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A group of researchers conducted an experiment to determine which vaccine is more effective for preventing getting the flu. They tested two different types of vaccines: a shot and a nasal spray. To test the effectiveness, 1000 participants were randomly selected with 500 people getting the shot and 500 the nasal spray. Of the 500 people were treated with the shot, 80 developed the flu and 420 did not. Of the people who were treated with the nasal spray, 120 people developed the flu and 380 did not. The level of significance was set at .05. The proportion of people who were treated with the shot who developed the flu = .16, and the proportion of the people who were treated with the nasal spray was .24. The calculated p value = .0008.
For this essay, describe the statistical approaches (e.g., identify the hypotheses and research methods) used in this excerpt from a research study. Interpret the statistical results and examine the limitations of the statistical methods. Finally, evaluate the research study as a whole and apply what you have learned about hypothesis testing and inferential statistics by discussing how you might conduct a follow-up study.
Your essay must address the following points:
- Describe the research question for this experiment.
- What were the null and alternative hypotheses?
- Were the results of this test statistically significant?
- If so, why were they significant?
- Would the researchers reject or fail to reject the null hypothesis?
- Do the results provide sufficient evidence to support the alternative hypothesis?
- Was the sample appropriate for this study? Explain your answer.
- What are some possible limitations to this study?
- Discuss how you would conduct a follow up study to this one. Explain your answer.
Essay 2
A researcher has investigated the relationship between IQ and grade point average (GPA) and found the correlation to be .75.
- For this essay, critique the results and interpretation of a correlational study.
- Evaluate the correlational result and identify the strength of the correlation.
- Examine the assumptions and limitations of the possible connection between the researcher’s chosen variables.
- Identify and describe other statistical tests that could be used to study this relationship.
Your essay response must address the following questions:
- How strong is this correlation?
- Is this a positive or negative correlation?
- What does this correlation mean?
- Does this correlation imply that individuals with high Intelligence Quotients (IQ) have high Grade Point Averages (GPA)?
- Does this correlation provide evidence that high IQ causes GPA to go higher?
- What other variables might be influencing this relationship?
- What is the connection between correlation and causation?
- What are some of the factors that affect the size of this correlation?
- Is correlation a good test for predicting GPA?
- If not, what statistical tests should a researcher use, and why?Describe the difference between practical and statistical significance.
- Calculate the sum, mean, mode, median, standard deviation, range, skew, and kurtosis for each group.
- How do the two groups differ?
- Are there any outliers in either data group?
- What effect does an outlier have on a sample?
- Calculate the following for the new data groups: sum, mean, mode, median, standard deviation, range, skew, and kurtosis.
- Did any of the values change?
- How does sample size affect those values?
Essay 3
A researcher has recorded the reaction times of 20 individuals on a memory assessment. The following table indicates the individual times:
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9.5
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15.2
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9.5
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2.7
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2.9
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8.2
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2.5
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4.8
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8.5
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8.1
In this essay, demonstrate your ability to organize data into meaningful sets, calculate basic descriptive statistics, interpret the results, and evaluate the effects of outliers and changes in the variables. You may use Excel, one of the many free online descriptive statistics calculators, or calculate the values by hand and/or with a calculator.
Next, separate the data into two groups of 10; one group will be the lower reaction times, and the second group will be the higher reaction times. Then, address the following points in your essay response:
Lastly, double each sample by repeating the same 10 data points in each group. You will have a total of 20 data points for each group. After completing this, address the following in your essay response: | https://topnursingessay.com/3-essay-questions-statistics-statistics-homework-help/ |
About 7% of children have significant difficulty in functional language (receptive and/or expressive language disorders) for no apparent reason. In other words, these children have language alteration in the absence of hearing loss, changes in cognitive development, speech motor development impairment, pervasive developmental disorders and acquired sensorineural changes and syndromes and in neurological lesions.1 , 2This type of language disorder has been defined in most studies as specific language impairment (SLI).
Despite nearly a century of research, investigators have not reached a consensus on the physiological basis of causation of this disorder involving language development yet.
One possible theory suggests that one of the reasons for the occurrence of specific language impairment is related to changes in abilities to process sounds and to abnormalities in the neural coding of auditory information,3 , 4 contributing to changes in the perception of critical acoustic cues contained in the speech signals.
The basic idea is as follows: the perception of those short, quick acoustic signals, such as speech sounds, is related to the ability to perceive and process rapid changes of spectral characteristics along the auditory pathway, within a time interval in the order of milliseconds, this being an essential process for the development of language. Thus, it can be said that the auditory perception is the result of the auditory signal processing. When a change occurs in this auditory processing, hence an instability in the representation of speech sounds (phonemes), this also occurs in the brain. This instability of the representation of speech sounds can lead to a difficulty in understanding the speech of other people, and also limits the ability to acquire the phonological, syntactic and semantic elements of language.5 , 6
Although the presence of alterations in auditory processing in individuals with SLI is supported by many studies, this theory is not universally accepted, since the results of other studies have failed to find evidence of changes in auditory processing in children with SLI7 - 9 and, consequently, the etiological causes of disorders in language development remains controversial.
From the previously established relationships between the coding of speech and language skills, we intend to study the auditory processing and possible effects of laterality in children with SLI, relating them to these outcomes found in children with auditory processing disorder (APD) and with typical development (TD), through behavioral measures. The hypothesis is that the difficulties in speech processing are directly related to a deficit in auditory processing.
We hope this study will provide new information on the central auditory functioning in children with SLI, allowing a better understanding of this disorder and more appropriate and effective therapeutic interventions.
Material and method
This study was approved by the Ethics Committee under Protocol 1049/07. The children's parents or guardians were instructed about the procedures of the study and signed a term of free and informed consent.
Cases
Seventy-five children, ranging from 6-12 years, were evaluated. All subjects evaluated had auditory pure tone thresholds within the normal range (≤ 15 dB HL) for the studied frequencies (500-4000 Hz), speech recognition scores ≥ 88%, normal tympanometric measures, and absence of neurological, cognitive or psychiatric disorders. If changes regarding the hearing, neurological, cognitive and psychiatric aspects were found, the individuals were excluded from the study and referred to specialized service.
The subjects were divided into three groups:
a. Typical development (TD Group): 25 children with typical development, according to information obtained through interviews with these children's parents or guardians and teachers, and with no school problems or speech and language problems. In addition, these children had normal performance in APD evaluation.
b. Auditory processing disorder (APD Group): 25 children diagnosed with APD using criteria established by the American Speech-Language-Hearing Association (ASHA), i.e., performance below normal for their age on at least two tests of the Hearing Processing Evaluation battery. The minimum assessment battery applied in this group was composed of temporal processing and monotic and dichotic hearing tests.
c. Specific language impairment (SLI Group): 25 children diagnosed with SLI using international reference criteria,1 providing at least an average intellectual level in an intellectual assessment using the Raven Coloured Progressive Matrices test.10
Procedures
After the selection of children, behavioral tests that assess central auditory processing were performed.11 a) Monotic test - Speech-in-noise test - used to assess the ability of auditory closure. This test consists of a list of 10 monosyllabic words by ear, totalling 20 verbal stimuli, presented at a level of intensity of 40 dB HL above the SRT obtained in the speech test. The signal/noise ratio used was + 20 dB HL, i.e., the sign represented by monosyllabic words was 20 dB HL above the noise, and the child was instructed not to pay attention to the noise, pointing the figures corresponding to the words that were heard. This procedure was performed in both ears; b) Dichotic test - dichotic digit test - used to assess the figure-background hearing ability and binaural integration for linguistic sounds. Two numbers were presented simultaneously in pairs in each ear, and the child was instructed to repeat both pairs immediately after their presentation. In total, 20 pairs of numbers per ear, totaling 40 verbal stimuli, were presented at an intensity level of 50 dB HL above the SRT obtained in the speech test. The number of digits correctly repeated was converted to a percentage of correct answers (i.e. hits); c) Auditory temporal processing test - pattern of frequency test (PFT) - used to assess the ability of temporal ordering and inter-hemispheric transfer. In this test, the child was instructed to listen carefully to three stimuli and to respond orally to the order in which the sounds came. If the stimulus was acute, the child was instructed to respond with an acute voice, and if the stimulus was deep, the child was asked to respond with a deep voice. In the end, 20 sequences of three stimuli were performed, and the number of correct sequences was converted to a percentage of hits.
The Speech-in-noise test and "dichotic digit" tests were used to verify aspects of laterality. Therefore, the right and left ears were evaluated separately. The "pattern of frequency" test, was used to evaluate temporal auditory processing and was presented binaurally (right and left ears simultaneously).
Statistical analysis
To accomplish the stated objectives, the statistical method used attempted to compare groups in face of the performance in the evaluation of (central) auditory processing. This way, the descriptive analyses of children's age and of results of the tests were carried out through the construction of tables with observed values from descriptive statistics: mean, standard deviation, minimum, median and maximum. To compare the means of the tests in the three groups, and in the two ears evaluated, techniques of analysis of variance (ANOVA) and of analysis of variance with repeated measures (ANOVA repeated measure), respectively, were applied. The values considered statistically significant were marked with an asterisk (*) when ≤ 0.05, with two asterisks (**) if ≤ 0.01, and with three asterisks (***) when ≤ 0.001. The sign # was used to show a trend towards significance.
Results
The subjects' age had a similar distribution among the three groups; mean and standard deviation of 8.80 ± 2.08 for TD, 8.72 ± 1.67 APD and 7 84 ± 1.77 SLI were found. By ANOVA, there was no statistically significant difference among the mean ages [F (2,72) = 2.07, p = 0.13].
Table 1 shows the descriptive statistics of data obtained by the three groups in the "figure with noise" test. The mean percentage of hits in the left ear was smaller than the mean percentage in the right ear in APD(C) and DEL groups. However, this effect of laterality was statistically significant only for SLI group.
** p = 0.01.
In comparing the hits averaged in the "figure with noise" test, we observed statistically significant differences between groups for both the right ear [F (2,72) = 10.84, p < 0.001***] and for the left ear [F (2,72) = 15.76, p < 0.001***]. Through the Tukey's post-hoc test, we observed that, for the right ear, this significance lies only in comparisons between TD and the other two groups. In other words, we could observe that the mean of total hits in the TD group was higher than in the APD (p = 0.02*) and SLI (p < 0.001***) groups. As for the left ear, the DT group averaged more hits, with a statistically significant difference when compared to APD (p = 0.01**) and SLI (p < 0.001***) groups; in addition, the APD group had a better performance than DEL (p = 0.01**) group.
Similarly for the "dichotic digit" test, comparing the hits averaged, we observed statistically significant differences between groups for both the right ear [F (2,72) = 11.44, p < 0.001] and for the left ear [F (2,72) = 21.75, p < 0.001]. Through the Tukey's post-hoc test, we noted that, for the right ear, that significance lies only in comparisons between TD and APD (0.002**) and TD and SLI (p < 0.001***). As for the left ear, in a situation similar to what was observed with the "figure with noise" test; the DT group also averaged more hits, with a statistically significant difference when compared to TPA (p < 0.001*** ) and DEL (p < 0.001***) groups; in addition, the TPA group performed better than the DEL (p = 0.04*) group.
Then, we compared the results obtained in PFT in these three groups. It should be noted that the percentages presented are the result of the use of the test in binaural form.
In Table 2 the descriptive statistics of data obtained by the three groups in the pattern of frequency test are listed.
Comparing the mean percentages of correct answers for the PFT obtained in the three groups, statistically significant differences were detected between the groups [F (2,72) = 24.71, p < 0.001***] (Table 2), and the mean percentage obtained in DT group was superior to those obtained by SLI and APD groups (Table 3).
Discussion
The results of the behavioral evaluation of the (central) auditory processing showed that the performance obtained by APD(C) and SLI groups were worse when compared to the TD group. In other words, children with SLI, as well as children with APD, showed difficulties in speech comprehension skills in conditions of degraded hearing (noise and/or competitive speech) and difficulty in processing non-verbal stimuli (discrimination, ordination, binaural integration and inter-hemispheric transfer of acoustic stimuli presented), that could result in difficulties in the accurate perception of speech and thus compromise the integrity of speech processing and production.
These results seem to confirm our hypothesis, which is supported by many studies indicating that changes in (central) auditory processing coexist with language disorders.12
However, in addition to identifying a worse performance of SLI group relative to TD group, we also found that children with SLI performed worse than children with APD in the tests using verbal stimuli (Figure with Noise/Dichotic Digit tests). These results are relevant when we consider that it is precisely the SLI group, not the APD group, which has a delay in language development, and that these children still have current difficulties regarding the expressive and/or receptive language.
In that the temporal processing is involved in each test used in this study to assess auditory processing, we raise two hypotheses. The first is related to studies of Tallal3 , 5 who attributes abnorlmalities of temporal auditory processing for deficits or delays in the acquisition of language. According to his studies, changes in temporal processing result in compromises in the perception of phonemes and of other aspects of language and reading, which depend on a precise phonemic representation.
However, the Tallal hypothesis3 , 5 has been questioned, because some studies have not confirmed those findings, increasing the controversy about the aetiology of SLI. Some studies using evoked potentials,9 psychoacoustic tests,13 and speech perception tests8 showed children with language difficulties had adequate performance on tasks of discrimination and temporal processing of auditory stimuli.
The second hypothesis suggests the presence of other disabilities in children with SLI in addition to those responsible for the auditory processing. According to Bishop et al.,7 the language disorders are likely a result of multiple factors (including auditory processing, language processing and higher cognitive functions) that act synergistically. This would explain the fact that some children show changes in auditory processing and normal language development.
In the current study, the statistically significant differences between APD and SLI groups were not supported by the results of Ferguson et al.14 and Miller and Wagstaff.15 These researchers found no differences between APD and SLI groups for measures of language, communication, cognitive skills, and auditory processing skills, among others.
Despite this apparent controversy, it seems an indisputable fact that children with SLI have difficulty in their processing stimuli that are brief or presented rapidly,1 and in frequency discrimination,16 and have problems with both auditory processing and language.6
Another feature found only by the SLI group in our research was a poorer performance of the left ear compared to the right ear, both for monotic and for dichotic tests.
Hemispheric differences are evident in the normal processing of speech sounds,17 and the model presented by Kimura18 shows a right ear advantage over the left ear for speech sounds, presented in a dichotic way. This advantage occurs because the speech auditory stimuli, captured by the right ear, are directly processed in the left hemisphere (the main hemisphere responsible for speech processing), through the actions of the contralateral pathways. When the speech sounds are captured by the left ear, are primarily directed to the right hemisphere (RH) first, and later, via the corpus callosum, are processed in the left hemisphere.
This asymmetry between ears would be expected to decrease with increasing age; this is a likely marker of maturity and of hearing process improvement.19
Thus, we could suggest that the differences between the ears, found in our study considering only children with SLI, would be consistent with abnormalities in the transmission of auditory information from the non-dominant ear toward the dominant hemisphere for speech processing via corpus callosum,20 possibly due to a maturational delay (less myelination in the immature brain), or to impairments in the auditory system.21 According to Moncrieff,19 the findings on the differences between right and left ears represent an important aspect related to the immaturity in dichotic hearing ability.
Another possible interpretation of our findings would be that children with SLI, actually exhibit a disadvantage of the left ear compared to the right ear rather than exhibit a right ear advantage.22
The deficit found in this study for the left ear in two behavioural tests, combined with the deficit in the task of temporal auditory processing manifested in the pattern of frequency test, seems consistent with the hypothesis of an impairment of the inter-hemispheric function of auditory information, this function being exercised by the corpus callosum, which is the main pathway of association between the cerebral hemispheres.23
We know that the advantages presented by whatever ear may reflect functional differences between the brain hemispheres. However, this concept has been described in the specialized literature by dichotic, but not by monotic, tasks. The first applications of tests using "speech with noise", performed by Sinha,24 reported deficits in the ear contralateral to cortical lesions. Subsequent studies have shown, in the "speech with noise" test, contralateral hemisphere deficits with implications in the auditory cortex.25 , 26 However, these are not affected by inter-hemispheric transfer (corpus callosum).
Considering the data obtained - greater deficit found in the left ear in the dichotic test - plus the abnormal performance in the left ear in the monotic test, it is suggested that there is an involvement of the right hemisphere (RH), or possibly of RH and of interhemispheric transfer.27
We must take into account - on the hypothesis of a possible change in RH - its role in language processing. Whitehouse and Bishop28 found some evidence that children with SLI might have the function of language lateralized to RH.28 That is, our findings could corroborate the important language deficit displayed by these children.
In face of the hypotheses presented, we can consider that the possible causes of asymmetry between ears, found only in children with SLI, may be related either to a maturational delay - especially in regard to the interhemispheric transmission (corpus callosum) - but also to an impairment in RH, which would hamper the efficient processing of spectral information contained in the speech stimuli.
Thus, our results suggest that the neural processes that underlie auditory processing disorders may differ between auditory and language processing change.
Conclusion
In this study, children with SLI exhibited poorer performance on the auditory processing abilities compared to children with APD and TD. In addition, only children with SLI showed laterality effect, suggesting that difficulties with language processing found in these children are related to possible deficits in interhemispheric transmission and/or in auditory processing in the right hemisphere. Thus, these findings suggest that neural processes (required for auditory processing) are different for auditory and speech processing changes. | http://www.scielo.br/scielo.php?script=sci_arttext&pid=S1808-86942014000300231&lng=en&tlng=en |
Our society is facing significant challenges due to accelerated climatic change brought by increased carbon emissions (from cars, industries and power generation) leading to global warming. According to the 2018 Transport and Environment report on carbon emissions (CO2 EMISSIONS FROM CARS: the facts), the transport sector is Europe’s single biggest source of carbon emissions contributing 27% of the European Union’s total carbon emissions with cars and vans representing more than two thirds of this percentage. Therefore, vehicle electrification is of utmost importance to provide an alternative to fossil fuel driven (internal combustion engine) vehicles. Improved technology coupled with tightened emissions legislation has continuously driven costs of vehicle electrification down making electric vehicles more accessible. Battery electric vehicles mostly run on Lithium-ion batteries which have high battery capacity, very low memory effect and long lifetime. Battery Management Systems (BMS) primarily monitor lithium-ion cells for such parameters as voltage, current, temperature and battery states (e.g. state of; charge, health, function and power) to ensure that the batteries are safely utilised. Poor management of cell voltage, cell temperature or battery pack current damages the batteries and endangers the safety of vehicle users. The major aim of this project is to design and implement a Scalable Battery Management System (SBMS) for the scalable electric drivetrain of the Generation-3 car platform prototype at Infotiv AB, Gothenburg, that allows re-usability, reconfiguration and extension rather than redesign. In this thesis, we analyse the scalability aspects of modular electric vehicle BMSs and incorporating these aspects in designing a prototype SBMS. In order to ensure a fully scalable system implementation we apply design layering. In design layering, the scalability of the BMS design is studied in the topological, functional, hardware and software perspectives. In addition to technical aspects, we also analyse the cost implications of implementing such a system. A SBMS is implemented using a master microcontroller coordinating two module microcontrollers. Each module micro-controller controls a battery monitor, which in turn monitors eight cells. The layered design offers high flexibility not only in design and components, but also in cost estimation. The thesis is arranged as follows: it begins with introduction and theoretical sections, then design and implementation sections, and finally the analysis and conclusion sections. | https://odr.chalmers.se/items/443c67ac-551e-4012-8776-5eed4c3cadd6 |
Fibre Optical Transceivers (FOTs) can be used for communication for battery management systems or fueling and charging stations.
With the current trend of electric cars, one of the most difficult and most important topics for e-cars is, to maximize the driving distance and still keep a reasonable sized battery. That makes it very important to manage and maximize the performance of the battery system. The battery management system (BMS) does exactly that. An intelligent BMS monitors and controls the current, voltage, temperature and functionality of each individual battery cell in order to assure the best reliability and performance of the battery pack.
For automotive applications, this gets even more complex, as the battery management system also needs to detect the vehicles operating mode (accelerating, braking or stopped), provide this information to the driver and adjust the power management accordingly. In order to submit this data to the driver, it is necessary to have a communication channel between the BMS and the other vehicle systems. To isolate the high voltage battery from other low voltage vehicle systems, it is also necessary to implement a galvanic isolation like an optocoupler.
Similar to the Battery management systems, this principle can be used in electric or hydrogen fuel stations to transmit data between the car and the station. Because of the high voltage that is used at electric fuel stations and the flammable hydrogen at hydrogen stations, it is difficult and dangerous to use electric communication. Fiber optical communication is a cheap and simple solution. | https://automotive.hamamatsu.com/jp/en/green/battery.html |
Fibre Optical Transceivers (FOTs) can be used for communication for battery management systems or fueling and charging stations.
With the current trend of electric cars, one of the most difficult and most important topics for e-cars is, to maximize the driving distance and still keep a reasonable sized battery. That makes it very important to manage and maximize the performance of the battery system. The battery management system (BMS) does exactly that. An intelligent BMS monitors and controls the current, voltage, temperature and functionality of each individual battery cell in order to assure the best reliability and performance of the battery pack.
For automotive applications, this gets even more complex, as the battery management system also needs to detect the vehicles operating mode (accelerating, braking or stopped), provide this information to the driver and adjust the power management accordingly. In order to submit this data to the driver, it is necessary to have a communication channel between the BMS and the other vehicle systems. To isolate the high voltage battery from other low voltage vehicle systems, it is also necessary to implement a galvanic isolation like an optocoupler.
Similar to the Battery management systems, this principle can be used in electric or hydrogen fuel stations to transmit data between the car and the station. Because of the high voltage that is used at electric fuel stations and the flammable hydrogen at hydrogen stations, it is difficult and dangerous to use electric communication. Fiber optical communication is a cheap and simple solution. | https://automotive.hamamatsu.com/jp/en/green/battery.html |
CentroCentro is a public, open space devoted to contemporary art which focuses in particular on artistic and curatorial practices. Through research, experimentation and critical reflection, these practices help us connect with the world we live in, in a way that’s imaginative and innovative.
CentroCentro is built on the local artistic context, with a network that connects it to the national and international environments and in close connection with the people who inhabit and visit the city of Madrid. The activities we organise are based on collective learning and on supporting work processes via a programme of exhibitions, concerts, workshops, seminars, meetings, reading groups, performance art, screenings and publications, among other elements.
The projects that we participate in are rooted in the desire to find other ways of confronting space and constructing historic accounts. For this reason, we aim to be porous, pursuing organic knowledge transfer without paying heed to traditional formal methods, exploring the boundaries and possibilities of the language of exhibition. We understand the body as a transmitter and narration as a space full of possibilities for critical questioning of the established. We value art as experience and the aesthetic nature of work processes as well as their ability to foster collective learning. This is why we draw on technology, which we understand as knowledge and as artistry.
CentroCentro seeks to share, with different audiences, both the results of the projects it participates in and the various ways they can be approached. | https://artlisting.org/listing/centrocentro/ |
The text w/k in 5 minutes is a first introduction to our programme. More about w/k provides further background information.
1. Widely accessible
w/k publishes articles on art and science which aim to be accessible to a broad readership. While reading a scientific journal (e.g. a physics or psychology journal) may be challenging without in-depth theoretical and methodological insights into the scientific discipline and its terminology, w/k aims to communicate information in such a way that no particular background knowledge is required. Technical terms, for instance, if unavoidable, must be explained by the authors.
2. On ‚Art and Science‘: The Journal’s Perspective
To avoid any misunderstandings, this section explains the journal’s conception of the relationship between art and science: They are two independent fields of study and are differentiated institutionally – at least in contemporary western culture. Whether this also applies to other cultures is further explored in the w/k section On ‚Art and Science‘. Science and art are equally essential to society; the journal editors therefore deem them to be equally important for cultural development. As cultural forces, both art and science contribute creative achievements to humanity, albeit in different ways.
Hierarchies based upon statements such as “science is more important than art”, and vice versa, are explicitly rejected. For w/k, this means that artists and scientists meet eye-to-eye. This, however, does not ignore the fact that artists and scientists possess different skills to tackle different problems.
Due to the widespread assumption that art and science are to be seen as separate, the online journal is particularly interested in precisely those who cross the boundaries between art and science through their own practice in both fields. A prime example of the crossing of boundaries in the realm of fine art and good science is Leonardo da Vinci.
However, the main point of interest for w/k lies not only in the differences but also in the connections between art and science. w/k focuses on artistic works and how they are studied through the lens of science for the advancement of knowledge. The unique w/k profile enables artists, scientists and those who share a general interest for the topic, to broaden their horizons through the discovery of new links and dimensions in the art and science universe.
3. Questions to the Editors
Question 1: Don’t journals of a comparable structure already exist?
In recent times there have been various attempts at defining the relationship between science and art. These can take the form of a lecture, workshop, book or essay, online publication, or exhibition. So far, however, there does not yet exist a journal with the aim to address such a broad audience, portraying the ways in which the arts – particularly the visual arts exploring their relation to science – are presented in all their diversity, whilst simultaneously being investigated through a scientific lens. Whilst the specialist literature currently available shows important findings addressing the relationship between science and the visual arts, what it lacks is a clear connection – as well as sufficient research –between the two subjects. On the whole, w/k is an innovative project in many ways; like almost any new project, it builds upon pre-existing research and expertise.
Question 2: Why do we need it? What is its use?
With the help of the w/k programme you can surpass a traditional approach towards the relationship between art and science, benefitting all those involved:
- Through w/k, artists can inform themselves on what art has to offer when on the periphery to science. Science-based artists are given the opportunity to place themselves more precisely within the field of art and science. As their knowledge surrounding the connections between art and science broadens, they can assess which other overlapping disciplines and their respective representatives are worth getting into contact with. One’s own artistic practice therefore benefits from the knowledge gained through these diverse connections.
- Art historians whose main focus it is to explore the connections between science and the visual arts can use w/k to gain a solid overview and reach more precise conclusions.
- The same goes for scientists, who would like to further explore the scientific connection with which some visual artists work.
- Arts-based theorists, philosophers and aesthetes of any kind can profit from reading Sections 1 – 3 (Articles by Artists, Articles about Artists, Interviews with Artists) for the advancement of knowledge in their respective disciplines.
- Curators can gain inspiration for exhibition concepts.
- A broader audience interested in the visual arts and their connection to science in general can feed their diverse interests through w/k.
In short, w/k provides a new source of inspiration for all those who deal with connections between science and the visual arts – be it artists, art historians, art theorists, scientists interested in art, curators or simply people interested in art.
Question 3: Why an online journal rather than a book?
An online format was chosen to best cater for the project’s complex structure, aiming to work as a long-term, international platform. One singular publication would not sufficiently cover the desired range of content. Nonetheless, this does not exclude the possibility of a w/k book publication.
4. Which disciplines are not considered?
Artists who share an interest for science, exploring scientific theories, methods and outcomes have been in great demand in recent decades. This is examined in greater depth in Sections 1 – 3. However, due to the special profile of the journal, artists who would do better in journals other than w/k, include:
- Those who predominantly work in disciplines based on an unconventional scientific approach, for example esoteric psychology.
- Those who primarily explore religious or areligious ideologies (for example Christianity, Buddhism, anthroposophy, atheism).
- Those who primarily concern themselves with writers and literary texts. On the other hand, those who concern themselves intensely with literary theory, and utilise their research in their artistic practice, are more apt for the w/k discourse.
5. On the Topic of “Artistic Research”
Terms such as “artistic research”, “arts research”, “art through research” and the German term “Künstlerische Forschung” have been circulating for many years.
“Künstlerische Forschung“, artistic research, and further variations of this terminology have come to be frequently cited, yet also highly scrutinised catchphrases. They have found their way into the discourse of art schools, scientific institutes, as well as (European) policy guidelines surrounding culture and the creative industry. They aid the foundation of new institutes, journals, societies, support programmes, etc. At the same time, natural and social scientists, as well as artists, take on a critical, even hostile stance towards the terminology, forms, and programmes surrounding artistic research.“
In Sections 1 – 3 works from artists relying upon concepts of artistic research are presented and examined. Concepts of artistic research are further discussed in Section 5 (On ‚Art and Science‘). Only some concepts of artistic research are related to science; these are of the greatest interest for w/k. However, other variations of artistic research are also considered.
6. “Boundary Crossers” between Science and the Visual Arts
Those who work in the fields of both art and science are referred to as “boundary crossers” in the online journal. Content-wise, their artistic works can – but don’t necessarily have to – reveal connections to their scientific activity. Artworks of those whose practice is based on the crossing of boundaries are only considered if their artistic activity meets a certain level of professionality and autonomy. This stands in direct contrast to amateur art-making which doesn’t surpass a basic understanding. We are interested in art that goes beyond amateur hobbies and surpasses basic understandings. The editorial team decides upon the fulfilment of these criteria.
Whether these boundary crossers are mathematicians, medics, philosophers or social, natural or cultural scientists, their approach plays just as little a role in the selection process as their type of occupation (at a university, college, research institute, business or private scholar).
7. Collaborations between Scientists and Visual Artists
w/k creates a space for artistic works which evolved from a collaborative arts practice, clarifying their position embedded in the field of science. An example of a historical perspective on collaborations between professions in science and the visual artists is embodied by painters and draughtsmen, who, through European research expeditions, depicted detailed botanic and biological illustrations of unknown plants and animals. On the other hand, a more contemporary example of such collaborative practices would be that of aesthetic economy. Martin Tröndl understands this to be a
“process which uses specific artistic knowledge and competences, to apply them in a setting outside the realm of the visual arts: Artistic competences and ways of working are woven together with scientific ones in order to generate new knowledge based on a particular problematic.”
Central are therefore
“forms of perception in a scientific context to generate new knowledge (…) Within the research discourse, the production of other forms of knowledge, which a solely scientific or artistic approach could never achieve alone, takes place as a social practice in its own right.”
8. w/k-Sections explained in further Detail
This section provides a more detailed explanation of the ideas briefly introduced in w/k in 5 minutes.
Articles by Artists
These can be based either on a particular exhibition, or the development of a more extensive work. The following regulations help serve this purpose:
- For science-based artworks created in recent years, artists can share their work within the construction framework specifically put together by the editorial team. For current work, w/k is developing an experimental ground in which the framework can be adapted for each individual case. This experimental ground enables, for example, a video piece, created especially for the online journal, to be published.
- A presentation of this type can, in turn, be expanded upon through a regular text contribution explaining the artistic experiment.
Interviews with Artists
Interviews published since the first round in November 2016 reveal the entire range of possibilities so have a look and get inspired.
Articles about Artists
In this section, both the past and present artistic practice of art historians and theorists (amongst others), operating at crossroads between science and the visual arts, will be examined individually and in closer detail. In a conversation which took place in 2015, the supporters Kunibert Bering (Düsseldorf Art Academy) and Rolf Niehoff suggested various possible historical topics to engage with: Piero della Francesca; Andrea Pozzo in S. Ignazio in Rome; Athanasius Kircher; Pictor doctus in the middle ages; in the 16th century: Vasari contra Gian Paolo Lomazzo and Giulio Delminio Camillo; Ruskin: The Stones of Venice; Prinzhorn; Max Imdahl; Apfelmännchen – Mandelbrot-Menge: computer generated art; Gerhard Richter: Silitium. It doesn’t have to be one of these topics, but this gives an idea of what we are looking for.
Sections 1 – 3 provide a more extensive and in-depth introduction into art whose main point of focus lies in science. The aim is to thoroughly comprehend the various connections between science and the visual arts, in order to gradually distinguish and systematise them. Above all, one should get an impression of what an artist’s practice of this kind really consists of.
Here the main focus lies upon scientists, whose teachings, research practice and/or publications utilise artistic concepts/methods/outcomes. Earlier constellations of this type are also considered from a historical perspective.
This section is structurally identical to the sections 1 – 3, meaning there exist the following three options: Firstly, Articles by Arts-based Scientists (clarifying the status these artistic components have within their teaching and research), secondly, Interviews with Arts-based Scientists, and thirdly, Articles about Arts-based Scientists. We have not yet introduced subsections as we have just created this section. On ‚Art and Science‘: In recent years, the discourse surrounding the relationship between art and science has (again) intensified. This becomes apparent when one looks at the edited volumes Art and Science , Arts Research as Aesthetic Science , ArteFacts: Knowledge is Art – Art is Knowledge , amongst various other online texts which appear in the w/k-bibliography. In Section 5, a theoretical forum is being established in order to encourage further thinking regarding the relationship between science and art. Its aim is to provide a platform to activate a discussion encompassing all aspects of this relationship, always with the goal to develop further insight into the broad topic of “art and science”.
Close ties between the sections Articles by Artists, Articles about Artists and Interviews with Artists enable an objectified discussion to be reached surrounding the relationship between science and the visual arts. The w/k profile typically prefers to use individual artistic activities, using various singular studies as a basis, in order to reach more general conclusions regarding the relationship between science and the visual arts. In doing so, inaccurate generalisations common in specialist literature can be avoided. Reflecting upon the relationship between science and the visual arts gains new impulses through the presentation of artworks and its accompanying research, also supporting the advancement of knowledge. Through its connection to Sections 1 – 3, the section On ‚Art and Science‘ becomes a theoretical forum with an innovative profile.
Aesthetics & Art Theory
As mentioned in w/k in 5 minutes, Section 6 plays a complementary role: w/k is not a forum for all types of aesthetic and art theoretical contributions. However, it welcomes selected studies – after having been evaluated by the editorial team – especially those which can be usefully applied indirectly to the online journal.
Incoming contributions determine which of the above mentioned sections and sub-sections are deemed active. | https://between-science-and-art.com/construction/ |
If the world were a flat contoured surface and art were a medium like water, where would it flow? If art could follow its own urgencies and inner logics in any direction what kind of affinities and attractions would shape its course at this moment? Art, as it stands, already manifests as a range of phenomena that strain the possibility of their collective naming. Yet the routes art could take now, its temporary resting places and their immediate outcomes, might be very differently sited and manifest than the parameters, conceptions and expectations of art have facilitated to date. Art is changing in dynamic relation to its wider socio-cultural, politico-economic and technological conditions. Increasingly it is seen and approached by contemporary artists as “more a form of approaching something or a form of knowledge that can be ‘used’ to engage with the many different subjects or situations.” Artistic material has expanded to include dematerialized knowledge, while not excluding artistic material in the traditional sense or medium-based explorations.
The notion of “artistic research” was conceived partly to address this quality of art, yet to date this discourse has been generated from an academic-led train of thought, stemming from possible similarities with academic research. In the process art’s most important epistemological contributions have been largely overshadowed. These include the highly particular and medium-specific ways in which artists think and engage with materiality and dematerialised forms of knowledge. Rather than addressing artistic research as a separable phenomenon from art, I would wish to redefine the phrase “artistic research” to communicate art as an aspiration, an open-ended process and an open-ended object, which includes, but is in excess of itself as artwork. By not making rigid dichotomies between artistic process and output, artistic research might thus enable art to reclaim the day-to-day experience of the maker (in the widest sense of the term), for whom an “artwork” is part of a continuous (thinking) practice. If one considers artistic research in this way, its discourse offers an opportunity to re-examine whatever aspects of their practice that artists consider of significant value that dominant (market-led) understandings of art have filtered out, made invisible or underplayed.
Academically and in other areas of public life, there is currently a profound need for new forms of thinking and new epistemological possibilities that depart, not from existing bodies of knowledge, but a deep engagement with the particularities of a specific situation or set of conditions. As Irit Rogoff has highlighted in her recent talks, art’s shift towards acknowledging and foregrounding its own “advanced practices of knowledge” aligns with a fundamental shift within knowledge production more generally; a transition from working from inherited knowledges (which is how intellectual work has traditionally proceeded) to working “_from_ conditions” (starting in the middle, working from urgencies and generating methodologies and their complex relationship to existing knowledge protocols). Given that academic protocol has relied so heavily on its intellectual heritage, this approach lies closer to artistic territory. But the shift towards imagination-driven thinking is also being felt in other areas, and in the sciences in particular. A drive towards the decolonisation of knowledge, as well as critiques of the possibility of objective thinking, have also prompted academics in several fields to turn to embodied forms of knowledge and experience-driven research and means of representation, which moves towards closing the gap between artistic and academic ways of working.
There is growing reciprocity between academic and artistic communities, which was, among other factors, sparked by artists’ increasing engagement with discourses traditionally ‘external’ to art, following the so-called ‘discursive turn’ in recent contemporary art in the last thirty or so years. Recently, however, there is increasing academic recognition of the art world as an exceptionally open-ended field of creative intellectual enquiry, whose various (material) registers of knowledge open possibilities not available in traditional university settings, and even less so in their corporatised forms.
At the core of art’s activities is an operation of loosening parameters that have become fixed, of utilizing the malleability of thought and the formability of institutions, the fluidity of private beliefs and how they manifest in public structures. Art never closes down this process of opening up and subjecting its objects of enquiry to new formations. Rather, its range of media enables art to hold knowledge in flux, creating space for contradiction and ongoing change. This partly explains why artists are less driven by what the work is ‘about’ than by _how_ they approach their areas of interest. Perhaps the most radical aspect of art is that it does not necessarily have to be “about” anything to create new pathways for thought, to offer a new space of inner resonance that leads us to our lack of knowing, to the shadowy presence of what lies beyond the known.
There is currently what might be called a “social turn” in art discourse, partly in response to the global breakdown of democratic discourses and artists’ growing awareness of their agency in urgent matters of social justice. Despite the complex and often contradictory structures of the art world, including the role of the art market therin, art is an area in which work can be done that will not be done otherwise. The increasing presence of artists, curators and art workers of Colour lends weight to the urgency of social justice issues. Currently, artistic practices contribute to vastly different sections and segments of society in a manner that facilitates the artist to be an autonomous _and_ socially engaged figure. I see this quality emerging, for example, in the practice of Rwandan-born, New York-based artist Christian Nyampata, whose installations, workshops, films and publications facilitate previously non-existent translations of African philosophy, while producing environments for learning and co-production by youth and specialized individuals from different fields and fulfilling aesthetic demands associated with traditional exhibition formats. I think too of Oslo-based practitioner Mia Habib, whose choreographies of the mass movement of non-professional performers function alternately as activist protests (for example against the imprisonment of LGBT people in Chechnya) and as artistic performances in art and theatre spaces. Nyampata and Habib are among an increasing number of artists around whom a constellation of individuals and social groups can convene around shared concerns _with different aesthetic-social outlets_. Gone here are the rigid hierarchical distinctions between aesthetic and social outcomes; between use and uselessness; between the conceptual and the practical. There is a shift from the art world to art _publics_; from the art market to art’s variously defined values; from the artist’s (Romantic bohemian) autonomy to being an autonomous agent who can facilitate collective change.
One might ask more generally whether the artist as a figure is shape-shifting, not least in response to the heightened urgency for change, as well as to shrinking art world resources. Are artists gleaning unexpected sites of agency in the process? How do the current infrastructural shifts in art as labour lead to different self-understandings of artists? How in turn do these self-understandings give shape to artistic aspirations? Where in the content of contemporary practices of making and disseminating work can one tease out the material outcomes of a different “metaphysics” of artist-hood? What are the evolving self-understandings of the artist as a self-proclaimed autonomous social figure, whose complex sense of their act of cultural production and its repercussions is both fragile and compelling? These questions are intimately connected with a wider shift from free labour to “human capital,” with commodity production being replaced by speculative investment in the self. Rather than try to work against these conditions, Michel Feher asks if one could find potential in them, “allowing the shift to human capital to express aspirations and demands that its neoliberal promoters had neither intended nor foreseen”? The radical shift of emphasis to all that is an outcome of one’s being and skill-set breaks down distinctions between artistic and traditionally “non-artistic” aspects of one’s practice.
For the radical practitioners in any and every field, the difference between and/or distance between different fields of enquiry is getting smaller or perhaps collapsing entirely. Art offers a protocol for knowledge production beyond disciplinarity. Artists moreover defend a _pluralist_ concept of research, including artistic research, and a pluralist concept of research output, including exhibitions, performances, artworks, artistic interventions, etc. They are, for this reason alone, potential allies of researchers in several other disciplines who find academic formats too limited to document or communicate their findings.
Insofar as art generates knowledge through non-determinist and _acausal_ pathways, holding open space for chance, for contradiction and the unknown, it lies close in its ethos to branches of science that put pressure on the mechanistic rational view of reality that has dominated not only the natural sciences but academic protocol in general. A specialized thinker on any subject will eventually exhaust their knowledge and find themselves confronted with the unknown. Yet what lies “on the other side” of knowledge, is not only what is not yet known, but also what is _unknowable_, as Georges Bataille once observed. How can thinking continue when it moves in directions that cannot be assimilated as (formal) knowledge? Who will take the necessary leap of imagination and leap into the unknown? In a world where production has become rationalized and highly efficient and academic research is largely market-led, art offers a placeholder for the yet unknown and the unnameable to find forms of articulation. Art exposes the limits of traditional “knowledge production” and even the category of knowledge as such.
It is highly questionable whether the criteria used to evaluate art _as artwork_ are adequate to address the full potential and scope of art. Artistic research offers an alternative paradigm through which the terms of art can be expanded or rethought in ways that might do more justice to artists’ current endeavours. If artistic thinking is open-ended, why are the forms of art, its destinations, sites and publics not more open-ended? The answer to that conundrum seems to inevitably point to the art market, whose force on the definitions, legitimacy and value of art as art is still dominant, even in sites that appear to operate outside of its system. Yet art exists as a structural possibility whose value is arguably changing.
