Relational Inequality and the Structures that Disadvantage

This chapter reviews the different dimensions of disadvantage associated with disability while emphasizing the social structures that create and maintain such disadvantages. We review quantitative research demonstrating disadvantage in education, employment, income, wealth, and economic security, while noting the drawbacks of deficit accounts that fail to consider the structural dimensions of inequality. Drawing on relational inequality theory, we discuss how ableism, as an institution, supports the unequal distribution of status, resources, and opportunities around disability. We then provide examples of how ableism leads to disparities in higher education, employment, and wealth among people with disabilities, while also emphasizing potential paths for change within these organizations

An unequal labor market means that Covid-19 has been especially harmful for vulnerable groups including people with disabilities

Employment across the world has taken a huge hit because of the COVID-19 pandemic. Michelle Maroto and David Pettinicchio write that existing inequalities in earnings and employment mean that individuals with disabilities and other vulnerable groups have been especially affected by the COVID-19 pandemic

Interview with Clive Phillpot

Clive Phillpot es un comisario de exposiciones, escritor y bibliotecario inglés. Entre 1977 y 1994 fue Director de la Biblioteca del Museo de Arte Moderno (MoMA) en Nueva York, donde fundó y comisarió la Colección de Libros de Artista. Anteriormente fue el bibliotecario de la Chelsea School of Art, en Londres. Ha escrito y editado numerosos artículos y libros relacionados con el libro de artista, cuyo concepto Phillpot ha contribuido decisivamente a definir. En los años sesenta y setenta el libro de artista emergió como un medio artístico accesible, al ser barato, portátil y distribuido masivamente. En esta entrevista intento comprender si aquellas expectativas han sobrevivido, actualizadas y transformadas en el fenómeno contemporáneo de la novela de artista.Clive Phillpot is an English curator, writer, and librarian. Between 1977 and 1994 he was the Director of the Library at the Museum of Modern Art (MoMA) in New York, where he founded and curated the Artist Book´s Collection. Previously, he was the librarian at the Chelsea School of Art in London. He has written and edited numerous articles and books on the topic of the artist’s book, whose concept he decisively contributed to define. In the 1960s and 1970s the artist’s book emerged as an accessible art medium by being cheap, portable, and mass distributed. In this interview I try to learn whether those expectations have survived, updated and transformed in the contemporary phenomenon of the artist’s novel

Artist´s novels

Aunque ha habido artistas que han escrito novelas desde al menos los tiempos de William Morris, muy poco se sabe sobre ellas. Carl Andre, AA Bronson, Giorgio de Chirico, Salvador Dalí, Yayoi Kusama, Francis Picabia, Richard Prince y Andy Warhol son algunos ejemplos de artistas conocidos cuyas novelas han sido olvidadas o simplemente ignoradas. Hasta la fecha no existe ningún estudio, teoría o historia de tal práctica que nos dé una idea aproximada de cuántas novelas de este tipo existen, cuándo y dónde fueron publicadas y, ante todo, cuál es la razón por la cual un artista visual decide escribir una novela.Aunque ha habido artistas que han escrito novelas desde al menos los tiempos de William Morris, muy poco se sabe sobre ellas. Carl Andre, AA Bronson, Giorgio de Chirico, Salvador Dalí, Yayoi Kusama, Francis Picabia, Richard Prince y Andy Warhol son algunos ejemplos de artistas conocidos cuyas novelas han sido olvidadas o simplemente ignoradas. Hasta la fecha no existe ningún estudio, teoría o historia de tal práctica que nos dé una idea aproximada de cuántas novelas de este tipo existen, cuándo y dónde fueron publicadas y, ante todo, cuál es la razón por la cual un artista visual decide escribir una novela

Embedding Augmented Reality Experiences in E-books

Proceedings of: IED EUROPE: 2nd European Immersive Education Summit. París, France, 26-27 November, 2012.E-books marketplace is evolving faster than ever. New devices and technologies are coming into scene almost every month. In this paper we are going to review the main devices availables for e-book publishing and rendering and their associated formats, with special attention to the EPUB3 format, which is called to be adopted as the standard for the industry. We will explain the new possibilities offered by by this specification, with special focus on the scripting capabilities that will allow to implement augmented reality (AR) experiences inside e-books. We demonstrate also how to embed this AR experiences in the e-book thanks to new javascript libraries.This research has been partially supported by the following projects: The Spanish project “Learn3: Towards Learning of the Third Kind” (TIN2008-05163/TSI) funded by the Spanish “Plan Nacional de I+D+i” of the Ministry of Research and Innovation; The project “eMadrid: Investigaci´on y desarrollo de tecnolog´ıas para el e-learning en la Comunidad de Madrid” (S2009/TIC-1650) funded by the Government of the Region of Madrid.publicad

