http://folksonomy.co/?rss=3430 Folksonomy.co is a structured repository of digital culture and creative practice. en-au Creative Commons License: (cc), Simon Perkins Sat, 04 May 2013 14:49:59 +1000 Sat, 04 May 2013 14:49:59 +1000 Constellations 2.0 http://folksonomy.co/?member=2 60 http://folksonomy.co/Folksonomy.gif http://folksonomy.co/ http://folksonomy.co/?permalink=3296 Austin Kleon s talk Steal Like An Artist is a creative manifesto based on 10 things he wish he d heard when he was starting out Austin is a writer and artist He s the author of Newspaper Blackout a best-selling book of poetry made by redacting newspaper articles with a permanent marker Austin s talk was delivered as part of the TEDxKC presentation of TEDxChange Austin s work including his new book Steal Like An Artist has been featured on NPR s Morning Edition PBS Newshour and in The Wall Street Journal He speaks about creativity visual thinking and being an artist online for organizations such as SXSW and The Economist TEDx Talk 2012 Kansas City http://folksonomy.co/?permalink=3296 Sat, 04 May 2013 14:49:59 +1000 http://folksonomy.co/?permalink=3109 Melvyn Bragg presents the first in a series of programmes examining the idea of culture and its evolution over the last 150 years In 1869 the poet and critic Matthew Arnold published Culture and Anarchy a series of essays in which he argued passionately that culture - the best which has been thought and said - was a powerful force for good In this first programme Melvyn Bragg visits the Sheldonian Theatre in Oxford where Arnold first unveiled his ideas on the subject and discovers how Arnold s ideas were refined and rejected by later thinkers Melvyn Bragg 2012 Matthew Arnold 1869 Culture and Anarchy An Essay in Political and Social Criticism http www authorama com book culture-and-anarchy html The Value of Culture Culture and Anarchy Radio broadcast Episode 1 of 5 Duration 42 minutes First broadcast Monday 31 December 2012 Presenter Melvyn Bragg Producer Thomas Morris for the BBC Radio 4 UK http://folksonomy.co/?permalink=3109 Mon, 31 Dec 2012 10:53:42 +1000 http://folksonomy.co/?permalink=3107 Special guest James May explores how music is inextricably linked to our emotions materials scientist Mark Miodownik takes apart an electric guitar and neuroscientist Tali Sharot reports on the ground breaking research which treats Parkinson s Disease with rhythm Plus science journalist Alok Jha asks whether computers are ruining music BBC Two UK Fig 1 this animation is from Episode 6 of 6 of Dara 211 Briain s Science Club Tuesday 30 Dec 2012 at 9pm on BBC Two voiced by Dara 211 Briain animated by 12Foot6 Published on YouTube on 19 Dec 2012 by BBC http://folksonomy.co/?permalink=3107 Sat, 29 Dec 2012 00:04:03 +1000 http://folksonomy.co/?permalink=3083 Dara traces the brain s journey from a useless organ once ditched by Egyptian embalmers to the centre of everything that makes us human Science journalist Alok Jha asks whether smart drugs really make you brainier oceanographer Helen Czerski explores cutting edge therapies allowing the brain to control limbs remotely and materials scientist Mark Miodownik takes apart a smart phone BBC Two UK Fig 1 this animation is from Episode 5 of 6 of Dara 211 Briain s Science Club Tuesday 04 Dec 2012 at 9pm on BBC Two voiced by Dara 211 Briain animated by 12Foot6 Published on YouTube on 5 Dec 2012 by BBC http://folksonomy.co/?permalink=3083 Tue, 11 Dec 2012 23:20:25 +1000 http://folksonomy.co/?permalink=3082 Science journalist Alok Jha asks whether it is a good idea for humans to reach out to extra-terrestrials and oceanographer Helen Czerski comes face to face with extreme radiation energy so deadly it could seriously curtail humans travelling further than the solar system Plus special guest Josh Widdecombe visits NASA in Houston to find out the challenges we face to get humans to Mars and materials scientist Mark Miodownik takes apart a space suit BBC Two UK Fig 1 this animation is from Episode 4 of 6 of Dara 211 Briain s Science Club Tuesday 27 November at 9pm on BBC Two voiced by Dara 211 Briain animated by 12Foot6 Published on YouTube on 27 Nov 2012 by BBC http://folksonomy.co/?permalink=3082 Tue, 11 Dec 2012 23:19:15 +1000 http://folksonomy.co/?permalink=3040 A few hundred years ago extinction as a concept made no sense to anyone But then fossil finds and advances in geology showed that it s part of life and a statistical certainty - even for human beings BBC Two UK Fig 1 this animation is from Episode 3 of 6 of Dara 211 Briain s Science Club Tuesday 20 November at 9pm on BBC Two voiced by Helen McCrory animated by 12Foot6 Published on YouTube on 19 Nov 2012 by BBC http://folksonomy.co/?permalink=3040 Tue, 20 Nov 2012 22:59:15 +1000 http://folksonomy.co/?permalink=3030 Balls pendulums apples and magnets all played their part in the story of modern physics but then things got weird And when Albert