Change implies the courage to let go of traditions, to break with myths and to rewrite existing narratives and historically grown perspectives on all levels: art institutions, arts education, cultural politics, public perceptions of the arts and the public ‘claims’ that follow them, among other areas. Recognising that art is part of a spectrum of activities that cultivate open-ended thinking, collective processes and agency through aesthetic intervention, it seems timely to ask how art can forge new and unexpected forms to create new affiliations, to draw strength from changing technologies and demographics and to find unexpected sites, publics, resources and outcomes. | https://www.ugotfineart.se/artistic-research-and-art-as-other-possibilities/ |
Laura Cinti’s work stretches the boundaries of our understanding of plant behaviour. Cinti is best known as an artist who works with biology, and, in addition to her own practice, she is also co-founder (with Howard Boland) and co-director of C-LAB, an internationally recognised interdisciplinary art platform that generates and participates in both artistic and scientific forums. Past works have included exposing a rose to Martian environmental conditions and producing transgenic cacti that have grown human hairs.
My particular interest in Cinti’s work stems from The Sensorial Invisibility of Plants, her PhD thesis from the Slade. Subtitled “An Interdisciplinary Inquiry through Bio Art and Plant Neurobiology”, the paper and accompanying projects explore plant behaviour, examining the intelligence, motion and sensation of plants, as well as the interactive experiences between plants and humans. In Nanomagnetic Plants, for example, Cinti used biomedical nanotechnology to induce responsive motion in living plants. This involved placing magnetic nanoparticles within the plants to effect movement when strong magnets were positioned near them. The project explored the scientific possibilities of plants that respond visibly to touch, alerting the viewer to the otherwise invisible motions of plants.
As an artist, Cinti investigates plants as both “wildness” and as an emerging techno-scientific life form. By subjecting these two apparently distinct positions – plants untouched in nature and plants manipulated by humans – to sustained analysis (both scientific and cultural), Cinti seeks to alter our traditional perceptual boundaries. It is at the interface of art and science, Cinti believes, that we can best begin to understand the “wildness” of nature.
Cinti’s work explores a number of significant questions: How does science transform our culture? What is our ethical and aesthetic responsibility to these plants? Will manipulating organisms allow for humans to understand our natural and cultural relationships better? Even if these questions remain, perhaps, unanswered, their mere existence helps to bring together the sciences and humanities – an important ongoing dialogue, today and in the future.
I spoke with Laura to ask her a few more questions…
What are you working on at the moment?
My research and artworks continue to explore seams between living organisms (real/physical) and their scientifically mediated augmentation (virtual/digital). It attempts to connect, through interfaces enacted by our interactions, the otherwise invisible biological processes of living organisms with their morphology. I am particularly interested in how we can generate new types of aesthetics and extend ways of reading nature through the use of emerging scientific methods.
These ideas are quite literally explored in my latest project with Howard Boland titled LIVING MIRROR – an interactive art installation that attempts to produce real-time images by taking advantage of magnetic bacteria’s light scattering properties by exposing these to alternating magnetic fields.
I draw on a multi-method approach that attempts to combine scientific and artistic methods.
Unique to these bacteria are their ability to swim along Earth’s magnetic field. When they are introduced to a changing (magnetic) field, they rotate synchronically, causing the light to scatter as a visible shimmer inside liquid. By taking pixel values from darker and lighter areas in captured images LIVING MIRROR attempts to programmatically harmonise hundreds of lights pulses to represent the image inside a liquid culture.
Here’s the video showing the light-scattering phenomenon of the magnetotactic bacteria filmed in our lab here in London.
And a prototype that was tested in Amsterdam:
Do you see your methods of research as artistic or scientific, or both?
I draw on a multi-method approach that attempts to combine scientific and artistic methods. My outcomes are artistic, but much of the background and materials used are scientific and empirical in nature.
What is it about plant behaviour that you find so interesting?
My interest has been the possible connections we might develop with plants cognitively and emotionally. Their lack of movement hugely impacted the way I, or we, relate to them. Initially this led me to look at how and why motion played such an important role in classifying (rather wrongly) this type of life – from ancient philosophy to contemporary art and science. Plants, in their lack of motion, have been, up until recently, understood as being simple life forms with a limited set of behaviours.
A key aspect in bio-art is to establish relationships with other non-human biological agents.
These ideas were reformulated into a question of what happens if they (non-specialised plants) did move. Further into the research and after a series of experiments that attempted to induce responsive movement to human touch gestures, I came to appreciate the extent that their behaviours were largely invisible and how recent scientific methods were needed to capture and visually bring these forth. What became clear was an emerging gap between the scientific image of plants as sensorial and the image of plants formed by our subjective experience.
Plant neurobiology is disputed in the biology research division of some institutions. How do you see these debates within science and also art?
Indeed, since the 1970s the field has really struggled to be taken seriously in a scientific context due to stories emerging in popular culture such as the CIA lie detector expert, Cleve Baxter, who experimented by applying electrodes on plants to suggest they could sense the pain experienced by shrimps placed in boiling water. However, with new methods in molecular biology a more serious approach was established but, even so, the field is constantly redefining its position. For instance, the field recently changed its name from “Plant Neurobiology” (2005) to “Plant Signaling and Behaviour” (2009).
Much of electronic art and biologically related art have been focused on similar technologies as Baxter’s experiments arguably due to its accessibility and affordability. In the biological arts, plants have also been seen as having limited sets of behaviours. But given that a key aspect in bio-art is to establish relationships with other non-human biological agents through living artworks it became clear to me that there was a need to renegotiate our image of plants.
My findings show that there is a need for artists to take up molecular tools in order to develop an understanding of living organisms outside speculative, aesthetic, ethical or subjective frameworks and to take into account biological meaning. In other words, I am concerned with how biotechnology has the potential to visualise and tap into invisible biological processes and the importance for bio-artists to take steps in acquiring such insights to avoid producing anthropomorphic constructions and perhaps invite a deeper appreciation of the living through art.
For more information about Laura Cinti and her work, please visit c-lab.co.uk. | http://www.thelearnedpig.org/the-sensorial-invisibility-of-plants/1284 |
This book is a vital contribution to discussions surrounding research creation and the body in relation to digital media, highlighting the ways in which new technologies confront the sensate, somatic body.
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Edition
Over the past decades, a fundamental epistemological shift has transformed notions of performativity and representation in the arts under the influence of new technologies. Mediation has challenged both spectators’ and performers’ conventions of corporeality, embodiment, cognition and perception. Centring on contemporary synaesthetic and multimodal works, Through the Prism of the Senses examines new theory and practice in body-based arts and contemporary performance. Three main chapters present three distinct strands of methodological enquiry, one from each author, creating a work that resonates with artistic and philosophical enquiry. This book is a vital contribution to discussions surrounding research creation and the body in relation to digital media, highlighting the ways in which new technologies confront the sensate, somatic body.
A French-language version is to be published by Presses de l'Université du Québec (ISBN 978-2-76055-148-0). This includes additional chapters in English by Erin Manning, David Howes, and Luc Vanier and Elizabeth Johnson. A Spanish-language version is to be published by Centro Editoral Universidad de Caldas.
Isabelle Choinière is an international artist, researcher, author, and teacher of contemporary performative practices which integrate new technology. She is affiliate professor and a postdoctoral transdisciplinary researcher at Université du Québec à Montréal.
Enrico Pitozzi is a professor in the Department of Arts at the Università di Bologna.
Andrea Davidson is an award-winning videographer and new media artist. She is a senior lecturer at the University of Chichester, UK.
Introduction
Chapter 1: The prism of perception. Corporeality between intermedial stages and environments – Enrico Pitozzi
Chapter 2: Seismographies of mediated bodies. A logic of creation – Isabelle Choinière
Chapter 3: The Mediated/Mediating Body – Andrea Davidson
Conclusion
Postface – Derrick de Kerckhove
'This is a monumental work. It has multiple authors, but they are all on the same wavelength, and there are multiple allusions to each others chapters, and the key concepts they share and seek to elaborate, throughout. Consequently, there is a very high degree of cohesion and coherence to this work. It reads like a choir sings. I enjoyed the harmonies and resonances very much. This is not just another edited collection. This work is a testimony to the power of collective – or if you prefer – distributed scholarship, which is otherwise sorely lacking in today’s academy.
There is a growing literature on research-creation in the domain of new media art. This work represents a major contribution to that literature. What is more, it brings the moving body into the discussion. [...] This manuscript raises the conversation to a new level, and in so doing it breaks numerous barriers, particularly through what it has to say about the integration of the arts. This work is bound to have many repercussions not only in the arts, but in sound studies, sensory studies, body studies, communication studies and HCI as well.'
'This is a totally fascinating publication. It is human behaviour that informs the forward edge of art, and it is the technologies of process and system which now inform human behaviour. Seen through the prism of outstanding creative practitioners and theorists, led by Isabelle Choinière, this ground-breaking book shows how performative art, embodying the extended consciousness of telematic systems, can lead the way into the emergence of an entirely new aesthetic canon. The move is from interaction to absorption, from multimedia to moistmedia, a kind of cybersomatic artistic transformation.'
'Through the Prism of the Senses provides an exhilarating, provocative reflection that challenges a traditional lexicon and mode of reasoning. Choinière, Pitozzi and Davidson each have a voice of their own. The argumentative structure of the book is carefully crafted so the reader is able to move easily from one perspective to the other and navigate between the key concepts. This exploration of our complex corporeality is not a scientistic daydream, but a thoughtful manifesto fostering dialogue between philosophy, art, technology and science. It involves collaborative and collective research, artistic creative process and theory building. The book not only offers a comprehensive view on the debate amongst critics and art theorists, but also opens up innovative paths for research-creation.
And here’s the good news: the body is not obsolete. The body is significant, expressive, fluid, evolutive, transformational, relational. And technology is just another part of the learning and living, ever-changing human environment. What does it mean for the body to be at once here in flesh and bones, and elsewhere, virtualized through its mediated extensions? Perception, sensory experience and communication are not separated from technology, they are rather seen as interdependent, mutually influential. A whole new reality is thus put forward, letting previously hidden, neglected or unnoticed layers of experience to be heard; transforming the performer’s and the spectator’s "sensory maps", stimulating imagination and creativity. We are immersed in a logic of flux and metamorphosis. In the end, the body/technology prism entails an enhancement of awareness.'
'This book makes a very strong argument for the concept of an extended body that emerges through a rigorous and dedicated engagement with new digital technologies. A key claim is that our senses are "prisms" that function as "detectors" for sensations that are then "translated" into behaviours. Technology, then, increases the range of sensations we can have, and thus our perceptive and behavioural capacities are substantially enhanced. The strength of the arguments and hence the book itself, lies in the different approaches the three authors take, and the manner in which their ideas intersect throughout. In short, the structure of the document reminds us that it is crucial in our search for new knowledge that we must integrate different perspectives in a transdisciplinary manner in order to address the dilemmas we face in an increasingly complex contemporary world.
As a case in point, the writing often gets very scientific, drawing on fields of knowledge from theatre, music and dance, i.e., the traditional performing arts, to biotechnology, nanotechnology, and ideas from quantum theory and philosophy, i.e., the hard sciences and philosophy. They also draw on embedded ideas from Asian, African and North American to Latin American, Brazilian and Mexican cultures; at the same time acknowledging a heavily influenced Western European context. This kind of transdisciplinary and culturally influenced approach is difficult to integrate, especially by a group of writers coming from typically white North American and European backgrounds. However, the expertise here is undoubtable and the different ontological perspectives they are dealing with taken very seriously. In short, the writers make an immense effort to understand the different perspectives of body and corporeality – and inter-corporeality – that exists within these cultures that are not normally within their own accustomed spheres of experience.
At the same time, one also gets the sense that the writing does sound a bit idealistic about its goal to cross-pollinate ideas from western thought with those from "ancient philosophical traditions from Asia, the Far East, Africa, Brazil and Haiti". One is reminded of the development of many Western art forms that literally appropriated from these cultural traditions without paying due respect to their depth, while the work of many of those striving to emerge from their specific "colonialist" circumstances were given short shrift. It is all fine to imagine a situation where one can have access to certain technologies that allows one to experiment with them as "forms of thought or thought processes", and to understand how "technology can extend and renew perception [...] while also nourishing artistic expression", but few of these artists have access to such luxuries. In the absence of these technologies, however, many of them rely on traditional technological sources and practices at their disposal, practices that I argue can be equally productive as "forms of thought or thought processes".
But I diverge a bit. There is immense scholarship in artistic research at work in this document, and the dedication of the three authors to identifying the potentials of the body, to our perceptive capacities, and to our developing relationships with technological innovation is inspiring. I am certain that its publication will be greeted by those working in a number of fields from dance and somatic practices to philosophy, and from computer science and engineering to biotechnology and the neurosciences with enthusiasm, as I have.'
'This is a hugely important treatise, and I use that term intentionally. It is more than “just” a book. It makes an extensive argument in an area of research-and-practice still undergoing rapid change. It sets out the foundations for a new way of thinking about, and working with, technology in relation to the performative body. It is also a goldmine of ideas and clues for rethinking performative practices. I expect to use it in substantive ways in my own work over the coming years, as well as to recommend it to students and other artist-practitioners.
[...]
The Introduction itself is groundbreaking, or perhaps it lays out the groundbreaking concepts presented in the rest of the book, clearly and cogently. For example, it focuses on processes that “reveal previously unknown, hidden or unusual aspects of the body and, at the same time, reflect a different vision of ourselves and the functioning of our imagination...” This constitutes “an ontological shift away from former worldviews anchored in a culture of knowledge based on representation, to rather evolve towards a world of “machine-based modes of worldmaking”, and insists that “technologies are not simply means (an instrumental perspective). They constitute an environment, a logic and thought processes (a constitutive perspective).” Hence we are moving from the McLuhan/Shannon-Weaver idea of communication as passing through a medium, into something much more proactive and “entangled”.
This is also a field-based understanding of embodiment, that is, “implicit perceptual faculties which can modify our fields of experience and therein, endow them with a quality of sensible evidence”, although the authors claim it is “network-based”, I think because they view it as constituted by interconnected nodes: “The term “corporeality” (corporéité), with more plastic connotations, intends to communicate a changing, mobile and unstable reality, made up of networks of intensities and forces.” (Although they claim networks, I am inclined to believe they are talking about what Tim Ingold calls “meshes” as distinct from “networks” - in meshes, the directionality of the links matter. See his Being Alive. For example, Pitozzi talks about the need to reintegrate the observer into the understanding of performance, but this is an example where the direction of the action matters.)
[...]
In summary, this book constitutes a significant consolidation of emerging ideas at the forefront of work on the understanding and practice of art, especially immersive and performative art. It is going to be a “must” read for anyone working in this area for decades to come. Moreover, I liked it, at least in part because it resists any kind of rapid assimilation of its ideas, for all the right reasons. This work straddles the traditional divide between art and technology, but also it extends feelers into methodological domains that combine art and science. For this work, not only are new theoretical approaches required, but new analytical and evaluative methods as well. As the authors note, “One of the particularities of the immersive environment is thus that it only makes sense – and can only be measured successful – with the spectator’s involvement in and experience of the work.” This book makes a cogent argument for the development of such new modalities of understanding.'
'This book fills a huge methodological void. It will undoubtedly become the bedside book for performing arts researcher and graduate students. In particular, for those wishing to highlight their research based on their artistic performance in an academic and collaborative framework.
In addition to this brilliant approach, this book is also theoretically revolutionary on several levels. It brings new perspectives not only for the performing arts, but also for theology, technology, cognition, etc. Far from being based on a fully technological approach, this book nuances its impact, integrates it and presents a very humanist and pragmatic ways of considering artistic performance into an academic research.
On many levels this book represents many daring risk-taking on the part of its authors. Nevertheless, empirical or meta-analytical approaches could have supplemented their presentations in order to establish a broader demonstrative base. However, the measuring instruments, the evaluation standards and the apprehension tools used for these types of analysis, could not yet properly be used in this context. Expectations for these types of “tools” will certainly be growing as the book opened and set a clear path for performing arts field. In any case, this book underlines an extraordinary contribution. Every research-creation student should read it.'
'Passing through and through the senses has become with this work a methodology that renews the relationship of art to the living body. If the performance could only have externalized the vivacity of the artist's body in a transgressive vitality, there was still to explore, less the margin or the surface of the bodies, than what emerges from the inside.
The book is part of the deepening of the bodies that are developing today through the new esthesiology of the immersive arts. The synthesis here is oriented towards a solution that is less hybrid than mediating: the technologies here activate the living by an inter-sensoriality because the tactibility would be both intimate and vibrant.
By avoiding the confusion of the senses, the different contributions inscribe the performativity of the living in its awakening: acuity in intimate mobilizations, somatechnics of the devices, perceptual-sensory seismographies ... everything would like to scan the body lived in the mobility of the living. The difference in degrees in the complementarity of the senses will thus allow the reader to perceive this globality. | https://www.intellectbooks.com/through-the-prism-of-the-senses |
Ekaterina Sharova is an art historian and a curator of Arctic Art Forum (Arkhangelsk, Russia), a leading meeting place for contemporary art and interdisciplinary experiments in Euro-Arctic Russia. She graduated from Pomor State University in Arkhangelsk in 2004 and received a Master’s Degree in Art History from the University of Oslo in 2012. Her curatorial projects include Mobile Institute. A Portable Lab for Knowledge Sharing (with r a k e t a / RAKETA_PRESS. Arkhangelsk Oblast; Art Salon Gallery, Arkhangelsk; Borey Art Center, Saint Petersburg, r a k e t a studio, Stockholm), exhibitions at Barents Spektakel Festival, Kirkenes, Norway (2015) and the Arctic Art Forum, Arkhangelsk, Russia (2016, 2017, 2018). In 2017, Arctic Art Forum was nominated to Innovation State Art Prize. Sharova has been a speaker at the National Museum of Norway (2014) and represented Euro-Arctic Russia at Garage Triennial of Russian Contemporary Art (2017) and NEMOSKVA (2018). In 2018, she has been an advisor for The Indigenous Quinquennial at National Gallery of Canada. She has also been an expert for a number of national contemporary art and culture competitions in Russia. Her current interests lie in the fields of ecology of culture, regenerative management and ecosystem for innovative cultural production in Arctic areas of Russia and the border area.
Artist
Dr. Alison Aune is a painter and Full Professor of Art Education at the University of Minnesota Duluth. Her work is inspired by Scandinavian patterns and motifs. It draws on a feminist aesthetic, honoring traditional folk arts and domestic arts. Many of her patterns are based on research of Scandinavian textiles and symbols, such as the eight-pointed star. Aune received her B.F.A. from the University of Massachusetts Amherst in 1984, her M.A. from the University of Minnesota Duluth in 1987, and Ph.D. from Ohio University Athens in 2000. Aune has exhibited her artwork in over 70 solo and group exhibitions in the U.S, Sweden, Norway and Denmark and she regularly presents guest lectures and workshops internationally, nationally, and regionally.
Hildur Bjarnadottir is an Icelandic artist specializing in textiles. She creates her works from the ground up in an almost literal physical sense. Her raw materials are linen and wool yarns and silk fabric. She weaves and knits the linen and wool and dyes the silk. In one respect she has gone further than even the most dedicated crafts persons. For some of her works, which may truly be called investigations given the research and experiment involved, she has made her own natural dyes, gathered the plants, boiled them down, and extracted their juice as the basis of dyes for use in colouring her yarns. It is scarcely possible to imagine getting closer to the origin of a painting than to weave the canvas and colour it with one’s own dyes. Hildur Bjarnadóttir has systematically recorded, photographed, and collected the wild plants growing on her plot of land, such as angelica, tea-leaved willow, and meadowsweet, and made from them the dyes used in the works displayed here.
Artists
Gunvor Guttorm is a professor in duodji (Sámi arts and crafts, traditional art, applied art) at Sámi allaskuvla/Sámi University of Applied Sciences, Guovdageaidnu/Kautokeino in Norway. Currently she is rector at the same institution. Her research is interconnected with cultural expression in the Sámi and indigenous societies, especially duodji. The focus of her research deals with duodji in a contemporary setting and the indigenous people’s context. She also has had the good fortune to work with elderly duodji artisans and share their knowledge of traditional techniques. This has indeed benefited her theoretical work. In her approach, she has also tried to understand duodji of today by discussing what position and meaning it has and has had for the Sámi.
Louise Harris, is an artist and art educator living in Iceland. During her student years in Britain she put a number of methods and materials to the test, eventually settling on watercolours and felt as her chosen artistic vehicles. They may seem a curious combination, since in almost every respect they seem to be contrary. Louise Harris´ watercolours mimic the ultra cool and cynical fashion industry whereof they speak, whereas the felt tends to conjure up notions of all things natural, authentic and intimate. In an Icelandic context felt also has strong ethnic or folk art connotations. But when put to the test, it appears these two media have more in common than we would expect. In the main, watercolours issue from the interaction of coloured water and paper of differing porousness. In her latest felt pieces Louise Harris presses strands of coloured wool into a ground of soft and slightly moist felt, producing in effect coloured wool drawings of vaguely botanic motifs on the pliant surface. Tendrils thick and thin are dispersed all over the felt, delicately furling and unfurling as they test the boundaries of Louise Harriseach sheet.
Artist in the Shared Woolen Patterns project
Dr. Maria Huhmarniemi is an artist and a teacher in the University of Lapland, Faculty of Art and Design. In her work as a visual artist, she engages with questions concerning the North, multi- and interculturalism and communality, as well as environmental issues such as the relationship between people and nature and environmental responsibility. She does installation art and environmental art. As a researcher she is interested in political contemporary art, art-based environmental education and collaboration of tourism and art. In her Doctoral theses (2016) she developed collaboration of artists and other researchers.
Artist in the Shared Woolen Patterns project
Elina Härkönen works as an art education lecturer, at the University of Lapland. In her artistic practices she is interested in everyday cultural heritages especially in northern parts of Europe. During the past few years she has concentrated mainly on the connection between handcraft traditions and contemporary art. She has been organizing knitting circles in different contexts: art museum and art events. Her inspiration to wool and knitting comes from traditional patterns and the social phenomenon around knitting. She is also experimenting with natural dyes for wool as a community practice.
Artist in the team Shelter
Antti Jokinen is Finnish visual artist and art teacher. He lives and works in Rovaniemi, Finland. As an artist he is mixing modern and traditional media into minimal and abstract art. He is mainly focusing in printmaking and photography. In his artwork, there is a continual theme of exploring time and landscape. His artworks are studies and interpretations, where time, landscapes and presence are combined. For him, art is making emotions and thoughts visible, aiming at getting deeper than the surface, even spirituality.
Laila Susanna Kuhmunen lives in Jokkmokk, Sweden and is a Master’s degree student in duodji (meaning authentic Sámi artisanship) at theSámi allaskuvla/Sámi University of Applied Sciences, Guovdageaidnu/Kautokeino in Norway. During her time as a student she was given the opportunity to use traditional Sámi handicraft as well as being exposed to other materials and techniques found outside the Sámi handicraft context. In her work she expresses her Sámi background and culture by using different materials. She has a special interest in the traditional Sámi costume which she uses as a metaphor in an art installation in her coming examination project where relationships and cooperation are focused upon. In autumn 2019 she expects to receive her Master’s degree in duodji.
Ásthildur Jónsdóttir is an Icelandic artist, curator and art educator living in Geneva, Switzerland. Her interests include arts and cultural movements that support sustainability at all levels. For a number of years she has been involved with issues concerning the ecology of the planet. In her work she is concerned about places/environment, memories, recollection and identity through authorship and collaboration, questioning individuality, exploring what is unique and what is common. With her works, she wants to bring attention to how human interaction can further both the understanding and practice of wellbeing with respect to the integrity of nature. In later years, participation has played an essential role in her work. With participation, she creates settings for people to experience significance through actions performed in close connection with the spirits of nature. She often works with installations in contemporary context and with voices of participants from a selected place. With her works she wants to place the beauty of nature on the pedestal it deserves and emphasize its important role in how we perceive our reality, our knowledge, our values, our well-being and the quality of our lives.
Maarit Magga is an artist and duodji expert. She has a master’s degree in philosophy from the University of Oulu and master´s degree in duodji from the Sámi University College. She has over 35 years of experience in traditional duodji. In her recent artistic work, she has oriented to a new field in which she combines crafts and literature; she tells stories through embroidery. She has exhibited in a number of exhibitions on Sàmi handcraft and culture in the Nordic countries and elsewhere in Europe. She also holds many positions of trust in the Sámi culture.
Miia Mäkinen is Finnish visual artist who works and lives in Rovaniemi. She manages various painting techniques from traditional watercolor painting to street art painting with spray paints. In her artistic work, she can also combine craft techniques such as embroidery in her watercolor paintings. In her artwork, she wonders current events in the Nordic region, especially Lapland and she wants to take a stand through her art. Her colorful works of arts are dreamy reality paintings with an implication of injustice.
Artist in the Shelter project
Tapani Saraste is visual artist, currently studying art education at the University of Lapland and based in Rovaniemi, Finland. These days way too into theory and studies to get any art done, likes to dabble in crafts, also probably some kind of wizard. Tapani is currently interested in: ttRPGs as artwork, finishing comic project, improvisation as practise, getting back to painting on linen instead of MDF board, some more embroidery, student centered art education, physicality and use of space, art as research, terror behind feeble social constructs, sun and grass.
Antti Stöckell lives in Rovaniemi and works as a lecturer at the University of Lapland in the Faculty of Art and Design. He graduated as an artist with a specialization in sculpting and teaching art. He has also studied to be a nature and wilderness guide. In his artistic work, he focused on working in nature and in the fields of environmental art and community art.
Ustina Yakovleva makes artistic practice that consist of identical individual strokes which grow into abstract forms. It is a kind of automatic writing which binds the time into the material form. Her works in other media have the similar principle - embroideries which evolve into forms often unpredictable, beads and thread sculptures reminding continents or icebergs, or possibly electronic circuits rooted in empty air. Some projects she develop are figurative and represent imagined or real landscapes. These various techniques allow to reveal the peculiarities and variativeness of the same landscape, depending on objective and subjective factors. She create works without sketches, and is interested in self-forming composition as part of the creation process; drawing develops as a living organism, taking new forms throughout the work. Individual elements construct larger structures, like the atoms and cells construct the objects around us. | https://www.ulapland.fi/EN/Events/Arctic-Arts-Summit-2019/Who-is-Who/Fringe- |
A Design Indaba Emerging Creative for 2022, Luke Rudman uses performance art, photography and painting to explore queerness. He does so specifically within the context of the environmental movement, from which queer perspectives have traditionally been absent.
The Gqeberha-based artist – one of 40 young talents making up the Design Indaba Emerging Creatives Class of 2022 – tell us about his processes, influences, and what it means to be a queer body on a planet in the throes of its own destruction.
Tell us about your use of both traditional and non-traditional art forms in your work – and what appeals to you about combining approaches?
I began my journey as an artist through performance and non-traditional modes of artmaking. I only began seriously exploring traditional modes of artmaking years later. Looking back on this progression, I think that this approach helped me unpack notions of traditional and non-traditional artistic modes. I have never felt ‘boxed in’ to a particular medium. I chose to blend the art forms which would result in the most successful and impactful piece of art.
I feel like many of my works have become difficult to categorise into the traditional painting/sculpture/photography/design/performance boxes. Australian artist Leigh Bowery once said, “…if you label me, you negate me.” My approach to artmaking is informed by my own experiences and understanding of the materials I work with rather than a traditional understanding of what these materials ‘should’ be used for. As an artist, I feel more sincere in this approach.
The intersection of environmentalism and a queer aesthetic is intriguing - can you tell us what this means to you, and why the queer body is central to your 'artivism'?
A number of studies over the past decade have revealed that people who identify as queer are significantly more likely to be involved in environmental activism – almost two times as likely as the rest of the population. However, despite this proportionally large number of queer people who feel strongly about climate change and environmentalism, there has been very little representation of queer bodies in environmental campaigns.
When I was first invited to collaborate with Greenpeace in 2019, I created work that drew from the same body of inspiration as usual – I did not want the queerness of my work to be erased just because I was bringing my artmaking into a space that deals with issues of environmentalism. Both topics could – and should – exist within activism simultaneously. Environmentalism needs to be intersectional.
Who inspires your work, and why?
There are so many artists and creatives who inspire me that I will definitely struggle to identify and list all of them. However, some major inspirations, for me, have been Athi-Patra Ruga and Steven Cohen. My initial understanding of art and performance drew heavily on these two icons. Their works are brave and impactful, yet beautiful and skilful.
What are some of the highlights of your career to date?
The most significant highlight of my career to date is more personal than it is professional. The particular form of self-expression and catharsis available to me through my performance work is something that I craved for many years before I began creating it.
I was creating headpieces and experimenting with make-up secretly for a long time, well before I began sharing my work publicly. There was so much shame surrounding the ‘queer aesthetic’ and – at the time – I found myself growing up and developing my sense of self in places that constantly undermined my identity.
I began sharing my performance works in 2017. Today, in 2022, I find myself surrounded by so much more freedom and affirmation. Pushing myself to create a life which is very publicly anchored in my art has been a radical highlight.
What's next for you?
Last year I achieved my undergraduate degree in fine art, cum laude. This year I look forward to continuing my research and artmaking as I begin my postgraduate studies at Nelson Mandela University. I have some really exciting projects, exhibitions and collaborations scheduled over the next few months that I am really looking forward to working on.
Read more:
Announcing Design Indaba’s Emerging Creatives Class of 2022.
#DI Emerging Creative Pule Magopa tells us about how graffiti shaped his artistic career:
#DI Emerging Creative Boitumelo Thindiza on how fashion influences her work: | http://www.designindaba.com/articles/creative-work/body-eclectic |
Everyday City Life: The Art Portfolio of Scott Ivey
Scott Ivey is a Washington, D.C.-based artist who works in oil paint, watercolour, charcoal, and other traditional media, producing works that capture scenes of everyday city life. The artist’s images are designed to capture the aesthetic of aged, sepia-toned photographs, with Scott tending to work in an additive fashion, starting with a dark-coloured canvas and adding light.
The…
The Painting Portfolio of Edie Marshall
Buffalo Beans, oil on birch panel
Edie Marshall is a painter from Saskatchewan. In her practice, Edie is inspired by nature and environmentalism, and works in a gestural painting style to build colourful images, dense with details and figures.
Tattered Leavings, oil on stretched canvas
I like the way that Edie’s artistic style tends to reflect the nature of her subject matter. Recent series like Wildflowers showcase images that…
Cool Colour Palettes: The Art Potfolio of Marion Krahn
Marion Krahn was born in Vancouver, BC, and is now based in Kelowna. In her practice, the artist takes inspiration from her local environment, capturing a hint of the Pacific Northwest landscape in large-scale paintings that are abstracted in composition and use subdued, cool colour palettes.
Mill Creek New Moon, acrylic on canvas
Water, or the suggestion of water, seems to be a common motif in Marion’s…
A Portfolio of Colourful Paintings by Arquimedes Mejia
Arquimedes Mejia is a painter and artist born in Seíbo, Dominican Republic. In his art practice, Arquimedes produces colourful paintings of faces, landscapes, and still-life subject matter. The artist’s style is easily adapted to both smooth, soft blending techniques and more textural brush marks.
The artist’s most recent paintings showcase Arquimedes’ skill with facial features -- many of the works in his …
Life Without Lines: The Art Portfolio of Matthew Haynes
Matthew Haynes is a painter who works in a brightly colourful, graphic style. The artist’s illustrative paintings seek to present scenes of life without lines -- whether those are outlines or dividing lines. The artist’s portfolio addresses the psychological and philosophical through a dreamlike, fantastical lens.
I really enjoy the way that Matthew emphasizes the…
All Things Tiki: Art by Ken Ruzic
Ken Ruzic is a California-based artist who specializes in all things tiki. Drawing on a background in graphic design and commercial art, the artist produces densely detailed two dimensional works as well as designs for mugs and other drinking ware.
'Eka 'eka bowl with Ultramarine Blue Glaze (collaboration with Tiki Farm)
I really enjoy the overall aesthetic of Ken’s art portfolio. The artist is great at…
Organic Subject Matter: Art by Peter Barron
The Conversation (diptych), acrylic and oil on panel
Peter Barron is an artist based in Ontario. In his decades-spanning artistic practice, Peter has worked in oil, watercolour, ink, and other traditional media, producing abstracted works that are densely packed with colourful forms, evoking florals, geological features, and other organic subject matter.
Lovers with Green Fish Under a Dark Moon, acrylic and oil on plywood
I like the…
Organic Brush Marks: Art by Ken Herren
Carioca, acrylic-infused pumice on canvas
Ken Herren is a painter who blends wildly abstract, organic brush marks with strict, geometrically patterned compositions and cohesive colour schemes. The artist’s body of work speaks of contrast and visual reconciliation between the artist’s rural upbringing and his current urban lifestyle.
Django, acrylic-infused pumice on canvas
I really enjoy the thick, heavy textures of Ken’s…
Symmetrical Compositions: The Art Portfolio of Carolyn Trotter
India niche #2, acrylic on stretched canvas
Carolyn Trotter is a Vancouver-born artist whose work is inspired by natural forms and organic energies. The artist often takes a meditative approach to her work, using symmetrical compositions and repeating patterns to express the unique shape of plants and other biological subjects.
Mexican Moon, acrylic on canvas
The artist’s gallery of sketches provides an interesting insight into…
Physicality and the Body: Art by Caroline Boileau
From the series Hors d'elle, watercolour on paper
Caroline Boileau is an artist who works with drawing, performance, and installation, often combining disciplines to create holistic explorations of the human body and its relationship to a given environment. Much of Caroline’s work examines the subject of physicality and the body through a distinctly feminine lens.
From the series Pharmacopée, watercolour on paper
I love…
Flower Blossoms: A Painting Portfolio by Linda Wagner
Linda Wagner is a watercolour and oil painter based in British Columbia. In her practice, Linda paints detailed, figurative landscapes as well as working in a more abstracted style, rendering flower blossoms in dreamy, softly curving brush strokes.
I really love the works in Linda’s Pods & Florals series -- the artworks here are occasionally reminiscent of Georgia O’Keeffe…
A Portfolio of Landscapes, Portraits, and Nudes by David Quinlan
Endlesss as a mighty ocean, oil on canvas
David Quilan is an oil painter born and raised in the UK and later based in New Zealand. The artist has a background in architecture, though his paintings are primarily focused around landscapes, portraiture, and nudes.
Last Years Wiltshire Rams, oil on canvas
David’s painting style has a gestural quality about it that suggests a carefree attitude and approach to painting -- knowing of the…
The Art Portfolio of Oil Painter Beverly Parson White
Fall Barn (triptych), oil on canvas
Beverly Parson White is an oil painter and artist based in Texas. In her practice, Beverly creates portrait and landscape paintings, as well as a variety of crocheted crafts.
2 Pot Holders and 1 Wash/Dish Cloth, crocheted cotton
I like the textured, painterly atmosphere of the artist’s canvases -- the artist is adept at varying her brush marks and using specific methods of mark-making to evoke…
Memory Formation and Recollection: Art by Jeannie Polisuk
Jeannie Polisuk is a painter and sculptor based in eastern Canada. In her artistic practice, Jeannie creates two and three-dimensional artworks that use a symbolic visual language to address themes of memory formation and recollection through sentimental objects.
Soap as a Yardstick of Civilization, stuffed toys, yardstick
As we saw in our previous feature of Jeannie’s darkly iconographic artwork, an image of…
Movement and Vibration: The Art Portfolio of Michael Lightsey
Michael Lightsey was born in Ohio and is currently based in California. The artist creates graphite sketches and drawings as well as photographs and abstract paintings, often focusing his artistic attention on a sense of rapid movement and vibration. | https://www.artistrunwebsite.com/blog/posts/painting?page=2 |
Portfolio of previous work:
Artist Statement: Aoife is an Irish glass artist currently living and working in Denmark. Her work combines two intertwined approaches embedded in the traditional methods of glassmaking. She creates both functional and sculptural glass work.
Aoife designs and makes functional glassware in which the optical qualities of glass are accented by subtle colour and carefully created design elements. Aoife aims to create glass pieces which encourage the viewer to touch, look closer or engage with the pieces and explores this idea through experimentation with a range of techniques. This includes the inclusion of internal and external rings, crackling of external glass, inclusion such as silver and gold and specific application of colour. Having been heavily influenced by her time in Scandinavia she works with clean lines and simple forms. Her colour pallet draws from her time growing up in the tropical areas of Australia and Papua New Guniea. Aoife is constantly inspired by glass as a material and the glassblowers ability to transform this material as it transitions from a liquid to a solid state.
Aoife’s artistic glass work explores the interrelationships of mind and body with a focus on the dysfunction of specific body organs, caused by anxiety and stress. The symptomatic damage caused to our body organs through stress and anxiety is hidden but can lead to the eventual collapse of proper bodily functions. As a visual artists Aoife is drawn to the body organ aesthetic and creates sculptural pieces in which the body organs are shown with some degree of damage or deterioration. Her approach to the organs is to have an artistically interpreted shape drawn from medical diagrams and from the organs themselves. In creating this artistic work I adopt a more sculptural approach to glass as a material and work to push the boundaries of the material.
These two approaches feed into one another, specific skills, techniques and precision are necessary in creating functional work, and new techniques and approaches explored in her artistic work become the basis for new functional designs. These approaches feed Aoife’s desire to constant push herself, her processes and her understanding of glass as a material forward.
Her work has been exhibited both nationally and internationally in Ireland, Denmark, China and Bulgaria. In 2018 Aoife was the recipient of the Design and Craft Council of Ireland’s, Future Makers Overall Emerging Maker Award.
Biography: Aoife Soden was born in Cavan Ireland in 1975. As a child she moved to Australia and Papua New Guniea where her childhood was spent exploring the outdoors. After returning to Brisbane Australia and completing her schooling Aoife trained as a primary teacher. She received a Bachelor of Education (1996) from The Australian Catholic University and
a Bachelor of Education (2001) from Queensland University of Technology. Having gained these qualifications Aoife spent thirteen years teaching in Australia and Ireland and travelling before returning to her first passion, art.
Aoife completed a Bachelor of Glass Design and History of Art and Design at The National College of Art and Design graduating with honours in 2012. As part of her studies at NCAD Aoife completed an International Student Exchange at Southern Illinois University in 2011. Upon completing her degree Aoife travelled to Denmark on a Leonardo work placement Scholarship to work with Nyholm Cantrell Glass. Having been heavily influenced by Scandinavian style and with a strong desire to continue her practice with hot glass Aoife remained in Denmark. She has worked for a number of small studios in Denmark, Germany and more recently Sweden. In the period from 2013 - 2018 Aoife worked at Ebeltoft Glass Museum in the museum’s hot glass studio. Initially working as the assistant Aoife moved up to manage the studio from 2015 - 2018. She is now self employed establishing her brand Aoife Soden Glass designing and making contemporary glass. She remains nomadic in her quest to continue working with glass renting workshops in Denmark, Sweden, Germany and Ireland to make her functional and sculptural glass.
Aoife has exhibited nationally in Ireland and Denmark and internationally in the USA, China and Bulgaria. She has won numerous awards including the Design and Crafts council of Ireland Future Makers Award, a Leonardo travel scholarship and The Finn Lynggaard Fond. | http://www.leitrimsculpturecentre.ie/programme/residencies/2019/res_A_Soden2019.html |
Liberal scholars overwhelmingly avoid limiting art to a particular form of expression such as dance or music, as orthodox scholars such as al-Mawdudi categorically condemn most forms of such expression. What remains consistent however, is the call for God’s will to be taken into consideration in all forms of self-expression. Given that Muslims are ordered to consider God’s commandments in all aspects of their everyday life, striking a balance in artistic expression was not always considered the trying negotiation it is today.
One can, in large part, credit the recent conflict to globalization and capitalism. Both movements have integrated the world and its denizens in a manner where most individuals are shifting towards integration, not only of ideas but also of lifestyles. It is foreign dance and singing competitions that make young Muslims today seek to push the bar of what could (if possible), constitute ‘Islamic dance’ and ‘Islamic music’. Their plight is extremely complex as it seeks to challenge the boundaries of a religion that has long been interpreted by clerics and scholars who tend to enjoy upholding as many boundaries as they possibly can.
And yet, this is not the definitive nature of the religion itself. As mentioned earlier, Islamic theology has very little to say on specific forms of art and almost all interpretations of religious texts in this regard tend to revolve around interpretation via ijma and qiyas. These interpretations range widely from the Salafi, Wahabi and Deobandi to the Sufi and Barelvi schools of thought, with a veritable rainbow of individual recommendations in between.
Amid such a dilemma, one often ends up qualifying the art in question. The outward form, or dhahir, which underlines the quantitative and physical aspect that is obvious and readily intelligible is separated from the essential, qualitative aspect that is kept hidden, or inward, batin. The art of Islam is essentially a contemplative one, where the work of man will never equal the art of God but seeks only to emulate the shaping of human ambience. It is connected with the concept of ihsan as set forth in the Hadith of Gabriel narrated by Umar ibn al-Khattab, whereby the religion rests on three fundamental principles: Islam (submission to the Divine Will), Iman (faith), and Ihsan (spiritual virtue). Perhaps the most useful rules of thumb for comprehending Islamic art were put forth by the great jurist, theologian and sufi thinker al-Ghazali.
