown and Confrontation strikes out to see what happens when you present an artwork that trials a performance about heckling via the act of heckling.  The inhospitable performance Contract with a Heckler demonstrates a complex knitting of theory and practice whereby argument is supported by the undertaking of action (by the necessity of experiencing interruption in practice) and reveals working with interruption on a theoretical, practical and emotional level can be exciting, provocative and dangerous. Exploring contractual agency through hostipitality (Derrida, 2000) wherein a host may be as hostile as she is hospitable, this performance reimagines the event of performance as an event of (in)hospitality by embodying an ambivalent conviviality and employing heckling to disrupt convivial participation (Bourriaud, 1998)

Otter Realm, April 23, 2009

Otters on the Green -- College Student 101: Spring Fever or Senioritis ...Whatever it is I\u27ve got it -- What You Otter Do! April 23 - May 6 --Alumni Association: Keeping Connected And Staying in Touch -- AS Cordillaly Invites you to Spring Formal -- CSUMB Professors Honored Through National Marine Sanctuary -- Firefox: For Faster Finding -- Graduation: The Change That Has Many Worried -- CSUMB Goes TWEET TWEET -- FOUND Magazine Offers a Home to Lost Objects -- Removal of Condemned Army Barracks: Growth of Campus Means An End To History -- Crazy Cool Composting Comes to Campus -- Finding Peace & Love at CSUMB -- Student Run Online Journal Through SBS -- American cancer: Discovery Shop\u27s Annual Fundraiser -- YAC: More Than Just Art Making a Difference -- Monterey Bay On The 5th of May -- Eating Nemo: Good Times on the Beach -- Libros en Fuego Sizzle -- Rocking to the Vote -- Athlete of the Issue: Carrie LaPonza -- Otters At Play -- On Your Mark ...Get Set ...Go --Otter Athletes Make Waves In and Out of the Water -- Solid Coaching Staff Lands Otters on the Green -- Otterations: Student Submissions of Creative Works - The Sun Soakers -- Surroundings: Ice Plant -- Spring Into A beach Body -- Example of Stewardship -- Otter Oops -- Sexual Healing A Recipe for Sex on the Beach...And Not the Drink -- Do you have spring fever? If so, how do you cope with it?https://digitalcommons.csumb.edu/otterrealm/1187/thumbnail.jp

Drive: My Motivation For Becoming A Holistic And Authentic Leader And Supervisor Of College Students

In sixth grade, I did an art project where I painted a self-portrait. I decided to paint myself looking in a mirror. On the right-hand side of the canvas was the back of my head. On the left-hand side was a reflection of my face looking back at me in the mirror. During one session with my art teacher, she looked at my painting and paused before asking, “what happened?” She paused again before continuing that at one point the painting was on the right track, implying since that point, something had gone terribly wrong. I mean what was looking back at me in the mirror was quite scary. It was a girl with sharp, angry brows who was grimacing like that emoji with clenched teeth. By the end of the project the painting only got uglier and unfortunately lived in my family’s home for years to come. My mom once told me that “interesting” isn’t necessarily a good thing. It was said right after I proudly shared with her that I received a certificate that read, “Most Interesting Art Project” for a paper doll I made to look like myself in eighth grade. Since that subtle comment, I’ve always been careful about how I choose and use words. I didn’t dare challenge my mom’s comment. Instead, I recall being mad at my art teacher. How could she call my paper doll interesting! What did she mean by that? I’ve always been better with paper than paint and I knew that unlike my self-portrait that I had painted two years prior, this doll I constructed, complete with my ponytail and 空手着 (karate uniform) actually looked like me! It’s been over a decade since these two “art incidents” but oddly enough these stories are quite telling about my current self-perception. This is the power of storytelling. Not only does it help me to connect with people beyond small talk but writing and reflecting on my past has helped me understand who I am now. Today I am an educator, supervisor of students, and a young professional in higher education. More than titles or positions I hold, I find meaning in the relationships I build with my colleagues, students, mentors, and community. What I have learned and hope to share to all educators, staff, students, and leaders by way of writing this thesis is the value and necessity of exploring, unlearning, and challenging yourself to understand who you are, how you are who you are, and why you are who you are. While recognizing that I have changed and will continue to change through growth, learning, and time, I find security at this intersection of past and future where I am present in this self. As someone who is empathetic, I am sensitive to other people’s feelings and emotions. With context, I attempt to understand how someone else may feel still while recognizing I may never truly know their experience. On the contrary, I’ve discovered that to be empathetic with my own self is quite challenging! This insight has created inner chaos and has helped me understand how I do and don’t process my own feelings and emotions regularly. As someone who has made it a priority to serve others, I am fueled by keeping busy as a way to have a purpose in all of my actions. I want to be useful. Through this grind, I’ve lost a sense of who I am and valuing myself beyond my work and what I am capable of. I don’t believe this is a unique experience. I have taken responsibility for burning out and running on empty. I am shifting gears. I have taken this opportunity to write my own experiences in hopes that there is something to be learned from it for anyone who has ever taken on too much, has run away from themselves, or been uncomfortable with who they are