Einstein combined time and space things got even weirder - step forward quantum uncertainty black holes and the Big Bang BBC Two UK Fig 1 this animation is from Episode 2 of 6 of Dara 211 Briain s Science Club Tuesday 13 November at 9pm on BBC Two voiced by Dara 211 Briain animated by 12Foot6 Published on YouTube on 13 Nov 2012 by BBC http://folksonomy.co/?permalink=3030 Thu, 15 Nov 2012 23:54:37 +1000 http://folksonomy.co/?permalink=3013 This first episode in a new six-part science series presented by Dara 211 Briain takes a look at the weird and wonderful world of reproduction and inheritance Dara chats to leading biologist Professor Steve Jones and finds out how the bicycle did more to improve the human immune system than any other invention comedian Ed Byrne discovers just how closely related he is to a Neanderthal and materials scientist and engineer Mark Miodownik creates a DNA cocktail with the help of some strong Polish vodka Dara is also joined by neuroscientist Tali Sharot who explores the cutting-edge science of epigenetics and reveals how exercise can change your DNA Science journalist Alok Jha asks if the human genome project was oversold and the studio audience are put to the test in the elusive search for attraction Combining lively and in-depth studio discussion with exploratory films and on-the-spot reports Dara 211 Briain s Science Club takes a single subject each week and examines it from lots of different and unexpected angles from sex to extinction Einstein to space exploration and brain chemistry to music It brings some of the world s foremost thinkers together to share their ideas on everything from how to avoid asteroid impact to whether or not we are still evolving BBC Two UK Fig 1 this animation is from Episode 1 or 6 of Dara 211 Briain s Science Club Tuesday 6 November at 9pm on BBC Two animated by 12Foot6 Published on YouTube on 5 Nov 2012 by BBC http://folksonomy.co/?permalink=3013 Thu, 08 Nov 2012 21:55:01 +1000 http://folksonomy.co/?permalink=2836 Design studies like design is a multifarious enterprise A branch of the humanities it comprises a wide range of critical perspectives on the meanings and values embodied in objects and places It examines the forces that design exerts in and on the world - forces design sets in motion but does not control Parsons Masters in Design Studies program places particular emphasis on four points the role of the designer and the design studio in redefining the scope of practice in the 21st century design as an iteration of aesthetic and intellectual histories that continue to inform the present the social political and environmental behaviors and consequences of designing objects places situations and systems today design as the projection of different futures Above all the MA Design Studies program focuses on the development of articulate critical voices that can speak to these issues Students will be prepared to write for the academic context the design community and the larger public realm Working in close proximity to MFA studio programs at Parsons they also have the opportunity to integrate film video and other media into their work Susan Yelavich http://folksonomy.co/?permalink=2836 Sat, 21 Jul 2012 18:00:48 +1000 http://folksonomy.co/?permalink=2099 On the way to postmodern the struggle to reform modern capitalism s dark side fragmented into a thousand strands An era approach is rejected - dating the arrival of postmodernism is impossible as is the construction of a linear episodic narrative moving from the premodern to the modern and then to postmodern Instead postmodern methods theories and worldviews proliferate as do modern and premodern ones There are numerous postmodern approaches ranging from naive postmodernism McPostmodernism that hails the arrival of postindustrial and complex adaptive organizations Baudrillard s and Lyotard s versions of radical breaks from modernity to others seeking more integration with critical theory Some claim to have moved beyond postmodern to something called postpostmodern that would include hybrids postmodern variants with modern and premodern language heteroglossia the coexistence of many voices at the same time in tension with each other and various dark side postmoderns looking at global reterritorialization postmodern war postcolonialism and the ills of capitalism David M Boje 2007 1 Postmodernism - by David M Boje 2007 To appear in Yiannis Gabrielos Thesaurus London Oxford University Press forthcoming http://folksonomy.co/?permalink=2099 Fri, 18 Feb 2011 09:25:36 +1000 http://folksonomy.co/?permalink=1642 Philosophical hermeneutics suggests a possible basis for an alternative philosophical view Hans-Georg Gadamer s 1989 discussion of the epistemological basis of the humanities includes a discussion of art which emphasises its profound import and value in developing understanding His concern is to reassert the distinctiveness of