Ghazali writes of three types of beauty: The first is external physical beauty (dhahir) that he regards as the most debased ” . . . as to [mans] beauty, he is little more than nauseous matter covered with a fair skin. Without frequent washing he becomes utterly repulsive and disgraceful.” (Chapter I of Kimia al-Saadah (The Alchemy of Happiness).
The second type involves moral beauty (batin): “The former kind of man [a man who is only acquainted with sensuous delights], will say that beauty resides in red-and-white complexions, well-proportioned limbs, and so forth, but he will be blind to moral beauty, such as men refer to when they speak of such and such a man as possessing a beautiful character. Such love is directed not towards any outward form, but towards the inner character. Even when we wish to excite love in a child towards anyone, we do not describe their outward beauty or form, etc . . . but their inner excellences.”
The final variety is the spiritual; which he regards as the most sublime—”The heart of man has been so constituted by the Almighty that, like a flint, it contains a hidden fire which is evoked by music and harmony, and renders man beside himself with ecstasy. These harmonies are echoes of that higher world of beauty which we call the world of spirits; they remind man of his relationship to that world, and produce in him an emotion so deep and strange that he himself is powerless to explain it.”
Ultimately the supposed conflict between religion and art rests entirely on the individuals’ perceptions of both. Ayn Rand, in what is perhaps one of the most comprehensive modern treatises on the nature of Art ‘The Romantic Manifesto: A Philosophy of Literature’ stated “contradictions do not exist. Whenever you think you are facing a contradiction, check your premises. You will find that one of them is wrong.” This operative requirement can well be seen as a fundamental cornerstone in decoding the seemingly impossible choice of reconciling creative expression with religious devotion.
The individual that is religious will instinctively direct his or her art in the vein of verifying and/or expressing his or her faith. The individual that is not religious will denote his or her art from outside this scope and will no doubt find some other prism from which to view it for Rand prefaced her arguments with “Art is a selective re-creation of reality according to an artist’s metaphysical value-judgments.”
While many would consider taking a ‘to each their own’ approach on the veritable quicksand of loopholes that frames the discourse surrounding art in Islam as a cop out, the fact remains that there simply isn’t enough evidence to corroborate Islamic views on modern art. Islamic art has traditionally limited itself to matters that concern Islam and operates from within the religious framework. Modern and postmodern artistic endeavors seldom bother to take traditional aesthetic models into account. The debate comes back to the individual artist’s approach towards reformation. There are those artists who wish to explore and push the boundaries of their faith and art and those that consider this a violation.
At the end of the day, the aesthetic of belief is entirely dependent on the individual’s personal interpretation of their religion. Ironically, the same tends to be true for the aesthetic of creativity. | http://journal.themissingslate.com/article/the-aesthetics-of-belief/2/ |
Please introduce yourself to those that don’t know you.
Hiya!
I’m Chloe McCarrick, an internationally recognised fine artist and mixed-media printmaker.
From my East London studio and darkroom, I create bespoke, original and limited edition prints and gifts. Best known for my circular cyanotypes, I embrace and develop innovative ways of reworking photographic images through collage and mixed-media print techniques, and by blending science, darkroom alchemy and art.
My work explores the boundless possibilities of image production in the age of modern printmaking with an aim to reinvent, recycle, redefine, experiment and preserve.
Initially, I studied fine art, I then went onto focus more on lens based image making, studying and lecturing in photography and interactive media before relocating to London 6 years ago. I was interested in utilising my fine art training within my photographic practice, so researched ways of approaching a new way of image making as a process built up of multiple layers and artistic techniques rather than just straight photography.
I regularly exhibit globally, recently appearing at the prestigious Salon De Beaux Arts in Paris, The Affordable Art Fair in London, and The Other Art Fair, curated by Saatchi Art, in London and Los Angeles along with numerous national exhibitions celebrating contemporary printmakers.
What inspired you to get into art?
I received my first ‘build it yourself’ camera kit at age 6. I was fascinated with how technology operated and kept wanting to deconstruct and reconstruct things to gain a better understanding of their inner workings. My love of photography sort of developed from there, strengthened by frequent trips to the library to study science and art books enabled me to learn more about art, history and creative techniques.
I still remember my first easel, apron and paint set, I loved creating. I was given the freedom to express myself creatively, to experiment and explore different mediums and crafts at home and at school. This facilitated the development of my own personal style honing of techniques before going on to study art at a higher level.
You have a very distinct style where does that come from? What style of art would you say you produce?
Freedom and experimentation for me were key factors in developing my personal style, through rule breaking and blending art forms and techniques together, taking inspiration from traditional approaches to image making with a contemporary technological twist; a fusion of art, photography and science.
By exploring the basic elements of historical image making, in particular cameraless photography and cyanotypes, I wanted to push the boundaries of how we view photographic portraiture in the modern digital realm. I examine and develop innovative ways of reworking photographic, painted and illustrated images through the medium of hand cut collage and mixed-media print techniques by blending science, darkroom alchemy and fine art.
I examine complex interactions between human experience, environment, materials used, light and time combined with deconstructing and reconstructing images to create intriguing surrealistic stories. These unique portraits have a distinctive painterly characteristic made by embracing technological advances in large-scale negative printing whilst staying true to the purest and earliest forms of photographic techniques.
Using a simplistic, yet effective monochromatic colour palette of Prussian blue and white, I create unique ghostlike, x-ray silhouettes suspended deep inside the paper's surface embodying a painterly and distinctive visual characteristic creating an otherworldly pictorial aesthetic from the light sensitive process.
I focused on using cyanotypes after revisiting my research on British botanist and photographer Anna Atkins. Atkins used cyanotypes to document algae specimens for her scientific reference books and in the process established photography as an accurate medium for scientific illustration. It seemed a fitting tribute to use a light sensitive process pioneered by a female scientist and fellow photographer in creating my series of inspirational ladies.
What message are you trying to convey through your art?
Female empowerment, natural history and science are recurring themes in my work, constructing visual narratives from the lives of extraordinary, trailblazing women - celebrating their achievements, uncovering their struggles and chronicling the stories of these often unsung heroes.
I hope my visual storytelling ignites imaginations and rouses a curiosity to delve deeper and discover more about the lives of these remarkable women. I want people to feel connected, connected to their stories and to notice the unnoticed.
From an early age I immersed myself in books, my love of historical research and scientific experimentation has always played a pivotal role in developing ideas, constructing narratives and creating art filled with playful enchantment, metamorphic imagination and above all knowledge. The exploration of the world around me both past and present and reaching beyond the boundaries of ‘normal everyday’ sight are all centralised in my artistic practice.
Growing up, I forever questioned why we didn’t learn about pioneering women in science, in art, in mythology and history. They seemed to be a mere afterthought in 90’s curriculum and hardly included in texts at school, this irked me. My parents thankfully bought me books and took me once a week to the two local libraries so I could stock up on reading materials to feed my thirst for discovering more (in the days before the internet was a means of instant research)!
By creating an army of girl heroes/sheroes I'm attempting to give them a voice, to transform their stories into symbolic, pictorial form and in turn hoping these protagonists' positive message empowers and inspires others.
What are you currently working on and where do you draw new inspiration from for ideas for a new piece?
I’m currently working on a number of new additions to the collection, almost finished creating collages for the negatives, others I'm still in the research phase. These ladies range from a princess of paleontology to a naturalist and scientific illustrator, to the Queen Of The Waves- the first woman to swim the English channel, to the mother of forensics and the Harvard Computers.
Who is your favourite artist and if you could collaborate with one who would it be?
I can’t pick just one so I’ve chosen 3 - Francesca Woodman, Kiki Smith and Dora Maar
What's your favourite way to spend a Sunday?
To answer your question, I AM A MEGA GEEK! So anything that involves immersing myself in the natural, scientific and historical world, whether this be visiting the plethora of London museums or walking in the many parks and green spaces!
The history of the Natural World, Anatomy and Science Art has always fascinated me, their intertwining/ interplay has always been a major focus in my work and exploration of methodology. Enhancing appreciation for the world around us, uncovering it’s vulnerabilities, celebrating it’s often overlooked aesthetic value and in turn communicating our responsibility to preserve and conserve it for future generations to enjoy.
The natural world is full of important connections amongst people, plants, animals and our environment. Everything is related, connected, part of a chain, a cycle. My art is devoted to exploring our relationships between subject matter, materials, environment and creating human narratives.. I’ve always been curious to discover and to greater understand my relationships with science, nature and art.
Discovering intricate patterns, species, evolution, admiring the sheer size, the delicate composition, the unseen, the undiscovered, the vibrant colour palettes, the smells, the way every sense is touched. Those fugacious moments in time that human consciousness often forgets to acknowledge are the things I hold dearest. This noticing of the unnoticed, revealing of discarded beauty, exposing layers and exploring space and time beyond the boundaries of ‘normal/ everyday’ sight plays a centralised role in my artistic practice.
I also love walking along the South Bank, gorging myself in Borough Market and drinking my body weight in cocktails but that's reserved for Saturdays!
Visit Chloe's store on ACE Club here
Other similar articles: | https://www.aceclub.art/blog/post/welcome-chloe-mccarrick-to-the-club |
Kunstal Gent hosts The Institute of Things to Come, a traveling program curated by Valerio Del Baglivo that comprises a yearly-thematic program of performances, workshops, publications and exhibitions.
At Kunsthal Gent, The Institute of Things to Come presents an exhibition by artist Goda Palekaitė titled The Strongest Muscle in the Human Body is the Tongue and a new performance by artist Quinsy Gario titled Tracing a memory pt. 2. Through the means of performance, storytelling and writing, both artists weave together historical facts and personal accounts with the aim of deconstructing the grand narratives underlying hegemonic discourses on race, identity, gender and origin.
Location: The Old House
Artist and activist Quinsy Gario focuses his work on decolonial remembering and on the actions that such remembering can engender. Tracing a memory pt. 2. is a new performance by Quinsy Gario, in which he reflects on Dutch colonization, decolonization movements in the Caribbean and contemporary concerns of recolonization. The artist will be attempting to synchronize a post-war governmental documentary on St. Maarten, a former Dutch colony in the Caribbean with a new film he shot in 2019 to revisit those exact locations.
The performance is pre-recorded in Kunsthal Gent and will be on view in Kunsthal Gent and later launched online on the websites of both The Institute and Kunsthal Gent, from the 14th to the 21th of June. Video and editing: Shivadas De Schrijver.
Quinsy Gario is a visual and performance artist from the Caribbean islands that have Dutch colonization in common. He focuses on decolonial remembering and the actions that that remembering can engender. His most well-known work, Zwarte Piet Is Racisme (2011–2012), critiqued the general knowledge surrounding the racist Dutch figure and practice of Zwarte Piet (Black Pete), later bringing into the open the governmental institutional support that keeps the figure alive in the Netherlands. He has an academic background in media studies, gender studies and postcolonial studies, is a graduate of the Master Artistic Research program at the Royal Academy of Art, The Hague and APASS in Brussels, and was a recurring participant of the Black Europe Body Politics conference series.
He received the Royal Academy Master Thesis Prize 2017, the Black Excellence Award 2016, the Amsterdam Fringe Festival Silver Award 2015, the Dutch Caribbean Pearls Community Pearl Award 2014 and the Hollandse Nieuwe 12 Theatermakers Prize 2011. In 2017 he received a Humanity in Action Detroit Fellowship and in 2017/2018 he was a BAK Fellow. Gario is a board member of De Appel, a member of Family Connection and of the pan-African artist collective State of L3.
Goda Palekaitė fuses elements of fiction, academic writing and artistic research to explore the politics of historical narratives and question the ways in which truth is validated in the academic world and beyond. Over the last few years Palekaitė has been focusing on the lives of controversial historical figures who, despite being considered dissidents, heretics or perverts, successfully overthrew deep-rooted beliefs - a group of characters that she would refer to as “schismatics”.
Her exhibition The strongest muscle in the human body is the tongue is presented in the Old House and looks at historical and contemporary female writers and writings by mystics and saints to reflect on the power of speaking and writing in relation to the body and sexuality. Palekaitė scatters her own thoughts and memories within the language of the many protagonists of her exhibition, blurring the boundaries between fact and fiction and establishing a more intimate relation with history.
Goda Palekaitė (Vilnius, 1987) is an artist and researcher whose work can be described as a combination of artistic, theatrical and anthropological practices. It evolves around long-term projects exploring the politics of historical narratives, the agency of dreams and collective imagination, and social conditions of creativity. Their outcomes usually manifest as performances, scenographies, installations, and texts. Her solo show “Legal Implications of a Dream” was recently opened at the RawArt gallery in Tel Aviv and the Art Cube Artists’ Studios, Jerusalem. In the last year her performances and installations have been presented at the “Swamp pavilion” in The Biennale Architettura 2018 in Venice, Contemporary Art Center (CAC) and the Lithuanian National Drama Theatre in Vilnius, and Kanal - Centre Pompidou in Brussels. In 2019 Palekaitė received The Golden Stage Cross (highest Lithuanian theatre award). Goda is based in Brussels and Vilnius.
The Institute of Things to Come is an itinerant art programme aimed at investigating forms of imaginative speculation as cultural strategies and methodologies for critical positions. Founded in 2017 by artist Ludovica Carbotta and curator Valerio Del Baglivo, the Institute focuses each year on a different theme, inviting artists who use speculative and fictional arguments to imagine possible alternatives and propose positions of social critique. Since 2017 the programme has collaborated with Fondazione Sandretto Re Rebaudengo (Turin), Universita degli Studi di Torino, Grazer Kunstverein (Graz).
The 2021 program questions the categories of alterity in opposition to current politics of sovereignty, national belonging, and heteronormative approaches in times of globally-expanded populist politics. | https://kunsthal.gent/en/exhibitions/the-institute-of-things-to-come |
A poet as well as a visual artist, Etel Adnan developed ‘leporellos’ - books of Japanese tradition that unfold like an accordion - since the 1960s, combining visual and verbal expressions through the joint inscription of Arabic poems and her own poetic texts and watercolours. Starting from this construction of the word, image and form, ‘Five Senses for One Death’ is inspired by one of her poems of the same title. Living in France and the United States since the 1950s, Etel Adnan has developed an oeuvre that crosses different cultures and artistic disciplines - namely poetry, painting, drawing, tapestry, ceramics and film - moving freely between the various strands of her written and visual work. Nature and war are guiding threads in her artistic work, which explores the political and personal dimensions of violence in a tumultuous world. By articulating her nomadic experience of displacement with the memory of familiar landscapes, she reflects on the traumatic realities of our time, but also the beauty and emotional and physical power of the natural world.
This work precedes the shift in Helena Almeida’s work towards photography, and belongs to a set of works in which the artist began to undertake a critical investigation into the medium of painting, questioning its traditional media and its representational conditions. Her works from this period suggest a will to move away from pictorial space with an attention to the literal and physical conditions of painting, including the materiality of its supporting structures. In other works from the same period, the artist added elements to the painting, such as blinds and doors, that simultaneously allude to the idea of useless windows and function as a metaphor for the loss of the classical idea of painting as a ‘window unto the world’.Through her early painting, Almeida introduces the central concerns that define her artistic practice in a variety of media, in particular, an interest in breaking the confines of pictorial and narrative space, which has always played a fundamental role in her work.
'Tela rosa para vestir' [Pink Canvas for Wearing] is Helena Almeida’s first photographic work and is emblematic of her intention to question the boundaries of pictorial space. Here, the artist is shown wearing a pink canvas with sleeves and posing for the camera. In her words, ‘the canvas became an anthropomorphic figure’; yet rather than a self-portrait, the work becomes the representation of the artist’s body as a support for the presentation of painting. Such a critical reflection on the creation, presentation, and perception of painting, part of the work Helena Almeida developed between 1968 and 1969, defines her entire oeuvre: on the one hand, photography becomes a means to carry out a research into the nature of representation and pictorial space; on the other, her reflections on painting involve the body as a fundamental compositional element. As Almeida states, ‘My painting is my body, my work is my body.’The identification between body and work is a fundamental feature of Helena Almeida’s work, which questions traditional disciplines of painting, drawing, sculpture or photography as devices to present and represent reality.
In the ‘Pinturas habitadas’ [Inhabited Paintings], painting is reduced to its core elements: lines and stains painted over a series of black and white photographs of Helena Almeida in the act of painting over her own reflection. The tone of blue used for the overpainting, obtained from the mixture of ultramarine and cobalt blue, is the most connoted with energy and space the artist was able to produce in order to give movement to gestures that would otherwise remain static. The space of these works is a screen that functions as the point of confluence of reality and representation, of painting itself and the act of painting. The mirror in which Helena Almeida appears duplicated divides the photographic plane into two spaces - an inside and an outside -, that create a third space - that of the image plane - that unites the two and inverts the relative positions of painter and viewer and subverts the status of their spaces. As Almeida stated in 1976, ‘by placing [her]self as the "artist" in the real space and the spectators in a virtual space, they exchange place with the support and become themselves imaginary space’. Unlike other ‘Pinturas habitadas’ in which the artist observes the movement of her hand leading the brush across the mirrored surface, in this specific work the gaze moves towards the place where the brush and her own reflected gaze intersect. It is this subtle way of bringing together the making of the painting and the recognition of herself that clarifies the artist’s 1978 statement about her strong effort ‘to try to open up a space, to find a way out no matter what’ and her having already succeeded to find ‘a way out through the tips of [her] fingers’.Helena Almeida’s work method has remained unchanged since she first started using photography in 1969. The artist begins by producing concise, clearly outlined preparatory drawings. Preliminary photographs and, since the 1980s, video recordings are in the subsequent stage used to rehearse gestures and framings. When the photographic image is captured, everything complies with the intention of, as Almeida says, ‘putting things in such a way that people can see them’. The photographs have always been taken by someone that knows her well, i.e. her husband, the architect Artur Rosa; the body appearing in them is always her own, the one that the artist recognizes as her best model; the space is always that of the same studio, now her own, where as a child she posed for her father, the sculptor Leopoldo de Almeida. For Almeida, what counts is the process and it was through this apparently traditional studio practice that the artist - who defines herself as a painter and to whom process is of the essence - developed her vision, as personal as it is radical, of the conceptual deconstruction of the language of painting that occurred in the international context of the late 1960s. Breaking with the rules of the discipline brought about by modernist painting was, in the Portuguese case, and for Almeida’s generation, part of the physical and psychological emancipation from the socio-cultural constraints imposed by the Estado Novo dictatorship (1933-1974). In Almeida’s work, it contributed to a questioning of the role traditionally attributed to women in art and a constant process of self-representation in which the artist is inseparable from the model and where author and subject become one. Almeida’s dissatisfaction with the two-dimensional pictorial plane manifested already in the second half of the 1960s, when she gave volume to coloured forms that burst out of the painting, and continued throughout the next decade in drawings with horsehair that prolong the lines drawn on paper beyond the boundaries of the support. In the artist’s words, her first photograph, depicting her dressed in canvas in a deliberate identification of her body to the body of painting, is an ‘anthropomorphic painting’. The urge to burst out of the plane of the image towards real space, which reveals her latent interest for Lucio Fontana’s slashed canvases, became her most efficiently explored subject until the early 1980s and characterizes the several photographic series of ‘Pinturas habitadas’ that she would develop from the mid-1970s onwards.The identification between body and work is a fundamental feature of Helena Almeida’s work, which questions traditional disciplines of painting, drawing, sculpture or photography as devices to present and represent reality.
One of the most renowned artists in Portugal, Helena Almeida uses her body as an extension of drawing, painting and photography. In her ‘Inhabited Drawings’, the artist resorts to horsehair as a tangible three-dimensional element that leaps from the photographic surface to engage in a dialogue with the viewer. Exploring the boundary between drawing and sculpture, and using the spatial qualities of material to disrupt the two-dimensionality of photography, Almeida reinforces the performative dimension of her work by using the body both as vehicle for the appearance of the work and as the work itself.The identification between body and work is a fundamental feature of Helena Almeida’s work, which questions traditional disciplines of painting, drawing, sculpture or photography as devices to present and represent reality.
Sónia Almeida’s (Lisbon, 1978) abstract paintings are the result of a set of actions through which the artist converts everyday visual experience into a series of ambiguous forms that defy the viewer’s perception. 'Red Signal' (2013) could be read as representing either a double helix, the symbol of infinitude, or a sign. Almeida’s paintings often derive from images and objects from her daily life. Once recorded in her sketchbooks, these elements are fragmented, stylized, reframed or overlapped, appearing as pictorial compositions that frustrate any attempt to organize them into intelligible sign systems. Almeida’s works are involved in a sophisticated game of approach and withdrawal based on painting’s two major historical traditions: its representational vocation and formal exploration.
From the late 1960s onwards, Armando Alves began to make monochromatic ‘objects-sculptures’, including this untitled work, influenced by Pop art. Dominated by chromatic vividness, compositional simplicity, effects of volume and light fluctuations, his works from this period present disruptive elements, such as crevices, creases, wrinkles, folds or twists, assimilating abstractionist and constructivist values and graphic design.
‘a spine wall suppressed all draughts’ belongs to a series of works Leonor Antunes conceived following her research on E-1027, a seaside villa in Southern France designed by Eileen Gray and Jean Badovici and built between 1926 and 1929. In this series of works, the artist has produced duplicates of each of her sculptures, allowing the same object to be perceived in different ways when placed in different spatial arrangements. The title of the work is an excerpt of the text ‘Eclecticism to Doubt’, a dialogue between Gray and Badovici about the Villa.The sculpture is composed of two rolls of black leather that replicate a wave-shaped Fibreglass wall from the lower floor of the villa. The use of the malleable material confers to the artist’s replica a flexibility that is only illusory in the original. Leonor Antunes explores the relationships between sculpture, architecture, design and the decorative arts. A keen researcher of some of the most iconic buildings of the twentieth century, the artist appropriates formal elements gathered in the course of her research, giving them new contexts to question our way of looking at modernity and its critical reception. Size, scale and proportion and the pliable characteristics of materials, such as leather, rubber and various metals, are crucial elements in Antunes’ work, through which she creates spaces of tension between seriality and manufacture. The constant references to Gray, Carvalho and Mollino, combined with forms, techniques and materials alluding to the work of artists such as Eva Hesse and Carol Rama, reveal her belief that what is left to the artist is the task of recombining cultural materials.
‘avoiding the mistral wind’ belongs to a series of works Leonor Antunes conceived in the context of her on-going research on key figures of modernist architecture, such as Eileen Gray, Carlo Mollino, Robert Mallet-Stevens, Flávio de Carvalho, Jean Prouvé and Buckminster Fuller. The sculpture is made of three folding screens in leather and wood that divide the exhibition space into domestically scaled compartments, creating a relation between the body, display, and domestic space. The title refers to a passage from a dialogue between Eileen Gray and Jean Badovici about the Villa E-1027, a seaside villa in Southern France they both designed and that was built between 1926 and 1929. It leads us to see the work as a set of rotated brise-soleils, permanent sun-shading structures installed in building façades to block and redirect the light and the wind, introduced by Le Corbusier and interpreted by many different modernist architects. The title also alludes to the movable panels or dividing partitions for which Gray was famous.A keen investigator of twentieth century modernist architecture, Leonor Antunes explores the relationships between sculpture, architecture, design and the decorative arts. Size, scale and proportion and the pliable characteristics of materials, such as leather, rubber and various metals, are crucial elements in Antunes’ work, through which she creates spaces of tension between seriality and manufacture. The constant references to Gray, Carvalho and Mollino, combined with forms, techniques and materials alluding to the work of artists such as Eva Hesse and Carol Rama, reveal her belief that what is left to the artist is the task of recombining cultural materials.
‘paving stones across the garden’ belongs to a series of works Leonor Antunes conceived following her research on E-1027, a seaside villa in Southern France designed by Eileen Gray and Jean Badovici and built between 1926 and 1929. The works in this series are made up of identical elements allowing different perspectives when placed in different spatial situations. The titles are drawn from ‘Eclecticism to Doubt’, a dialogue between Gray and Badovici about the Villa.Leonor Antunes appropriated the design by Gray for a modular tile structure for the villa’s garden, doubling its dimensions. Made out of leather, an easily mouldable material, the two elements of paving stones are installed in a way deliberately resembling the way Eva Hesse used to install her own works: one on the floor and the other mounted on both the wall and the floor, creating an angle and the space between the two.
'Artigas' (2014) was inspired by a visit made by Leonor Antunes (Lisbon, 1972) to a house designed in 1949 by the Brazilian architect João Vilanova Artigas (1915-1985) for his family in São Paulo. Conceived as a suspended, finely latticed curtain, this gridded organization is transformed into a net like veil. The method of suspension using a quadrilateral configuration with a hemp rope suggests a kind of masculine support for the sculpture’s visually diaphanous screen. The sculptural and tactile dimensions of the brass net and its rope are dependent on simple manual actions such as stretching, folding, pulling and tying, in a poetic subversion of rational structure.
'O Jardim' [Garden] draws on excerpts from two canonical works of Classical Antiquity: Homer´s 'Odyssey' and 'Iliad'. Two women and three men - represented by bronze African sculptures in close-up shots - ‘talk’ about the condition of the foreigner, in an exchange that is surprisingly contemporary. These sculptures are in Lisbon’s Colonial Garden (today Tropical Garden), a place integrated into the 1940 Exhibition of The Portuguese World. As a recreation of the environment and landscapes of the Portuguese colonies, this garden was a miniature representation of the Portuguese colonial empire from the point of view of the propaganda and ideology of the Fascist State.Marked by a strong scenic character, Vasco Araújo’s work is inhabited by a universe of literary, historical and cultural references, from opera to classical mythology. The questioning of our relationship with (sexual, racial) difference and a critical review of the Portuguese colonial history are also among its distinctive features.
The keen observation of abstract forms in 'XVI Desenhos' [XVI Drawings] reveals a montage of fragments of objects such as windows, coffins and tree profiles. The simple, uniform, Pop-inspired colours are used to eliminate the sentimental and literary quality that António Areal found in the textures and chromatic gradations of abstract informal painting. In the inside back cover that binds these drawings a typewritten inscription states that the twenty-two copies are ‘rigorously identical’, i.e. they are at the same time perfect copies of one another and ‘unique works’. In doing so, Areal questions the system of attribution of value to art and warns that these sixteen drawings constitute a whole that should not be dismantled.
The work 'Locations' is made of five small objects of variable dimensions and ovular shape. Four of them are mounted on the wall and the fifth is suspended from the ceiling. The title, which seems to suggest that these locations are but one amongst many possibilities, underscores the crucial role of the context in the definition of the artwork, a status to which any object may aspire ? even if trivial looking and mass produced ?, as Artschwager demonstrated by turning this banal ovular shape into his trademark.Richard Artschwager, who is considered one of the most singular names in post-war American art, started his professional career in the 1950s by working as a furniture designer and maker. This activity would profoundly mark the artistic work that he started developing in the following decade: by integrating artificial, industrially manufactured materials his sculptures often evoke functional objects.Artschwager’s oeuvre is the result of a confluence of different aesthetics, such as minimalism, conceptualism or pop art, through which the artist explores his interest in everyday forms and the distinction between art and design, challenging these disciplines through perception and illusion.
Richard Artschwager coined the word ‘blp’ to designate his oval abstract creations. These works, made in different scales, volumes and materials, are placed at different locales, from galleries to subway stations. They are conceived as marks that punctuate space and interrupt it, drawing attention to their surroundings, which could otherwise go unnoticed to the distracted eye. | http://inserralves.pt/en/museum/the-collection/a-closer-look/ |
Now through April 28th the Orlando Museum of Art is hosting an exhibition titled The Aesthetics of Scale. The exhibit showcases the collaborative work of Rachel Simmons and Lee Lines and explores the ways in which landscape affects how people live in conjunction to the land. Perhaps more importantly, from an artistic perspective, the exhibit opens a discussion about artistic collaboration and what it offers to those willing to pick up its admittedly unwieldy mantle.
The project that would eventually lead to The Aesthetics of Scale started in 2010 during a research trip to Iceland. What was eventually born out of this trip was the marriage of Simmons’ artistic background and Lines’ knowledge of geography and environmental issues, a collaboration of not only academic goals but artistry.
This does not mean that the marriage of their backgrounds and intentions came together easily. In an interview conducted by Laura J. Cole for Rollins College, Lee and Simmons discussed a point of tension between the two over an image for a presentation. Simmons wanted to flip the image because she felt that it looked better aesthetically while Lee saw that as a misrepresentation of the regional landscape. Simmons was speaking from the artist’s point of view and was more concerned about how the piece spoke to its audience. On the other hand, Lee was looking at it from a geographer’s point of view and felt that repositioning the piece was dishonest from a scientific standpoint.
Here, in the variance of vision, is where collaborations like this so often fall apart. These differences in artistic direction are likely to pile up and can easily have the capability to either destroy the project completely or just pull it towards a weaker middle where neither artist’s vision is fully realized. Art is, after all, to be done in one’s loft in total secrecy and seclusion until gallery opening or publication.
And this is the opinion I had for a long time. Having been an artist earlier in life and now, as a writer, I knew the value of working in an environment free from distractions. Another artist who might question your decisions or vision certainly has to number extremely high on the chart of distractors.
While that need for seclusion is still strong and one that I find necessary a great deal of the time, something changed for me recently and I no longer feel that sequestering oneself is a hard and fast rule. The first step was realizing the value of another artist’s opinion. This began by using family and friends in the artistic community as sounding boards. This practice was broadened during my exposure to writing workshops. Granted not everything you hear from either group will crack open your work, but by listening to others’ perspectives you may begin to understand how your work appears to your audience, something which is certainly invaluable. Whether this newly shifted perspective on your work means a change in the work itself or merely a change in how you see it working is entirely up to you.
The second big break came when I started to become involved in theater. Here is an art form where artistic collaboration is an undeniable necessity. Actors, directors, lighting, media, and stage designers, and playwrights are all necessary for any given project. Each person involved has their own artistic vision for the piece they’re working on. It goes without saying that this often leads to creative differences and disagreements, but once you do you are more likely to end up with a piece which is more fully realized. What I’ve found is that, and partially because of artistic differences, you are left with a much stronger piece. In a well-functioning group, each artist will have had their input and that input will push the piece further than any one person might have been able to do alone.
The interesting thing about collaboration is that it is not an event that happens terribly often in the artistic community and even less in the literary world. Obviously a lot of this has to do with the private nature of writing itself and how differently the craft operates from one writer to the next. This is disappointing because artistic collaboration seems to have such an interesting potential if for no other reason than expanding the understanding of craft for those involved. In her interview, Simmons said “there’s nothing like trying to understand the point of view of another academic discipline to help you understand your own.” Why should this be any different for the artistic community? Shouldn’t we, as artists, being doing all that we can in order to push our craft to the highest level possible? It seems that collaboration is just another step down the road to self-actualization for any artist.
The entire interview with Simmons and Lee can be found here. | https://blog.superstitionreview.asu.edu/tag/the-aesthetics-of-scale/ |
Rob J Wilson grew up painting and drawing in the landscape of Southern Utah. From an early age he honed his art skills and at fourteen received an apprenticeship with a gallery painter, confirming his dream of being an artist. At eighteen he graduated summa cum laude with his BFA in Studio Art from Southern Utah University and went on to achieve his MFA in Figurative Painting from the Academy of Art University in San Francisco. Rob’s award winning work is exhibited nationally and collected internationally. His work deals strongly with themes of identity and perception as he pushes boundaries to draw attention to themes of social justice. He currently teaches art and design at Utah State University and is creating a new body of work which is a culmination of his talents, dedication, and artistic vision.
Artist Statement
My foundation as an artist was built upon the technical pursuit of traditional realism as I had a formal university education rich in traditional methods. Soon into my career as an artist however I discovered the conceptual limitations of purely realist artwork and began to explore other forms of art making. This exploration richly influenced my work and yet I found that purely conceptual and nonobjective work was equally limiting. The result was my interest in the ambiguity of images and my work reflecting that in both process and result.
My current work explores this ambiguity and the relationship between the artwork and the viewer as I create intentionally vague imagery which often stands between realist and conceptual methods. At times my work explores social justice themes within a similar process to invite the viewer to question the unclear image and the preceding theme.
I am not a slave to medium but to the creativity. I follow my creative drive to juxtapose materials until I find a material process that most accurately conveys my intention, and that I enjoy working with. | http://robjwilson.com/?page_id=5 |
This conference has asked us to take a critical look at the concept of race and its diverse applications in health sciences, medical research, empirical and data analytics, as well as social sciences. For all the apparent breadth of that mandate, there are three themes that have united our concerns.
First is the question of privatization--or claiming, naming, and ownership. Any monetization of life forms, body parts, or the chemistry of our DNA always raises ethical concerns. Particularly as filtered through the lens of race, our unprecedented technological revolution in concert with the explosive industrialization of life sciences begs for careful attention to matters of relativized value, branding as exclusion, profit as extractive, data-mining as invasive, commodification as objectifying.
Second is the issue of what Dorothy Roberts referred to as punitive governance and what Alexandra Stern called out as a problem of triumphalist master narratives. This discussion imbricates forensic handling and uses of genetic material; and also how socially-constructed hierarchies become superimposed upon ostensibly neutral biological terrain. Hubristic assumptions about intelligence, disability, contamination, and eugenics can have serious legal consequence if they underwrite rules about criminal propensity, educational opportunity, or civil segregation.
Third is the complex unwieldiness of “race” itself: so reductively productive, contagious yet inert, intersectional yet exclusionary, plastic yet intractable, narrowly construed yet capaciously inscribed, magically invoked yet technologically layered, so unnaturally natural, so hypervisible, hidden and haunting.
. . .
In the United States, we think of ourselves as “inalienably righted.” Yet when race, gender, disability, criminality, and class are exploited for the lowest common denominator, and played against one another with the speed and sophistication as they have been in our cyber-culture, the supposedly neutral citadels of science, and ultimately public health writ large, are surely not immune. Furthermore, there is a pronounced tension between contract's sloshy alienations and the Constitutional right to have rights. A rather siloed, consumerist set of mind is pervasive in our culture. But such a mindset is an inadequate and ultimately hubristic stance when sitting on the brink of a technological revolution permitting ever-greater “efficiencies” of transformative body alteration, “designer babies,” and germ line (or heritable) modification. This points to our work going forward: we must begin to excavate the ethical, legal, and social implications of our incautious yet far-reaching proprietary exploitations--of traits, of reproduction, of identity, and of citizenship. We must begin to have some thoughtful normative account of whether and to what degree incoherent pockets of private profitability and fears of biologized securitization will continue to map the collective face of our nation, or even the fate of our species. | https://www.racism.org/articles/basic-needs/106-health-and-health-care/bioethical-issues/genetics/2181-race-the-new-black-on-fashioning |
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Whether a given biomedical intervention counts as an enhancement depends on how it is used.
These debates include clinicians’ concerns about the limits of legitimate health care, parents’ worries about their reproductive and rearing obligations, and the efforts of competitive institutions like sports to combat cheating, as well as more general questions about distributive justice, science policy, and the public regulation of medical technologies.
As usual in practical ethics, an adequate discussion of any specific debate under this heading quickly requires orientation to the science underlying particular enhancement interventions and an appreciation of the social and political contexts in which it unfolds.
Instead, it traces a path of core concerns that winds through all the current debates on the ethics of human enhancement, as guide for those interested in exploring further.
To look ahead, our claim is that three sets of philosophical considerations are key to navigating this literature: first, conceptual concerns about the limits of legitimate health care, then moral worries about fairness, authenticity and human nature, and finally political questions about governance and policy.
This means that the developers of even the most outré enhancement interventions will almost always be able to appeal to some correlative therapeutic uses to justify their research, testing, and release into the market (Mehlman 1999).
Fukuyama Genetic Engineering Thesis
On the other hand, simply pointing out that biomedical technologies can have both therapeutic and enhancement uses does nothing to collapse the logical distinction between those uses, or to defeat the claim that those distinguishable uses might warrant different ethical responses (Buchanan 2011).Meditation and prayer can have the same physiological effects as drugs.The “cyborgs” of science fiction blend human bodies with electronic and mechanical tools (Hughes 2004).As a result, most biomedical enhancements involve trade-offs.If extended life span comes with prolonged frailty, or if enhanced altruism compromises survival skills, the overall value of the enhancement can be called into question (Shickle 2000).The first is when they help advance our understanding of core issues raised by the enhancement uses of the emerging biomedical technologies.The second is when, inevitably, our discussion of biomedical enhancements uncovers insights that reflect back upon the ethical dimensions of these other practices.Second, the definition of “enhancement” used in this entry restricts the term to biomedical interventions, even though other methods of increasing normal human capacities raise ethical issues as well.Electronic and robotic tools that enable us to listen, observe, help or harm at a distance, lifestyles designed to maximize particular talents, and social practices that foster new forms of human relationship all come with their own trade-offs and moral concerns.This entry is not concerned with every activity and intervention that might improve people’s embodied lives.The focus of this entry is a cluster of debates in practical ethics that is conventionally labeled as “the ethics of human enhancement”.
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Francis Fukuyama Genetic Engineering Essay - 387 Words
Genetic engineering is the process by which genetic material is changed in such a way to make possible the production of new substances or new functions. In other words, it is the alteration of genetic material by direct intervention in genetic processes with the purpose of producing new substances or improving functions of existing organisms.…
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Genetic Engineering Thesis Statement? Yahoo Answers
Genetic Engineering Thesis Parasitology Thesis An example of another controversial but popentially beneficial form of genetic engineering is the alteration of pig DNA to suit human immunology. Recently the problem of organ donor shortage has become apparent due to increases in road safety and life saving technology.…
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Essay on “Cloning and genetic engineering” - WriteMyPapers
Cloning and genetic engineering are outcomes of technology; hence, it has both positive and negative impacts on the issues of humans. Proponents in support of cloning and genetic engineering assert that it is one method that holds the potential to eradicate and solve humankind problems.…
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Designer Babies Research Paper - EssayEmpire
Human genetic engineering is almost certainly in our future. The science of genomics is proceeding too rapidly to prevent us from acquiring the information and skills needed to modify the human genome.…
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Fukuyamas Philosophical System and the Ethics of. | https://imgworld.ru/fukuyama-genetic-engineering-thesis-231.html |
Genetically modified babies are here. At least, that’s what one Chinese researcher claims. According to He Jiankui, from the Southern University of Science and Technology in Shenzhen, twin girls born in the city a few weeks ago are the first CRISPR-edited human beings.
If He’s claims are true, it would represent a huge, reckless leap forward for gene-editing. Scientists are stunned but skeptical, and have grave concerns about both the scientific validity of the work, and its ethical implications.
Why are scientists skeptical?
First, a brief science lesson. CRISPR acts like a pair of genetic scissors, allowing scientists to snip out genes from DNA and remove undesirable traits. It has huge potential for everything from ending famine to eliminating genetic diseases, but research has been cautious as those in the field navigate the technical and ethical minefield.
The CRISPR technique has been used on human embryos before, but most scientists agree that it is a long way from being refined for those embryos to be implanted back into the womb, which is what He claims to have done. “It’s been widely acknowledged that the science is not yet ready for clinical application,” says Sarah Chan, a bioethicist and director of the Mason Institute for Medicine, Life Sciences and the Law at the University of Edinburgh. “More has to be done to resolve uncertainties, and to try and understand the risks.”
There are two main scientific problems that CRISPR researchers are grappling with, and which He claims to have overcome. The first are ‘off-target effects,’ which refers to the danger of editing other genes in addition to the one you’re trying to modify. “We’re really at the early stages of research into genome editing,” says Joyce Harper, a reproductive scientist at UCL. “We just don’t know what they could do, and what this could mean for the person.”
The second problem is ‘mosaicism’, which is when only some of the cells in an organism are successfully modified. “We have no idea that effect this might have on the future person,” says Harper. “If you’re doing it for cystic fibrosis, for example, and you’ve only got the correction in a quarter of the cells, that person will still have cystic fibrosis.”
If He has made the scientific breakthroughs required to overcome these hurdles, there’s little evidence of it in the published work. This breakthrough was not reported in a peer-reviewed journal. Instead, it came to light in two medical reports posted on the Chinese clinical trial registry, and in a promotional YouTube video. “He hasn’t published anything on this at all in a peer-reviewed journal,” says Harper. “Before anyone applies this technology they should be checking on its efficiency and checking on safety so it can really be assessed by the scientific community.”
Is it ethical?
According to Ewan Birney, director of the European Bioinformatics Institute, the work would “almost certainly” be unethical in a European setting. “This type of science needs strong regulation which society can be confident in,” he wrote.
Birney also raises questions about the choice of gene He and colleagues chose to focus on. Most discussions about using CRISPR on humans have been around genetic diseases such as cystic fibrosis – things which can be screened for using current techniques. “There are currently no serious genetic diseases where pre-implementation diagnosis would not work but CRISPR would,” Birney explains. | https://www.wired.co.uk/article/china-crispr-genetically-modified-babies-hiv |
NHS gaps may undermine genomic medicine in UK
The uptake of genomic medicine could be hampered by funding gaps in the NHS, according to a report by the House of Commons Science and Technology Committee.
Increased investment to tackle the gaps in the NHS is required if genomics is to become routine care as part of the newly introduced NHS Genomic Medicine Service later this year, according to the report.
'Genomics has the potential to revolutionise NHS healthcare. We are concerned that this potential is threatened by delays in the NHS's digital projects, reduced genomics training budgets, and potential public concerns over sharing personal health data,' said Norman Lamb, Liberal Democrat MP for North Norfolk and chairman of the committee.
