Teaching Gauguin: Pacific Studies and Post-Impressionism

Perhaps it's because I'm looking for him, but Paul Gauguin seems to follow me everywhere. I am standing in line at a bank on Rarotonga when a European woman behind me comments that the bank tellers "look just like a Gauguin painting"; her companion murmurs in agreement. In North America and Europe, Gauguin's paintings have become the defining, and inescapable, vision of the Pacific. Replicas of his images appear in the Disney Polynesian Resort in Kissimmee, Florida; in a bath products shop in California's Silicon Valley; in ads for Tahitian tourism: brown, lounging women, wrapped (or unwrapped) in brightly-colored pareu and adorned with flowers. The employees of a Bank in Avarua, professionally dressed in crisp white blouses and dark skirts like businesswomen in many parts of the world, transform in European eyes trained in looking through Gauguin's lens, and begin to "look like" not themselves, but like women in paintings created by a Frenchman living in another archipelago, one hundred years ago.</p

Method and system for fecal detection

Describes a method of and apparatus for detecting the presence of fecal or ingesta matter contaminants on a poultry or meat item. The poultry or meat is conveyed in front of a UV light transmitter/receiver where UV light is directed onto the poultry or meat item and subsequently light is gathered from the poultry or meat. The gathered light is then compared to a threshold above which indicates contaminants. If contaminants are present the controller can generate a signal and/or send the contaminated items to a wash station

Method and system for fecal detection

Describes a method of and apparatus for detecting the presence of fecal or ingesta matter contaminants on a poultry or meat item. The poultry or meat is conveyed in front of a UV light transmitter/receiver where UV light is directed onto the poultry or meat item and subsequently light is gathered from the poultry or meat. The gathered light is then compared to a threshold above which indicates contaminants. If contaminants are present the controller can generate a signal and/or send the contaminated items to a wash station

Law Enforcement Use of Body Worn Cameras

Law enforcement has comes under fire more and more in the technological era. The advent of social media and camera phones has become a weapon in the hands of those who lobby against police officers and how they deal with the public. Police departments around the world have been combating this issue by arming their officers with their own style for recording citizen contacts. The body-worn camera is the newest of these recording devices made for documenting citizen contacts. These new cameras have done well in the law enforcement community as far as quick action taken by police departments in citizen complaints whereas, before, it was a long process (White, 2014). The camera adds a unique third party witness component (International Association of Chiefs of Police [IACP] , 2014). The third party witness can alter the conduct of both the officer and the citizen for the better. The theory behind this is that if a person knows they are being recorded, then they will alter their behavior for the better. However, while there are concerns about the cameras by the public that deal with privacy (Erstad, 2016), the Freedom of Information Act gives access to anyone to view sensitive situations and the citizens involved. Another concern for the cameras is the cost of the camera and the storage. Strong policies put in place by departments can minimize privacy issues, and government grants are available to police agencies with depleted budgets. Body-worn cameras are a good tool for law enforcement transparency and should be implemented by any agency for their officers

Hard To Reach: Anne Brigman, Mountaineering, and Modernity In California

No Abstrac

Musée Gauguin Tahiti: Indigenous Places, Colonial Heritage

This essay discusses the Musee Gauguin Tahiti as a problematic counterpoint for contemporary developments in Oceanic museology. Considering Gauguin's complex relationship to French colonial history, the tourism industry and Pacific Island history, the site raises a number of significant issues. It occupies an ambiguous place in the museum/cultural centre/heritage site taxonomy, and its undermining of standard museum display practices often results in obfuscation, rather than clarification, of viewer understanding of Gauguin 's artworks themselves, their art historical significance, or the artist's relationship to Pacific social history. Still, it offers a unique experience for tourist-visitors, and has the potential to include indigenous communities in its display practices, programming and management. This essay engages with emerging literature in the field of Oceanic museum studies to consider the role of this curious historical site in the contemporary, global Pacific, particularly how it might more effectively address the needs of non-tourist (especially indigenous) communities

Picturing Pleasure: Fanny Stevenson And Beatrice Grimshaw In The Pacific Islands

This article explores the travel writings, illustrated with photographs, of Fanny Stevenson and Beatrice Grimshaw, two 'lady travelers' who visited the Pacific Islands at the turn of the twentieth century. Although little critical attention has been paid to their books, these texts are significant contributions to the comparatively small archive ofEuro-American women's narratives of travel and encounter in the Pacific Islands from this period. Their representations of the Islands are at once conventional and unusual, and analysis of their texts adds significantly to the literature on women's travel writing, especially as the Pacific Islands are an underrepresented area in this field. Rather than producing generalized exoticist representations, their discussions of class, race, gender, and colonial politics are particular to the Pacific Islands, and illustrate various moments of contact at a key transition point in Pacific colonial history. Their use of photographs also forges a strong connection between their work and a longer history of image production by Westerners in the Pacific Islands. Using colonial history as a framework for exploration of class, race, and gender politics in the Pacific Islands, this essay argues that Stevenson and Grimshaw's works suggest ways that popular audiences may have experienced the Pacific Islands through word and image publications

From The South To The South Pacific, And Back Again: Global Pedagogies In A Southern Classroom

This essay explores the use of a globally-informed pedagogy as a creative methodological tool in the University classroom. My area of research, the arts of the South Pacific, can be quite unfamiliar to students in the continental United States; therefore, in my teaching I strive to forge a strong comparative relationship between the global history of the South Pacific and that of the American South. This can produce a thematic framework that draws on concepts with which the students are familiar, including histories of contact, imperialism, and exchange, and then encourages students to apply these understandings of global art production to the study of specific works of art. This essay discusses the application of this methodology in an Arts of Oceania course offered in the fall of 2004, addressing the kinds of objects presented for student inquiry, the assignments used to assess student understanding of these objects, and the students? own responses to the course. Based on the students? performance and evaluations, I have found that a globally-informed pedagogy can enable their historical and aesthetic understanding of South Pacific arts. The course materials and assignments also allowed them a space to explore their own research and creative interests, as art producers, art historians, and art educators