Designer/industry interface

The transcript from the discussion panel section of this event provides an interesting exchange of ideas around the notion of textile reuse and value. Following on from the exhibition Ever & Again: Experimental Recycled Textiles in October 2007, the Textiles Environment Design (TED) Project organized a one day Textiles Upcycling Symposium at Chelsea College of Art & Design on Friday 18th July 2008. The aims of the Symposium were to engage the audience and invited fashion and interior textile designers in thinking about high quality and innovative recycling practices for the future (‘upcycling’). The morning session featured the work of 12 of the most well known designers working in this field, including Orsola De Castro – ‘From Somewhere’, Kate Goldsworthy, Amy Twigger Holroyd – ‘Keep and Share’, Emmeline Child – ‘Emmeline4Re’, Kerry Seager - ‘Junky Styling’, Cyndi Rhodes – ‘Worn Again’, and Barley Massey – ‘Fabrications’. For the afternoon session invited key participants from industry contributed to an informal panel discussion with the designers and audience, to discuss the potential for shifting these ideas into mainstream and larger scale commercial production. This was chaired by sustainable textiles expert Dr Jo Heeley. The day also included a keynote speech from Professor Marie O’Mahony and a presentation of the outcomes of the three-year research project led by Rebecca Earley, which has involved teaching staff, researchers and students from Chelsea College of Art & Design

Access, October 2011

https://scholarworks.sjsu.edu/accessmagazine/1004/thumbnail.jp

Discovering communities of social e-learning practice

Teaching and Professional Development Fellowship Report 201

Design and implementation of a testbed for data distribution management

Data Distribution Management (DDM) is a core part of High Level Architecture standard, as its goal is to optimize the resources used by simulation environments to exchange data. It has to filter and match the set of information generated during a simulation, so that each federate, that is a simulation entity, only receives the information it needs. It is important that this is done quickly and to the best in order to get better performances and avoiding the transmission of irrelevant data, otherwise network resources may saturate quickly. The main topic of this thesis is the implementation of a super partes DDM testbed. It evaluates the goodness of DDM approaches, of all kinds. In fact it supports both region and grid based approaches, and it may support other different methods still unknown too. It uses three factors to rank them: execution time, memory and distance from the optimal solution. A prearranged set of instances is already available, but we also allow the creation of instances with user-provided parameters. This is how this thesis is structured. We start introducing what DDM and HLA are and what do they do in details. Then in the first chapter we describe the state of the art, providing an overview of the most well known resolution approaches and the pseudocode of the most interesting ones. The third chapter describes how the testbed we implemented is structured. In the fourth chapter we expose and compare the results we got from the execution of four approaches we have implemented. The result of the work described in this thesis can be downloaded on sourceforge using the following link: https://sourceforge.net/projects/ddmtestbed/. It is licensed under the GNU General Public License version 3.0 (GPLv3)

From Cambridge to Brighton: Concrete poetry in Britain, an interview with Stephen Bann

Extensive interview with art historian, curator and concrete poet Stephen Bann by Gustavo Grandal Montero, focusing particularly on his curatorial, critical and artistic work of the 1960s, closely involved with the development of Concrete poetry in the UK. Associated at an early stage with Ian Hamilton Finlay, he co-organized the First International Exhibition of Concrete and Kinetic Poetry (Cambridge, 1964) and was Director of the Concrete Poetry Exhibition for the inaugural Brighton Festival in 1967, edited Concrete poetry: an international anthology 1967 and published several influential critical texts, while developing his own Concrete poetry practice