Development of resources for genomic medicine is already well underway in the UK. The 100,000 Genomes Project, where DNA from over 50,000 individuals has so far been mapped and compiled to compare differences in genetic variations, have led to advances in diagnosis and personalised treatments of cancer and rare diseases. The vast advances resulting from the pioneering project have made the UK a global leader in the field of genomics, the report said.
The vast volume and complexity of data generated by genomics makes it crucial for healthcare professionals to understand how to interpret it and use it in medical practice. This is where 'The Genomics Education Programme' provides understanding of genomics among NHS England staff, the report states. But the four-year programme is now set to continue with less funding than originally planned.
Despite big plans for rolling out genomic medicine in the UK, around 82 percent of people in the UK have not heard of genomics or have only some understanding of the field, the report found. With the technology relying on the compilation of genomic data from thousands of people, raising public awareness of the benefits of using genetic information to help treat conditions is essential to ensure people are willing to share their health data, it stated.
Yet, people are currently less inclined to participate due to public concerns about medical data collection by insurance companies which could, in theory, set premiums based on genetic test results. The report, therefore, calls for a revision of the voluntary ban on insurers' use of such information.
The Committee also heard evidence about other technologies including genome editing.
'There is already evidence that the UK public is cautiously optimistic about genetic technologies and are broadly optimistic about the human health applications,' said Professor Otteline Leyser, a researcher at the Sainsbury Laboratory in Norwich and a fellow of the Royal Society. While genome editing is a powerful tool for eradicating serious inherited conditions, there are ethical concerns over the creation of 'designer babies', the report notes, and calls for stringent regulatory and legislative changes. | https://www.bionews.org.uk/page_135429 |
The UC Santa Cruz Genomics Institute includes social scientists researching bioethical and privacy concerns that genomics raises. The institute’s research into genomics and society focuses in social bioinformatics and genomics, difference, and justice.
Next-generation genomic research offers ground-breaking modes of representing and understanding biological differences. This research addresses changing conceptions of both natural and social order; how new understandings and representations of difference speak to concerns with justice; and how genomic sciences fits in a world where resources are becoming scarcer. This area of research builds on Jenny Reardon’s internationally recognized research on genomics and society, probing the area of race, difference, and genomics. Reardon’s work and that of the Science & Justice Research Center guide the GI’s efforts to realize a genomics that truly attends to and cares for society.
Concerns may include ethical, legal, and social implications (ELSI). The Ethical, Legal, and Social Implications (ELSI) program was founded in 1990 as an integral part of the Human Genome Project. More information about the ELSI program at the National Institutes of Health, including program goals and activities, is available here.
The Office of Diversity at the UC Santa Cruz Genomics Institute was established in part to ensure ELSI program concerns are studied and researched at the institute and that a diverse group of genomics scholars has the opportunity to study ELSI topics. Learn more about diversity initiatives at the institute.
Read more about the ethical issues of genomics research below.
Aside from the fascinating scientific possibilities, an initial driving concept in the UC Santa Cruz Genomics Institute was to make the genome that contains our common heritage available to all, free of patenting and licensing restrictions. This was based on the belief that the genome belongs to all humanity, and so genomics research and its findings should transcend national boundaries.
Having achieved the goal of unrestricted access, the UC Santa Cruz Genomics Institute continues the work of the Human Genome Project as it considers the ethical issues presented by our deepening understanding of our genome and its workings. Challenges emerge as the biomedical ethos of privacy and protection meets the ethos of openness forged by leaders of the Human Genome Project. Efforts to introduce crowd sourcing to knowledge production plus interest in empowering individual consumers and patients have potential implications in the realm of biomedicine. Research in this area maps how these initiatives may challenge traditional biomedical practices of consent, property, and privacy.
In addition, rather than assembling the genome sequence of just one individual human, the International Human Genome Project working draft combined anonymous genomic information from human volunteers of diverse backgrounds, accepted on a first-come, first-taken basis. After they were collected, the samples from the volunteers underwent further random selection, so that no donor knows whether his or her genome was actually included in the draft sequence.
As genomic technology evolves, it will become increasingly easy for individuals to learn about their genetic predispositions. For some individuals, this will bring the unintended negative consequence of knowing that he or she has a currently incurable genetic disease that will manifest itself later in life. The UCSC group strongly supports the efforts of NHGRI to work with public health agencies to train individuals to provide professional genetic counseling services.
One significant risk considered in genomics research is that knowledge of our genome, combined with technologies like CRISPR for modifying or selecting the genetically inherited traits will create social pressures to try to “enhance” or “correct” our genes. This brings up ethical issues that demand widespread discussion engaging all segments of society. It also brings up the importance of maintaining genetic diversity as a protection from disease or other threats to our viability.
Knowledge of the human genome has a tremendous potential to heal. This potential must be appropriately balanced against the possible negative consequences that this knowledge may also bring into focus. | https://ucscgenomics.soe.ucsc.edu/genomics-and-society/ |
Case: Mitochondrial Transfer Therapy as Enhancement Technology
This case describes the February 2015 decision by the United Kingdom's Parliament to allow human trials of an in vitro fertility (IVF) treatment using mitochondrial transfer technologies. It provides an opportunity for discussion of the ethics of germline gene modification in humans as both therapy and enhancement.
In February 2015, the United Kingdom's Parliament voted to allow human trials of an in vitro fertility (IVF) treatment using mitochondrial transfer technologies. These technologies are aimed at preventing the transmission of mitochondrial disease from pregnant women to their offspring.
Mitochondrial disease is an umbrella term that comprises a set of conditions with varying degrees of severity, including neurodegenerative disease, epilepsy, stroke-like episodes, blindness, diabetes, and deafness, among others. These conditions share a common origin of dysfunctional mitochondria, the energy-producing organelles found in cells. These organelles carry their own DNA, approximately 37 genes and less than 0.1% of the human genome. There is some disagreement about the prevalence of mitochondrial disease. However, it is estimated that 1 in 400 people carry a mitochondrial mutation that may cause disease, and that 1 in 6500 babies are born with some kind of mitochondrial disorder (Dimond 2015; Sample 2013). More importantly, there is a wide spectrum of symptoms of the disease, and they can range from mild to severe.
The UK government considered and approved two different techniques of mitochondrial transfer in IVF procedures, pronuclear transfer and maternal spindle transfer. Pronuclear transfer occurs after fertilization and involves the transfer of the pronuclei from the zygote with the dysfunctional mitochondria into the enucleated donor zygote with functional mitochondria. Maternal spindle transfer involves a similar process of transfer, in which the spindle of the chromosomes from an unfertilized egg with dysfunctional mitochondria is transfer into an enucleated egg cell with functional mitochondria (Baylis 2013; Dimond 2015).
The UK government's decision was preceded by a report from the Nuffield Council on Bioethics, published in June 2012, and a review from the Human Fertilisation and Embryology Authority (HFEA).
The Nuffield Council judged that the procedures were ethical and would allow women to have healthy, genetically-related children, who otherwise could not. Additionally, the Council described the IVF methods as germline genetic therapy, but claimed that any resulting children from these procedures should not be considered "three-parent babies" and the mitochondrial donors should not be identifiable. They did, however, recommend that adult children born from these procedures participate in long-term health check-ups to provide more information on the long-term consequences of these therapies.
The HFEA further assessed the safety and efficacy of the proposed techniques and judged that they were "not unsafe" and suggested that the public was generally supportive of the procedures. Before this decision, the HFEA did not allow any therapies or techniques that altered the DNA in human embryos.
The fact that this therapy has been described as germline gene modification with heritable consequences for future generations has led many critics to caution that such interventions may easily lead to non-therapeutic applications - in other words, enhancement. For example, some have already pointed out that the intervention could be desirable to lesbian couples who want to be both genetically related to their child, or perhaps to older women to address age-related infertility. Given these prospective applications, legislative and regulatory bodies should be aware of the potential slippery slope towards the creation of designer babies.
Discussion Questions
- What reasoning supports the Nuffield Council's dismissal of the idea that children born from these therapies are "three-parent babies"? What are some counter-arguments? What might be some of the social and ethical implications of identifying the prospective children born from these therapies as "three-parent babies"?
- Some proponents of these therapies, such as Julian Savulescu, chair of the Oxford Uehiro Centre for Practical Ethics at the University of Oxford, have compared mitochondrial transfer technology to organ transplantation or tissue donation, and argued that the minimal amount of DNA found in mitochondria is not important because it does not contribute to the "ethically important characteristics of the child." Is the exact nature of the genetic contribution of mitochondrial DNA to a child's characteristics morally relevant? Might there be other reasons why these techniques, described as germline gene therapies, might be ethically problematic?
- How might these therapies affect the reproductive choices of individuals? Should they be available to prospective parents who do not carry any disease-linked mitochondrial mutations, such as older women or lesbian couples who want to be both genetically related to their child? Why/why not?
- Are there morally salient differences between the two proposed IVF techniques for mitochondrial replacement?
Bibliography
- Amato, Paula, Masahito Tachibana, Michelle Sparman, and Shoukhrat Mitalipov. "Three-parent in vitro fertilization: gene replacement for the prevention of inherited mitochondrial diseases." Fertility and sterility 101, no. 1 (2014): 31-35.
- Baltimore, David, Paul Berg, Michael Botchan, Dana Carroll, R. Alta Charo, George Church, Jacob E. Corn et al. "A prudent path forward for genomic engineering and germline gene modification." Science 348, no. 6230 (2015): 36-38.
- Baylis, Françoise. "The ethics of creating children with three genetic parents." Reproductive biomedicine online 26, no. 6 (2013): 531-534.
- Bredenoord, Annelien L., Wybo Dondorp, Guido Pennings, and Guido De Wert. "Ethics of modifying the mitochondrial genome." Journal of medical ethics 37, no. 2 (2011): 97-100.
- Dimond, Rebecca. "Social and ethical issues in mitochondrial donation." British medical bulletin 115, no. 1 (2015): 173-182.
- Mitalipov, Shoukhrat, and Don P. Wolf. "Clinical and ethical implications of mitochondrial gene transfer." Trends in Endocrinology & Metabolism 25, no. 1 (2014): 5-7.
- Moraes, Carlos T., Sandra R. Bacman, and Sion L. Williams. "Manipulating mitochondrial genomes in the clinic: playing by different rules." Trends in cell biology 24, no. 4 (2014): 209-211.
- Reznichenko, A. S., Carin Huyser, and Michael S. Pepper. "Mitochondrial transfer: Ethical, legal and social implications in assisted reproduction." South African Journal of Bioethics and Law 8, no. 2 (2015): 32-35.
- Robertson, John A. "Oocyte Cytoplasm Transfers and the Ethics of Germ‐Line Intervention." The Journal of Law, Medicine & Ethics 26, no. 3 (1998): 211-220.
- Yabuuchi, Akiko, Zeki Beyhan, Noriko Kagawa, Chiemi Mori, Kenji Ezoe, Keiichi Kato, Fumihito Aono, Yuji Takehara, and Osamu Kato. "Prevention of mitochondrial disease inheritance by assisted reproductive technologies: Prospects and challenges." Biochimica et Biophysica Acta (BBA)-General Subjects 1820, no. 5 (2012): 637-642.
Links:
- Baylis, Françoise. "Ethical Objections to Mitochondrial Replacement." Impact Ethics. July 2, 2013. Accessed March 21, 2016. https://impactethics.ca/2013/07/02/ethical-objections-to-mitochondrial-replacement/
- Couzin-Frankel, Jennifer. "Controversial fertility treatments focus eggs' power plants." Science. March 30, 2015. Accessed March 24, 2016. http://www.sciencemag.org/news/2015/03/controversial-fertility-treatments-focus-eggs-power-plants
- Lucchese, Baldo. "Following science's lead to reflect on the ethics of mitochondrial transfer." Nature Protocols. November 12, 2012. Accessed March 21, 2016. http://blogs.nature.com.ezproxy1.lib.asu.edu/stepwise/2012/11/12/following-science-lead-to-reflect-on-the-ethics-of-mitochondrial-transfer
- Sample, Ian. "Three-person IVF: UK government backs mitochondrial transfer." June 28, 2013. Accessed March 24, 2016. https://www.theguardian.com/science/2013/jun/28/uk-government-ivf-dna-three-people
- Savulescu, Julian. "Mitochondrial disease kills 150 children a year. A micro-transplant can cure it." The Guardian. February 2, 2015. Accessed March 21, 2016. https://www.theguardian.com/science/2015/feb/02/mitochondrial-transfer-micro-transplant-parliamentary-debate
- Stein, Rob. "Combining the DNA of three people raises ethical questions." NPR. November 10, 2014. Accessed March 21, 2016. http://www.npr.org/sections/health-shots/2014/11/10/360342623/combining-the-dna-of-three-people-raises-ethical-questions
- Vogel, Gretchen. "Mitochondrial gene therapy passes final UK vote." Science. February 24, 2015. Accessed March 24, 2016. http://www.sciencemag.org/news/2015/02/mitochondrial-gene-therapy-passes-final-uk-vote
- http://nuffieldbioethics.org/project/mitochondrial-dna-disorders/
- Jha, Alok. "Mitochondria donation wins ethical approval for fertility treatments." June 11, 2012. Accessed March 24, 2016. https://www.theguardian.com/science/2012/jun/12/fertility-treatments-mitochondria-donation-ethical-approval
- Vogel, Gretchen. "Therapy for Mitochondrial Disease is Ethical, Says Nuffield Council." June 11, 2012. Accessed March 24, 2016. http://www.sciencemag.org/news/2012/06/therapy-mitochondrial-disease-ethical-says-nuffield-council
- http://www.geneticsandsociety.org/article.php?id=6527
- These technologies are also sometimes referred to as "mitochondrial replacement" and "mitochondrial manipulation."
- The Nuffield Council on Bioethics is an independent body in the UK that addresses and reports on ethical issues in biology and medicine. "It was established by the Trustees of the Nuffield Foundation in 1991, and since 1994 it has been funded jointly by the Foundation, the Wellcome Trust and the Medical Research Council." See more at: http://nuffieldbioethics.org/. The HFEA is an executive body of the UK's Department of Health and oversees "the use of gametes and embryos in fertility treatment and research." See more at: http://www.hfea.gov.uk/
This material is based upon work supported by the National Science Foundation under Award No. 1355547, Karin Ellison and Joseph Herkert, Arizona State University sub-award Co-PIs. Any opinions, findings, and conclusions or recommendations expressed in this material are those of the author(s) and do not necessarily reflect the views of the National Science Foundation.
The author wishes to acknowledge the contributions of Karin Ellison, OEC - Life and Environmental Sciences Editor, and Joseph Herkert, OEC Engineering co-Editor. They provided valuable input in selecting topics and crafting the resources.
The UK government’s announcement of its approval of mitochondrial transfer therapies made headlines throughout the world, with many scientists, doctors, and ethicists welcoming the decision as a positive step towards preventing children being born with debilitating conditions from dysfunctional mitochondria and giving many prospective parents hope to have healthy, genetically-related children. Despite the prospects of these benefits, the decision also raised several ethical concerns. First, a common ethical concern that emerged after news of the decision was whether the interventions created “three-parent babies,” as the resulting embryos from the modified eggs or zygotes would include genetic material from three individuals. Some scientists have suggested that the term is misleading and merely the result of media sensationalism because mitochondria possess only a very small number of genes and their functions are not known to contribute to physical attributes (Reznichenko et al. 2015). Others have insisted that scientists are still unsure about the exact role of mitochondrial DNA and the interactions between mitochondrial DNA and nuclear DNA in gene expression (Dimond 2015). However, philosophers have pointed out that the debate about the nature and extent of the genetic contribution of mitochondrial DNA rests on a problematic assumption of genetic determinism; that is, the idea that an individual’s essence or personal identity is founded on her DNA (Baylis 2013; Dimond 2015). Others have argued that the ethical permissibility of the procedures does not rest on the fact that they will affect the identity of the future child (because that is a given), but on the fact that they will safeguard the future child’s right to an open future (because the child will be free of mitochondrial disease) (Bredenoord et al. 2011, 99).
Second, because the proposed therapies have been defined as germline gene therapy, ethicists raised the possibility that the UK’s decision could lead to a slippery slope to eugenics or lead to the creation of designer babies, if/when the interventions become available for non-therapeutic purposes. For example, older women without mitochondrial mutations may seek these interventions in the future to enhance fertility (Couzin-Frankel 2015). Or, perhaps, lesbian couples might want to use these technologies to ensure that their child carries both of their genetic material (Dimond 2015). These hypothetical scenarios would be enhancements, rather than therapies, and would invoke further ethical concerns about non-therapeutic applications of these interventions for human enhancement.
Third, because germline modifications entail the transmission of those modifications to later generations, some have raised concerns about the lack of knowledge of long-term consequences and whether they pose unacceptable risk. Of course, scientists cannot be expected to know all possible consequences in advance, so some level of risk is considered to be acceptable. But, the science is complex and a lot about mitochondrial genes and their functions in gene expression is still unknown. Thus, the language used by the HFEA, claiming the procedures are “not unsafe,” might be misleading (Dimond 2015). Fourth, conservative critics of the procedures have focused their criticisms on the pronuclear transfer technique because it involves the creation and destruction of embryos and, as such, it stands in opposition to the principle of the sanctity of life (Dimond 2015).
Finally, bioethicist Francoise Baylis has provided more general criticisms of the underlying assumptions motivating these sorts of procedures. Baylis argues that a “wish,” rather than a “need,” for genetically-related children might place undue risk on egg providers and it may impose health risks on future children (Baylis 2013). In fact, women affected with mitochondrial mutations have many other options to become mothers. They can become pregnant and undergo prenatal diagnosis of the developing fetus, and then decide to terminate the pregnancy if the fetus is affected. They can use IVF technologies and pre-implantation genetic diagnosis to select healthy embryos. They can choose egg donation or embryo donation and then have IVF. Or, they can adopt (Baylis 2013). Baylis further argues that investing limited resources in the development of mitochondrial transfer interventions for a relatively non-prevalent condition, which could be addressed with many other measures, might not be morally justifiable (Baylis 2013). | https://onlineethics.org/cases/ethics-human-enhancement-collection/case-mitochondrial-transfer-therapy-enhancement |
GUANGZHOU, China (CBS News) — For the first time, scientists have edited DNA in human embryos, a highly controversial move garnering much criticism in the scientific community.
Using new technology, Junjiu Huang and his colleagues at the Sun Yat-sen University in Guangzhou, China, performed experiments on 86 human embryos attempting to alter the gene called HBB, which can cause a fatal blood disorder known as beta-thalassemia.READ MORE: San Francisco Anti-Asian Hate Crimes Jump 567%; Mayor, Police Chief Pledge Response, Urge Residents To Report Crimes
“What the Chinese did is they took human embryos that harbored a mutation that cause a certain blood disorder and they literally went in and very precisely cut out the bad piece and replaced it with a good piece to eliminate that particular disorder,” Eric Schadt, director of the Icahn Institute for Genomics and Multiscale Biology at Mount Sinai Hospital in New York, explained on “CBS This Morning.”
This technology could potentially be applied to other diseases based on single gene mutations, including Huntington’s disease, cystic fibrosis, sickle cell anemia, and Tay-Sachs disease. While the development is exciting to many as a possible mechanism to prevent or cure these deadly diseases, it also raises serious safety questions and ethical concerns.
The chief issue is that any changes to DNA could become a permanent part of the human genetic blueprint. “As long as that lineage exists, those changes are going to be propagated to their children, their children’s children, and so on,” Schadt said. “We don’t really understand enough of the genome to be making these types of changes.” If scientists were to make a mistake, they could introduce a new disease that could be passed down to future generations.READ MORE: San Bruno Police Searching For Suspects In Attempted Armed Robbery At Jewelry Store
In the report, which was published in the journal Protein & Cell, Huang tried to address such concerns, saying that his team’s research used only ‘non-viable’ embryos, which cannot result in a live birth, obtained from local fertility clinics. But this did little to silence critics.
Another fear is that this type of experimentation could lead to so-called “designer babies,” allowing parents to select traits for their children. “Beyond preventing and curing disease, it’s starting to change all sorts of physical characteristics, enhancing your memory, enhancing your intelligence,” Schadt said. Everything from hair and eye color to athletic ability could be on the table for potential modification. | https://sanfrancisco.cbslocal.com/2015/04/24/controversial-1st-scientists-edit-dna-in-human-embryo-raising-concerns-over-genome-changes/ |
Genetic testing refers to the in-depth study of a person’s DNA. The objective of these tests is to identify the existence of any genetic differences that may lead to susceptibility to diseases(Yashon 2018).
The utilitarian ethical theory offers a justification for the existence of genetic testing by employers on employees. Based on the utilitarian theory; the morality of an action is justified by calculating the burden/ benefit ratio. In effect, if an action leads to societal good; the harm caused by an individual for the overall good of society is excusable. In operation, the results of genetic testing offer individuals and society a chance to reorganize their lives and lifestyles based on the in-depth knowledge gathered from the genetic tests. More so, genetic tests offer an opportunity to educate family and society about any risks that arise out of their genetic differences.
Personal position
Genetic testing raises serious concerns especially in the fields of medicine, public health, and social policies. These issues arise out of the conflict that may exist with the provisions of law which seek to guarantee autonomy for all persons. The concept of autonomy encompasses the right of self-determination and self-rule. As such, the implementation of genetic tests should not infringe upon these inherent rights by maintaining strict confidentiality.
Employers should be allowed the opportunity to order genetic tests if only there is a guarantee that the results will not be used as a source of discrimination. The tests should not be mandatory and should be done at an employees request. It is of paramount importance that the results of these tests be treated with the highest level of confidentiality. Also, once the test results are out; each employee who voluntarily submitted to the test should be counselled on the results of the genetic tests.
In the event that the results determine airborne careers, an employers work decision is limited to taking reasonable caution to avert other employees from contracting airborne diseases. This can be achieved through testing for airborne diseases and giving an employee medical leave. Being a career should not be used as a basis to terminate an employees contract.
Our solid and well-experienced philosophy writing team provides a wide range of academic help including: | https://peachyessay.com/sample-essay/ethical-principle-genetic-testing/ |
In this short blog, Craig Callender*, who is a member of our Committee for Freedom and Responsibility in Science (CFRS), reacts to the recent report of the International Commission on the Clinical Use of Human Germline Genome Editing.
In November 2018 the world was stunned when He Jiankui announced the birth of twin babies who he had genetically engineered to be resistant to HIV. This announcement triggered a nearly universal condemnation of the procedure. The consensus opinion is that Professor He had violated important scientific and ethical norms. The procedure was not viewed as medically necessary and certainly not worth the risks to the children given our current knowledge and technology. While denouncing his actions, many groups also called for guidance in evaluating potential clinical applications of human germline genome editing.
In response, the U.S. National Academy of Medicine, the U.S. National Academy of Sciences, and the Royal Society of the U.K., in consultation with medical experts around the globe, formed the International Commission on the Clinical Use of Human Germline Genome Editing. Chaired by distinguished geneticists Kay E. Davies, Professor of Anatomy at the University of Oxford, and Richard P. Lifton, President of the Rockefeller University, the 18-member Commission deliberated for more than a year. In September 2020 their long-awaited report, Heritable Human Genome Editing (HHGE), was released.
National Academy of Medicine, National Academy of Sciences, and the Royal Society. 2020. Heritable Human Genome Editing. Washington, DC: The National Academies Press. https://doi.org/10.17226/25665.
Human germline editing is the process of modifying the genome of eggs, sperm or an embryo. Such modification can create a heritable genetic alteration, so it raises many significant issues. The prospect of designer babies, unequal access to this technology, and its impact on society have long raised ethical, religious and societal questions. Some have wondered whether other methods, such as preimplantation genetic testing, already satisfy the medical needs without engaging in HHGE. The report tries to bracket these questions as much as possible, leaving them to a forthcoming report by the World Health Organization (WHO). Instead, the report of the Commission focuses on delineating a safe staged pathway from research to clinical application in the event that a country decides to pursue HHGE.
In rich scientific detail the report describes a “responsible translational pathway” forward. It maps out six hierarchical levels of HHGE use. Each level demands increased rationale to be worth the associated risk, and the report details what is necessary to pass each threshold. The first level to consider in the near term, it says, are applications of HHGE to serious monogenic diseases such as cystic fibrosis, thalassemia, sickle cell anemia, and Tay-Sachs disease. The last level includes the controversial application HHGE to genetically enhance children, such as making them taller or resistant to disease.
The message is clear: safety issues alone preclude HHGE at the present time. Science is not yet ready to engage in even the first stage of HHGE applications. As Jennifer Doudna, a 2020 Nobel Prize winner in Chemistry, comments:
The HHGE report underscores what most researchers in this field are aware of and agree upon: There must not be any use of germline editing for clinical purposes at this time.Jennifer Doudna (The CRISPR Journal, October 2020)
Our knowledge and technology is insufficient in the near term to guarantee the safeguards we would normally expect of any clinical application. No moratorium on HHGE is advocated. But given the prominence and clarity of the report, no scientist working on HHGE can claim ignorance of the scientific norms and stages delineated by the Commission.
The pathway forward also suggests many national regulatory bodies and an International Scientific Advisory Panel to evaluate and update proposed uses of HHGE. These regulatory proposals now await the report by WHO.
For brief reactions to the report from fifty experts across a range of fields, see the October 2020 issue of The CRISPR Journal (Reactions to the National Academies/Royal Society Report on Heritable Human Genome Editing, The CRISPR Journal, 3,5).
*The views represented in this article are those of the author, and do not necessarily represent the views of the International Science Council or its Committee for Freedom and Responsibility in Science (CFRS).
Heading photo by National Cancer Institute on Unsplash: Three-Dimensional Landscape of Genome. | https://council.science/current/blog/international-commission-on-the-clinical-use-of-human-germline-genome-editing-releases-report/ |
Medical Ethics – Concern For Society and the Future of Medicine
Conflicting views in medical ethics.
Concern for society and the future of medicine.
At root is the conflict between the utilitarian view of human life and the ‘intrinsic value’ view (human life has intrinsic value from fertilisation to life’s natural end in all conditions of disability and dependency).
The utilitarian view is already ‘respectable’ and is dependent on the view of being human as being ‘self-aware’. It is rationalistic in its view of human life as a ‘commodity’ and relativistic in its view of sacrificing one life for the ‘greater good’ of another or the greater good of society.
Discarding of the intrinsic value view inevitably results in the following situations – each of which stand alone and require specific consideration but also inter-relate. Each of them has slippery slope ramifications. I am aware the list is ‘incomplete’ e.g. the issue of excess production of embryos for ART although this could be covered by item 6 below.
1. Creation of human life or ‘hybrid’ human life by techniques other than sperm-egg fusion and uterine implantation (ART or Assisted reproductive Technology): cloning techniques using human eggs or animal eggs; the use of animal wombs; artificial womb technology.
2. Creation of human life for destruction: for research, stem-cells, organ replacement – such destruction at the moment being arbitrarily limited to 14 days but with respectable voices calling for this to be later-stage embryos and even through to infancy or adult when required consistent with the view that they are only ‘cellular extensions’ and as that is their reason for being they are somehow of less value.
3. Creation of human life for specific purposes not necessarily involving destruction: designer babies to provide tissue matches (whether by IVF technology or by cloning), cloning for otherwise childless couples demanding their ‘right to parenthood’, cloning for special characteristics and purposes.
4. Discarding of human life by eugenic de-selection up to and including infanticide before the baby becomes self-aware – whether for reasons of diagnosed disability, or ‘imperfection’ (depending on view of society), or sex selection.
5. Discarding of human life when it is no longer ‘human’ – when it has lost self-awareness (or however ‘being human’ may subsequently be defined).
6. Discarding of human life when it becomes ‘useless’ or undesirable or a burden to self, others or society, whatever those definitions may mean to a particular society.
7. The view of human life as a commodity and the right to parenthood not just by heterosexual couples (for whatever reason) but by singles, homosexual ‘couples’, or by groups of people joining together for various purposes – the child thus produced (by any of above techniques) for various purposes that become too frightening to even imagine.
8. The commercialisation of human life (as a consequence of 7): embryos, babies, wombs, and gametes and the inevitable exploitation and abuse of females in particular that follows.
9. The direct threat to the future of medicine: that doctors must engage in the facilitation of any of the above – depending on the discipline of medicine in which they work – and that if they refuse then they should not be doctors. This has tremendous implications for medical training and will inevitably result in eliminating from specialties those that are most needed to keep that specialty at a high ethical level e.g. it will exclude all from obstetrics those with a high view of the intrinsic value of all human life – which will in turn have an effect on societal attitudes.
10. Bio-ethical economic rationalism then considers cost of disability to the community; the cost of keeping alive premature babies; cost of corrective surgery for the weak, dependent or disabled; the cost of institutionalised care; the cost of palliative care. Economic rationing necessitates examining these issues and the pressure is on to limit expense to areas that are seen to be less ‘productive’ for society. Parents who refuse eugenic de-selection for their babies are then (even now) labelled as being ‘genetic outlaws’ and the elderly, disabled and infirm are faced with the ‘duty to die’. Further implications for the doctor-patient relationship arise from the above e.g. whether the doctor is perceived as friend or foe in a particular instance or illness.
Is there any part of the above scenarios that is not foreseeable? It is now time for concerned doctors to establish an ethical framework based on moral absolutes that will be as relevant in the 22nd century as well as the 21st. It is time for concerned lawyers, concerned politicians, concerned educators to join in this.
Lachlan Dunjey. Feb 2007. | http://www.chooselifeaustralia.org.au/life/medical-ethics-concern-for-society-and-the-future-of-medicine/ |
If you are reading this, you have already taken the first step toward defending your case. Because every individual case is unique and fact-specific, it is first and foremost important to get legal advice from an Alberta criminal defence lawyer on what your next steps should be.
There are, however, a few general things you should do as soon as possible:
Document What Happened: Write down in detail, and preferably in chronological order, what happened on the relevant day(s) in question. There should typically be three main aspects to this:
- The circumstances leading up to the incident;
- What actually took place during the incident; and
- What has happened since the incident.
Ensure you use maps and diagrams where applicable and put a date on your notes.
Have Witnesses Document What Happened: Ask any witnesses who have any bearing on the case to write down what they saw from their perspective. This could include, for example, a friend who witnessed the event and can corroborate your version of events.
Keep a Journal: Keep an ongoing journal of any dealings associated with your case so you can update your lawyer. Like the original documentation of what happened, this will be most useful if documented in chronological order.
Store All Documents: It is important that you collect and maintain all documents issued to you by the police, the courts, or anyone else associated with your case. This could include, for example, the release documents you received at the police station.
Take and Store Relevant Photographs: Take pictures of anything relevant to the case, whether it is pictures of the scene, specific items, or yourself. For example, if you were involved in an altercation, and you are charged with assault, having documented photographs of your injuries may help to establish or support your claim that you were acting in self-defence.
Collect Personal Information/Documents: Start thinking about collecting information and documentation that casts you in a positive light. This could include any accomplishments in school, work, and your community.
Although at first this list may seem overwhelming, remember that collecting this information will help you. A lot of the stress that comes from being charged with a criminal offence is from putting off the steps outlined on this page. You can relieve much of this stress by doing the initial groundwork, and by retaining a competent lawyer to help you through the process.
What Can a Criminal Defence Lawyer Do to Help?
Having compiled the relevant information, your lawyer will be able to better assist you, as they will have a more thorough understanding of your side of the story. This allows them to fully canvass possible defences and strategies.
Once you retain one of our dedicated Alberta criminal defence lawyers, we will attend court on your behalf, and will deal with the judge, Crown Prosecutor, and police as required. It is important to note that the first court date is generally a procedural appearance. That is, nothing substantive happens that day. There may be several such appearances. We will attend as many as necessary to obtain and assess all the relevant information before taking the next step.
Importantly, we will obtain the police information (disclosure) package which outlines the case and evidence against you. We will review the information and discuss the case with you, and the Crown Prosecutor. From there, we will determine what to do next. One of the immediate benefits of having us as your lawyers is that you will not have to go to court or do anything further until we inform you otherwise. This can be a huge stress reliever while navigating the criminal justice system.
While we are attending proceedings for you and considering the best next steps for your case, it is critical that we always have your most current contact information. We cannot stress enough the importance of having clear lines of communication. Always contact our office to advise us of changes of your address, email, or phone number. If you plan to take any extended trips which may make communication difficult, please let us know well in advance.
Court Process Stages
Navigating the criminal justice system can be scary and confusing. We have done our best to break down the various key components involved in the process. Please see the pages listed below for more information on the various stages involved in the criminal justice system process:
- Pre-Charge Legal Advice
- Bail Hearing
- Election and Plea
- Resolutions
- Trial
- Sentence
- Appeal Process
What’s Next?
If you have been charged with a criminal offence, please contact our closest Alberta office (Edmonton or Calgary) as soon as possible. The earlier you can contact us and provide us with the relevant information pertaining to your case, the sooner we can begin canvassing our options to arrive at the best possible solution for you.
Client Reviews
Danielle was incredibly professional and effective in the defense of my case. But more than that, she really listened and tried to help me personally. She was kind, honest and open when it came to my specific situation. I appreciate her sense of humanity. It wasn’t just a paycheck. She made me feel like I’m worth it and my life is worth it. Thank you for caring and for putting in the effort Danielle!! I couldn’t have done this on my own.
I found myself charged with crimes I couldn’t understand. Danielle heard of my predicament and offered to take the case with a payment arrangement that I could manage. Her friendly professionalism helped ease my nerves and her confidence that she could help put this matter behind me was unshakeable. The end result was I still have a clean record and faith that there is help available for those who need it.
Danielle Boisvert was my lawyer and I appreciate her professionalism and speedy responses. Danielle made me feel very comfortable throughout the whole process and gave me the confidence that things would be taken care of. In no time at all Danielle told me the good news that she had successfully withdrawn my charges. Please contact Danielle Boisvert if you are facing criminal charges, you will not be disappointed!
Anny Wang was my defence attorney. I had never been in trouble with the law before but I found myself facing criminal charges. I had no idea what to do or what was going on. She took the time to explain everything to me and made time to answer my many questions. I took her advice at every turn and made me feel a lot better about going to trial. I felt prepared and knew what to expect. She got all the charges dropped just like she had predicted. She did an amazing job in court and out. I highly recommend Anny Wang to anyone facing criminal charges and needing legal counsel. Thanks again Anny Wang for everything you did!
Amazing service, professional and couldn’t ask for better results. Anny Wang was very clear about the process and thoroughly explained it. Was able to have my charges withdrawn, again amazing. Highly recommend Anny to anyone facing a criminal charge as she’s great to have in your corner when entering the court system for your first time. Thank you again Anny Wang! | https://www.oykhmancriminaldefence.com/edmonton/court-process/ |
1.1 These General Terms and Conditions for Travelers (hereinafter as „GTCT“) regulate mutual rights and obligations between a limited liability company Nuatri s.r.o., with its seat at A. Jiráska 39, 984 01 Lučenec, the Slovak Republic, Identification No.: 51 280 779, registered with the Commercial Registry of the District Court Banská Bystrica, Section: Sro, File No.: 33376/S and users of its portal www.locals4friends.com registered as travelers, related to the services provided by the Operator.
1.2 Traveler´s acceptance of these GTCT shall be understood as his/her full understanding and acceptance of its content, and as his/her full approval of rights and obligations defined in the GTCT. In case of any discrepancy between these GTCT and the Description of Services Provided for Travelers, the provisions of the Description for Travelers shall prevail.
1.3 GTCT are valid and effective for the individual legal relation between the Operator and Traveler as of the day when such legal relation originates. The Operator may at any time amend the GTCT and such amendment becomes valid and effective towards the Traveler as of the day when it is published in the Traveler´s account on Website.
Act – means the act No. 102/2014 Coll. on the protection of consumers in sale of goods or provision of services under distance contracts or contracts executed outside of the business premises of the seller as amended.
Complaints Resolution – means a document called Complaints Resolution that governs the rights and obligations of the Operator and the Traveler connected to the complaints (damage claims) resolution in accordance with the Act, and also with the act No. 250/2007 Coll. on Consumer Protection as amended, and also with the act No. 40/1964 Coll. Civil Code, which is incorporated in this GTCT.
Description for Locals – means a separate document called Description of Services Provided to Locals that contains a description of services provided by the Operator to the Locals and that represents additional terms and conditions of the contract between the Operator and the Local.
Description for Travelers – means a separate document called Description of Services Provided to Travelers that contains a description of services provided by the Operator to the Travelers and that represents a contractual arrangement between the Traveler and the Operator to Section 51 of act No. 40/1964 Coll. Civil Code as amended and Section 2 and Coll. of the Act.
Electronic means – means electronic means used for a transfer of information or for performance of other activities and operations, including Internet, mobile phone, personal computer or any other electronic device.
Local – means a natural person of at least 18 years of age, registered on the Portal upon additional registration as a Local for the purpose of publishing Offers to Travelers.
Operator – means a limited liability company Nuatri s.r.o., with its seat at A. Jiráska 39, 984 01 Lučenec, the Slovak Republic, Identification No. 51 280 779, registered with the Commercial Registry of the District Court Banská Bystrica, Section: Sro, File No.: 33376/S as an operator of the Portal.
Pre-contractual and information obligations – means information provided by the Operator to the interested persons (potential clients) pursuant to the Section 3 and 4 of the Act.
Portal – means a website www.locals4friends.com operated by the Operator.
Provider – means a natural person – entrepreneur or a legal entity that publishes its business offer(s) on the Portal on the grounds of a separate Agency Contract concluded with the Operator.
Traveler – means natural person at least 16 years old, registered on the Portal upon registration via registration form or via Facebook account, who is interested in services provided by the Operator to travelers on the Portal.
Traveler´s account – means a Traveler´s personal account on the Portal that is also understood as a permanent data carrier serving for the delivery, signing and storing of data and documents relating to the contractual relationships between the Operator and Traveler; should the Traveler apply for a status of a Local, this Traveler´s account serves also as the Local´s account.
2.2 The terms defined in Article 2.1 are used solely for the purposes of clarity of the Contractual documents. The content of the provisions is decisive for determining the rights and obligations of the parties.
b) The Traveler may at any time (prior to the registration or after the registration) contact the Operator via this e-mail address: [email protected], and demand further explanation in respect to the provided services and/or Contractual documents.
c) The Traveler shall get acquainted with the Contractual documents prior to his/her registration, while the Traveler himself/herself determines the time-period for such study of the Contractual documents. The registration itself shall be executed by the Operator only after the Traveler confirms that she is aware of the content of these GTCT and agrees with it.
b) In accordance with Section 4 par. 6 of the Act, completion of the registration process by the Operator is deemed to be the moment when the Operator begins to provide its services to the Traveler on the Portal and the Traveler expressly agrees that the services are provided before the lapse of withdrawal period pursuant to the Act. The Traveler may not withdraw from the legal relationship with the Operator in the form of withdrawal from the moment when the registration process is completed. The relevant provisions of Article IX. of these GTCT on deregistration are not affected by this provision.
4.1 Any customer interested in services provided on the Portal may ask the Operator to complete his/her registration and the Operator shall provide such registration under terms and conditions as defined herein. The customer may apply for registration either by submission of a registration form available on the Portal, or via his/her Facebook account.
4.2 The obligatory information included in the registration form are the following: name and surname, gender, e-mail address, state of residence and password used for Traveler´s account. The registration form also includes customer´s confirmation that he/she is at least 16 years old.
e) Approval of the GTCT.
4.4 The information provided by the customer in the registration form must be correct and true; the customer is liable for the content of the provided information.
4.5 The Operator is not obliged to check the validity and correctness of data provided by the customer in the registration form. The Operator shall confirm the completion of the registration by sending a confirmation e-mail.
5.1 The Traveler´s account is accessible to the Traveler and the Operator on the Portal. The Traveler is not limited in his/her use of the Traveler´s account by any special technical requirements.
5.2 The Traveler´s account is accessible to the Traveler without any time limitations. The Traveler shall log in the Traveler´s account on the Portal by entering his/her e-mail address and password provided in the registration form. The password generated by the Operator may be changed by the Traveler at any time in the Traveler´s account.
5.3 Forgotten password of the Traveler may be substituted by a new password provided by the Operator via the option „Forgot your password? “. After providing the e-mail address identical with the registered e-mail address, the Operator shall generate and e-mail a new password to the Traveler´s e-mail address.
d) An instrument for submission of an additional registration form in order to become a Local.
5.5 The Traveler´s account is an instrument for an amendment of Traveler´s registration information and for a change of password. The Traveler is liable for the validity and correctness of the provided (amended) data.
d) Providing a communication channel between Travelers on one side and Locals or Providers on the other side.
6.2 The Traveler has full access to the services provided by the Operator upon log-in to the Traveler´s account.
6.3 In case the Traveler is interested in a certain offer of Local or Provider, he/she may initiate the communication channel provided by the Operator by using a tool „CONNECT“. The Operator shall thereafter initiate such communication channel with the selected Local (Provider). However, the addressed Local or Provider are thereafter liable for any communication and the Operator does not participate in their communication. The communication channel provided by the Operator is not limited in time.
6.4 The communication channel between the Traveler and the Local or Provider is deemed to be provided as of the moment when a channel is opened and ready for messaging. The Operator does not guarantee neither Local´s nor Provider´s response time.
6.6 The Operator is not liable for conclusion and/or execution of any contract or agreement between the Traveler and Local or Provider.
7.1 While communicating with the Operator, the Local or the Provider, the Traveler is obliged to act in good manners, namely he/she is obliged to refrain from abusive, insulting, vulgar, abusive, discriminating, non-ethical or in other way inappropriate statements.