Artist's novel: the novel as a medium in the visual arts

Enquiring into the conditions under which it is possible to begin to write, Roland Barthes (2010) associates the desire to write with the formation of a fantasy: ‘Me producing a “literary object,” that is to say, writing it (here, as always, the fantasy erases the difficulties, the failures). … It could be a poem, a play, a novel (note that I’m saying: fantasy of a poem, fantasy of a novel)’ (p. 10, italics in the original). Since the mid-1990s there has been a proliferation of visual artists who create novels as part of their art projects. They do so not with the ambition to write a literary work, but in order to address artistic issues by means of novelistic devices, favouring a sort of art predicated on process and subjectivity, introducing notions such as fiction, imagination, narrative, and identification. In this sense, it is possible to speak of a new medium in the visual arts. This thesis is structured in two parts: the essay, A New Medium, is a theoretical approach to four key case studies that examines the different ways in which artists use the artist’s novel. The interview is a prime research method; extensive conversations with artists, curators, and editors are instrumental in unravelling the aspirations that the artist’s novel is called on to fulfil, whilst critically contrasting them with its actual existence in the world. In the second, practice-led part of the thesis, writing becomes methodological – it is writing as research, blurring the boundaries between style and content, theory and fiction, art practice and research. The Fantasy of the Novel is a narrative account of the creative process of an artist’s novel, from the initial fantasy to the final publication. By accompanying its trajectory, the research engages with informal aspects that are usually not visible to the public, namely intersubjective relationships and events that, although not formally measurable, decisively affect the art project’s end result. Why do artists write novels? What does the artist’s novel do to the visual arts? How should it be experienced? This thesis aims to elucidate the pressing questions posed by the emergence of a new artistic medium. The intention is not to set in stone a definition of what the artist’s novel is, but to situate it in the field of the visual arts, sparking a much-needed discussion about a practice that has been long ignored by the main critical strands in the art world

A unified TDiff invariant field theory for the dark sector

In this work we present a unified model for the cosmological dark sector. The theory is based on a simple minimally coupled scalar field whose action only contains a canonical kinetic term and is invariant under transverse diffeomorphisms (TDiff). The model has the same number of free parameters as $\Lambda$CDM. We confront the predictions of the model at the background level with data from Planck 2018 CMB distance priors, Pantheon+ and SH0ES SNIa distance moduli, BAO data points from 6dFGS, BOSS, eBOSS and DES and measurements of the Hubble parameter from cosmic chronometers. The model provides excellent results in the joint fit analysis, showing very strong evidence compared to $\Lambda$CDM in the deviance information criterion (DIC). We also show that the Hubble tension between Planck 2018 and SH0ES measurements can be alleviated in the unified TDiff model although further analysis is still needed.Comment: 17 pages, 8 figures. Final version published in PR

Infinite Atomized Semilattices

We extend the theory of atomized semilattices to the infinite setting. We show that it is well-defined and that every semilattice is atomizable. We also study atom redundancy, focusing on complete and finitely generated semilattices and show that for finitely generated semilattices, atomizations consisting exclusively of non-redundant atoms always exist.Comment: 25 pages, 2 figure

Collaborative learning in multi-user virtual environments

Multi-user virtual environments (MUVEs) have captured the attention and interest of educators as remote collaborative learning environments due to their immersion, interaction and communication capabilities. However, productive learning interactions cannot be considered a given and careful consideration of the design of learning activities and organizational support must be provided to foster collaboration. In this paper, a model to support collaborative learning in MUVEs is presented. This model enables the scaffolding of learning workflows and organizes collaborative learning activities by regulating interactions. Software architecture is developed to support the model, and to deploy and enact collaborative learning modules. A user-centered design has been followed to identify successful strategies for modeling collaborative learning activities in a case study. The results show how interactions with elements of 3D virtual worlds can enforce collaboration in MUVEs.Publicad