humanistic and artistic insight via a forceful argument that art is knowledge and experiencing an artwork means sharing in that knowledge 97 A key element in Gadamer s argument is the early chapters painstaking archaeology of post-Enlightenment thought This aims to show how deep-rooted concepts in the history of ideas in the modern West such as the idea of a sensus communis have become forgotten or distorted thereby undermining the basis of the humanities claim to truth In the case of art Gadamer argues that post-Kantian philosophical treatments have subjectivised the domain to the point where artworks became mere objects of aesthetic experience or vehicles of communication for the artist as genius - their particular mode of being and its cognitive import dissolving in their reconfiguration as aspects of the individual subject s experience or activity One consequence has been art s relegation to the status of an epistemologically suspect domain a soft relation of hard scientific enquiry Within this tradition of thought art s contribution to knowledge along with that of other humanities disciplines can increasingly only be characterised in negative or derivative terms What is especially interesting about Gadamer s writings from the point of view of the argument here is the way he links the cognitive value of art practice to an ontology of the artwork which highlights the latter s autonomy For Gadamer art is essentially play but even though it has implications for the nature of the spectator s engagement 5 this characterisation is meant to emphasise neither the orientation nor even the state of mind of the creator or of those enjoying the work of art nor the freedom of a subjectivity engaged in play but the mode of being of the work of art itself 1987 101 The process of art making effects what Gadamer terms a transformation into structure ibid 110 which detaches the work from the activity of the creative artist to foreground the meaningfulness of the content that the artwork conveys 6 That content consists essentially in the work s re-presentation of aspects of the world and of experience In recognising the import of a work the agents involved do not simply register its reference to something familiar in understanding art t he joy of recognition is rather the joy of knowing more than is already familiar ibid 114 From Gadamer s perspective then an artwork itself embodies new insight That insight may be variously applied and integrated into the experiential horizons of different viewers and audiences but this variability in interpretation is tempered by a common sense of the work s transformative power As autonomous structures artworks move us beyond a subjective reflection on themes by artist and viewer and towards a common participation in the work s play-structure which in itself has the potential to reconfigure perception and the world This cursory overview of Gadamer s account of art scarcely does justice to the depth and scope of his analysis and probably raises more questions about the epistemological status of PAR practice as research than it resolves For example how can one distinguish PAR from art not governed by research-imperatives if all art has the kind of cognitive import that Gadamer suggests The hermeneutic view would also need much more detailed elaboration to clarify its implications for the conduct presentation and assessment of PAR In particular perhaps the question looms of how an artwork might be judged to fail to embody knowledge given that Gadamer s philosophy seems to indicate that it should by definition make new insight available And yet without being able to question critically or even deny the epistemological value of some works it is unclear whether one can positively identify the claim to knowledge of any 7 Gadamer s work may suggest that an artwork stands or falls on its transformative power within the audience s experience but how exactly can one tell whether a work has this power The responses of individual viewers e including those responsible for assessing PAR projects e might give us some indication but as Gadamer himself points out the subjectivisation of aesthetics has weakened our trust in the commonality of artistic experience to the extent that we doubt the wider resonance of individual response The philosophical argument for the intersubjectivity of art experience would thus need fleshing out in much more detail to counter the weight of tradition and of the received views attendant upon it Anna Pakes 2004 Roehampton University of Surrey England Pakes A 2004 Art as action or art as object the embodiment of knowledge in practice as research Working Papers in Art and Design 3 Retrieved lt date gt from URL http www herts ac uk artdes research papers wpades vol3 apfull html ISSN 1466-4917 http://folksonomy.co/?permalink=1642 Sun, 08 Nov 2009 21:53:49 +1000 http://folksonomy.co/?permalink=611 The great theme of