7.2 The Traveler is obliged to update his/her personal and contact information provided in the Traveler´s account without any delay.
8.1 In accordance with Section 18 par. 1 of the act No. 250/2007 Coll. on Customer Protection as amended, the Operator hereby duly informs the Traveler as a customer on terms and conditions of complaints resolution and on the manner in which the Traveler may file his/her claim or raise his/her objections rising from the liability of the Operator for provided services, and on the location, where such claim can be filed.
8.3 A file or a petition of the Traveler or any third person, which contains a request to obtain (additional) information on services provided by the Operator on the Portal, is not considered as a complaint.
8.4 Complaint must be filed without undue delay, so that the proper steps may be taken by the Operator.
e) Date and signature of the claimant in case the complaint is delivered to the Operator personally or via mail in written form.
c) Electronically via the Traveler´s account.
8.7 In case that the complaint does not contain all information as required in these GTCT and in valid legal regulations, or if it does not include evidence or information necessary for its examination, the Operator shall ask the Traveler in written or by Electronic means to provide such additional information or evidence in additional period of minimally 10 days. The Operator shall also inform the Traveler that failure to provide the requested information or evidence in the additionally provided period, such complaint may not be examined and the proceeding will be stopped.
8.8 The Operator shall stop the proceeding if the complaint does not include all necessary information and evidence as regulated by the valid legal regulations and these GTCT and such information and evidence is not provided to the Operator upon its request pursuant to the Article 8.7 above. The Operator shall stop the proceeding also in case that the complaint is submitted by an unauthorized person.
8.9 The Operator shall accept the complaint upon due reasons. Such acceptance of complaint shall include the information on the steps to be taken in order to remedy existing negative effects and to prevent future negative effects. The complaint proceeding may be passed by providing a new service or a substitutional service.
8.10 The Operator shall dismiss the complaint if such complaint is unjustified or unreasonable. The Operator is obliged to provide reasons for such a dismissal of a complaint.
8.11 The Operator is obliged to confirm the receipt of the complaint to the claimant. In case the complaint is submitted by Electronic means, the Operator is obliged to immediately send the receipt thereof. If such receipt may not be delivered to the complainant immediately, it must be delivered to the complainant no later than together with the information about the result of the complaint proceeding. The confirmation on the receipt of a complaint may not be issued in case that the complainant may prove submission of the complaint by other means.
8.12 The Operator is obliged to provide written evidence on result of the complaint proceeding no later than 30 days from the day when it was filed by the claimant.
8.13 The Operator is obliged to choose how to proceed with the complaint and to complete the complaint proceeding without undue delay. The complaint proceeding may not take more than 30 days from the day when the complaint was filed. In case the Operator fails to complete the complaint proceeding in 30-days period, the complainant may withdraw from the contract.
8.14 Period for completion of the complaint proceeding starts to run from the day when the complaint is duly filed, i.e. when it contains all obligatory information and evidence.
8.15 The Operator is obliged to keep the record of the complaints and provide such record to the state authorities upon request. Such record on complaints must include information on the date of filing a complaint, the date and the resolution of the complaint and a tracking number for each complaint.
8.16 This Complain Resolution becomes valid and effective as of the day when these GTCT become valid and effective.
8.17 Since the Operator´s services are provided under distance contracts, the customer may object to the complaint proceeding by e-mail (e-mail address: [email protected]). If the Operator fails to reply to such objection within 30 days period or if such reply of the Operator is not satisfactory for the Traveler, the customer may initiate an alternative dispute resolution proceeding pursuant to the act No. 391/2015 Coll. on an alternative dispute resolution as amended. Such alternative dispute resolution may be held at bodies and authorized legal persons defined in Section 3 of the act No. 391/2015 Coll.. Application may be submitted by the customer in accordance with Section 12 of the act No. 391/2015 Coll.. The customer may initiate this alternative dispute resolution proceeding also via website http://ec.europa.eu/consumers/odr/.
8.18 Alternative dispute resolution is applicable only for disputes arising from relationship between the Operator and the Traveler as a customer and related disputes. However, disputes included in Section 1 par. 4 of the act No. 391/2015 Coll. and the disputes, value of which is not higher than EUR 20, may not be processed in an alternative system of dispute resolution. Z. z. A petition is filed in accordance with Section 3 of the act No. 391/2015 Coll. on above-mentioned website or on a form, specimen of which is attached to the act No. 391/2015 Coll.. Authorized bodies for the alternative dispute resolution may require an administrative fee up to EUR 5,- incl. VAT. If more than one body of the alternative dispute resolution are competent, the customer may decide on the addressee of the application. The customer may also initiate a judicial proceeding on the competent general court.
9.1 The contractual relationship for an indefinite period of time is deemed to be effective at the moment of registration of the customer, as the Traveler, by the Operator.
9.2 The Traveler may, even without reason, terminate his/her registration on the Portal and his/her Traveler´s account. Such termination is performed by using a tool „CANCEL ACCOUNT“. The Operator shall thereafter inform the Traveler by sending an e-mail that will contain a confirmation of Account cancellation. Such notification shall always include information that the Traveler may ask for electronic copy of the Contractual documents in an e-mail reply to such notification.
d) The Operator becomes aware of the fact that the Traveler is younger than 16 years old.
9.4 The Operator is obliged to notify the Traveler about the registration cancellation pursuant to the Article 9.3 above by e-mail without undue delay. Such notification shall always include the information that the Traveler may ask for an electronic copy of the Contractual Documents in an e-mail reply to such notification.
10.1 The communication between the Operator and the Traveler executed in accordance with these GTCT takes place by Electronic means, and as such it is considered to be executed in a written form.
10.2 Notifications and any other correspondence shall be delivered to the other party upon log-in of the Traveler in his/her Traveler´s account, via e-mails and/or in written on the communicated mailing address of the Operator. A mail sent via Electronic means is deemed to be delivered on the calendar day following the day of its dispatch. Notifications and other correspondence delivered within the Traveler´s account are deemed to be delivered on the calendar day following the day when it was published in the Traveler´s account. The Traveler explicitly agrees that the Operator´s notifications and the information may be delivered also via automatic means of electronic communication.
10.3 The contractual relationship between the Operator and the Traveler is governed by the legal regulations of the Slovak Republic, mostly by the Civil Code, Act No. 102/2014 Coll. and these GTCT.
10.4 Any and all communication exchanged between the Operator and the Traveler shall be in an English language unless the Traveler starts the communication in the Slovak language; the Contractual documents are also available in the Slovak language on the Portal.
10.5 The disputes arising from the contractual relationship between the Operator and the Traveler shall be settled by an agreement. Should the negotiations between the parties fail, the Traveler may initiate an alternative dispute resolution proceeding in accordance with the Article VIII. of these GTCT. Should such alternative dispute resolution proceeding fail, mutual claims shall be validly and effectively settled by the competent Slovak court and under the valid and effective Slovak law.
10.6 These GTCT is valid and effective as of May 25th, 2018. | http://en.locals4friends.com/terms-and-conditions |
If you’ve been in an accident, you may be entitled to receive compensation for your medical bills, lost wages, and other damages. However, it is vital to keep in mind that the process of making a personal injury claim can be complex.
To ensure the best outcome for your case, it is crucial to avoid common mistakes that can derail your claim. Let’s take a look at four of these common mistakes and how you can avoid them.
1. Failing to Document Your Injuries
If you have been injured in an accident, your first step should be seeking medical attention. It is imperative to get evaluated by a doctor as soon as possible after an accident, even if your injuries initially seem minor. You may have underlying injuries that are not immediately apparent, so it is best to get checked out immediately.
Some injuries are slow-developing and may not become evident until weeks or months after an accident occurs, so getting checked out by a doctor as soon as possible is essential.
Seeking medical care right away will help strengthen your case by establishing that the injury was caused during the accident and not some other incident between then and when you file your claim.
Additionally, seeking medical attention will help strengthen your personal injury case if it goes to court. After an accident, it’s essential to document your injuries as thoroughly as possible.
This includes saving all medical documentation related to your treatment. Additionally, keep records of any costs associated with the accident, such as lost wages from missed work due to recovery time or transportation expenses related to doctor visits.
Once you have received medical attention for any injuries sustained in an accident, you must follow through with all recommended treatments, such as physical therapy or medication prescribed by your doctor. Not doing so can weaken your case and make it more difficult to receive compensation for your losses or damages.
2. Waiting Too Long to File Your Claim
Every state has a statute of limitations for filing personal injury claims, so you should act quickly after an accident. If you wait too long, you may miss out on the opportunity for compensation altogether.
The personal injury statute of limitations in the US ranges from one year (Kentucky, Louisiana, and Tennessee) to six years (Maine and North Dakota), but most give you two years from the date of your accident to pursue legal action.
However, just because you may have several years to file a claim doesn’t mean you should wait. Promptly filing a claim allows you to collect evidence that has not yet degraded due to time or weather conditions.
It is vital to gather evidence immediately following an accident to build your case and support any claims against another party. This includes taking photos of the accident scene and gathering information from witnesses or other involved parties, such as names and contact information, driver’s license numbers, and insurance information.
The more supporting evidence there is for your claim, the more likely it will be successful in court.
In addition, not having enough time can make it more difficult for attorneys and insurance companies to review facts related to your case to present you with fair compensation.
3. Not Seeking Legal Representation
According to the Bureau of Justice Statistics, about 3 to 4% of personal injury cases go to trial. One mistake many people make when filing a personal injury claim is trying to do so without professional help from a lawyer specializing in this area of law practice.
An experienced personal injury lawyer will be able to provide valuable insight on how much money could be awarded as compensation and represent clients during settlement negotiations with insurance companies or court hearings should they arise.
A lawyer will also help ensure that all evidence is collected correctly from the other party’s legal team, insurer, and any witnesses to the accident. They will present your case in court accurately, which is critical for ensuring the success of your claim.
Witnesses can play an essential role in helping victims receive fair compensation for their injuries by providing firsthand accounts of what happened leading up to an accident or injury. So, if there were witnesses present at the time of your accident or injury — make sure they are included in your personal injury claim paperwork so that their testimonies may be taken into consideration during settlement negotiations.
4. Accepting a Low Settlement Offer
It’s common for insurance companies to offer low initial settlement amounts to save themselves money and avoid going through a lengthy trial process. However, these offers are often inadequate and fail to cover all the damages incurred by the injured party.
That’s why having legal representation is so important; an experienced attorney will know how much your case is worth and fight aggressively on your behalf until you receive fair compensation for your injuries.
When claiming against another party’s insurance company after an accident, many people make incorrect assumptions about their settlement amount based on what they perceive their losses or damages were worth, financially speaking.
You must seek legal advice from a lawyer who specializes in personal injury cases before making any assumptions about what you believe your settlement amount should be so that you can ensure that all of your losses are covered in full by the insurance company.
Be Prepared
Filing a personal injury claim can be overwhelming and stressful. By avoiding these common mistakes when filing a personal injury claim, victims increase their chances of receiving fair compensation for their losses while protecting their legal rights throughout every step of the process.
Making a successful personal injury claim requires knowledge of relevant laws and regulations and understanding all available options when seeking maximum reimbursement for damages sustained due to another party’s negligence or recklessness.
If you have been injured due to another person’s negligence or recklessness, contact an experienced lawyer today who specializes in personal injury law. They can help ensure that justice is served and maximum reimbursement obtained for any damages sustained due to another party’s actions. | https://justicesnows.com/common-personal-injury-claim-mistakes/ |
Local Government, Public Sector
Our client’s in South West London are recruiting Project Lawyer – To provide high quality and comprehensive legal service on all aspects of law. To support the Senior & Principal Lawyers in ensuring that the Council receives cost effective high quality information governance and data protection legal advice, and in providing an advisory, litigation and advocacy service. To ensure that all such work is carried out to the requirements of relevant clients and to appropriate professional standards.
Qualification – Essential
Degree and practising solicitor or barrister
Two years post qualification experience in the legal profession
Skills, Abilities & Experience – Essential
Excellent communication skills at all levels ability to explain the law simply and concisely
Capacity to work in a team and partnership with various stakeholders and professional advisors and maintain good client relations.
Experience in and undertake all work including, inter alia, the settling of pleadings, preparation for hearings, provision of advice and representation of the Council in all courts, Tribunals and Inquiries as required by the Senior Lawyer, to the appropriate professional standards
Experience of preparing, drafting, negotiating and completing legal documents
Ability to deal sensitively with confidential matters.
Knowledge of advising clients and meeting deadlines and time recording.
Knowledge of Local Government and administrative law
Ability to draft all necessary contracts and other documents and to provide concise and clear written and oral legal advice to officers including chief officers and Members.
Capable of undertaking legal research where necessary and in particular in respect of new legislation.
Competent to work effectively with other colleagues and team members in respect of complex work or projects, including the provision of training on legal issues to internal and external persons or agencies.
Able to utilise the legal case management system and assist in the implementation of any new information technology or other systems that may be necessary for the efficient working of the team/department.
Able to prepare reports for and attending committees, working parties and other meetings where legal advice is required.
Good working knowledge and application of legal case management systems
Enhanced/Standard DBS Disclosure within the last 12 months – Essential
Understanding and commitment to the Equal Opportunities policy
Must be able to provide references covering the last 3 years
Diamond Blaque is an Equal Opportunities employer
Diamond Blaque is acting as an Employment Business for this vacancy
Ref: DBR03778
Job Title: Project Lawyer
Salary: £24.00 – Per Hour PAYE
Location: South West London
Hours: 35.00 hours per week
Duration: Min 6 Months
To apply for this job email your details to [email protected]. | https://dev.diamondblaquee.com/job/dbr03778-project-lawyer/ |
In August 2011, after we framed the QIC Best Practice Model, the ABA House of Delegates passed 2011 ABA Model Act. The QIC Best Practice Model is consistent with the recommendations of the ABA 2011 Model Act and, in many respects, could serve as a companion piece to the ABA effort. While the ABA Model Act lays out the key legal framework for child representation that might appear in state statutes or court rules, the QIC-ChildRep focuses on clinical knowledge and practice skills necessary to implement such a law.
PART ONE
DEFINITIONS:
Child’s Representative means the individual or office charged with providing legal services for a child who is the subject of judicial child welfare proceedings. The child’s representative (CR) is to ensure that the child’s interests are identified and presented to the court. The duties of the CR are as presented below. Although the CR will be providing legal representation to the child, the CR functions may be fulfilled by a team of multidisciplinary professionals, including a lawyer plus social workers, paralegals and/or lay advocates.
1. GENERAL DUTIES OF THE CHILD’S LEGAL REPRESENTATIVE
1. Appointment: The child’s representative should be appointed and begin service prior to the first judicial proceeding. The ideal arrangement would be for the CR to be appointed sufficiently in advance of the first hearing so as to provide time for some preliminary investigation and exploration of options to protect the child with minimum disruption of the child’s world. The CR should serve until the court’s child welfare authority over the child ends, including through appeals.
2. Child’s Interests: The CR shall serve as the independent representative for the child as determined by state law. Whether the lawyer takes his or her direction from the child or makes a best interest judgment as to what the goals of the litigation should be, once the goals are determined the lawyer is expected to aggressively fulfill the duties and obligations set forth here.
Although the majority of state laws adopt a ‘best interests” or dual role for their child representative, some states have moved to a client directed representation for older children and best interests or substituted judgment for younger children. The QIC-ChildRep is interested in studying what difference, if any, different ways of accommodating the child’s wishes makes as to case processing or case outcomes.
3. Basic Obligations: The CR should:
a) Obtain copies of all pleadings and relevant notices;
b) Participate in depositions, negotiations, discovery, pretrial conferences, and hearings;
c) Inform other parties and their representatives that he or she is representing the child and expects reasonable notification prior to case conferences, changes of placement, and other changes of circumstances affecting the child and the child’s family;
d) Participate fully in all placement decisions; seek to disrupt the child's world as little as possible; "remove the danger, not the child"; assure that all placement decisions are made with care and deliberation; when placement is necessary help identify placement alternatives
e) Attempt to reduce case delays and ensure that the court recognizes the need to speedily promote permanency for the child;
f) Counsel the child concerning the subject matter of the litigation, the child’s rights, the court system, the proceedings, the lawyer’s role, and what to expect in the legal process;
g) Develop a theory and strategy of the case to implement at hearings, including factual and legal issues; and
h) Identify appropriate family and professional resources for the child
4. Conflict Situations: The court may appoint one lawyer to represent siblings so long as there is no conflict of interest.
5. Determining Decision-making Capacity: The CR should be vigilant and thoughtful about maximizing the child client’s participation in determining the positions to be taken in the case. Even a lawyer acting in the role of a best interest attorney or guardian ad litem should allow the child to participate in the decision-making process to the extent that the child is able to do so. The functional capacity to direct representation or contribute to positions taken exists on a continuum, even for adults. ("...[T]he lawyer shall, as far as reasonably possible, maintain a normal client-lawyer relationship with the client." ABA Model Rules of Prof Resp, 1.14) The CR should consider whether the child client has sufficient capacity to make a decision or to have significant input with respect to a particular issue at a particular time.
6. Client Preferences: When it comes to accommodating a child’s wishes and preferences, perhaps the best an attorney can do is to really listen to the child, understand what is important from the child’s perspective and how decisions will impact on the child's experience of his or her life, and act with humility when considering taking a position which significantly differs from the child’s expressed wishes. (See Duquette and Haralambie, “Representing Children and Youth”, in CHILD WELFARE LAW AND PRACTICE, 2d Edition, (2010), Duquette and Haralambie, Editors.) The CR must understand “how this client speaks, how this client sees the world, what this client values, and what shows this client respect.” (Jean Koh Peters, Representing Children in Child Protective Proceedings: Ethical and Practical Dimensions p. 258 (1997))
2. OUT OF COURT: ACTIONS TO BE TAKEN
1. Meet With Child. Establishing and maintaining a relationship with a child is the foundation of representation. Therefore, irrespective of the child's age, the child's representative should visit with the child prior to court hearings and when apprised of emergencies or significant events impacting on the child. Building a trusting relationship with the child is essential to successful representation. The CR can establish an appropriate tone with questions like “How can I help you? How can I be of service to you?” The child is the client and the lawyer should aggressively seek to meet the needs and interests of the child, just as the lawyer would for an adult or corporate client.
2. Investigate. To support the client's position, the child's representative should conduct thorough, continuing, and independent investigations and discovery that may include, but should not be limited to:
a) Reviewing the child's social services, psychiatric, psychological, drug and alcohol, medical, law enforcement, school, and other records relevant to the case;
b) Reviewing the court files of the child and siblings, case-related records of the social service agency and other service providers;
c) Contacting lawyers for other parties and non-lawyer guardians ad litem or court-appointed special advocates (CASA) for background information;
d) Contacting and meeting with the parents/legal guardians/caretakers of the child, with permission of their lawyer;
e) Assist in identifying relatives from maternal and paternal sides of the family who might provide emotional and other support to the child and family or become a caretaker for the child.
f) Obtaining necessary authorizations for the release of information
g) Interviewing individuals involved with the child, including school personnel, child welfare case workers, foster parents and other caretakers, neighbors, relatives, school personnel, coaches, clergy, mental health professionals, physicians, law enforcement officers, and other potential witnesses.
h) Reviewing relevant photographs, video or audio tapes and other evidence; and
i) Attending treatment, placement administrative hearings, and other proceedings involving legal issues, and school case conferences or staffing concerning the child as needed.
3. Advice and Counseling: The CR and child client should work together to set the goals of the representation. Representing children involves more than investigation and advocacy. All attorneys have the duty to help a client understand their legal rights and obligations and identify the practical options. This is no less true for a child client. State law and the child’s age and maturity will govern to what extent the CR accommodates the child’s wishes in setting the goals of the advocacy. But in any event and consistent with the child’s level of maturity and understanding, the child’s representative will discuss the total circumstances with the child, strive to understand the child’s world and perspective, assist the child in understanding the situation and the options available to him/her, and counsel the child as to the positions to be taken. The CR should advise the client as to the jurisdiction's rules -- and limitations, if any -- governing attorney-client privilege and confidentiality.
4. File Pleadings. The child's representative should file petitions, motions, responses or objections as necessary to represent the child. Relief requested may include, but is not limited to:
a) A mental or physical examination of a party or the child;
b) A parenting, custody or visitation evaluation;
c) An increase, decrease, or termination of contact or visitation;
d) Restraining or enjoining a change of placement;
e) Contempt for non-compliance with a court order;
f) Termination of the parent-child relationship;
g) Child support;
h) A protective order concerning the child's privileged communications or tangible or intangible property;
i) Requesting services for child or family; and
j) Dismissal of petitions or motions.
5. Request Services. The child's representative should seek appropriate services (by court order if necessary) to access entitlements, to protect the child's interests and to implement a service plan. These services may include, but not be limited to:
a) Family preservation-related prevention or reunification services;
b) Sibling and family visitation;
c) Child support;
d) Domestic violence prevention, intervention, and treatment;
e) Medical and mental health care;
f) Drug and alcohol treatment;
g) Parenting education;
h) Semi-independent and independent living services;
i) Long-term foster care;
j) Termination of parental rights action;
k) Adoption services;
l) Education;
m) Recreation or social services;
n) Housing;
o) Appropriate discharge plan, including services to assist the youth aging out of foster care.
a) Special education and related services;
b) Supplemental security income (SSI) to help support needed services;
c) Therapeutic foster or group home care; and
d) Residential in-patient and out-patient psychiatric treatment.
7. Adopt a Problem-solving Approach. The child's representative should continually search for appropriate non-adversarial resolution of the case that protects the child and meets the child’s needs. The CR should adopt a problem-solving attitude and seek cooperative resolution of the case whenever possible. The CR should also initiate and participate in settlement negotiations to seek expeditious resolution of the case, keeping in mind the effect of continuances and delays on the child. The child's representative should use suitable mediation and family conferencing resources.
3. IN-COURT: ACTIVE PARTICIPATION IN HEARINGS
1. Court Appearances. The child's representative should attend all hearings and participate in all telephone or other conferences with the court unless a particular hearing involves issues completely unrelated to the child.
2. Client Explanation. The child's representative should explain to the client, in a developmentally appropriate manner, what is expected to happen before, during and after each hearing.
3. Motions and Objections. The child's representative should make appropriate motions, including motions in limine and evidentiary objections, to advance the child's position at trial or during other hearings. If necessary, the child's representative should file briefs in support of evidentiary issues. Further, during all hearings, the child's representative should preserve legal issues for appeal, as appropriate.
4. Presentation of Evidence. The child's representative should present and cross examine witnesses, offer exhibits, and provide independent evidence as necessary.
5. Child at Hearing. In most circumstances, the child should be present at significant court hearings, regardless of whether the child will testify.
6. Expanded Scope of Representation. The child's representative may request authority from the court to pursue issues on behalf of the child, administratively or judicially, even if those issues do not specifically arise from the court appointment. For example:
a) Child support;
b) Delinquency or status offender matters;
c) SSI and other public benefits;
d) Custody;
e) Guardianship;
f) Paternity;
g) Personal injury;
h) School/education issues, especially for a child with disabilities;
i) Mental health proceedings;
j) Termination of parental rights; and
k) Adoption.
7. Obligations After Disposition: The child's representative should seek to ensure continued representation of the child during the pendency of the court’s jurisdiction over the child.
4. POST-HEARING
1. Review of Court's Order. The child's attorney should review all written orders to ensure that they conform with the court's verbal orders and statutorily required findings and notices.
2. Communicate Order to Child. The child's attorney should discuss the order and its consequences with the child.
3. Implementation. The child's attorney should monitor the implementation of the court's orders and communicate to the responsible agency and, if necessary, the court, any non-compliance.
5. APPELLATE ADVOCACY
1. Decision to Appeal. The child's attorney should consider and discuss with the child, as developmentally appropriate, the possibility of an appeal. If after such consultation, the child wishes to appeal the order, and the appeal has merit, the lawyer should take all steps necessary to perfect the appeal and seek appropriate temporary orders or extraordinary writs necessary to protect the interests of the child while the appeal is pending.
2. Withdrawal If the child's attorney determines that an appeal would be frivolous or that he or she lacks the necessary experience or expertise to handle the appeal, the lawyer should notify the court and seek to be discharged or replaced.
3. Participation in Appeal. The child's attorney should participate in an appeal filed by another party unless discharged.
4. Conclusion of Appeal. When the decision is received, the child's attorney should explain the outcome of the case to the child.
6. CESSATION OF REPRESENTATION
1. The child's attorney should represent the child to the end of the court’s jurisdiction and then discuss the ending of the legal representation and determine what contacts, if any, the child's attorney and the child will continue to have.
PART TWO
Organizational and administrative supports for the child representative
7. GENERAL REPRESENTATION RULES
1. Administrative structure is clear for appointment, support and accountability of the CR.
2. The child’s representative should be independent from the court, court services, the parties and the state. The CR should retain full authority for independent action.
8. LAWYER TRAINING
1. The court or administrative agency providing child representation should assure that each CR, whether a private practitioner or a part of a child welfare law office, be qualified by training or experience to fulfill the duties of the role.
2. The court or administrative agency providing child representation should provide on-going training programs on the role of a child’s representative. Training programs should prepare the lawyer just beginning work in child welfare, provide continuing training, and encourage certification of experienced lawyers as specialists in the child welfare field.
3. Training should include:
a) Information about relevant federal and state laws and agency regulations;
b) Information about relevant court decisions and court rules;
c) Overview of the court process and key personnel in child-related litigation;
d) Description of applicable guidelines and standards for representation;
e) Focus on child development, needs, and abilities;
f) Information on the multidisciplinary input required in child-related cases, including information on local experts who can provide consultation and testimony on the reasonableness and appropriateness of efforts made to safely maintain the child in his or her home;
g) Information concerning family dynamics and dysfunction including substance abuse, and the use of kinship care;
h) Information on accessible child welfare, family preservation, medical, educational, and mental health resources for child clients and their families, including placement, evaluation/diagnostic, and treatment services; the structure of agencies providing such services as well as provisions and constraints related to agency payment for services; and
i) Provision of written material (e.g., representation manuals, checklists, sample forms), including listings of useful material available from other sources.
3. The court or administrative agency providing child representation, should provide individual court-appointed attorneys who are new to child representation the opportunity to practice under the guidance of a senior lawyer mentor.
9. LAWYER COMPENSATION
1. The court or administrative agency providing child representation, should assure that child’s representatives receive adequate and timely compensation throughout the term of the appointment that reflects the complexity of the case and includes both in court andout-of-court preparation, participation in case reviews and post-dispositional hearings, and appeals. The rate of payment for these legal services should be commensurate with the fees paid to equivalently experienced individual court-appointed lawyers who have similar qualifications and responsibilities.
2. The court or administrative agency providing child representation, should assure that the child’s representative has access to or is provided with reimbursement for experts, investigative services, paralegals, research costs, and other services, such as copying of medical records, long distance phone calls, service of process, and transcripts of hearings as a fundamental part of providing competent representation.
10. CASELOAD LEVELS
1. The court or administrative agency providing child representation, should assure that caseloads of the child representatives are of manageable size so that the CR can adequately discharge the duties to the child client.
A collaboration between the U.S. Children's Bureau and the University of Michigan Law School. | https://improvechildrep.org/DemonstrationProjects/QICChildRepBestPracticeModel.aspx |
What should I bring when I meet with a personal injury lawyer?
In the interest of being prepared and making the most of a meeting with your personal injury lawyer, there is some preparation on your part which will be extremely helpful in getting your case underway in the most timely possible fashion. If you don’t have any of these items ready, there’s no reason to be discouraged or to delay making an appointment for your case evaluation.
First of all, please take a few moments to write down any details which will help us understand where, when, and how your accident took place. Include any details you remember such as the time of day, road and traffic conditions, and also any contact information you have for the other people involved including both passengers and the other driver.
Of course, you’ll also want to bring a copy of the police report regarding the incident, any insurance documents you have for the vehicle involved, and any photographs you took of your injuries of the vehicles involved.
Also, please bring any medical records which are relevant to your accident including any documentation from the hospital and ambulance (if one was used). It’s not necessary to wait until you finish with any treatment related to your accident, and important that you don’t delay long enough to have completed it. Bring whatever documentation you have up to the date you set for your initial consultation.
Any other relevant information you have including communication with insurance companies or other parties involved in the accident will also be beneficial. The better prepared you are the first time you speak with a lawyer, the more that can be accomplished more quickly.
Please don’t delay in setting up your case evaluation based on whether or not you’re missing some of the items listed here. We can gather the information we need if we move forward together with your legal action, however we cannot replace the valuable time you lose if you choose to wait.
- How much time do I have to file a lawsuit if I've been injured?
- What should I do if an insurance company requests a statement or medical records?
- Am I eligible for compensation if I've been injured at my job?
- I've been offered a settlement. Should I accept it?
- When should I get a lawyer to represent me?
- What money could I recover as a settlement for a car accident?
- How will I be paid if I win my case?
- How do I know if I’ve been the victim of medical malpractice?
- What does punitive damages mean?
- What does negligence mean?
- What should I bring when I meet with a personal injury lawyer?
- Will I need to go to court?
- What does comparative negligence mean?
- What should I do if I’ve been involved in motorcycle accident?
- What if I wasn’t wearing a helmet when my motorcycle accident happened?
- How much of a settlement could I get if I win a medical malpractice suit?
- Why do I need to hire a personal injury attorney? | http://www.nyinjurylawyer911.com/faq/faq-what-should-i-bring-to-my-case-evaluation/ |
In many agencies, large and small, the burden of human resources is always lingering. Whether a dedicated employee manages HR, or it’s a split function between various staff, documentation must be kept and must be cohesive. To help facilitate documentation that protects your agency in the case of audit from a government body or even in an employee litigation matter, we have been compiling frequent issues and questions that come up. Below are some helpful tips to safeguard your agency against any future issues.
Communication with Employees
All communication with an employee, whether it is positive or negative should be recorded in the personnel file. Using a simple communication log or a communication sheet which includes the name of the employee, the date and time, and subject, along with any follow up must be included. This communication includes general and broad memos or messages to clinicians or teams and office staff.
Details
In healthcare, clinicians are trained to be concise and to the point while providing all necessary information regarding patient care. The same goes for detailing employee relations. Documenting an issue should be specific and tell a story with the date and time clearly indicated. Your documentation should only state the facts – no feelings or personal opinions should be included as they may be used against the agency as bias.
If the document is related to an employee’s disciplinary action, tie this summary document back to prior warnings and communication with the employee to show that you have been building a case for this action. An example of building your case is to provide a verbal warning (which should always be documented in a file) and a written warning before formal disciplinary action is taken. Using these two prior actions as the basis for discipline indicates that you have the facts in order and are justified. However, using non-recent documents to formulate a case for disciplinary action would not be justified.
Timely
Don’t wait until a week later to document your employee action. Make sure you do it during or immediately following the communication with the employee. Waiting to document may result in a small, but critical detail slipping by.
Employee Involvement
Allow your employees to be part of the process. As more companies open up management decisions to include employee input, the communication about HR related items also count. By being open and straightforward, you create a more transparent HR process, which allows the agency to stay one step ahead of future potential issues. While HR is supposed to be a support system for staff, in actuality, HR is a compliance function of the agency and HR’s priority is to protect the company. (Sometimes, you must also remind the HR staff member of this critical aspect of their job.)
Document Retention
How long to keep employee records is one of the most common questions. While there is no overall set timeframe, the following guidelines are widely used by HR departments:
- Personnel Files: 7 years after termination.
- Medical/Benefits: 6 years after plan year.
- I-9 Forms: Not more than 3 years after termination.
- Hiring Records: 2 years after hiring decision.
Please call or send us an email if you would like a more detailed list of documentation retention policies. | https://tortolanoandco.com/human-resources-documentation-is-key-to-compliance/ |
One of the first things a client learns when visiting a lawyer is that everything he or she tells the lawyer will remain confidential. The confidentiality of communications between client and lawyer is necessary to ensure the client is comfortable providing candid information to their lawyer and so the lawyer can give confidential advice and legal representation. Not only do lawyers have a professional duty to maintain their client’s confidence, the confidential communications are subject to solicitor-client privilege. However, clients need to know there are limits and exceptions to the confidential nature of their communications.
The concepts of confidentiality and solicitor-client privilege are often confused. Confidentiality is a duty owed by lawyers to clients; it covers all information concerning the business and affairs of the client in the course of the professional relationship. Privilege on the other hand, is an evidentiary rule of law and a protected right. Solicitor-client privilege is a type of privilege that attaches to some communications between a lawyer and a client, and is an exception to the general principle that all relevant evidence is admissible in court. It provides a legal right to withhold otherwise relevant information from the court or an opposing party.
This difference means that while all communications between a lawyer and his/her client are confidential, not all communications are privileged such that they would be protected from disclosure in a lawsuit. According to the Supreme Court of Canada in the case of Pritchard v Ontario (Human Rights Commission), for solicitor and client privilege to apply, the party asserting the privilege must establish the communication meets the following criteria:
(a) the communication was between a solicitor and client;
(b) it must entail the seeking of legal advice; and,
(c) the advice sought must be intended to be confidential by the parties.
When solicitor-client privilege is challenged, the onus is on the party asserting the privilege to establish that privilege should protect the communication in question.
Protections for solicitor-client privilege are strongly enforced in Canada. The Supreme Court recently affirmed in Ontario (Public Safety and Security) v Criminal Lawyers’ Association, that the solicitor-client privilege is a “fundamental and substantive rule of law” given the importance to the public interest in maintaining a trusting solicitor-client relationship. However, it is important to understand there are limits to the privilege in that communications and documents cannot be arbitrarily cloaked in privilege simply by involving a lawyer.
Beyond the technical limits of the privilege, there are also limited circumstances where solicitor-client privilege will not apply. For example, where communications must be shared due to a clear, serious and imminent threat to public safety, or where the lawyer must disclose limited information about the client to defend herself from allegations of misconduct. In such instances, a lawyer may be permitted to waive privilege. As such, while most communications between client and counsel will never be revealed (unless the client wishes them to be), it is important to understand that the confidential nature of solicitor-client communications is not all-encompassing, and is not absolute. | https://kmlaw.ca/solicitor-client-privilege-what-the-client-needs-to-know/ |
Position Summary:
Responsible for the overnight operation, and security of OSP’s emergency residence. This includes providing crisis intervention and advocacy to men, women and children in residents. This also includes providing direct services to children and families living in OSP’s Residence while also working closely with all other staff and departments to develop and implement child-focused supportive services and prevention education for families and children. Specialize in completing entries and exits to residence and ensure all paperwork is complete. This position functions as a supportive member of the Residence team, which provides comprehensive direct services to children and families including emergency shelter and transportation, crisis intervention, personal advocacy, case management, and community referrals.
General Functions:
- Ensure the security of the housing facility during shift.
- Assure all clients are on sight, safe and accounted for nightly.
- Maintain high visibility and availability throughout residence. Initiate contact and interact with residents providing them information, education, counsel, emotional support, and residence rules.
- Ensure all exit doors are closed.
- Perform area sweeps including playground, parking lot for client cars, and courtyard frequently, keeping in mind that all areas should remain watched and observed via camera system.
- Answer business phones i.e., relay messages to residents, provide information about OSP services to the general public calling after hours.
- Answer crisis calls, as necessary, provide crisis counseling and referrals and assist volunteer crisis line advocates with victims seeking services through the 24-hr crisis line.
- Maintain communication with the Client Services Director and/or keep current on crisis line information through attendance of crisis line meetings.
- Provide emergency transportation.
- Provide immediate/emergency needs, support, resources and direction for after-hours CFS intakes.
- Determine exits and entries for emergency shelter as needed, complete all paperwork involved.
- Complete data entry remaining from all other shifts.
- Maintain accurate client records, ensure client files are completed, and that all statistical information is entered into Service Point and ensure that all documentation is entered or scanned into Client files for new and exiting clients.
- Check for staff efficiency in Service Point.
- Work with Case Manager and assist with case plans and determining client status in shelter.
- Maintain residence rules.
- Computer tasks as assigned by supervisor.
- Assist with maintenance of facility including cleaning and preparing rooms for new residents.
- Assist program staff and volunteers as needed.
- Assist with any chores missed by residence and provide counsel regarding life skills or pass on info to daytime staff regarding need for counsel.
- Review Emails and client files.
- Process ride requests (in particular rides to court hearings and school).
- Reinforce, affirm, and model positive parenting techniques for mothers and their children; this includes direct contact and supervision of children.
- Ensure that residents of all ages are provided with a safe, therapeutic environment for healing, recovery, and growth by adhering to department philosophy and procedures at all times.
General Duties Required:
- Attend and participate in staff meeting and in-service trainings, as required
- Willingness become familiar with, and implement OSP operating principles in daily interactions with clients, staff and volunteers
- Represent the Agency appropriately in both dress and manner
- Keep accurate records of hours and submit time sheet at the end of each pay period
- Capacity to balance and provide self-care, while meeting the demands of the agency
- Maintain the confidentiality of One SAFE Place client information, and internal business.
- Maintain accurate records and documentation of all case notes, narratives, services provided, statistics, etc. to ensure that accurate client records are available in hardcopy and OSP’s client database at all times.
- Maintain a working knowledge of community resources for adults, teens, and children.
- Work closely with all Residence and Client Services staff to provide comprehensive services to all clients.
- Provide back-up support for all Residence staff and clients as needed, and enforce Residence rules at all times.
- Attend, participate in, and/or facilitate presentations and other outreach activities, as assigned by Supervisor.
- Answer business phones throughout shift as necessary to provide information about One SAFE Place services, and relay any messages to clients and/or staff.
- Ensure the security of the Residence facility, including all staff and clients, throughout all hours worked.
- Assist with maintenance of the Residence facility, including cleaning and preparing rooms for new residents.
- Provide on-call Crisis Hotline coverage during non-business hours to provide crisis intervention, personal advocacy, needs assessments, safety planning, education, and referrals to community members as needed.
- Other related duties as assigned.
Skills Required:
- Satisfactory completion of at least 6 ECE units preferred.
- AA degree in human service field, early childhood education, or equivalent experience preferred.
- Working knowledge of technical skills required to perform job functions well, including but not limited to ability to perform data entry, use Microsoft Office Suite, and create content for social media and website publication.
- Satisfactory completion of One Safe Place’s 66-hour domestic violence and sexual assault crisis intervention training course as well as on-going completion of continuing education units to maintain status as a recognized domestic violence and sexual assault counselor.
- Strong and effective communication skills
- Grant research and writing skills helpful
- Ability to work with minimum supervision and as a team member
- Ability to maintain good rapport with staff
- Knowledge and support of issues as described in OSP’s Mission Statement
- Maintain a working knowledge of community resources
- Knowledge of domestic violence and sexual assault dynamics.
- Valid California driver’s license and certificate of insurance
- Access to reliable transportation
- Ability to pass a background investigation (fingerprinting) and pre-employment drug testing
- Ability to sit and stand for prolonged periods of time, reach, twist, use hands/fingers to handle or feel office machinery, lift, carry, push, or pull materials and objects up to 30 lbs. as necessary to perform job functions. (This includes children)
Qualifications:
- Demonstrated experience working with children and adults in educational settings.
- Demonstrated ability to facilitate group discussions and present publicly to small and large groups.
- Willingness and ability to maintain appropriate boundaries with clients, staff, board members, and volunteers.
- Willingness and ability to practice self-care as a necessary component of successful completion of job functions.
- Excellent written and oral communication skills, including ability to assist with grant research, writing, and reporting as needed.
- Demonstrated professionalism, initiative, and time management skills as needed to work effectively individually, with minimal supervision, and as a member of a team and organization
Competencies:
Mission: Accepts and demonstrates One SAFE Place’s mission and vision is to provide intervention and safety to a community affected by domestic and sexual abuse. Our vision is a community free of domestic and sexual abuse. We will do this by committing to serve the community with Integrity, Excellence, Compassion, Teamwork, and Respect.
Collaboration: Works effectively with people of different backgrounds, abilities, opinions, and perceptions. Build rapport and relates well to others. Seeks first to understand the other person’s point of view, and remains calm in challenging situations. Listens for understanding and meaning; speaks and writes effectively and takes initiative to assist in developing others.
Operational Effectiveness: Makes sound judgments, and transfers learning from one situation to another. Embraces new approaches and discovers ideas to create a better working environment. Establishes goals, clarifies tasks, plans work and actively participates in meetings. Follows budgeting policies and procedures, and reports all financial irregularities immediately. Strives to meet or exceed personal and agency goals.
Personal Growth: Pursues self-development that enhances job performance. Demonstrates an openness to change, and seeks opportunities in the change process. Accurately assesses personal feelings, strengths and limitations and how they impact relationships. Has functional and technical knowledge and skills required to perform well; uses best practices and demonstrates up-to-date knowledge and skills in technology. | https://ospshasta.org/residence-overnight-advocate/ |
Getting Divorced in Brazil
The number of marriages are increasing year on year in Brazil, despite marriages lasting shorter periods. In these cases, getting divorced may be the only solution, but how to do it when your marriage crosses borders? If you're a foreigner married to a Brazilian, this article will help you to understand the Brazilian divorce process and how it must be conducted.
According to the Brazilian Institute of Geography and Statistics, also known as IBGE, there were over 340 thousand registered legal divorces in 2014 throughout Brazil. IBGE claims that the increasing number of divorces in Brazil is linked to the approval of the constitutional amendment in 2011 and the consequently constitutional changes, which simplified the divorce process. The alteration enabled, without major bureaucratic requirements, the dissolution of formal unions.
