"In this lecture, Professor Paul Fry examines acts of reading and interpretation by way of the theory of hermeneutics. The origins of hermeneutic thought are traced through Western literature. The mechanics of hermeneutics, including the idea of a hermeneutic circle, are explored in detail with reference to the works of Hans-George Gadamer, Martin Heidegger, and E. D. Hirsch. Particular attention is paid to the emergence of concepts of 'historicism' and 'historicality' and their relation to hermeneutic theory."
(Open Yale Courses, 22 January 2009)
"There is a growing interest in the role that design can play in catalysing, harnessing, spreading and scaling social innovation around the world. This is expressed in two key ways:
> by a growing number of professional designers and design disciplines applying their skills to addressing social issues; and
> by the adoption of design tools, techniques and methods by a growing number of other disciplines focused on developing social innovation.
Perhaps the most recognisable facet of this interest has been the rise of 'design thinking' not only in business, but increasingly in public service and policy fields. Fuelled by design agencies such as IDEO in the US, non-profit bodies such as the Design Council in the UK, and education institutions such as Stanford's 'd.school', design thinking has begun to be recognised as a key ingredient underpinning innovation (whether that be social innovation or not). Indeed, according to Sir George Cox, past chairman of the Design Council, design is what bridges creativity (the generation of new ideas) and innovation (the successful implementation of new ideas). In other words, design could be described as:
'the human power to conceive, plan, and realize products that serve human beings in the accomplishment of any individual or collective purpose' (Richard Buchanan, 2001)."
(Ingrid Burkett, Knowledge Connect)
Fig.1 AT.AW [http://www.at-aw.com]
"This new effort takes advantage of a movement toward open video - a movement that has its roots in the free software movement that is largely powering the web today and which, through companies such as Apache, IBM, Mozilla, Oracle and Red Hat, has resulted in trillions of dollars of value creation for the stakeholders involved. The open or open-source video movement recognizes the contributions from, but also the limitations inherent in, the video work of industry leaders such as Adobe, Apple, and Microsoft. Flash, Quicktime, Windows Media and Silverlight are handsome technologies. But they have been developed and controlled by commercial companies that often protect themselves against innovations by outside coders, designers, developers, programmers - technologists, lawyers, producers, and educators keen to move away from proprietary solutions that are delivered for the benefit of shareholders first and the billions of everyday people who connect via the web a pale second.
The open video movement recognizes the importance of rights and licensing strategies designed to create profit or serve national interests, but it is critical of systems that prohibit access to film and sound assets becoming part of our collective audiovisual canon. Many film and sound resources digitized for preservation, for example, do not appear online because of dated copyright rules; and some of the great investments (millions of dollars in fact) by, for example, the U.K. government in film and sound resource digitization result in materials being put online only behind educational and national paywalls that keep students in Nairobi and Nashville from using London-based resources in their work.
Enabling video to catch up to the open-source movement on the web goes to the heart of our efforts to improve our understanding of the world. The central technologies of the web - HTML, HTTP, and TCP/IP - are open for all to build upon and improve, and video’s future should be similarly unobstructed."
(Peter B. Kaufman, 2010)
Fig.1 Kid Kameleon, CC BY SA NC
2). Video for Wikipedia and the Open Web October 2010 An Intelligent Television White Paper PETER B. KAUFMAN INTELLIGENT TELEVISION WWW.INTELLIGENTTELEVISION.COM THE OPEN VIDEO ALLIANCE Version 1.0
"Art&Education is an e-mail press release service announcing significant cultural events at universities worldwide as well as academic employment positions available in the visual arts.
Our mailing list comprises over 40,000 international artists, writers, art historians, curators, professors, and other visual arts professionals. [...] All announcements will be archived on our site, creating a valuable, free research tool for both art lovers and art professionals."
Fig.1 Agnes Denes. Wheatfield - A Confrontation: Battery Park Landfill, downtown Manhattan, New York, NY Photograph by © Agnes Denes, 1982.
Fig.2 Interior view of La Cédille qui Sourit, ca. 1968. Photo © Jacques Strauch and Michou Strauch-Barelli. Courtesy Estate of Robert Filliou and Galerie Nelson-Freeman, Paris.
"Maya [Lin] unexpectedly won the design competition for the Vietnam Veterans Memorial while a Yale student, and it threw her into a huge storm of controversy. The controversy over Maya Lin's design showed the raw emotional wounds that still had not healed when it erupted in 1980, and Maya Lin's finished memorial showed the power of art to affect people and touch upon important issues of society.
Lin wanted her memorial to evoke tears in the viewers, to act as a vehicle for veterans to begin to heal from their experience. One of the most touching scenes in Freida Lee Mock's documentary is the beginning scene, watching the reaction of veterans as they look at the names of their fallen comrades in the black wall. In a particular scene, two veterans are looking at the name and one veteran exclaims, 'Look at all these names!' and he begins to cry. What most moved about these scenes was how the memorial touched these veterans, how it honoured the individuals who were killed by making them more than just a statistic. A veteran mentioned that a name may not mean much to one person, but it would mean much to another. Lin put the names in chronological, rather than alphabetical order, to help individualize the names. If the names were in alphabetical order, then a loved one would be lost in a sea of Smiths or Jones or whatever that person's last name is, and it would depersonalize that individual. It would take a person longer to look up the name and find it if the names were in chronological order, but the process would be worth it to a family member or a friend."
(Angelo Lopez, 26 May 2008)