the nineteenth century was history The accumulation of material that demonstrated the contingently renegotiated meaning of the past was one of the elements that constituted the emergence of museums as public places Napoleon used the rewritten script of the King 39 s Palace of the Louvre to show and celebrate the Republican government and to constitute the potentially dangerous masses as citizens of that Republic Through the bringing together and displaying of material things which had been violently taken away from their previous religious aristocratic royal and enemy owners and colonial subjects a space was constituted where new values of liberty freedom fraternity and equality among citizens of the State could be both produced and reproduced In becoming a visitor to the Musee du Louvre the subject willingly and enthusiastically embraced a new ensemble of social cultural political and economic values The reorganised newly disciplined spaces of the old haphazard royal palace acted as one of the new technologies of power control and supervision of both subjects and material things In the assembling ordering classifying placing cataloguing labelling conserving and displaying of thousands of paintings sculptures clocks tapestries mirrors jewels coins books live animals and plant specimens new curatorial practices and values began to emerge in the Musee du Louvre the Jardin des Plantes and other related institutions 5 New separations were made between types of material thing Natural things had their own spaces where before they had often been part of a general collection Separations were made between the works of living and dead artists where previously the size shape and content of a painting had been the factors that determined the classifying code The 39 authentic 39 and the 39 fake 39 became new categories where previously a complete series had been more important New subject positions emerged 6 Eilean Hooper-Greenhill 5 P Wescher 39 Vivant Denon and the Musee Napoleon 39 Apollo v 80 pp 183 1964 E P Alexander Museum Masters their museums and their influences American Association for State and Local History 1983 p 93-4 6 Alexander 1983 p 95 and C Gould Trophy of Conquest The Mus 233 e Napol 233 on and the Creation of the Louvre Faber and Faber 1965 p 20 both discuss the emergence of picture conservation as a discreet and specialist activity K Hudson Museums of Influence Cambridge University Press 1987 pp 6 and 41 mentions dealers and art historians and Wescher 1964 p 183 discusses the specialist staff recruited for the new museum http://folksonomy.co/?permalink=611 Fri, 14 Apr 2006 01:41:08 +1000 http://folksonomy.co/?permalink=68 To be able to exist as a science natural history must then presuppose two groupings One of them is constituted by the continuous network of beings this continuity may take various spatial forms Charles Bonnet thinks of it sometimes as a great linear scale of which one extremity is very simple the other very complicated with a narrow intermediary region - the only one that is visible to us - in the centre sometimes as a central trunk from which there is a branch forking out on one side that of the shellfish with the crabs and cray-fish as supplementary ramifications and the series of insects on the other branching out to include the frogs C Bonnet Contemplation de la nature chap XX pp 130-8 Buffon defines this same continuity 39 as a wide woven strip or rather a bundle which every so often puts out side branches that join it up with the bundles of another order 39 Buffon Histoire naturelle des oiseaux - 1770 t I p 396 Pallas sees it as a polyhedric figure Pallas Elenchus Zoophytorum- 1786 Hermann wished to constitute a three-dimensional model composed of threads all Starting from a common point of origin separating from one another 39 spreading out through a very great number of lateral branches 39 then coming together again J Hermann Tabulae affinitatum animalium - Strasbourg 1783 p 24 The series of events however is quite distinct from these spatial configurations each of which describes the taxonomic continuity in its own way the series of events is discontinuous and different in each of its episodes but as a whole it can be drawn only as a simple line which is that of time itself and which can be conceived as straight broken or circular In its concrete form and in the depth that is proper to it nature resides wholly between the fabric of the taxinomia and the line of revolutions The tabulations that it forms in the eyes of men and that it is the task of the iscourse of science to traverse are the fragments of the great surface of living species that are apparent according to the way it has been patterned burst open and frozen between two temporal revolutions Michel Foucault The Order Of Things p 163 Foucault M 2003 The Order Of Things London Routledge http://folksonomy.co/?permalink=68 Mon, 29 Dec 2003 00:00:00 +1000