Divorce Law and the Constitutional Changes
Considering the changes to the law, an individual that got married last week may get a divorce today. Previously, this was impossible, as it was necessary to be married for at least one year to request a process of separation or two years to get a divorce.
The amendment also removed the necessity to present a specific reason for requiring a separation.
Divorce Process between a Brazilian and a Foreigner
Divorces formalised outside Brazil, unlike marriages, aren't directly valid in Brazil. Brazilian citizens are allowed to marry foreigners abroad as long as the legal requirements of the country where the union took place is followed. The marriage performed abroad between a Brazilian and a foreigner is valid in Brazil, however, it is only in effect if it was registered at the Brazilian Consulate located in the place where the marriage occurred.
The procedure for registering a marriage conducted abroad in a Brazilian consulate or embassy is simple and can be done by anyone. This process will validate the marriage and provide the necessary documents in order to issue the marriage certificate in Brazil. However in case of a divorce, it's different, as a divorce process executed abroad has no validity in Brazil.
Homologation of the Divorce
Marriages that are executed abroad can be dissolved by direct divorce proceedings in Brazil or by a process executed abroad. In the latter case, a divorce process occurring abroad, it will be only recognised after going through a legal process of recognition performed by the supreme court.
The legal process is called homologação de sentença estrangeira, which is a homologation of the foreign sentence leading to its official approval or recognition. Only through this process can the new marital status will be recognised in Brazil. The only exception is in cases where the couple does not have any children or assets in common, and the divorce is consensual. In this case, the divorce can be registered directly with the Civil Registry Notary Office.
Will I have to come to Brazil?
To get a homologation it is not necessary to come to Brazil. To apply for the homologation of your divorce, you can appoint a Brazilian lawyer to conduct the process through a power of attorney. The power of attorney must be registered with the Brazilian Consulate in the country where you are residing. The lawyer must be Brazilian and must be regularly enrolled in the Brazilian bar association.
The homologation of your divorce can be initialised through an electronic petition. The electronic system was introduced in Brazil by the Lei do Processo Eletrônico in 2008 and allows you to request the divorce homologation to the Superior Court of Brazil via the internet.
After the process has been concluded, a decision will be handed down by the Supreme Court of Justice, and your lawyer will present the homologation documents to the Civil Registry for the divorce to be properly registered and recognised according to the Brazilian Law.
Documentation Required
To start the divorce process, you must submit the following documentation to your Brazilian lawyer:
- Marriage certificate
- Complete foreign sentence of divorce, containing the reasons for the decision and a note that the sentence cannot be appealed. This documents must be legalised by the Brazilian consulate responsible for the area in which the sentence was given
- Written declaration given by the former spouse, in which the spouse declares to be in accordance with the approval of the divorce sentence in Brazil, containing a notarised signature
- A document showing a possible name change after divorce
- Power of attorney granting powers to your lawyer to apply for the homologation in Brazil
Documentation Legalisation
The legalisation of documents is no longer necessary if the country of origin of the documents is listed under the Hague Convention list of countries “Abolishing the Requirement of Legalisation for Foreign Public Documents”. Otherwise, all foreign documents must be legalised by the Brazilian Consular Office with jurisdiction over the place where they were issued. If the documents are not in Portuguese it must also be translated by a public translator in Brazil. To get more information about these professionals you can access the web page of the Boards of Trade for each Brazilian State.
Duration of a divorce process
On average, the Supreme Court takes about four months from the date when application is filed in court to decide cases of homologation of foreign divorces. The period is only an average based on cases that provided the proper legalised documentation according to Brazilian requirements and that presented a statement of consent of the spouse. Without this statement, the process could take longer to complete.
If the divorce is granted without complications, the court, at the request of your lawyer, prepares a carta de sentença of the case, which is a notarised copy of the process and documents. The carta de sentençashall then be signed by the president of the Court. This procedure normally takes 4 to 8 weeks to be completed.
In summary, to complete the homologation process, it can take a period of about six months. The period starts from the date that you file your request until the recognition of your divorce by Brazilian Law.
Costs
The costs of a divorce can vary considerably. Translation costs vary greatly according to the size and number of documents that will have to be translated. The costs of notarisation, pre-legalisation and legalisation also depend on the number of documents that need to be notarised and legalised. In addition, there are legal expenses, not only for lawyers but, also with the draw of the carta de sentença and the respective remittance of these documents abroad. | https://thebrazilbusiness.com/article/getting-divorced-in-brazil |
As a Lead Associate you will work within the delegated Onboarding team as a senior member of the Client and Manager Onboarding sub-functions. Your key responsibilities will be to on-board clients for fiduciary services and new managers to allow client investments. In addition, you will be asked to oversee the completion of tasks by the analysts in the team and to review work completed to ensure it meets client expectations and is in line with the Company’s Excellence policy. With the support of an in-house senior funds lawyer, you will also be responsible for reviewing and identifying issues in legal reviews prepared by our external lawyers on investment terms of third-party managers that could impact our clients’ investments, and the appointment of sub-investment advisors to provide general advice to our in-house funds.
The role will initially be home based and then from our Reigate office when we re-open buildings. There may be some flexibility to work from our office in central London on an adhoc basis. At WTW we value personal development and will facilitate training to ensure you maintain and strengthen your technical knowledge and skillset.
The main aspects of the role are to:
- Instruct and coordinate on behalf of colleagues the tax and legal review of third-party asset manager fund documentation as well as other investment-related contracts, including but not limited to, client investor side letters and investment management agreements.
- Understand the commercial and legal requirements or our clients and in-house funds with a view to assist in identifying issues in legal reviews prepared by our external lawyers that are not market standard and/or would otherwise prevent such clients and/or in-house funds from investing in a third-party managed fund.
- Adhere to our Excellence principles to ensure that any work undertaken is completed in a manner that adds value of the highest quality to our clients.
- Learn about the wider investment consulting business and provide specialist recommendations and guidance to the client consulting teams and portfolio management teams regarding the legal review coordination process.
- Clearly and confidently communicate with colleagues and external parties at all professional levels.
- Assist with KYC/AML queries from third-party managers and/or their administrators and coordinate the resolution of ad hoc legal and/or tax queries.
Other key areas of responsibility could include:
- Providing subject matter expertise necessary to lead on projects.
- Ensuring appropriate processes and controls are in place to achieve the timeliness and accuracy of deliverables.
- Supporting and development of other members of the team.
- Managing relationships with key stakeholders both within the wider Operations team and the Investments business as a whole and with external service providers.
- Applying previous experience to improve existing, and develop new and efficient, processes.
- Maintaining and utilising internal databases.
- Reviewing and producing management information reports.
The Requirements
- A legal background, preferably as a paralegal or similar capacity within an investment funds or general corporate department of a City or international law firm.
- A working knowledge of Microsoft Office Suite (Excel, Word, PowerPoint and Outlook).
- An ability to ensure tasks and key deliverables are timely and effectively met by the team.
- Strong verbal and written communication skills.
- Some experience supervising a team advantageous but not essential.
UNSOLICITEDCONTACT
Any unsolicited resumes/candidate profiles submitted through our web site or to personal e-mail accounts of employees of Willis Towers Watson are considered property of Willis Towers Watson and are not subject to payment of agency fees. In order to be an authorized Recruitment Agency/Search Firm for Willis Towers Watson, any such agency must have an existing formal written agreement signed by an authorized Willis Towers Watson recruiter and an active working relationship with the organization. Resumes must be submitted according to our candidate submission process, which includes being actively engaged on the particular search. Likewise, for our authorized Recruitment Agencies/Search Firms, if the candidate submission process is not followed, no agency fees will be paid by Willis Towers Watson. Willis Towers Watson is an equal opportunity employer. If you would like to have your contact information saved for future consideration, please email: [email protected].
OUR OFFICES
Our colleagues serve more than 140 countries and markets around the world. This gives a global dimension to everything we do and creates lots of exciting opportunities for you to collaborate and grow. Explore the map below to see where you career could take you. | https://careers.willistowerswatson.com/job/11207377/manager-onboarding-senior-associate-fixed-term-contract-reigate-reigate-gb/?utm_medium=%22mcloud-jobads%22&utm_campaign=Default%20Campaign&utm_content=Manager%20Onboarding%20-%20Senior%20Associate%20%28Fixed%20Term%20Contract%20-%20Reigate%29&utm_term=200002A8 |
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Systems of Linear Equations Recalling Prior Knowledge
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Recall Prior Knowledge Graphing linear equations using a table of values (function table).
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Recall Prior Knowledge To graph a linear equation, you can first construct a table of x and y values. For example, you substitute x = 0 in the equation y = 2x + 1 to get the corresponding value of y.
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Recall Prior Knowledge x0123 y = 2x + 11357
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Recall Prior Knowledge From the table of values, you plot the pairs of values on a coordinate grid. Then join the points using a straight line to graph the linear equation.
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Recall Prior Knowledge
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Quick Check Copy and complete the table of values for the linear equation. Then draw its graph on a coordinate grid.
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Quick Check x0123 y = 5x????
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Quick Check
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Recall Prior Knowledge Graphing linear equations using slopes and y- intercepts.
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Recall Prior Knowledge You can also graph linear equations by recognizing that linear equations have the form y = mx + b, where m is the slope and b is the y-intercept. For example, for y = 2x + 1, the graph has slope 2 and intersects the y-axis at 1.
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Recall Prior Knowledge
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Quick Check 1.y = 5x 2.y = 2x + 2 3.2y = x – 2
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Quick Check
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Assignment: Assessing Your Prior Knowledge You are assigned problems 1 – 19 on page 367 in the red algebra I book. Remember, you can use your notes from previous units as well as the red algebra I book if you need help correctly solving the problems.
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MAS161: Calculus & Matrix Algebra Semester 2, 2011 ASSIGNMENT 2 – Due by 4:00 pm, Friday 16 September 1. Solve the following separable first-order differential equations. (a) dy dx = 13 yx 12 (b) dy dx = x cos(3x2) 2y2 (c) dy dx = y2 x2 +5x -6 2. Solve the following linear initial-value problems. Show all your working, and in each case, substitute back to show your solution is correct (you must do this to get full marks). (a) 1x y'(x) + 12 y(x) = 2, y(1) = 3 (b) y'(x) = y(x) x + x3, y(1) = 2 3. A posse trailing a gang of outlaws encounters the embers of a fire left by the renegades. The sheriff knows that Newton’s law of cooling is governed by the equation dT dt = -k(T - Tair) where T is the temperature of the embers, Tair is the air temperature, and t is time (in hours). At the time the fire was put out, it would have been at about 300 degrees Celsius. The sheriff guesses the temperature of the ashes to be around 60 degrees, and knows that the air temperature has been steady at around 25 degrees Celsius for some time. (a) Solve the initial-value problem if the value of the constant k = 1.0. (b) How long is it since the outlaws passed by? (c) Write an Euler scheme to solve the problem numerically (with k = 1.0) and compute the value of T up to time t = 2 using a time step of Dt = 0.1. You should include a plot of temperature (T) versus time (t) and compare with your exact solution. (You will need to use a computer to do these calculations. If you do not have access, contact your tutor.) CONTINUED OVER PAGE 1
4. Solve for z in the following equations. Show your working and sketch the points on the complex plane. (a) (3 - i)z = (3 +5i) (b) z2 + 4iz +8 = 0 (c) eiz = 2i + 1 (d) z3 = 27 5. A crane lifting a container is hit by a gust of wind as it is lifted at time t = 0. The horizontal displacement (approximately) of the container, y(t), at time t is given by the equation y''(t) + y'(t) + 3y(t) = 0, y(0) = 0, y'(0) = 2. (a) What do the initial conditions represent...
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Get it solved from our top experts within 48hrs! | https://www.transtutors.com/questions/1-solve-the-following-separable-first-order-differential-equations-a-dy-dx-1-3-yx-1--55478.htm |
Flashcards in Unit 2 Deck (27)
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What are the three forms of a parabola?
Vertex: y=a(x-h)^2+k
Factored: y=a(x-r)(x-s)
Standard: y=ax^2+bx+c
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Any number to the exponent 0 is...
1
2
What happens when the exponent is -1?
A negative reciprocal.
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What if you have a negative exponent with number?
Reciprocal and exponent goes to bottom number.
4
How do you find axis of symmetry?
X value of vertex or
X=x1+x2 divided by 2
5
How do you find the optimal value?
The y value of the vertex or
Sub the axis of symmetry into the equation for x
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What is the base for an exponential growth equation?
y=2^x+c +d
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What does c do in exponential growth?
Moves the line left or right (negative moves right)
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What does d do in exponential growth?
Asymptote (line it never hits)
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What is the equation of a circle with centre not 0,0?
(x-h)^2+(y-k)^2=r^2
(Both are opposite movements)
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What is the quadratic formula?
T
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How do you figure out how many zeros a parabola has?
The discriminate
B squared -4ac
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What are the steps to a quadratic word problem?
Diagram
Let statements
Equations
Use substitution or elimination to solve
Therefore statement
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What are the steps to solving an optimizing area problem?
Diagram
Let statement
Equations
Substitution
Therefore
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What is the equation to optimize area?
P=2l+2w
Max Area=lw
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What is the equation to optimize profit?
Let x be the number of price increases
Revenue= tickets x price of ticket
Max revenue=number of riders-cost per ride
= (320000-4000x)(2.50+0.10x)
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How do you solve an optimizing profit word problem?
Complete the square or
Find the zeros(split equation), axis of symmetry,
Find the price (sub x into second equation)
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How do you solve consecutive number problems?
Let x and y be the numbers
Create equations
Substitute
Therefore
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How do you solve border problems?
Create equations(3)
Substitute
Therefore statement
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How do you switch from standard to vertex form?
Complete the square
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Standard to factored?
Factor it
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Factored to standard?
Foil
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Factored to vertex?
Foil and Complete the square
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Vertex to standard?
Expand/Foil
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Vertex to factored?
Standard then factor
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How do you find an endpoint when you have midpoint and endpoint? | https://www.brainscape.com/flashcards/unit-2-3383293/packs/5282528 |
This paper describes the development and testing of the Temple Presence Inventory. The TPI questionnaire is a multidimensional, literature-based measure of telepresence that has demonstrated sensitivity to media form and content in studies discussed here.
175 Citations
A Survey of Presence and Related Concepts
- Computer ScienceACM Comput. Surv.
- 2018
A meta-analysis of existing presence models is presented and a model of presence informed by Slater’s Place Illusion and Plausibility Illusion constructs is proposed.
Adaptation and Validation of the Temple Presence Inventory in a Portuguese Population
- PsychologyInt. J. Hum. Comput. Interact.
- 2019
The results confirm the appropriateness of the version adapted to the Portuguese language of the TPI and that it can be used in research projects aiming to evaluate Presence in the Portuguese-speaking population (Europe).
Measuring Presence in Virtual Environments: A Survey
- BusinessACM Comput. Surv.
- 2022
This article reviews the different definitions of presence and the main proposed methods to measure it through the analysis of 1,214 papers published in the past 30 years and identified 29 main factors to evoke presence in virtual environments.
Assessing presence in virtual environments: adaptation of the psychometric properties of the Presence Questionnaire to the Portuguese populations
- PsychologyBehav. Inf. Technol.
- 2021
It is considered that the adapted Portuguese version of the PQ, with 21 items, forms a robust and valid questionnaire whose use is recommended to evaluate Presence in virtual reality research programmes, provided that they use samples of the Portuguese language (Europe).
The Relationship Between Cybersickness, Sense of Presence, and the Users’ Expectancy and Perceived Similarity Between Virtual and Real Places
- Computer ScienceIEEE Access
- 2021
A positive correlation was found between the global sense of presence and perceived similarity and users’ expectancy for the non-immersive VR setup and the global cybersickness for the immersive VR setup.
THE PERSUASION PROCESSES IN VIRTUAL REALITY IN THE CONTEXT OF TECHNOLOGY ACCEPTANCE
- Psychology
- 2019
This dissertation investigates the extent to which a media audience’s degree of technology acceptance (as a mediator) and interactivity of the media influence the user’s sense of presence, enjoyment,…
The Reality of Digital Travel
- SociologyThe Psychosocial Reality of Digital Travel
- 2021
It is the experience that counts, there and then. When a person talks about the experience, he or she can also reflect on and interpret the experience. In this chapter we use findings from empirical…
Keeping It Real! Investigating Presence in Asymmetric Virtual Reality
- Computer Science
- 2020
The necessity to preserve the sense of presence in virtual reality (VR) is discussed and an experiment is outlined that allows for different methods of collaboration between immersed users and external facilitators in order to discern their effect on presence.
Using First-Person View Drones through Head-Mounted Displays: Are They Suitable for Education?
- Education2022 8th International Conference of the Immersive Learning Research Network (iLRN)
- 2022
This study examined in-service teachers’ perceptions regarding spatial presence, simulator sickness and usability of First-Person view drones through Head-Mounted Displays in order to determine the…
Measuring the quality of interaction in mobile robotic telepresence systems using presence, spatial formations and sociometry
- Computer Science
- 2013
A mobile robotic telepresence (MRP) system is characterized by a video conferencing system which is mounted on a mobile robotic base. The system allows remote pilot users to move the robot around w…
References
SHOWING 1-10 OF 84 REFERENCES
A Cross-Media Presence Questionnaire: The ITC-Sense of Presence Inventory
- PsychologyPresence: Teleoperators & Virtual Environments
- 2001
Preliminary analyses described here demonstrate that the ITC-SOPI is reliable and valid, but more rigorous testing of its psychometric properties and applicability to interactive virtual environments is required.
Social presence and group attraction: exploring the effects of awareness systems in the home
- PsychologyCognition, Technology & Work
- 2003
The experiment has shown that providing awareness information increases the social presence and the group attraction felt by individuals towards remote partners.
The Impact of Personality Factors on the Experience of Spatial Presence
- Psychology
- 2005
The aim of this paper is to present an experimental investigation conducted to assess the impact of personality factors on the formation of Spatial Presence. Four different media -linear text,…
Mass communication and para-social interaction; observations on intimacy at a distance.
- PsychologyPsychiatry
- 1956
(1956). Mass Communication and Para-Social Interaction. Psychiatry: Vol. 19, No. 3, pp. 215-229.
Measuring Presence in Virtual Environments: A Presence Questionnaire
- PsychologyPresence
- 1998
Combined results from four experiments lead to the following conclusions: the PQ and ITQ are internally consistent measures with high reliability; there is a weak but consistent positive relation between presence and task performance in VEs; individuals who report more simulator sickness symptoms in VE report less presence than those who report fewer symptoms.
How Colorful Was Your Day? Why Questionnaires Cannot Assess Presence in Virtual Environments
- PsychologyPresence: Teleoperators & Virtual Environments
- 2004
It is argued that a scientific basis for presence as it's usually understood in virtual environments research, can not be established on the basis of postexperience presence questionnaires alone, and that presence researchers must move away from heavy reliance on questionnaires in order to make any progress.
At the Heart of It All: The Concept of Presence
- BusinessJ. Comput. Mediat. Commun.
- 1997
A number of emerging technologies including virtual reality, simulation rides, video conferencing, home theater, and high definition television are designed to provide media users with an illusion…
Presence Within a Mixed Reality Environment
- PsychologyCyberpsychology Behav. Soc. Netw.
- 2004
Overall, intrinsic motivation, confidence and intention to re-visit Desert Rain were high, however, age was negatively associated with both spatial presence and confidence to play, and various problems in navigating the environment were identified.
Measuring the Sense of Presence and its Relations to Fear of Heights in Virtual Environments
- PsychologyInt. J. Hum. Comput. Interact.
- 1998
This article describes a study in which a genuine effect of presence--the development of fear of virtual stimuli--was provoked and the sense of presence within this situation was measured, showing that fear increased with higher presence. | https://www.semanticscholar.org/paper/1-Measuring-Presence-%3A-The-Temple-Presence-Lombard-Ditton/308b16bec9f17784fed039ddf4f86a856b36a768?p2df |
Episode Title:
Year: 2003
Writer(s): Nora Roberts
"Original" Writer: Yes Own work?: No
Summary:
"Nora Roberts is one of America's best-selling crime writers. She's best known for her futuristic suspense series, written under her pen name JD Robb. Her latest, Rapture in Death, brings together three strangers with nothing in common - and no obvious reasons to kill themselves. / A brilliant engineer, an infamous lawyer and a controversial politician are all found dead - police officer Eve Dallas doesn't believe they committed suicide - and when something strange shows up on their autopsies, she's doubly suspicious. / Eve's investigations turn to the provocative world of virtual reality games, where the same techniques used to create joy and desire can also prompt the mind to self-destruct." (from http://www.belfasttelegraph.co.uk/news/features/story.jsp?story=486417)
- Self-Written?:
- Source Name: Belfast Telegraph
- Source URL: http://www.belfasttelegraph.co.uk/news/features/story.jsp?story=486417
Era/Year of Portrayal: near_future
Distinctive characteristics of the world in portrayal:
The year is 2058. Cars fly and wealthy people regularly vacation on other planets. The setting is New York City, similair to today. People now typically live 150 years and cosmetic surgery is the norm. Certain things are now scarce, such as coffee (although Pepsi is plentiful - she drinks it all day). Robots and droids are ubiqitious as well.
Technology
- Name of portrayed presence-evoking technology: VR goggles and holographic rooms
- Description of the technology: Practically every household has a media entertainment system that includes music, DVD's, computer and a VR unit. The technology is not mobile, but once you are in VR, you choose the program, i.e. relaxation, sexual, meditation. Once you put on the goggles, the user is immersed in a differernt reality. Also, there are holograph rooms, (only the very wealthy or resorts have these) in which a user can totally immerse themselves in program. They are very real.
- Nature of task or activity: Anything is possible in the VR. For example, in the holograph room, the heroine particpates in a program where she hunts bad guys and fights them.
- Performance of the Technology: It works very well throughout the novel. Of course, the bad guy figures out a way to implant subliminal suggestions into the VR units, causing 4 people to commit suicide. So, it worked as designed, according to her evil plan.
- Description of creator(s): It is unknown who orginally created the VR. However, the bad guy, who implanted the subliminal messages, is a stunningly beautiful redheaded woman. Of course, she's not that good at the technical elements, so she had brainwashed a man into helping
- Major goal(s) of creator(s): The VR was created as entertainment.
- Description of users of technology: Everybody uses VR to relax - although the units are pricy so I guess only the wealthy have the better systems.
- Type(s) of presence experience in the portrayal: both
- Description of presence experience: Whatever the user desires.
- User awareness of technology during experience: They are aware.
- Valence of experience: Users enjoy the experience, although the ones convinced to commit suicide may have had regrets.
- Specific responses: Well, people use VR mostly to relax or be sexually stimulated. Cops train in VR. Supposedly VR can help break drug addictions. However, the subliminal messages can be used to persuade negatively as well. | https://smcsites.com/telepresence/?portrayal=rapture-in-death |
This project explores the application of Virtual Reality (VR) technology to documentary content. Thirty years since the term virtual reality was coined, and nearly fifty years since Ivan Sutherland's first experiments with a "head mounted three dimensional display", developments in hardware and software now make VR viable as a mass-market consumer proposition, and 2016 sees a variety of devices coming to market. While cinema offers an optical illusion of movement, 360 experiences offer a new generation of illusion - a powerful sense of "being there" within the scene portrayed known as presence. To date, consumer VR has been associated with gaming. However, the potential audience appeal promised by presence has led to considerable interest in the video market - notably among producers of non-fiction content. 2015 saw VR projects commissioned by the New York Times, Vice News and the UN for example, the latter winning the Innovation Award at the Sheffield DocFest - one of the world's major non-fiction markets.
We hypothesise that Virtual Reality documentary has significant potential to inform public debate - offering new directions and in particular novel forms of witnessing enabled by 360 perspectives, but that the powerful sense of presence offered by immersion also gives rise to ethical challenges; does the feeling of "being there" offer genuine insight or a new form of voyeurism? do unmanned 360 camera rigs feel like surveillance to subjects? a user in an immersive headset experience is likely to be paying attention to the world depicted, but what does that mean for their presence where they are standing?
The project will approach these questions through six case studies created by industry partners - examining production and user experience. Producers will share their approaches to storytelling in this new 360 medium. With an audience group who we will follow from their first exposure to VR, we will investigate engagement, attention, understanding and emotional reaction, as experienced on contrasting VR platforms, and compare these with 2D and 3D experiences delivered without headsets. The first three case studies will address the theme of migration - one of the big global challenges that has been a notable subject of VR non-fiction to date.
The research will explore the implications of exposure to powerful documentary content within immersive experiences, probe issues around isolation and sociality that relate to the use of headsets. The project will also consider the point-of-view of the subjects of media, asking for example whether particular issues around privacy arise in the context of 3D filming and immersive display. Drawing on findings from the case studies, and from workshops with industry and community partners, we will define key themes which will be explored in the production of three path finding prototypes. These will illustrate research findings and suggest future directions for Virtual Reality documentary.
Producers are eager to engage with the potentials of VR documentary, but face challenges around language, technology and audience insight. Through a process of investigation, dialogue, and shared findings, the research will stage a timely engagement with this emerging medium, supporting the development of this new production sector, while keeping the interest of audience and subjects to the fore. | https://gow.epsrc.ukri.org/NGBOViewGrant.aspx?GrantRef=EP/P025595/1 |
If I remember correctly, the assignment for this project was to make a piece of “wearable technology.”
Though not by name, AU is a spiritual piece of the WiiMersioN Project. My goal was to create a device that would allow a user to view a 3D environment using his/her head movement to change the direction of the virtual camera. Essentially, I wanted to make a virtual reality helmet, and that’s pretty much exactly what I did :D. Using two Wii remotes, a bike helmet, Unity, a pair of VR glasses (glasses with little screens in them) that I borrowed from a friend, lots of math, and good ole fashioned duct tape, I created a device that allows users to immerse themselves in a virtual world. | http://ajsgrayson.com/my-works/au/ |
Meaningful XR collaboration is dependent upon the ability to connect and feel fully immersed in the XR Experience. It’s about the notion and practice of being there, which is a full-body feeling. What actually gives us this feeling of transportation and, along with it, complete “believability” in the interactive digital world that we have become a part of? Presence. The term presence can be associated with a feeling of authenticity and connection, which is internal and has to do with alignment between the internal self and that self’s sense of active agency in XR. So, presence is about alignment of identity and purpose in an environment designed to make us feel “there,” even if we are physically separated from those we are collaborating with. Does this make it something false, because it relies on optical illusion and advanced technology to transfer that sense of connection and presence?
There’s a French term for paintings that appear to emerge from the frame: “trompe l’oeil”– literally, trick the eye. Is XR the most masterful of trickery, designed to fool our brains? Or, is it something that we ride, quite willingly, knowing that it’s a ride? There’s a book by Orhan Pamuk, award-winning author of Snow, called The Naive and Sentimental Novelist. He says that writers can either be naive, following along, immersed in the world of their characters, or they can be sentimental, observing themselves and their characters and their story design through a distanced lens, pulling back from scenes so that they can evaluate them and orchestrate them.
As leaders, storytellers, and designers, we can play both roles when we work with intention to create XR collaboration experiences that are transformational. At times, our presence and designer mindset changes between being willingly sentimental or naive when it comes to XR. A spirit of open curiosity, care, and the wish to listen to and understand users’ needs, backgrounds, and stories can drive our decision-making as we approach facilitating collaborative experiences. And, as Pamuk pointed out, we can adjust our approach to evaluate from all angles without relinquishing the vital sense of wonder and empathy for a user’s view or for the visceral power of connection.
The two approaches are ideal complements. On one hand, we can be sentimental, evaluating the design and using a mix of quantitative and qualitative data to inform the choices we make. We can approach XR by evaluating the tech. We can marvel at the fidelity, the graphics, how the creators pulled something off with 6 degrees of freedom. We think about the code, we think about the engineering, we think about everything that leads to the experience yet has nothing to do with being a part of the experience itself. We think about the ingredients in the chocolate before indulging in simply savoring the flavor.
Or, on the other hand, we can approach our consideration of XR from a naive standpoint. Our body is struck by a visceral sense, and we “ride the ride,” naively lost in the experience. This is a beautiful moment, losing ourselves, losing the analytical perspective of narration and evaluation of the experience. Less analysis, more awe.
XR can do this in a way that strikes at the heart of things. Poetry does this, too. It’s the distilled form, and can reflect the emotional resonance, the motivation underneath the experience. It’s the reason for XR collaboration in the first place. Even as we are invited closer to ourselves in XR, we can lose our self-consciousness, transcending social constructs of identity. We understand and reach each other in different ways. To fully capture this duality of feeling both sentimental and naive, why not jump in and try an XR collaboration experience for yourself? Catch yourself evaluating. And catch yourself letting go.
It might be hard to imagine what this would look and feel like until you gather with a group in an XR environment. In the most basic sense, there is profound opportunity for greater power in XR collaboration because of how humans feel when they are connected in an experience across perceived boundaries. We can lose ourselves in XR, and that’s a rare gift and something psychological that cannot be underestimated for its potential.
XR has a uniquely rich opportunity to reshape mindsets, to inspire opening up to possibility and to rewire connection. What’s happening in the brain in XR is profound, and it has everything to do with our sense of presence.
The Presence Pyramid is a graphic and a concept Steve Dembo and I developed when we were giving a workshop at SXSW in March 2019 about VR and Presence. We titled the session “VR is Visceral: Ready Learner One-to-World,” and it turned into an active campfire debate and discussion about the nature of presence, identity, and connection, in virtual reality and in “real life.” What qualifies an experience as “real”? As we were planning for the workshop, I shared some considerations and observations about the connections among mindfulness, intentional awareness, and deepening levels of presence in experience and interaction.
From active observation, I postulated that the first three questions users feel and express when they enter a new immersive environment, in this specific order, are: “Where am I? Why am I here? Who am I?” Fascinatingly, place and purpose consistently come before questioning identity.
Why is presence so meaningful to XR collaboration? There’s EMOTION involved when we feel deep presence. We CARE. And, we care deeply enough that, in terms of learning science and the way brains work, we encode the experience as meaningful. There is an exchange of meaning that becomes personal and significant, attached to our identity. It has context, and we frame it in our experience so we understand it better. If it can be attached to a story, we have an even better understanding of it.
Meaningful XR collaborative experiences, for people working across different industries, cultures, organizations, and structures, typically transcend the traditional notion and concept of individuality. Just as mindfulness teaches non-judgment and detachment from a singular fixed point of view, XR can encourage users to do the same, to have the same flexibility of mindset and adaptive approach to problem solving, to see from different angles, to understand multiple points of view, and to embody empathy. Users can become more plastic, more able to turn their own fears into curiosity. We are invited into others’ experiences through levels of presence, which is one reason XR has the power to transform thinking.
Approaching topics related to XR collaboration, it’s natural and appropriate to begin by focusing on the technology that makes it all possible. Raising questions about hardware, accessibility, setup procedures, and stakeholders who are spearheading development, research, and applications. This is all necessary, and part of the methodology of approaching new terrain. This is the time to embrace change, defining terms and understanding the systems and the integral parts, details, and context. This is part of beginning to understand XR collaboration, to establish the ground, the landscape for this new language of connection and exchange.
With the landscape defined, presence is also necessary, as it allows users to begin to consider, approach, and define what it means to interact on a human-to-human level that is mediated by XR technologies. Working and exchanging in effective collaboration requires relational trust, and trust in an XR environment comprises trust in the system, trust in the individuals cooperating together, and trust in the “truth” of the experience, whether in reference to level of technical fidelity, emotional resonance, authenticity of relationships, or other consideration. Our ability to feel present and have presence for others is the first step. Then, to consider how these new forms of presence can apply themselves to collaboration that empowers us and others. Using qualities of emotional intelligence, mindfulness, and human-centered design, XR collaboration will amplify the ability to work together in teams and produce outcomes far beyond what is possible in traditional collaborative structures.
While the next step might be to explore avatars, tools, and devices that take presence to new levels in XR collaboration, showing more of the “how,” we also want to address the elements of story design and user experience that elevate collaboration to meaningful exchange.
Caitlin Krause is the Founder of MindWise and Author of Designing Wonder. Find her website at caitlinkrause.com. | https://xrcollaboration.com/guide/a-global-resource-guide-to-xr-collaboration/presence/ |
John Hartman is a leading regional artist from Lafontaine, Ontario, known for his expressive paintings, drawings and prints that depict intertwined relationships between people and place. Ranging from personal to historical to spiritual, his subject matter is diverse but almost always rooted in landscape.
Blue Rocks and Upside-Down Chair portrays an energetic, experimental landscape in the aerial style for which Hartman is well known. The forms, loose and verging on abstraction, are painted quickly and represent a more expressive version of the landscape than Hartman’s oil paintings. This small watercolour harkens back to Hartman’s work of the late ‘80s and early ‘90s, which was often deemed “primitive”. Yet, the depth of the horizon and richness of Hartman’s palette grant this work the same spatial grandeur of his oil painting. This watercolour continues the artist’s relationship with Georgian Bay with a sense of vigour and immediacy that characterize his oeuvre.
John Hartman studied fine arts at McMaster University in Hamilton and taught painting at Georgian College in Barrie from 1986 to 1999. He is represented by Nicholas Metivier Gallery in Toronto. In 1993 he had a solo exhibition at the McMichael Canadian Collection, Painting the Bay, which featured large-scale aerial views of Georgian Bay, painted thickly with narrative elements depicted in the skies. The exhibition gained Hartman recognition as a distinguished painter of the Canadian landscape. In 2003 Cities, a major solo exhibition, began its tour across Canada and was presented at the MacLaren in 2008. Cities further explored Hartman’s interest in the people and mythology around landscapes, featuring map-like depictions of place. With this series he turned his gaze to urban subjects, painting metropolitan locations as diverse as Glasgow, Manhattan, Vancouver and Toronto. | https://maclarenart.com/project/art-of-the-month-april-2017/ |
DESIGN DRAWING FRANCIS CHING PDF
Design Drawing (2nd Edition). Author: Francis D. K. Ching, Steven P. Juroszek. Category: Architecture. pdf download: PDF icon Design_Drawing_(2nd_Edition). Design drawing / Francis D.K. Ching with Steven P. Juroszek. -- 2nd ed. p. cm. Includes index. ISBN (pbk.); ISBN (ebk); . In Design Drawing, Second Edition, he unmasks the basic cognitive Goes beyond basic drawing books Ching not only covers the.
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Cover design: C. Wallace Cover image: Courtesy of Francis D.K. Ching This book is Current graphics applications range from 2D drawing programs to 3D. FRANCIS D. K. CHING is Professor Emeritus of Architecture at the University of cover image of Design Drawing cover image of Interior Design Illustrated. Ching, Francis D. K. - Drawing, A Creative Process - Free ebook download as PDF File .pdf) Download as PDF or read online from Scribd Operative Design.
But in order to distinguish a section drawing from a floor plan—the other type of drawing that involves a slice—we usually assume the plane of the cut for a section is vertical.
As with other orthographic projections, all planes parallel to the picture plane maintain their true size, shape, and proportions. In architectural graphics, however, the building section is the premier drawing for revealing and studying the relationship between the floors, walls, and roof structure of a building and the dimensions and vertical scale of the spaces defined by these elements.
After a vertical plane slices through the construction, we remove one of the parts. The building section is an orthographic projection of the portion that remains, cast onto a vertical picture plane parallel or coincident with the cutting plane. Use jogs or offsets in the cutting plane only when absolutely necessary. Remember, too, that the building section is only part of a series of related orthographic views. In order to convey a sense of depth and the existence of spatial volumes, we must use a hierarchy of line weights or a range of tonal values.
The technique we use depends on the scale of the building section, the drawing medium, and the required degree of contrast between solid matter and spatial void. It is difficult to discern what is cut and what is seen in elevation beyond the plane of the cut. Note that these profiles are always continuous; they can never intersect another cut line or terminate at a line of lesser weight.
The farther back an element is from the plane of the section cut, the lighter their profile should be. These lines do not signify any change in form.
They simply represent the visual pattern or texture of wall planes and other vertical surfaces parallel to the picture plane. If shown, they are part of the surrounding soil mass and should be drawn lightly.
This is especially important in large-scale sections, when large areas of black can carry too much visual weight or create too stark a contrast. In this value scheme, use progressively lighter values for elements as they recede into the third dimension.
Any tonal value given to cut elements should therefore continue into this mass. The primary emphasis should remain on articulating the section cut and the relative depth of elements beyond the plane of the cut.
The upper building section uses a vector-based drawing program while the lower drawing uses a raster image to convey the character of a site as well as serve as a contrasting background for the white section cut.
This alignment makes horizontal relationships easier to read and understand. A general knowledge of how buildings are constructed is therefore extremely beneficial when executing large- scale sections.
They are capable of describing the relationship of a proposed structure to the surrounding ground plane and disclosing whether a proposed structure rises from, sits on, floats above, or becomes embedded within the ground mass of the site. In addition, section drawings can effectively illustrate the relationship between the interior spaces of a building and adjoining exterior spaces, as well as the relationships among a number of buildings.
Unlike a plan, an elevation mimics our upright stance and offers a view that closely resembles the natural appearance of the object. Even though elevation views of vertical surfaces are closer to perceptual reality than either plans or section views, they cannot represent the spatial depth of a perspective drawing.
When we draw objects and surfaces in elevation, we must rely on graphic cues to convey depth, curvature, or obliqueness.
Building elevations convey the external appearance of a building, compressed onto a single plane of projection.
They therefore emphasize the exterior vertical faces of a building parallel to the picture plane and define its silhouette in space. They can also illustrate the texture and pattern of cladding materials, as well as the location, type, and dimensions of window and door openings. This distance varies according to what information we wish to display in front of the building and to what degree this context will obscure the form and features of the building.
They can form a horizontal sequence of drawings, or be related in a single composite drawing around a common plan view. This relationship will not only facilitate the construction of the drawings but will also East Elevation make them more understandable as a coordinated set of information.
For example, once a plan is drawn, we can efficiently transfer the horizontal dimensions of length vertically on the drawing surface to the elevation below. In a similar manner, we can project the vertical dimensions of height horizontally on the drawing surface from one elevation to one or more adjacent elevations.
In architectural graphics, the orientation of a building to South Elevation the compass points is an important consideration when studying and communicating the effect of sun and other climatic factors on the design. We therefore most often name a building elevation after the direction the elevation faces: For example, Main Street Elevation would be the elevation facing Main Street, or Lake Elevation would be the elevation seen from the lake.
We may use a smaller scale for large buildings and complexes. A general knowledge of how buildings are constructed is therefore extremely beneficial when executing large-scale building elevations. To convey a sense of depth, therefore, we must use a hierarchy of line weights or a range of tonal values. The technique we use depends on the scale of the building elevation, the drawing medium, and the technique for depicting the texture and pattern of materials. In a line drawing, discernible differences in line weight can aid in suggesting the relative depth of planes.
Extending this ground line beyond the building serves to describe the topographical nature of the setting. These lines do not signify any change in form; they simply represent the visual pattern or texture of surfaces. This series of drawings illustrates in a more discrete and abstract way how visual cues can enhance the sense of depth in any orthographic projection.
We tend to perceive a shape as being in front of another when it has continuity of outline and disrupts the profile of the other shape. Since this visual phenomenon relies on nearer objects overlaying or projecting in front of objects farther away, we often refer to this depth cue simply as overlap. However, we can achieve a greater sense of intervening space and depth if we combine overlap with other depth cues, such as by varying the line weights of a pure-line drawing.
Darker and thicker profile or contour lines tend to advance and appear to be in front of lighter and thinner outlines. A progressive muting of hues, tonal values, and contrast occurs with increasing distance from the observer. Objects seen up close in the foreground of our visual field typically possess more saturated colors and sharply defined contrasts in value. As they move farther away, their colors become lighter in value and more subdued, and their tonal contrasts more diffuse.
In the background, we see mainly shapes of grayed tones and muted hues. This depth cue reflects the fact that we normally associate clarity of vision with nearness and blurring of outlines with farness.
The graphic equivalent of perspective blur is a diminishing or diffusion of the edges and contours of more distant objects. We can use either a lightly drawn line or a broken or dotted line to delineate these edges of shapes and contours of forms that exist beyond the focus of a drawing. The density of the texture of a surface gradually increases as it recedes into the distance. The graphic technique for depicting the visual phenomenon of texture perspective involves gradually diminishing the size and spacing of the graphic elements used to portray a surface texture or pattern, whether they be dots, lines, or tonal shapes.
Proceed from identifying units in the foreground to delineating a textured pattern in the middleground and finally to rendering a tonal value in the background. Any abrupt shift in brightness stimulates the perception of a spatial edge or profile separated from a background surface by some intervening space.
This depth cue implies the existence of overlapping shapes and the use of contrasting tonal values in a drawing. See Chapter 7 for more information on the use of tonal values in architectural graphics.
While normally included in the drawing of building sections, they may stand alone to study and present highly detailed spaces, such as kitchens, bathrooms, and stairways.
In this case, instead of profiling the section cut, we emphasize the boundary line of the interior wall surfaces. Each type offers a slightly different viewpoint and emphasizes different aspects of the drawn subject. As a family, however, they combine the measured precision and scalability of multiview drawings and the pictorial nature of linear perspective. Because of their pictorial quality and relative ease of construction, paraline drawings are appropriate for visualizing an emerging idea in three dimensions early in the design process.
