Ronald Gonzalez: Private Collection

In Ronald Gonzalez’s latest series of sculptures, old leather satchels, small antiquated appliances, dulled tools, bicycle handles, shoes, a fencing mask, an accordion, a bicycle seat, a toaster and helmets, among other various found parts and outdated detritus are combined to evoke the heads and torsos of human-like forms. The viewer identifies the components at once as what the objects literally are as well as the specific body parts they figuratively describe. As such, his art calls for an exercise in perceptual shifts that allow for more than one visual interpretation. While some objects are manipulated, others are left intact, as Gonzalez creates paradoxically human and strangely inanimate assemblages. [excerpt]https://cupola.gettysburg.edu/artcatalogs/1000/thumbnail.jp

FELIX GONZALEZ-TORRES and KEN OKIISHI: The Evolution and Representation of Experience

The two artists Ken Okiishi and Felix Gonzalez-Torres--though separated by a generation--both use physical objects to signify the loss of human presence, connection or connections. Both instill meaning into familiar physical objects such as candy, clocks, or television screens, and both are able to provoke feelings associated with the kinds of presence objects can represent – without that actual presence. Gonzalez-Torres worked during a time when digital technology was not yet an existent medium, while Okiishi worked during a time in which the technological world and its social effects are central to his work and message. In fact, a central point of his work gesture/data is to replicate our dependent relationship with technology and how people interact with the virtual world. This world is only available by viewing through a screen; it is unreachable, unlike the tangible objects, that we can physically feel, via which Gonzalez-Torres’ works often confronted viewers. These two artists demonstrate stark, pivotal generational differences: a world and society before technology, art before digital technology (Gonzalez-Torres), and the effects and experiences of art in a world engulfed by such technology entirely (Okiishi). One relies on physical interaction, and the other responds and relays the effects of infinite, intangible spectacles. Both speak to the importance and meaning of presence, or being, and what part that presence or absence plays in art experience during these juxtaposing time periods: before and after the Internet. In his 1967 book The Society of the Spectacle, French theorist Guy Debord wrote, “in societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation”.[1] Gonzalez-Torres’ and Okiishi’s artworks both could be said to exemplify this idea of evolution and generational transformation, but in Okiishi’s work, there is an increased disconnection, to the point that everything may be mere representation. This raises the question: has art changed with technology? Have we lost actual experience to mere representation? [1]Debord, Guy. The Society of the Spectacle. Buchet-Chastel, 196

Telegram from Leadership of Queens Council on the Arts to Geraldine Ferraro

Congratulatory telegram from Aida Gonzalez, President, and Jean P. Weiss, Executive Director, of the Queens Council on the Arts to Geraldine Ferraro. Includes two data entry sheets.https://ir.lawnet.fordham.edu/vice_presidential_campaign_correspondence_1984_new_york/1277/thumbnail.jp

Adaptive Seeding for Gaussian Mixture Models

We present new initialization methods for the expectation-maximization algorithm for multivariate Gaussian mixture models. Our methods are adaptions of the well-known $K$-means++ initialization and the Gonzalez algorithm. Thereby we aim to close the gap between simple random, e.g. uniform, and complex methods, that crucially depend on the right choice of hyperparameters. Our extensive experiments indicate the usefulness of our methods compared to common techniques and methods, which e.g. apply the original $K$-means++ and Gonzalez directly, with respect to artificial as well as real-world data sets.Comment: This is a preprint of a paper that has been accepted for publication in the Proceedings of the 20th Pacific Asia Conference on Knowledge Discovery and Data Mining (PAKDD) 2016. The final publication is available at link.springer.com (http://link.springer.com/chapter/10.1007/978-3-319-31750-2 24

A Holling-Tanner predator-prey model with strong Allee effect

We analyse a modified Holling-Tanner predator-prey model where the predation functional response is of Holling type II and we incorporate a strong Allee effect associated with the prey species production. The analysis complements results of previous articles by Saez and Gonzalez-Olivares (SIAM J. Appl. Math. 59 1867-1878, 1999) and Arancibia-Ibarra and Gonzalez-Olivares (Proc. CMMSE 2015 130-141, 2015)discussing Holling-Tanner models which incorporate a weak Allee effect. The extended model exhibits rich dynamics and we prove the existence of separatrices in the phase plane separating basins of attraction related to co-existence and extinction of the species. We also show the existence of a homoclinic curve that degenerates to form a limit cycle and discuss numerous potential bifurcations such as saddle-node, Hopf, and Bogadonov-Takens bifurcations