They are capable of fusing plan, elevation, and section into a single view and illustrating three- dimensional patterns and compositions of space. Portions of a paraline drawing can be cut away or made transparent to see inside and through things, or expanded to illustrate the spatial relationships between the parts of a whole.
Pa r a l i n e D r aw ings Paraline drawings communicate the three-dimensional nature of an object or spatial relationship in a single image. Hence, they are also called single-view drawings to distinguish them from the multiple and related views of plans, sections, and elevations. They can be distinguished from the other type of single-view drawing, linear perspective, by the following pictorial effects.
Axial lines naturally form a rectangular grid of coordinates that we can use to find any point in three-dimensional space. We cannot measure dimensions along these nonaxial lines, nor can we draw Hor them to scale. To draw nonaxial lines, we must first izon s Axi tal locate their end points using axial measurements and Axi tal s then connect these points.
Once we establish one izon Hor nonaxial line, however, we can draw any line parallel to that line, since parallel lines in the subject remain parallel in the drawing. They lack the eye-level view and picturesque Looking from above quality of linear perspectives.
Two of the most common in architectural drawing are discussed in this chapter: In both isometric and oblique drawings: The images that emerge from oblique projections are distinct from isometric views that develop from orthographic projection.
The ease with which we can construct an oblique drawing has a powerful appeal. If we orient a principal face of the subject parallel to the picture plane, its shape remains true and we can draw it more Isometric Drawings easily. They preserve the Vertical Axis relative proportions of a subject or scene and are not subject to the distortion inherent in oblique views.
This ambiguity results from the alignment of lines in the foreground with those in the background. In such cases, a plan oblique might be a better choice. Digital graphics programs, however, allow the use of any desired angle.
This should be the longest, the most significant, or the most complex face of the subject. In sketching or when using digital drawing tools, we need not be as precise, but once we establish an angle for the receding lines, we should apply it consistently.
By varying the angle, the horizontal and vertical sets of receding planes can receive different degrees of emphasis. When constructing and presenting a paraline drawing, keep in mind that paraline views are easiest to understand if vertical lines in space are also oriented vertically on the drawing surface. It involves constructing a paraline view of a transparent rectangular box that encompasses the entire volume of the subject, and then working in a subtractive manner to remove material and reveal the form.
It requires drawing a paraline view of the parent form first, and then adding the subordinate forms. It begins with a paraline view of a horizontal plane of the subject or the profile of a vertical section cut. We can then extrude the shape vertically or extend it back into the depth of the drawing. To draw such a circle in a paraline drawing, we must first draw a paraline view of the square that circumscribes the circle. Then we can use either of two approaches to drawing the circle within the square.
By dividing the square into quadrants and drawing diagonals from each corner to quarter points along the sides of the square, we can establish eight points along the circumference of the circle. We can use a grid to transfer curvilinear or free-form shapes from an orthographic view to the paraline view. This grid may either be uniform or correspond to critical points in the shape. The more complex the shape, the finer the grid divisions should be. It may therefore be difficult to define this hierarchy of line weights without first transferring the graphic image to a two-dimensional environment.
These techniques allow us to gain visual access to the interior of a spatial composition or the hidden portions of a complex construction. We categorize these techniques into expanded views, cutaway views, phantom views, and sequential views. Expanded Views To develop what we call an expanded or exploded view, we merely shift portions of a paraline drawing to new positions in space. The finished drawing appears to be an explosion frozen at a point in time when the relationships between the parts of the whole are most clear.
Remember that, as with other drawing types, the larger the scale of a paraline drawing, the more detail you have to show. This strategy can also effectively manifest the relation of an interior to the exterior environment.
Removing a floor permits a view up into a space. When a composition exhibits bilateral symmetry, we can make this cut along the central axis and indicate the footprint or plan view of the part removed. In this case, the trajectory of the cut should clarify the nature of the overall form building as well as the organization and arrangement of interior spaces. Indicating the external form of what is removed helps the viewer retain a sense of the whole.
This strategy effectively allows us to unveil an interior space or construction without removing any of its bounding planes or encompassing elements. Thus, we are able to simultaneously see the whole composition and its internal structure and arrangement.
By organizing elements and assemblies of a three-dimensional construction into separate groups or layers, we can selectively control their location, visibility, and appearance, as illustrated on this and the facing page. In this case, each floor level successively builds upon the preceding one. Linear perspective is a technique for describing three-dimensional volumes and spatial relationships on a two-dimensional surface by means of lines that converge as they recede into the depth of a drawing.
While multiview and paraline drawings present views of an objective reality, linear perspective offers scenes of an optical reality. It depicts how a construction or environment might appear to the eye of an observer looking in a specific direction from a particular vantage point in space.
L i n e ar Pe r s pe ctive Linear perspective is valid only for monocular vision. A perspective drawing assumes that the observer sees through a single eye. We almost never view anything in this way. Even with the head in a fixed position, we see through both eyes, which are constantly in motion, roving over and around objects and through ever-changing environments.
Thus, linear perspective can only approximate the complex way our eyes actually function. Still, linear perspective provides us with a method for correctly placing three-dimensional objects in pictorial space and illustrating the degree to which their forms appear to diminish in size as they recede into the depth of a drawing. The uniqueness of a linear perspective lies in its ability to provide us with an experiential view of space.
This distinct advantage, however, also gives rise to the difficulty often connected with perspective drawing. The challenge in mastering linear perspective is resolving the conflict between our knowledge of the thing itself—how we conceive its objective reality—and the appearance of something—how we perceive its optical reality—as seen through a single eye of the observer.
This convergence of sight lines differentiates perspective projection from the other two major projection systems—orthographic projection and oblique projection—in which the projectors remain parallel to each other. The picture plane is always perpendicular to the central axis of vision CAV. The cone of vision serves as a guide in determining what is to be included within the boundaries of a perspective drawing.
Only a small portion Elevation of the immediate foreground falls within the cone of vision. As the cone of vision reaches out to gather in what the observer sees, it widens its field, and the middleground and background become more expansive. Being familiar with these pictorial effects helps us understand how lines, planes, and volumes should appear in linear perspective and how to place objects Pa c ral correctly in the space of a perspective drawing.
If the lines are extended to infinity, they will appear to meet at a point on the picture plane PP. This point is the vanishing point VP for that particular pair VP for ab, cd of lines and all other lines parallel to them. VP for ad, bc The first rule of convergence is that each set of parallel lines has its own vanishing point.
A set of parallel lines consists only of those lines that Perspective View are parallel to one another. If we look at a cube, for example, we can see that its edges comprise three 3 principal sets of parallel lines, one set of vertical lines parallel to the X-axis, and two sets of horizontal lines, 3 perpendicular to each other and parallel to the Y- and 3 Z-axes.
Each line in the PP set, however, will diminish in size according to icular to Perpend its distance from the observer. If it Fall slopes downward as it recedes, its vanishing ing awa point lies below HL. Therefore, the projected size of an element remains the same regardless of its distance from the picture plane. In linear perspective, however, the converging projectors or sight lines alter Orthographic Projection the apparent size of a line or plane according to its PP distance from the picture plane.
As the same-size tiles recede, they appear smaller and flatter as they rise and approach the horizon. Other Pictorial Effects Perspective drawings also possess other pictorial characteristics found in multiview and paraline drawing systems. As this viewpoint changes—as the observer moves up or down, to the left or right, forward or back—the extent and emphasis of what the observer sees also change.
SP of the perspective. A distinct advantage in using 3D CAD and modeling programs is that once the necessary data is entered for a three-dimensional construction, the software allows us to manipulate the perspective variables and fairly quickly produce a number of perspective views for evaluation.
Judgment of what a perspective image conveys, whether produced by hand or with the aid of the computer, remains the responsibility of its author. Illustrated on this and the facing page are examples of computer-generated perspectives, showing how the various perspective variables affect the resulting images.
The differences in the perspective views may be subtle but they do affect our perception of the scale of the spaces and our judgment of the spatial relationships the images convey. However, one should perspective view. Widening the angle of view to include more always attempt to maintain a reasonable position for of a space within a perspective can easily lead to distortion of the observer within the space being represented. The closer PP is to the station point SP , the smaller the perspective image.
The farther away PP is, the larger the image. Assuming all other variables remain constant, the perspective images are identical in all respects except size.
Based on these three major sets of lines, there are three types of linear perspective: The subject does not change, only our view of it, but the change of view affects how the sets of parallel lines appear to converge in linear perspective.
The lines that are parallel with CAV, however, will appear to converge at the center of vision C. This is the one point referred to in one-point perspective. The two sets HL of horizontal lines, however, are now oblique to the picture plane PP and will appear to converge, one set to the left and the other to the right. These are the two points referred to in two- point perspective. These are the three points referred to in three-point perspective. Note that each type of perspective does not imply that there are only one, two, or three vanishing points in a perspective.
For example, if we look at a simple 4 gable-roofed form, we can see that there are potentially five 1 5 vanishing points, since we have one set of vertical lines, two 2 sets of horizontal lines, and two sets of inclined lines.
All lines parallel to these axes are also parallel to the picture plane PP , and therefore retain their true orientation and do not appear to converge. For Parallel to PP this reason, one-point perspective is also known as parallel perspective. This is the particular n dic rpe vanishing point referred to in one-point perspective. Pe The one-point perspective system is particularly Parallel to PP effective in depicting the interior of a spatial volume because the display of five bounding faces provides a clear sense of enclosure.
For this reason, designers often use one-point perspectives to present experiential views of street scenes, formal gardens, courtyards, colonnades, and interior rooms. The three-dimensional network of uniformly spaced points and lines enables us to correctly establish the form and dimensions of an interior or Plan Views Perspective Views exterior space, as well to regulate the position and size of objects within the space. What do we wish to illustrate in the perspective view and why?
PP need not be drawn at the same scale as the plan setup. The position of C can be determined from the plan setup. The unit of measurement is typically one foot; we can, however, use smaller or larger increments GL depending on the scale of the drawing and the amount of detail desired in the perspective view. We call this vanishing point a diagonal point DP.
A half-distance point will cut off two- foot increments in depth for every one-foot increment in width: With the same grid, we can also locate the positions and relative sizes of other elements within the space, such as furniture and lighting fixtures. Note that, particularly in interior views, properly cropped foreground elements can enhance the feeling that one is in a space rather than on the outside looking in. The center of vision C is closer to the left-hand wall so that the bending of the space to the right can be visualized.
The change in scale between the right-hand shelving and patio doors beyond, and a similar change between the foreground table and the window seat beyond, serve to emphasize the depth of the perspective.
It therefore is able to illustrate both the constructional aspects of a design as well as the quality of the spaces formed by the structure. Because the section cut is assumed to be coincident with the picture plane PP of the perspective, it serves as a ready reference for making vertical and horizontal measurements for the HL C DPR perspective drawing.
The height of HL and position of C determine what is seen within the perspective view. As a rule of thumb, the distance from C to DPL or DPR should be at least as great as the width or height of the building section, whichever is larger. The principal vertical axis is parallel to PP, and all lines parallel to it remain vertical and parallel in the perspective drawing.
The two principal horizontal axes, however, are oblique to PP. All lines parallel to these axes therefore appear to converge to two vanishing points on the horizon line HL , one set 3 to the left and the other to the right. These are the two points referred to in two-point perspective.
Unlike one-point Horizonta nta l l Horizo perspectives, two-point perspectives tend to be neither 1 2 symmetrical nor static. A two-point perspective is par- ticularly effective in illustrating the three-dimensional form of objects in space ranging in scale from a chair to the massing of a building.
The orientation of the two horizontal axes to PP determines how much we will see of the two major sets of vertical planes and the degree to which they are foreshortened in perspective. Determine what you wish to illustrate. Look toward the most significant areas and try to visualize from your plan drawing what will be seen in the foreground, middleground, and background.
Review the perspective variables on pages — Remember that the vanishing point for any set of parallel lines is that point at which a line drawn from SP, parallel to the set, intersects PP. The diagonal point in one-point perspective is one example of such a measuring point.
In two-point perspective, you can establish two measuring points MPL and MPR for transferring dimensions along the ground line GL to the two major horizontal baselines that are receding in perspective. This intersection is MPR. For example, if you have a series of parallel diagonals in your design, establish their vanishing point as well.
This scale need not be the same as the scale of the plan setup. The unit of measurement typically is one left baseline in perspective by drawing lines to foot; we can use smaller or larger increments, however, MPR. Transfer scale measurements on GL to the depending on the scale of the drawing and the amount right baseline by drawing lines to MPL. These are of detail desired in the perspective view. It is important measurements along the major horizontal baselines to see the perspective grid as a network of points in perspective.
When one-foot squares The grid of squares facilitates the plotting of become too small to draw accurately, use two-foot points in three-dimensional space, regulates or four-foot squares instead. Each unit of measurement can represent a foot, four feet, a hundred yards, or even a mile.
Rotating and reversing the grid can also vary the point of view. Therefore, you can use the same 8 grid to draw an interior perspective of a room, an exterior perspective of a courtyard, as well as an aerial view of a city block or neighborhood. Note that the left vanishing point VPL lies within the drawing, enabling three sides of the space to be shown and a greater sense of enclosure to be felt. Because VPL lies within the drawing, greater emphasis is placed on the right- hand portion of the space.
If the left-hand side of the space is to be emphasized, use a reverse image of the grid. But there are techniques we can use to determine the relative heights, widths, and depths of objects in the pictorial space of a perspective drawing. Measuring Height and Width In linear perspective, any line in the picture plane PP displays its true direction and true length at the scale of the picture plane.
We can therefore use any such line as a measuring line ML to scale dimensions in a perspective drawing. While a measuring Vertical ML line may have any orientation in the picture plane, it typically is vertical or horizontal and used to measure true heights or widths.
The ground line GL is one example of a horizontal measuring line. Digital Measurements Perspective measurements are not a major issue in 3D-modeling programs because the software uses mathematical formulas to process the three-dimensional data we have already entered. Various methods of perspective construction establish depth in different ways. Once we establish an initial depth judgment, however, we can make succeeding depth judgments in proportion to the first.
Subdividing Depth Measurements There are two methods for subdividing depth measurements in linear perspective: Method of Diagonals In any projection system, we can subdivide a rectangle into four equal parts by drawing two diagonals.
Lines drawn through this midpoint, parallel to the edges of the plane, will subdivide the rectangle and its receding sides into equal parts. We can repeat this procedure to subdivide 5e par qual sp a rectangle into any even number of parts. These mark off the desired spaces, which diminish as they recede in perspective.
If the receding line is horizontal in space, then ML will be a horizontal line in the drawing. These lines subdivide the receding line into the same proportional segments. B A Extending a Depth Measurement If the forward edge of a rectangular plane is parallel to the picture plane PP , we can extend and duplicate its depth in perspective. The distance from the first to the second edge is identical eq. The reason for this is that, in the latter perspective drawing.
If perpendicular or oblique to PP, however, an inclined set of lines will appear to converge at a vanishing point above or below the horizon line HL. The easiest way to do this is to visualize the inclined line as being the hypotenuse of a right triangle.
If we can draw the sides of the triangle in proper perspective, we can connect the end points to establish the g isin inclined line.
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An inclined l set of parallel lines is not horizontal and therefore z onta Hori will not converge on HL. If the set rises upward as it recedes, its vanishing point will be above HL; if it falls as it recedes, it will appear to converge L in ef below HL.
This intersection is the vanishing point VPi for the inclined line and all other lines parallel to it. Mark this point A. The horizon line, Plan for example, is the vanishing trace along which SP all horizontal sets of parallel lines converge.
This is the vanishing trace for the vertical plane containing the inclined set of parallel lines. We are not concerned yet with the individual treads of the stairway. This occurs most frequently when the plane of the circle is horizontal and at the height of the horizon line HL , or when the plane of the circle is vertical and aligned with the central axis of vision CAV.
The larger the circle, the more subdivisions are necessary to ensure smoothness of the elliptical shape. Checking the relationship Tangent between the major and minor axes of elliptical shapes helps to ensure accuracy of the foreshortening of circles in perspective. A reflecting surface Object presents an inverted or mirror image of the object being reflected. For example, if an object is resting SP directly on a reflecting surface, the reflected image is a direct, inverted copy of the original.
Thus, in a perspective view of the reflection, the reflected image follows the same perspective system of lines already established for the original image.
Each reflection therefore doubles the apparent dimension of the space in a direction perpendicular to the mirrored surface. Therefore, the major sets of parallel lines in the reflection appear to converge to the same vanishing points as do the corresponding sets of lines in the subject. For example, the waterline establishes the horizontal reflecting plane. Point o lies in this plane. While lines are essential to the task of delineating contour and shape, there are also visual qualities of light, texture, mass, and space that cannot be fully described by line alone.
In order to model the surfaces of forms and convey a sense of light, we rely on the rendering of tonal values. Ton a l Val u e s Vision results from the stimulation of nerve cells in the retina of the eye, signaling patterns of light intensity and color. Our visual system processes these patterns of light and dark, and is able to extract specific features of our environment—edges, contours, size, movement, and color.
If seeing patterns of light and dark is essential to our perception of objects, then establishing contrasts in value discernible to the eye is the key to the graphic definition of light, form, and space. Through the interplay of tonal values we are able to: The visual effect of each technique varies according to the nature of the stroke, the medium, and the texture of the drawing surface.
Regardless of the shading technique we use, we must always be fully aware of the tonal value being depicted. For example, a tonal value superimposed upon a darker tone will appear lighter than the same value set against a lighter tone. Covering the paper surface entirely can cause a drawing to lose depth and vitality. The strokes may be long or short, mechanically ruled or drawn freehand, and executed with either a pen or a pencil on smooth or rough paper.
When spaced close enough together, the lines lose their individuality and merge to form a tonal value. We therefore rely primarily on the spacing and density of lines to control the lightness or darkness of a value. While thickening the linear strokes can serve to deepen the darkest values, using too thick of a line can result in an unintentional coarseness and heaviness of texture. Maintaining the diagonal direction of the strokes in this manner avoids confusion with the underlying drawing and unifies the various tonal areas of a drawing composition.
Remember that direction alone, however, has no impact on tonal value. With texture and contour, the series of lines can also convey material characteristics, such as the grain of wood, the marbling of stone, or the weave of fabric. Be careful not to use too dense a grade of lead or press so hard that the pencil point embosses the drawing surface. You can only control the spacing and density of the hatching. As with hatching, the strokes may be long or short, mechanically ruled or drawn freehand, and executed with either a pen or a pencil on smooth or rough paper.
The multidirectional nature of the hatching also makes it easier describe the orientation and curvature of surfaces. While simple hatching creates the lighter range of values in a drawing, crosshatching renders the darker range. The freehand nature of scribbling gives us great flexibility in describing tonal values and textures. We can vary the shape, density, and direction of the strokes to achieve a wide range of tonal values, textures, and visual expression.
Applying stippling is a slow and time-consuming procedure that requires the utmost patience and care in controlling the size and spacing of the dots. The best results occur when using a fine- tipped ink pen on a smooth drawing surface. The procedure involves applying stippling over faintly drawn shapes of the areas to be toned. We use tightly spaced dots to define sharp, distinct edges, and a looser spacing of dots to imply softer, more rounded contours.
If the scale of the dots is too large for the toned area, too coarse a texture will result. Image-processing software further allows the creation and application of visual textures, some of which mimic the traditional techniques outlined on the previous pages. Shown on this and the facing page are two digital examples using simple gray tones and gradients. The first illustrates a line-and-tone technique to model the forms.
Instead, the range of tonal values serves primarily to define the orientation of the surfaces relative to an assumed light source. In between exists an intermediate range of grays.
Francis D. K. Ching
A familiar form of this range is represented by a gray or value scale having ten equal gradations from white to black. It is worthwhile to practice producing both a stepped series and a graduated scale of tonal values using a variety of media and techniques. It can also describe the characteristic surface qualities of familiar materials, as the hewn appearance of stone, the grain of wood, and the weave of a fabric. This is tactile texture that can be felt by touch.
Our senses of sight and touch are closely intertwined. As our eyes read the visual texture of a surface, we often respond to its apparent tactile quality without actually touching it. We base these physical reactions on the textural qualities of similar materials we have experienced in the past. In most cases, tonal value is more critical than texture to the representation of light, shade, and the way they model forms in space. Shading with tonal values extends a simple drawing of contours into the three-dimensional realm of forms arranged in space.
Since the definition of edges gives rise to shape recognition, we look to edges to discover the configuration of the surfaces of a three-dimensional form. We must therefore be careful how we define the nature of the edge or boundary wherever two shapes of contrasting values meet.
The skillful manipulation of tonal edges is critical to defining the nature and solidity of a surface or object. We define hard edges with an abrupt and incisive shift in tonal value. We create soft edges with a gradual change in tonal value or diffuse tonal contrast. Light is the radiant energy that illuminates our world and enables us to see three-dimensional forms in space. We do not actually see light but rather the effects of light. Within these patterns of light and dark shapes, we can recognize the following elements: The simplest approach is ray casting.
Ray Casting Ray casting is a technique that analyzes the three-dimensional geometry of forms and determines the illumination and shading of surfaces based on their orientation to an assumed light source. The primary advantage of ray casting is the speed with which an illuminated three-dimensional image or scene can be generated, often in real-time.
This makes ray casting a useful tool in preliminary design to study the solar consequences of the massing and composition of building forms and the shadows they cast.
See pages — for examples. Ray casting, however, does not take into account the way light travels after intersecting a surface and therefore cannot accurately render reflections, refractions, or the natural fall off of shadows.
For this, ray tracing is necessary. Ray tracing is a digital technique for tracing these paths to simulate the optical effects of illumination. Local illumination is a basic level of ray tracing that is limited to direct illumination and the specular reflections of light rays. While local illumination does not take into account the diffuse inter-reflection of light among the surfaces in a three-dimensional space or scene, some ray tracing programs can approximate this ambient light in their lighting algorithms.
Local illumination: Global illumination techniques use sophisticated algorithms to more accurately simulate the illumination of a space or scene. These algorithms take into account not only the light rays that are emitted directly from one or more sources. They also track the light rays as they are reflected or refracted from one surface to another, especially the diffuse inter- reflections that occur among the surfaces in a space or scene.
This enhanced level of simulation comes at a cost, however. The process requires time and is computationally intensive, and should therefore be used only when appropriate to the design task at hand.
Global illumination: These two drawings of the Piazza San Marco in Venice illustrate how the tonal contrast can be achieved either by rendering the building as a dark figure against a light background or by reversing the figure-ground relationship and rendering the tonal values of the site. These values can effectively isolate and provide a base for elements that are situated above the floor plane.
The lower the floor plane, the darker its value. Be sure, however, that there is sufficient contrast to emphasize the dominance of the cut elements. If necessary, outline the cut elements with a heavy line weight.
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The most important distinctions to establish are between the cut through the ground plane in front of the building elevation and the building itself, and between the building elevation and its background. Tonal values are therefore used primarily to articulate the orthogonal relationship between horizontal and vertical planes.
Toning the horizontal planes not only establishes a visual base for the drawing but also aids in defining the shape and orientation of the vertical planes. Perspective drawings should use the principles of atmospheric perspective to enhance the sense of spatial depth. Digital Rendering Although improvements continue to be made, the rendering of atmospheric and texture perspective remains problematic in many graphics programs.
Image-processing software, however, allows us to modify digital drawings and simulate the pictorial effects of atmospheric and texture perspective.
The depiction of light, shade, and shadow can model the surfaces of a design, describe the disposition of its masses, and articulate the depth and character of its details. The sun is so large and distant a Su source that its light rays are considered to be parallel.
The ne corollary to this is that any point that is not in light cannot do w li Sha cast a shadow because light does not strike it. A shadow can never be cast on a surface in shade, nor can it exist within another shadow.
It generally requires two related views—either a plan and elevation or two related L ig elevations—and the transferring of information back ht ray Pro Pro and forth from one view to the other. This convention produces shadows of width or depth equal to the width or depth of the projections that cast the shadows.
This feature can be especially useful in the schematic design phase to study the form of a building or the massing of a building complex on a site and to evaluate the impact of the shadows they cast on adjacent buildings and outdoor areas. While efficient and useful for preliminary design studies, ray casting does not take into account the way the light rays from an illuminating source are absorbed, reflected, or refracted by the surfaces of forms and spaces.
For a visual comparison of digital lighting methods, see pages — The hypotenuse of the triangular shadow end points. If the line intersects the surface, plane establishes the direction of the light rays, its shadow must begin at that juncture. This is also true when the line is parallel to the straight lines in a curved surface receiving the shadow.
The shape of the shadow is elliptical since the section of a cylinder cut by any plane oblique to its axis is an ellipse. The most convenient method of determining the shadow of a circle is to determine the shadow of the square or octagon circumscribing the given circle, and then to inscribe within it the elliptical shadow of the circle.
It is usually best to begin by determining the Plan View shadows of significant points in the form, such as the end points of straight lines and the tangent points of curves. The shadow of the line will appear to be straight regardless of the shape of the surface receiving the shadow. In clarifying the relative depth of projections, Elevation View overhangs, and recesses within the massing of a building, shade and shadows can also model the relief and texture of surfaces.
Rather, they merely indicate the relative heights of the parts of a building above the ground plane. However, they may be used to emphasize the cut elements and the relative heights of objects within the space. However, they can be used effectively to distinguish Alti tud e between horizontal and vertical elements, and the three- dimensional nature of their forms.
To construct shade and shadows in a paraline drawing, it is necessary to assume a source and direction of light. Deciding on a direction of light is a problem in composition as well as communication. It is important to remember that cast shadows should clarify rather than confuse the nature of forms and their spatial relationships.
There are occasions when it may be desirable to determine the actual conditions of light, shade, and shadow. For example, when studying the effects of solar radiation and shadow patterns on thermal comfort and energy conservation, it is necessary to construct shades and shadows using the actual sun angles for specific times and dates of the year.
Within the shadow or area in shade, there is usually some variation in value due to the reflected light from adjacent lit surfaces. This intersection s represents the source of the light rays, and is above HL when the light source is in front of the observer and below HL when behind the observer. The shadow and the bearing direction therefore share the same vanishing point.
Determine where the bearing of the shadow meets the vertical surface. Both the casting edge and its shadow therefore VP for light rays share the same vanishing point. In each of the major drawing systems, we do this by extending the ground line and plane to include adjacent structures and site features. In addition to the physical context, we should indicate the scale and intended use of spaces by including human figures and furnishings. We can also attempt to describe the ambience of a place by depicting the quality of light, the colors and textures of materials, the scale and proportion of the space, or the cumulative effect of details.
Pe op l e The viewer of a drawing relates to the human figures within it and is thus drawn into the scene. Therefore, in the drawing of architectural and urban spaces, we include people to: Scale Important aspects to consider in the drawing of human figures are: We can Use and Activity therefore simply scale the normal height of people in elevations and section drawings. Since the view is three- dimensional, however, the figures should have some degree of roundness to indicate their volume.
Then we can extend this spot vertically and place the eyes of the head of each figure on the horizon line. The principles of linear perspective can be used to shift the figure right or left, up or down, or into the depth of the perspective. We therefore need to draw human figures in proper size and proportion.
Instead, figures should be given a sense of volume, especially in paraline and perspective views. Then the established proportions are used to draw the same person sitting down.
What activity should occur in important spatial features or distract from the focus of this room or space? The same principles that govern the scale, clothing, placement, and gesturing in hand drawing should apply to the use of digital images of people in architectural settings. The ability to produce photorealistic images of people is seductive. Keep in mind that the graphic style with which we populate architectural drawings should not distract or detract from the architectural subject matter.
The figures should have a similar level of abstraction and be compatible with the graphic style of the drawn setting.
Their placement should remind us that there should be places on which to sit, lean, rest our elbow or foot, or simply touch. Digital Libraries Many CAD and modeling programs include ready-made libraries or templates of furniture elements. These can be easily copied, resized, and placed directly into drawings. These include: With these landscaping elements, we can: Different types of branch structures are illustrated below. The amount of detail rendered should be consistent with the scale and style of the drawing.
Draw these outlines freehand to give the foliage a textural quality. It is therefore necessary to differentiate between deciduous trees, conifers, and palms. As always, the type of trees selected should be appropriate to the geographic location of the architecture. The outline of foliage can be suggested with dotted or lightly drawn freehand lines. Foreground elements typically possess dark, saturated colors and sharply defined contrasts in value.
As elements move farther away, their colors become lighter and more subdued, and their tonal contrasts more diffuse.
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This can sometimes be accomplished simply with an articulated profile line. This area therefore requires more detail and sharp contrasts in tonal value. Trees and landscaping are shown merely as shapes of tonal value and texture.
As with digital images of people, the ability to produce photorealistic images of trees and other landscape elements can be seductive. Keep in mind that the graphic style of site and contextual elements should not distract or detract from the architectural subject matter.
Their graphic description should have the same level of abstraction and be compatible with the graphic style of the drawn setting. These drawings describe a design proposal in a graphic manner intended to persuade an audience of its value. The audience may be a client, a committee, or merely someone browsing for an idea. Although the drawings that comprise a presentation may be excellent two-dimensional graphics worthy of an exhibition, they are merely tools for communicating a design idea, never ends in themselves.
A rc hi te c tural Presentatio ns Unless presentation drawings are comprehensible and persuasive—their conventions understood and their substance meaningful—a presentation will be weak and ineffective. An effective presentation, however, also possesses important collective characteristics. Point of View Be clear about design intent. A presentation should communicate the central idea or concept of a design scheme. Graphic diagrams and text are effective means of articulating and clarifying the essential aspects of a design scheme, especially when they are visually related to the more common types of design drawing.
Efficiency Be economical. An effective presentation employs economy of means, utilizing only what is necessary to communicate an idea. Any graphic elements of a presentation that are distracting and ends in themselves can obscure the intent and purpose of the presentation.
Clarity Be articulate. At a minimum, presentation drawings should explain a design clearly and in enough detail so that viewers unfamiliar with it will be able to understand the design proposal. Eliminate unintended distractions, such as those caused by ambiguous figure-ground relationships or inappropriate groupings of drawings. Too often, we can be blind to these glitches, because we know what we want to communicate and therefore cannot read our own work in an objective manner.
Accuracy Avoid presenting distorted or incorrect information. Presentation drawings should accurately simulate a possible reality and the consequences of future actions so that any decisions made based on the information presented are sound and reasonable. Als Download kaufen. Jetzt verschenken.
In den Warenkorb. Sie sind bereits eingeloggt. Klicken Sie auf 2. Alle Produkte. He is the author or coauthor of numerous architecture and design books, including Architectural Graphics; Architecture: Drawing from Observation. Drawing Systems. Drawing from the Imagination.Asif Syed. Ones that have square- models are especially handy.
The Elements of Photography. Instead, figures should be given a sense of volume, especially in paraline and perspective views. Equipped with tubular tips and waterproof, pigment- based ink, these pens are suitable for writing, freehand drawing, as well as drafting with straightedges. In either case, the subject matter presented should progress in sequence from small-scale to large-scale graphic information, and from the general or contextual view to the specific.
Whenever possible, orient plan drawings with north up or upward on the sheet. While digital tools can augment traditional techniques, the tactile, kinesthetic process of crafting lines on a sheet of paper with a pen or pencil remains the most sensible medium for learning the graphic language of drawing.
Assuming all other variables remain constant, the perspective images are identical in all respects except size.
Related articles: | https://bestthing.info/environment/design-drawing-francis-ching-pdf-11946.php |
applies figure-ground perceptions of outdoor rooms and walls of vegetation with certain linear features. These features, coursing through and connecting figure-ground elements, are lines on the land – rivers, streams, ridges, and coastal bluffs. Their alignments are governed by geology and natural forces, shaped over millennia. They are boundaries, markers, life flows, and transportation ways. Their patterns and spatial extent often go unrecognized. While figure-ground elements may change rapidly, land lines are slow to change. Another type of line – the highway – is applied to the land. Heavily used, highly visible, its course, too, is influenced by geologic forces.
Land Lines
represents a twelve-mile segment of the northern California coast.
Figure-ground drawing
uses contrast to describe the relationships between solids and voids. Such drawings are used to distinguish edge conditions and to reveal a framework of objects and spaces. In architecture and urban design, figure-ground is a two-dimensional depiction of a place, showing the relationship between built and unbuilt space – buildings and walls are figure; open spaces, streets, or parks are ground.
The Landscape 38
series applies figure-ground perceptions to outdoor rooms and walls of vegetation. The series clarifies the often-indiscernible patterns and spatial relationships of landscapes. Drawings depict figure – groupings of trees and forests, and ground – grasslands, low plantings, and ground surfaces. Sometimes, outdoor rooms hide within expanses of vegetation, carved out of forest poche. These pen and ink drawings are part of a series documenting the north coast of California. Archival, digital prints are available.
Original paintings and archival prints are available for purchase. For details write:
[email protected]
The
Land Lines Project
is artworks giving imageability to forms and patterns on the land. | http://www.artichokedesigncompany.com/landscape_38_project |
:
Long, Yu
Title
:
Untitled (Farmland Landscape)
Date (Execution)
:
c.1960
Geographical Origin
:
unknown
Cultural Group
:
Style / Period
:
Medium / Material
:
acrylic
Support / Technique
:
canvas
Object Type
:
acrylic paintings (visual works)
Visual Description
:
This landscape painting is predominantly green and blue in colour. The fore and middle grounds are of a thickly painted field (heavy application of paint especially in the foreground). Bold horizontal brushmarks are used in the foreground and become less distinguishable progressing through to the back ground. The upper third of the painting is mostly overcast cloud space. Two architectural structures are present on the horizon line. Left eighth of horizon contains small barn, a long rectangular barn is located on the right 6/8 of the horizon.
Accession #
:
U001.18.1
Width (cm)
:
74.50
Height (cm)
:
75.00
Depth (cm)
:
Mandatory Credit
:
The White and Veillette Study Collection; Gift of Gary White and John Veillette
Artist Statement
: | https://collectionlegacy.uvic.ca/index.php?id=13885&artifact_action=info |
"Sinew" Ink on Rives BFK 19"x25"
Today we bring you a selection of work from the online portfolio of Cameron McLellan whose work is inspired by landscape and architecture found along Canada's beautiful west coast. Cameron is an artist based out of Vancouver BC Canada and his sense of this place is a strong influence in his work. His artwork is made up of incredibly delicate line work that really draws the viewer into the piece. While some of the works have very selective areas of colour, over all, the works seem to allow the white of the paper dominate, creating very active negative space.
"Cameron McLellan's drawings explore line, form and the meditative quality of repetition. Spatial relationships and composition are expressed with an economy of means and are underpinned by the west coast architectural legacy of restraint and connection to nature.
Untitled Ink on paper 11"x17"
"Stanley Park Cascade" Ink on Rives BFK 19"x25" | https://www.artistrunwebsite.com/blog/511/Online+Portfolio%3A+Cameron+McLellan |
The Barcelona Pavilion was designed by Ludwig Mies van der Rohe (1886-1969) as the German National Pavilion for the Barcelona International Exhibition, 1929.
An analysis of this building reflects the aims I have pursued during this project:
- Essence of ideas expressed simply
- Narrative conveyed in harmonious layers
- Multi-sensory experience
- Creation of multiple perspectives
Built from glass, steel and four various kinds of stone (Roman travertine, green Alpine marble, ancient green marble from Greece and golden onyx from the Atlas Mountains), the originality in Mies van der Rohe’s use of materials is found in the ideal of modernity they expressed through the clarity and precision of their geometry and assembly.
The Pavilion was dismantled after the Exhibition in 1930. However, due to its significance in Mies van der Rohe’s career and in 20th century architecture, it was rebuilt in 1986 on the original site.
The materials Mies van der Rohe selected, together with his design, for the Pavilion convey a multi-sensory narrative which moves backwards and forwards along a timeline from ancient, through contemporary to future possibilities.
Fig. 2 Fig. 3
Gillian Lock-Bowen, photographs, interior and exterior, 2017
Despite the tiled construction of the marble walls and floors, they appear to form seamless slices of a natural material which looks and feels harmonious and sateen.
The patterns in the marble, including those formed by fossils held in suspended animation, are the result of the energetic-churning of the earth as it integrated disparate materials.
The sometimes-delicate streams forming bold patterns (see Figure. 3) forged within the earth are further articulated by their subtle, harmonious, planetary colours and tones.
Figure 2 is an image of an exterior space. It was raining on the cold, February morning when I visited the Pavilion which meant I had the joy of experiencing the sound of rain diving forcefully into the surface tension of the water in the shallow pool reminiscent of a Japanese Zen garden (intended to imitate the intimate essence of nature). Beneath the 2/3 inches of water in the pool is a layer of regular sized, pale-grey stones.
Mies van der Rohe used white marble – the result of the metamorphism of very pure limestone – to surround the Pavilion’s pool; it covers the floor, bench, walls and shelter (called a “hojo” in a Japanese Zen Garden – the residence of the chief monk of a monastery or temple).
Thus, the exterior space creates a place in which people instinctively slip into quiet contemplation.
Infinite Potential
These works comprise Phase 1 of a series: Infinite Potential.
The influence for this series is architecture at Essex University.
The project is an exercise in abstraction from the built environment and its surrounding landscape.
The images above demonstrate how I displayed the works in a rectangular room (the Installation Room at UOS).
Purpose: curate and document Phase 1 of the project and begin Phase 2.
Phase 2 begins with the introduction of light and moving images as a means of connecting the works; and expanding the works through space and time in unforeseen ways thereby making new work.
Fig. 1, Gillian L-B, Untitled, 2016 -7, Various paints on Timber, 1000 cm x 200 cm
Figure 1 shows three 1 metre high painted boards.
The surfaces are painted with various spray paints combined to reference tarmac, concrete and stone; these paints are textured and grainy in appearance. They appear to be weathering and the colours are fading – this process references time passing.
These boards are a response to the Brutalist buildings at Essex university. The markings on the boards reference the service roads and subterranean spaces beneath the University.
The surface of the boards are overpainted with lines of various widths interacting to form geometrical shapes like road markings. To make the lines, I used the same chalk paint as used on the 3D constructions – drawings as seen in Figure 2 below; and stainless steel paint (made in Australia – contains stainless steel particles).
The steel paint references the steel ventilation pipes found in the service areas beneath the university.
The lines on the three boards in Figure 1 were painted as one piece. However, I remixed the original configuration thereby demonstrating additional potential relationships.
Thus, although the marks on each board project a strong resemblance, if they are moved together so that they touch, the lines would not marry-up to form cohesive marks.
There is sense though that a more cohesive configuration could be obtained by rotating the boards. Thus, the work motivates thought and action.
A sense of potential change is implicit in the works throughout the series and the puzzle-like features of the boards in Figure 1 reiterate the theme of this series: Infinite Potential.
Fig. 2 Gillian L-B, Untitled, 2016 – 2017, Chalk paint on Timber, various dimensions
I have returned to the feeling that the 3D constructions seen in Figure 2 are automated drawings.
I have come to this definition based on how they were constructed i.e. I played with the relationships between the angles and lengths of timbers laying one piece on top of another and moved them until I felt the relationship was strong and aesthetically pleasing.
The drawings are a response to the buildings both Brutalist and Contemporary at Essex university.
As the drawings are built-up in layers, they are completely intercahangble. Each drawing is made-up of three autonomous layers which balance upon one another.
Action: The drawings will function as a new ground upon, through and between which I will project moving images – play with light, time and space and thereby create new work.
Fig. 3 Gillian L-B, Untitled, 2017, Oil on board, 1000 cm x 500 cm
Fig. 4 Close-up section of Untitled painting above
Figure 3 shows an oil painting influenced by Gerhard Richter’s style of painting abstract images by means of building-up many layers of paint.
This painting is a response to Lake water agitated by a fountain. I decided to prop the painting up against the wall opposite the three boards which a respond to manufactured materials.
The area which glows (bottom mid to right) is caused by the light from a projector. I superimposed an edited video of the lake on top of the painting thereby returning a sense of light and movement to the image.
The video captured reflections of the building on the lake-side in the lake which was constantly agitated by the movements caused by a fountain.
In introduction of moving images as equally key elements in the series marks a new and exciting Phase 2 of the project.
Action: Audio – I have an audio recording of the sound of the water spraying out from the fountain which I intend to merge with the video.
Suggestions from Tutors:
Do the drawings need to be present?
Hand-hold the projector – facilitates the movement of light rays over and between the works
Cast 3D structures – drawings – using concrete and steel
Consider using pin spot lights on the 3D drawings
Consider using a programmable air machine to move the 3D drawings
Infinite Potential: Phase 2
These images demonstrate the impact of adding moving images/light to the works.
The video projected in these images is the same video I projected onto the oil painting (see Figure 3).
I used this video as I particularly liked the way in which the ribbons of light streak across the 3D lined drawings. Hand-holding the projector means that I can manipulate the directions in which the streams of light fall (360 degrees).
Meanwhile, the video contributes colours reflected off the surface of the lake-water and off the painting. Thus, video adds multiple dimensions to the work.
See examples of Infinite Potential videos:
Infinite Potential
Degree Project Title: Infinite Possibilities (considering changing to Infinite POTENTIAL) – abstractions based on specific buildings at Essex University
Fig. 1 Untitled, 2016, timber, paper, various dimensions
An exercise in constructing, deconstructing and reorganising time and space.
What?
This image shows me experimenting last semester with the idea of inserting drawings, photographs and/or painted panels between sections of a 3D painting.
The panels were painted with products and in colours which capture the irregular nature of tarmac (a response to the underground service area).
I considered painting across the inserted panels with the lines corresponding to the lines on the construction beneath thereby reintroducing the continuity of the lines in the painting; and reinforcing a sense of layering and continuity through time and space in different dimensions.
The monochrome photograph (see Fig.1 lower left) shows a surreal image of two buildings at Essex University. I took the photograph standing in the corner of a second storey room where two windows converged at a 90-degree angle. Thus, the image shows two buildings cropped and compressed.
I consider the constructions to be 3D paintings in response to Brutalist buildings at Essex University (knowing the location need not be relevant to viewers).
I used timber to produce geometrical constructs which were then painted in three shades of grey chalk paint (in response to concrete – the material used in the Brutalist buildings at Essex University).
These constructions were not designed; each piece of timber was cut and fixed in relation to others.
Each of the 3D paintings is made up of three autonomous layers painted in one of three shades of grey (Graphite, Anthracite and Flint – corresponding to natural materials).
The layers of the three compositions are interchangeable – which introduces multiple additional possibilities including a sense of depth created by darker and lighter tones of white and black.
Currently, the first layer is prepared with mirror plates to be fixed to a wall and the subsequent layers are designed to balance on the first.
However, all layers could be suspended from a ceiling, hinge out from walls and the corners of rooms.
Why?
This exercise enabled me to analyse my conscious and other than conscious perceptions of time and space.
How?
I walked around and inside the buildings and through the landscape on the campus at Essex University thereby building-up sensory perceptions/memories.
I then constructed a response to those sensory perceptions/memories in my studio.
Learning:
I found that the more I looked at photographs and images of architectural plans and drawings the more remote I felt from the environment I wanted to respond to and inhibited the act of making.
However, when I simply made work – drawings and constructed layers using timber – with an open-mind I felt highly responsive to a motivating force which was only concerned with process of making and responding to what emerged.
[This echoes my experience of painting abstract images the investigation of which underpins this project – joining up a circle?]
This exercise reinforced my belief that boundaries to our thinking about time and space, (represented by the timber lines) are perceptions (or fantasies/illusions) which we can control and change. I have the capacity to organise lines/boundaries to make new and satisfying associations and relationships (using individual and/or group criteria).
Thus, time and space is the stuff of infinite possibility (potential).
Ultimately, understanding that Homo Sapiens can control time and space is about survival.
Influences (see recent blog pages for analysis):
The early paintings and drawings of architect Zaha Hadid – influenced by Russian painter and Theoretician Kazimir Malevich (1879 – 1935).
Hadid’s use of perspective, colour contrasts and tone to emphasis 3D form and in particular shadows to extend and elongate the relationships between forms. Consideration of the spatial needs of individuals in urban environments (societies). This includes aesthetic considerations together with the relationships between ancient and contemporary buildings and ideas e.g. Rome.
Julie Mehretu – influenced by Marxist and Situational Theorist Guy Debord (1931 – 1994) e.g. the idea of psychogeographies (a study of the effects of the environment on the behaviour and emotions of individuals or something that takes pedestrians off their predictable paths and jolts them into a new awareness of the urban landscape).
Mehretu’s vision extrapolates from the local to the global.
Use of layering e.g. images of architectural features of buildings overlaid with an abstract response thereby creating new spaces.
Display considerations:
The grey, 3D paintings as in Figure. 1 – a response to the build environment – could have colour videos projected into the spaces between the timber lines.
The significance of the use of colour in the videos is that they reflect the changing colours in the ever changing landscape which interact with the built environment.
In one video I have manipulated the colours to exacerbate their depth and contrast.
The videos show layered moving images e.g. grasses moving in the wind overlaid by water in the lake rippling under the pressure of water projected at force from the fountain.
Thus, the projected moving images (the environment) interact with the static 3D paintings (representing the buildings) demonstrating that time and space offer infinite possibilities.
Developments/Intentions this semester:
My work developed last semester from colour, 2D abstract paintings to include photographs taken via reflections – thereby abstracting new perspectives – layering videos, drawing developed to include a sense of perspective and 3D construction/painting.
I intend to return to colour, 2D painting this semester and analyse the changes; including painting on aluminium panels.
I also intend to consider combing video and a 3D assemblage (sculpture – using a limited number of materials and colour) so that the static 3D assemblage appears kinaesthetic.
The apparent movements in time and space will be semi-illusory brought about by projecting moving images onto the 3D assemblage.
Thus, the 3D assemblage will demonstrate the illusory nature of perception.
Areas for research:
Contemporary kinaesthetic, collage, sculpture, installation art practitioners:
• Sarah Sze (see Measuring Stick, 2015)assemblage/sculpture and video
• Helen Marten, assemblage and sculpture
• Philippe Parreno, installation and film
• Contemporary art and psychogeographies
• Contemporary art and the sublime
Psychogeography
Further to the thoughts I listed in my previous blog (20/01/17) which attempt to explain my response to visiting the campus of my first university – from a psychogeoraphical perspective – I decided to respond to those ideas in the form of a poem.
This afternoon, I wrote the poem which follows in less than 10 minutes – like a stream of consciousness it is a collection of impressions of my early days as an undergraduate on the campus at Essex University in the mid 1980s.
Psychogeography – first walk across the Campus
People crossed the numbered Squares appearing to have intent
I too kept walking
Aware of the Titled doors sweeping open and closing like exterior lungs
Propelling people into and out from secret warrens of knowledge.
Behind the doors, pigeon holes empty, or dipping with uncollected mail –
Not back yet, collected, just empty?
The Hex – long queue, multiple voices – questions what and where and when and who?
A bustling space – between bustling spaces –
between fierce, protective Brutalist walls.
The Library – silence, concentration, catalogues, floors –
walk between, or ride the Paternoster lift, to
row upon row of solid, dark shelves and numerical systems;
Seek and find books and journals, new and old
containing numerous traces of bold ideas – hypothesis then theory.
Fascination rippling outward making new connections –
Rabbit holes opening, time ticking…
Views across the Lake, trees beyond, Canada geese
Walking in slow motion in gaggle formation, cumbersome steps
Then necks bent plucking in synchronisation
Like their possessive Theropod ancestors before them
Book lists, Lecture Theatres, intense Tutorials –
Reading at pace, analysis, vivid vocabulary.
Harvard citation whenever A argued against B’s hypothesis, following C ‘s exposition since D’s redefinition of …
Banners and protests, boycotts and rallies – urgency.
Questioning, deconstructing, evaluating, reframing, resistance, self-determination…
Essex University Albert Slowman Library
From Julie Mehretu to Sarah Sze
Sarah Sze’s work addresses the proliferation of diverse information and multifarious objects which dominate contemporary life.
Sze incorporates elements of painting, architecture, and installation within her sculptures through which she investigates the value we place on objects and how objects ascribe meaning to the places and times we inhabit.
It occurs to me that Sze’s sculptures operate in 3D in similar ways to Hadid and Mehretu’s explosive 2D paintings and drawings.
In the images below we can see similarities with the early architectural paintings of Zaha Hadid (Figure 2) and the more global scope and concerns evident in the work of Julie Mehretu (Figure 3).
Fig. 2 Sze, Mural, 2nd Avenue Subway,14,000 sq feet of tile
http://art-nerd.com/newyork/sarah-sze-blueprint-for-a-landscape/
http://www.art21.org/images/sarah-sze/day-2005
Sze employs a constellation of everyday materials in her work ranging from found objects, plants, photographs and sculptures thereby creating vast encyclopaedic landscapes. Her work often transforms the architecture in which they are constructed by colonizing overlooked and peripheral spaces.
Sze sculptures record indexical trances of the experimental nature of her arts practice as it ebbs and flows – sometimes seemingly suspended in space; apparently quantifying and organising the universe in a personal system of order. Thus, Sze’s sculptures appear to represent both the dismantling of order and reassembling of an equally complex new order.
http://www.bostonmagazine.com/arts-entertainment/blog/2016/08/28/art-exhibits-fall-2016/print/
In the video: Measuring Stick (see link below), in which Sze discusses her work of the same name, she refers to Charles and Ray Eames influential film Power of 10 which played visually with the idea of measuring time and space by moving rapidly from micro to macro perspectives of the world.
In Measuring Stick, Sze makes a work which measures time and space through the moving image. Everything in the sculpture provides a measure of how we orient ourselves in space and time e.g. data live from NASA measuring the distance to the Voyager which is farthest measurable distance we have ever been able to measure.
The sculpture is arranged on a mirror, incorporates flowing water and videos of moving images projected onto small pieces of paper, so the whole piece suggests fragility and delicately shifting movement and transfomation.
Intention: explore my response to Essex University in the form of a 3D sculpture. An additional challenge would be to make the work kinaesthetic, or if static the work could incorporate projected moving images thereby providing additional dimensions and movement.
I contacted the university to ask whether they have a bank of lost property I could acquire. It would have been fascinating to make a sculpture out of disregarded or lost personal items. However, they do not have a bank of unclaimed items so my sculptures will be made from both found and made objects. | https://www.a-n.co.uk/blogs/painting-as-performance/ |
March 21 – April 29, 2016.
Born in Northern Ireland and educated at the Royal Scottish Academy in Edinburgh, artist James Kennedy creates interdisciplinary work, bringing architectural ideas to canvas in a unique way. His projects, including the Morphosis and Architecture and Choreographies series, are built up as layers of paint often conceived as shallow reliefs.
The processes involved in creating forms and compositions are guided by intuitive compositional strategies played out as hyper-drawings, where profiles derived from imaginary plans and sections flatten and layer. The paintings emerge not from a preconceived sketch, but from an evolving negotiation of so many "spatial permissions" prompted by initial graphic moves. Pattern is important to his work, as is craft and the character of line work: incised, dashed, floating on paint. The repetition of like elements, iterations of shape, and scaling of projected objects, pulls his larger works into the realm of murals. Kennedy has recently started to develop model-sculptures as analogues to his paintings.
A grammar of form, reminiscent of Marcel Duchamp's dress pattern–derived bachelors in the "Large Glass," is evident throughout. This palette of shape and Kennedy's method of juxtaposition also recalls the still-life Purist paintings of Le Corbusier. Occasionally, his compositions are intersected or otherwise rattled by the imposition of a highly-colored, alien-like figure that appears to inhabit the painting. These figures lend the paintings a sense of depth and detachment from the picture plane.
Kennedy has likened his works to landscapes, constructed sites that receive and negotiate architectural impositions. They are a paracosm, other worlds, where architectural ideas play out unencumbered by the demands of program or even three dimensions.
“Morphosis” is the second solo exhibition of James Kennedy in Miami, and as the title suggests, it explores the transitions occurring in his work. Perhaps the most noticeable transformation is in his palette. In his earlier works, color was one of the main elements. In those pieces, Kennedy favored the use of a wider spectrum of colors, sometimes juxtaposing bright ones. His latest works in the series Anatomical Fiction, however are becoming almost monochrome, made in range of grays and whites. Impetus illustrates the concept well, featuring some of those bright colors. While the background is comprised of muted and neutral tones, the first plane and the center are taken over by a bright red figure. Another difference is the inclusion of figurative elements, contorted figures that surely are inspired by his experience as a professional dancer. The suspended characters, half-human and half–machine are surreal creations that seem almost otherworldly.
Kennedy was born in Northern Ireland and educated at the Royal Scottish Academy in Edinburgh; the Rhodec Academy of Design in Brighton, England and the London School of contemporary Dance School. His early works, particularly his series Moodscapes, which occupied most of his professional life between 2000 and 2006, show the influence of Joseph Turner (1175 -1851). In these pieces he used an expressionistic style, influenced by the emotional landscapes of Turner, whose violent renderings were a departure from traditional landscape painting.
In 2007 in his exhibition “Architectures and Choreographies", it was evident that Kennedy’s work became more abstract, perhaps as a reaction to the work of artists such as Gerhard Richter. He was also interested in the legacy of Russian Constructivism and the Bauhaus. This change can be seen clearly in his series Spatial, on which he worked from 2006 to 2012. The works in Spatial stand out as a result of his intriguing use of space. In these paintings, the artist created the effect of multiple levels “moving” within the same image. Spatial is, in a way, a preamble to Anatomical Fiction, the main series in his current exhibition .
In the paintings of Anatomical Fiction, Kennedy continues exploring space in the same direction, creating the illusion of real depth in a two- dimensional surface.
He achieves this effect through complex compositions structured in several planes. This then evolved into three dimensional pieces, represented in this show by sculptures. This is the first time that he has exhibited sculptures, certainly as a result of his interest in architecture, since these pieces are articulated assemblages that resemble buildings and machinery.
There is a considerable sense of experimentation in his works, especially in the technical part which involves lengthy preparation. He is also interested in textures, which he translates to the surface of his paintings . Conceptually, his work is evocative, aiming to express inner transformation through his contorted and faceless figures. The result is a unique and intriguing imagery that levitates between between meticulous precision and free expression.
Neither representational nor referential, Kennedy’s paintings are exactingly specific in appearance and endlessly suggestive in affect.
Kennedy’s complex process results in a rich visual experience that is orderly, balanced, and rhythmic. Human in scale, with dimensions such as 64 x 64, 37 x 60, 64 x 52 inches, they are comfortably approachable. The white or black frames and over-layer of varnish emphasize the physicality of the painting, but the forms remain elusive, never coalescing into a single identifiable picture.
Miranda McClintic is an independent scholar, specializing in twentieth and twenty-first century art. After five years as a curator of exhibitions at the Hirshhorn Museum and Sculpture Garden in Washington D.C., she moved to New York City and established her own business, Connoisseurship and Exhibition Development.
Ms McClintic advises corporations and private collectors on art acquisitions, management, and installation. She served as United States Commissioner to the XXIV Sao Paulo Bienal, has been on the faculty of the 92nd Street Y for seven years, and directs tours under the name Art Adventures. Miranda McClintic produces exhibitions, as well as writing catalogues for cultural organizations, commercial galleries, and artists.
The subjects of Ms. McClintic's publications are as wide ranging as her practice. She has written extensively on David Smith, Judy Pfaff, Conrad Atkinson, Margaret Harrison, Maurizo Pellegrin. Her topics have included color and abstraction (the title of her most recent book for the Smithsonian Institution), English country houses, surrealist sculpture, bronze casting, and feminism. She is finishing a revisionist history of twentieth century art, RECYCLING REALITY: The History of Found Object Art, and beginning a book on contemporary watercolors.
Since graduating from Sarah Lawrence College and the Institute of Fine Arts, Ms. McClintic lectures frequently in conjunction with the shows and symposia that she organizes, and her art tours. She serves on jury selection committees and works regularly with several not-for profit organizations. As a consultant to corporate clients, she is focusing on Chinese and Mexican contemporary art. | https://jameskennedyonline.com/news.html |
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Reception: Friday, June 3 from 6:30pm to 8pm
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Washington Studio School (WSS) presents Intervals, and exhibit of recent abstract paintings by guest artist George Pearlman.
About his process, George Pearlman writes, “I start my paintings by placing areas of colors on the canvas; these colors react to one another in relationships that have a specific sense of volume and space. The space I create in this way has a plastic nature; it is experienced as having movement and depth while maintaining a two dimensional integrity. The internal response I have to this dynamic spatial form as it begins to unfold dictates the compositional results. In the end the painting takes on a sense of form that evokes in us a feeling not unlike one we experience when looking at a beautiful landscape in nature. Although these paintings are abstractions, they are true to the experience of visual perception. And, it is this that allows us to experience them as being real.”
George has been a painter all his life. He has maintained a studio practice, and has shown regularly at galleries in NYC and Vermont, and many group shows in the US and internationally. He studied at Parsons School of Design and Pratt Institute and earned his masters at Brooklyn College. While at Pratt, George met James Gahagan who was a long time student and studio assistant to Hans Hofmann. About his friendship with James Gahagan, George notes that “James introduced me to the teachings of Hofmann, as well as other Hofmann students, and was my mentor and friend for over thirty years.”
In 1985, George began serving in the administration at the Vermont Studio Center. This intimate connection with a community of artists continues to offer him exceptional opportunities to meet and work with amazing artists from every corner of the world.
Washington Studio School is located at 2129 S. St. NW. | https://www.eastcityart.com/openings-and-events/washington-studio-school-presents-george-pearlman-intervals/ |
# Sesshū Tōyō
Sesshū Tōyō (雪舟 等楊) (c. 1420 – 26 August 1506) has been regarded as one of the greatest painters in Japanese history. Sesshū was a Zen-Shu priest painter of the Muromachi period in Japan, prominently recognised for his art of sumi-e (black ink painting). Initially inspired by Chinese landscapes, Sesshū's work holds a distinctively Japanese style that reflects Zen Buddhist aesthetics. His prominent work captured images of landscapes, portraits, and birds and flowers paintings, infused with Zen Buddhist beliefs, flattened perspective, and emphatic lines.
Sesshū was born into the samurai Oda family (小田家) and trained at Shōkoku-ji temple in Kyoto, Japan, as a Zen monk. From his early childhood, Sesshū showed a talent for painting and eventually became widely revered throughout Japan as a wise, reputable Zen scholar, and the greatest painter priest of Zen-Shu.
Sesshū worked in a painting atelier whilst training under Tenshō Shūbun (c. 1418–1463). But upon visiting China, his work betook a distinctive Chinese influence, merging Japanese and Chinese styles to develop his individualistic style of Zen paintings. Sesshū's influence on painting was so wide that many schools of art appointed him their founder. Sesshū's most acclaimed works are Winter Landscape (c. 1470s), Birds and Flowers (1420–1506) and Four Landscape Scrolls of the Seasons (1420–1506).
## Biography
### Early life
Sesshū Tōyō was born in Akahama (Soja City), a settlement in Bitchū Province, which is now a part of the Okayama Prefecture, during the Muromachi period. As a child, Sesshū entered the Buddhist community at the Hofukuji temple in Okayama, Japan. Little is known about Sesshū's early life, but there is a well-known tale that, whilst at Hofukuji Temple, Sesshū's instructor was forced to discipline him by tying him to a temple post. After a few hours passed, Sesshū used his tears as ink to draw a mouse on the wooden floor. The mouse was so realistic that it sprung to life and gnawed at the tight ropes to set him free.
At the age of twelve or thirteen years old, Sesshū entered the Shōkoku-ji temple in Kyoto, Japan, as an acolyte under the head priest of all zen temples, Shunrin Shuto, and eventually became a zen monk. Shōkoku-ji temple held a close relationship with the Muromachi government as the temple's main supporters were a part of the ruling Ashikaga family. Whilst at Shōkoku-ji temple, Sesshū was a pupil of Tenshō Shūbun, who was often regarded as Japan's first great master of ink landscape painting. Sesshū worked under Shūbun for 20 years before leaving Kyoto for a small provincial zen temple in western Japan. Here, he was left free from monastic and political duties to focus on painting.
### China
Funded by a wealthy warrior clan that engaged in trade with China, then ruled by the Ming Dynasty, Sesshū travelled to China in 1467 as a member of a Japanese envoy. He travelled to China for three years, exploring the Chan monasteries, landscapes, and studied professional artists' Chinese paintings, rather than those by literati masters. Here, Sesshū had the opportunity to study traditional Chinese master paintings, learning about their realistic styles. During his travels from Ningbo to Perking, Sesshū felt the vastness of nature, learning from the original references used in Chinese ink painting. This influenced his following work greatly since, before visiting China, Sesshū worked under Shūbun's style. Following Sesshū's three years in China, his familiarity with Chinese landscapes showed in succeeding works as they held a distinct Chinese influence with his developing individualistic style.
### Return to Japan and death
In the last years of Sesshū's life, he visited Masuda, Japan, to study zen whilst painting and creating spiritual gardens called Sesshū's gardens. In 1506, at 87 years old, Sesshū died at Tokoji temple, but his remains were taken to Ikoji temple, subsequently known as Sesshū temple, where they were cremated. Following Sesshū's death, his pupil, Shutoku, inherited his studio, Unkoku-an.
## Paintings and Techniques
Sesshū's works are predominantly suibokuga, meaning "water and ink paintings". For suibokuga artists, the exclusivity of black ink allowed them to focus on the essential character of the subject since Zen Buddhism stresses material simplicity and sensitivity to the natural world. To create his monochrome paintings in diluted greys and black ink, Sesshū used black sumi, meaning charcoal or soot-based solid ink on paper or silk, thus following the art of sumi-e Some of Sesshū's most acclaimed works include Winter Landscape (c. 1470s), Four Landscape Scrolls of the Seasons (c. 1420 – 1506) and, Birds and Flowers (c. 1420 – 1506), demonstrating his style of flattened space, emphatic outlines, and angular brushstrokes to portray zen beliefs.
### Winter Landscape (c. 1470s)
Following his sojourn in China, Sesshū painted Winter Landscape (c. 1470s) in Japan's rural provinces, demonstrating how Sesshū combined his artistic techniques and zen concepts. Sesshū solely used black sumi ink diluted to shades of grey. Flat, overlapping mountains depict the snowy landscape. Through short, expressive brushstrokes, Sesshū depicts a male figure trekking up a steeped pathway to a barren temple complex, suggesting the arduousness of his journey during the peak of winter. Common to Sesshū's paintings, the single figure is surrounded by a towering landscape that draws on the concept of mono no aware, humankind being present with nature, to create a secluding atmosphere. Throughout the composition, Sesshū uses the shumpo technique, varying the firmness and thickness of outlines to depict three-dimensionality and textures. This modelling is enhanced by the diluted ink washes and rendering using fine lines. In the foreground, the rocks and trees show weighted, dark lines whilst the left distant mountains are outlined against the grey sky with a single brushstroke to capture the moment. The intensity of Sesshū’s work is shown by the sharp, angular brushstrokes in the centre, reflecting Zen Buddhism's influence. Similarly, he uses ink wash for the rolling mist to divide the space between solid and void, mirroring the Taoist metaphysical concept of tension between subjects. This is heightened by the sharp diagonals of the opposing foreground rocks as they bring a sense of inescapable, pent up energy. The background features a single, strong, lightning-like brushstroke that outlines the central cliffs as the tip vanishes into the mist, suggesting transitory moments in time, as believed in Zen Buddhism. Overall, Winter Landscape represents Sesshū's stylistic choices and implementation of Zen Buddhist concepts, notably drawing on Chinese landscapes that symbolised a virtuous man’s dedication to remaining honourable during strenuous moments.
### Four Landscape Scrolls of the Seasons (c. 1420–1506)
Painted at 67 years old, Sesshū Tōyō's Four Landscape Scrolls of the Seasons (c. 1420–1506) depicts the flow of the four seasons whilst reflecting on his experiences with Japanese and Chinese landscapes. Each scroll is composed of two silk strips as the paintings were originally screen panels, but were later arranged on a single kakemono. Despite depicting the seasons sequentially as Spring-Summer-Autumn-Winter, the Autumn scroll is distinctively different. From Sesshū's travels, Autumn holds a dominating Chinese stylistic influence. For example, Sesshū's use of the Chinese technique progressive vision, where using several viewpoints creates an image more accurate to one's experience with nature, suggesting a synthesis of time and pace. Sesshū's treatment of pine needles aligns with the method of sung-yeh-tien whilst the dotted leaves mirror ku-chiao-tien (black-pepper-dots), which were techniques shared by Chinese artists before Sesshū. Within this painting, Sesshū reduces proportions as the space recedes whilst placing distant objects higher in the composition. This is heightened through atmospheric perspective where Sesshū ambiguously manipulates the line quality and texture for recession. Overall, Four Landscape Scrolls of the Seasons demonstrates Chinese influences on Sesshū's work and his use of space and composition to represent the soul of nature in the landscapes.
### Birds and Flowers (c. 1420–1506)
The influences of Sesshū's studies in China are reflected in two famous hanging scrolls of seasonal landscape paintings of birds and flowers, painted in ink and colour on silk, in the Perry Collection. Sesshū paints assertive rock contours and textures using a wet brush with splitting hairs. This brings a scratchy, rough texture to give the rocks a sense of solidity and tangibility. Such technique can be seen in the Four Landscape Scrolls of the Seasons Autumn and Winter landscapes. As a recurring motif in Sesshū's landscapes, the rock is trapezoidal with two indentations on top. Like in Winter Landscape, Sesshū uses a zigzag, or lighting shape to contribute to the composition's structure. Within this composition, Sesshū flattens space using spatial ambiguities and variations in scale. Sesshū's contrast in scale creates an illusion similar to the Zen notion of zero time and space, where there are no distinctions between past, present or future. Compositionally, there is no distinction between the whole image and the subjects that make it. Sesshū purposefully controls tonal intensities to suggest atmospheric perspective through subtle ink gradations for the mist to evoke poetic autumnal feelings.
## Legacy
Sesshū's emphasis on Zen Buddhism, personal interpretation and economical expression in painting was the basis of his legacy for succeeding Japanese artists. Subsequently, his rendering techniques were widely used by sixteenth-century artists, notably those who attended Sesshū's painting schools.
## List of selected works
### Landscapes
Four Landscape Scrolls of the Seasons (c. 1420–1506) Winter Landscapes from Landscapes of the Four Seasons (c. 1420–1506); Tokyo National Museum) Short Scroll of Landscapes (c. 1474–1490; Kyoto National Museum) Long Scroll of Landscapes (Sansui Chokan) (c. 1486; Mori Collection, Yamaguchi, Japan) Haboku Sansui, "splashed-ink" technique scroll (1495; Tokyo National Museum) View of Ama-no-Hashidate (c. 1502–1505; Kyoto National Museum) Landscape by Sesshū
### Other
Portrait of Masuda Kanetaka (1479; Masuda Collection, Tokyo) Huike Offering His Arm to Bodhidharma (Daruma and Hui K'o) (1496; Sainen-ji, Aichi, Japan) Flowers and Birds, pair of sixfold screens (undated; Kosaka Collection, Tokyo) | https://en.wikipedia.org/wiki/Sessh%C5%AB_T%C5%8Dy%C5%8D |
Bringing together leading writers and practicing architects including Jean Dethier, David Mayernik, Massimo Scolari, Robert Adam, David Watkin and Leon Krier, this volume provides a kaleidoscopic, multilayered exploration of the Architectural Capriccio. It not only explains the phenomena within a historical context, but moreover, demonstrates its contemporary validity and appropriateness as a holistic design methodology, an inspiring pictorial strategy, an efficient rendering technique and an optimal didactic tool. The book shows and comments on a wide range of historic masterworks and highlights contemporary artists and architects excelling in a modern updated, refreshed and original tradition of the Capriccio. The capacity of the Capriccio to create an imaginary, imagined or 'analogue' reality by combining and relocating existing or invented buildings and places in uniquely suggestive drawings and paintings offers unprecedented insights in the 'Architectural Mind'. Unlike what the word Capriccio might suggest, it is not 'capricious' but indeed follows complex rules of realism and figuration, as well as coherent narratives and semantics. It is a playful reflection of the dialectics of the real and the ideal. The Capriccio does not challenge the mechanism of reality, but questions the mechanic and linear reading of the real, of life and of art and offers a large palette of threads, figures, tones and nuances to illustrate and contribute creatively to the complexity of a sustainable built and living architectural environment.
Table of Contents
Contents: Foreword: Capriccio: the efficacy of spatial narrative, Michael Graves; Preface: The Architectual Capriccio: memory, fantasy, invention, Lucien Steil; Introduction, Alireza Sagharchi; ’Il Capriccio’, definition of the capriccio (caprice) in the French Larousse dictionary, trans. Julie Kleinman; Meaning and purpose of the Capriccio, David Mayernik; The poietic image, Samir Younés; The Capricci of Giovanni Paolo Panini, David Mayernik; Patronage in the golden age of the Capriccio, Selena Anders; The grand tour, Lucien Steil; Capriccio: the leap of the goat or the unexpected, Jose Cornelio da Silva; Metaphors for a political urban landscape: Schinkel’s Capricci of a ’new Athens-on-the-Spree’, Jean-François Lejeune; J.M. Gandy’s composite views for John Soane, William Palin; American Capriccio: imaginary architecture in 19th-century painting, Gail Leggio; The Capricci of Carl Laubin, David Watkin; Symmetria and ethics, the didactic Capriccio, David Ligare; Settings: Emily Allchurch and the old masters, Xavier Bray and Minna Moore Ede; Massimo Scolari, Leon Krier; Drawing, Leon Krier; Capriccio, Leon Krier; 'Imago Luxemburgi', Leon Krier; The Capriccio and poetical realism, Lucien Steil; Urban chiaroscuro (after Piranesi): behind the scenes, Emily Allchurch; Sublime architecture: capricci in sketchbook and paintings, Lucien Steil; Le Corbusier’s eye and the vanishing point of modernity, David Brain; The architectural project, an homage to Rob Krier, Lucien Steil; 'La citta analoga': thoughts on the urban Capriccio for the design of real cities, Pier Carlo Bontempi; Magical realism in Miami, Javier Cenicaceleya; A very British Capriccio, Alireza Sagharchi; Building the Capriccio, Robert Adam; Capricci capricciosi, Ettore Maria Mazzola; The double nature of the architectural Capriccio: from pictorial fiction to urban reality, Jean Dethier; Postface: 'techne' and technology, Lucien Steil; The aura of the computer generated image: or virtuosity and
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Editor(s)
Biography
Lucien Steil is an Associate Professor in Architecture at the University of Notre Dame, USA and Rome. | https://www.routledge.com/The-Architectural-Capriccio-Memory-Fantasy-and-Invention/Steil/p/book/9781409431916 |
Both his aesthetics and art technique arise from many experiences. In 2003 he graduated from Cardinal Stefan Wyszynski University with a Master of Psychology. For many years he was working in fashion industry, leading, among others, his own jewelry brand. After completing courses in Interior Design at Academy of Fine Arts in Warsaw he moved to Milan, where he started working in this field for some Italian architectural studios. In the meantime his passion for art was growing and gradually became his only occupation. Today he sells his relief paintings all over the world.
Looking at his subtle, minimalist spatial paintings, one can easily observe in them the presence of the Italian architecture. The Italian postmodernism of the 50s and 60s is for Bik an endless source of inspiration. Deeply moved by the postmodern buildings' forms, in his works he influences the viewer with a geometric structure, multidimensionality and synthetic forms, as well as a very restricted colour range. Nonetheless, Bik's work, same as the architecture of postmodernism, is not deprived of a certain dose of a refined decor. Art performed by Bik strongly influences the viewer's emotions with its ambiguity, combining both the intellectual and the emotional. Another feature linking Bik's paintings to the pieces of Italian postmodern architecture is their eclecticism – often because the young artist compiles different types of paints (acrylic and oil) or finishes (matt and shiny). The artist successfully manages to transfer to his paintings the spatiality proper of architecture, and consequently, to give them a three-dimensional character.
Paul Bik is also considered a continuator of the spacialism tradition in contemporary art. Inspiration for his paintings can be found in the spatial works of artists such as Lucio Fontana, Agostino Bonalumi or Enrico Castellani.
Although the main elements of the Paul Bik's artworks are geometric forms of simple, harmonious, rhythmic patterns of straight and circular lines elaborated with craft precision, in his compositions the light and shadow seem to play a central role. Therefore, the fact that he uses a limited colour palette seems justifiable – the colour in this case primarily functions as the background for the exposed light and shadow. Although his subtle work – with its ascetic use of colours and minimalist forms – emanates with a sense of harmony, this serene and peaceful atmosphere sometimes surpasses in confrontation with one distinct, colourful accent.
Bik achieves the effect of three-dimensionality thanks to using his own technique – the method of accumulating the layers of glued and stained cut cardboard, wood or paper into a mass of simple, geometric forms. Relief gains its extreme durability and flexibility during the process of fixing it with resin. In the final step, Bik reaches for the traditional painting tools, such as paintbrush and paint, giving his spatial constructions a monochrome complexion, or enriching the ascetic composition with a distinct accent, such as a shiny golden colour. | https://paulbik.com/about |
Gaither Troutman Pope
Painter Gaither Troutman Pope is best known for his landscapes of Louisiana's prairies and dark swamps influenced by nineteenth-century Luminist painters.
Gaither Troutman Pope’s contemporary paintings of the Louisiana landscape do not employ the characteristic realism commonly found in works by Victorian painters. Instead, his depictions of watery prairies and dark swamps are intuitive and as devoted to light as those of nineteenth-century Luminist painters.
Born on July 27, 1953, in Jackson, Mississippi, Pope resides in Baton Rouge and teaches drawing and painting at Nicholls State University in Thibodaux. “As Baton Rouge is to Louisiana, Jackson is the pivotal line between northern and southern Mississippi,” Pope wrote in 2011. “In all of my years in Mississippi, I was always attracted to the southern part of the state, especially the coastal region with its salt marshes and swamps, its barrier islands, and bay area, so remote in comparison to other coastal areas in the Southeast U.S. where tourists flock to each year. As a young man, while in the employ of an architectural/engineering firm in Jackson, I spent much time on a survey crew in the Waveland and Bay St. Louis area of the coast and it was at this time that I became fully entrenched in the magic of the region. By ‘magic,’ I truly mean a sort of mystical energy that exists in this region that is, for me, very palatable. It has been this sense of mystery that has drawn me ever more south throughout my adult life. When I began living in Baton Rouge as a graduate student at LSU in the early ‘90s, I knew then that I would be very reluctant to leave after grad school. I never did leave.”
With degrees in art from Tougaloo College in Jackson and a master of fine arts from Louisiana State University, where he studied under Robert Warrens, Michael Crespo, Melody Guichet, Robert Hausey, Christopher Johns, and Edward Pramuk, Pope says the artists who had the most influence on his work were the nineteenth-century American painters known as the Luminists, and others later in the century such as Ralph Blakelock and George Inness. “The appeal of these artists to me is not formal alone,” he once wrote, “nor is their subject matter exclusively what draws me to them; there is also a sense of a sort of spiritual connection to them. They worked in relative isolation and they used the elements of their respective terrain to impart the emotive qualities symbolized by the land. While I don’t (and can’t) attempt to effect the temperament of a nineteenth century painter in my work, I still believe their approach to the landscape has validity in our time, especially here in Louisiana where so much of our collective perspective on the world is keyed to our relationship with the land.”
Pope describes his paintings as “grounded in landscape and landscape elements, flora and fauna.” He explained, “I try to use the land in a way that is not entirely narrative, yet does suggest narrative, metaphor, and, occasionally, allegory. While I am versed in the symbols used by my nineteenth-century American predecessors, I know these are lost upon a contemporary audience. However, I am not averse to creating my own personal symbols, minus any universally understood meanings. Again, I may make suggestions, but not pronouncements, through my work.”
Pope loves to play with space by dividing the canvas into sections. Each section may or may not include imagery that relates to the other. These divided canvases are like pages in a book or magazine and date back to his days working as a printer in Mississippi. Yet unlike the progressive storyline in a book or magazine article, Pope says he “never tries to tell stories.” Images in his paintings, such as birds and a piano, are recognizable but are not set into a narrative. These images are often drawn from memory of things that he has seen or places he has been.
At times, Pope does small preliminary drawings or takes photographs as field notes for later use in the studio, but he does not paint directly from those studies or photographs. They are starting points for whatever rises in his imagination as he paints. When he doesn’t do preliminary drawings, he goes directly to the painting surface, usually a wood panel, and paints in shapes, lines, and zones. The painting evolves slowly as he adds imagery. “
Pope’s paintings are in the collections of several private and corporate collectors, including famed New Orleans jewelry designer Mignon Faget; Butler and Snow, Attorneys at Law, in Gulfport, Mississippi; New Orleans law firms McGlinchey, Stafford; Plauche, Masselli, and Parkerson; Taylor, Wellons, Politz, and Duhe; and Iberia Bank in New Iberia, Louisiana.
In 1996 Pope’s paintings were included in the New Orleans Contemporary Arts Center’s twentieth anniversary show. That same year, his work took first place in a statewide competition at the Louisiana Arts and Science Center’s Project Harmony. | https://64parishes.org/entry/gaither-troutman-pope |
The realistic modeling of invasion risk and/or invasion level requires data with appropriate quality regarding their spatial resolution. Due to data availability, models at large (e.g. continental, national) extents, which derive data from atlases of plant species distribution, usually prepared in rather coarse scales (e.g. 10 × 10 km) are quite numerous. This allows for studying relationships between environment and invasion level at large spatial scales, while such examinations at finer scales (e.g. regional) are scarce. This is problematic because the effect of a particular environmental factor on alien plant richness and its interactions with other environmental variables is context-dependent, and can vary from region to region. In our examination, we used an atlas of neophyte distribution prepared in 2 × 2 km grid covering 31.2 thousands square kilometers in Carpathian massif and its foreground, Central Europe. Using the boosted regression trees technique, we assessed the effect of anthropogenic factors, soil variables, land relief, climate and landscape structure on neophyte richness (NR). We found that each examined sphere of the environment explained the NR, but their explanatory ability varied more than two-fold. Climate explained the highest fraction of deviation, followed by anthropogenic factors, soil type, land relief, and landscape structure. A global model, which incorporated the crucial variables from all studied spheres of the environment, revealed that the deviation explained by variables representing particular environment spheres overlapped. When the variables representing landscape structure were not included in the global model as redundant, the climatic variables finally explained a smaller fraction of deviation compared to anthropogenic factors. We assessed the course of dependencies between NR and particular explanatory variables accounting for the average effect of the remaining variables. The relationships were usually curvilinear and revealed some threshold values of environmental variables (e.g. percentage of urbanized areas, human population density, and road network density) beyond which the NR changed rapidly. | https://emapi2019.org/abstract/joined-effect-of-anthropogenic-factors-landscape-structure-landrelief-soil-and-climate-on-alien-plant-invasion-risk-at-regional-scale/ |
The 17th Title of the United States Code lays down guidelines for protecting Artistic works using Copyright laws. Despite the vast ambit of the US copyright laws, it is extremely unfavorable for many musicians. The musicians are unable to derive the benefits and proper credit for their work. This was evident in the recent case of Led Zeppelin v. Michael Skidmore. This case was decided based on the Copyright Act of 1909, and the same has been replaced by the Copyright Act of 1976. Yet, the judgement sets a bad precedent for Copyright and plagiarism issues that might arise in the music industry. The Ninth Circuit, in this case, has relied heavily on sheet-music to deliver judgment and has not compared songs in their entirety. This raises another question on the difference between originality and influence.
With these facts in mind, this article tries to assess the impact of the case on the future of the music industry and how the over-reliance of Courts on sheet music is flawed. Songs are more than a piece of sheet music.
The Dispute between Led Zeppelin and Michael Skidmore
The Dispute arises due to the similarities between two songs, Stairway to Heaven, released by Led Zeppelin in 1971, and Taurus, released by the band Spirit in 1967. The two songs had a similar sounding guitar intro, and many rock music fans had noticed it as well. Taurus was composed by the lead guitarist of the band, Randy Wolfe, who had died in 1996. In 2014, a representative of Randy Wolfe, Michael Skidmore, filed a suit for copyright infringement by Led Zeppelin on the song Taurus. The Statute of Limitation generally prevents such a suit arising after 43 years of the cause of action. In this case, Led Zeppelin had released a remastered version of the song in 2014, which prevented applying the doctrine of limitation because every publication gave rise to a new statutory limitation.
The case then passed through several levels of court proceedings, where the Ninth Circuit finally decided it. The Ninth Circuit gave the judgment in favor of the defendant, stating that the song Stairway to Heaven did not infringe upon the rights of the song Taurus. In their judgment, the Court laid down the scope of copyright laws. The judgment failed to consider the issue of deciding the originality of music concerning only the sheet music.
Under Copyright law, for the work of the plaintiff to be protected, the plaintiff must show that the plaintiff owns a valid copyright and protected part of his work were copied and plagiarized. Furthermore, the plaintiff must prove that there has been copying and unlawful appropriation, using the substantial similarity test. The substantial similarity test is a two-prong test consisting of the extrinsic test and the intrinsic test. The extrinsic test relies on the objective similarities of the work ideas and protectable expressions. The advice of an expert may be sought in this regard. The intrinsic test interprets the subjective similarity and calls upon the jury to decide whether the two concepts are similar and how an ordinary person would interpret them. The sheet music protects the generic sounds that are played in the music. The sound recordings protect the artist’s performance of the musical work.
In the case, based on circumstantial evidence, Skidmore was able to prove that Led Zeppelin had the chance to hear the music made by Taurus since they toured with them from 66-67. The sheet music of the two songs, though, did not sound similar at all. The Court, on that basis, declared that Stairway to Heaven and Taurus were not similar songs on that basis. In reality, the Court was bound by the Copyright Act of 1909. The original recordings of the music could not be played accordingly—Copyright Act of 1909 that governed both the kinds of music covered only sheet music within its ambit. In the end, Skidmore lost the case based on the technicalities of sheet music. Sheet music did not cover the whole ambit of the song to represent the complete picture of the song.
The Copyright Act of 1976 applies only to songs that have been released at a later date. If an artist had released the song within its predecessor (Copyright Act of 1909), then the Copyright Act protection of 1976 would not extend to the same. This is unfair to the representative of the artist who has only submitted a music sheet as a reference to the song, which was the rule before the implementation of the Copyright Act of 1976. If an artist would only submit a music sheet for copyright protection, then it would be difficult for the artist to put the whole song compressed into musical sheets. Sheet music does not represent the song accurately. The jury would be misguided in such circumstances as sheet music only represents a few basic chords. This acts as a barrier for the music to be protected under the Copyright Act and the tests. It makes it challenging to distinguish originality from influence in such situations.
Originality, Copyrights, and Sheet Music
Originality comes when there are limitless possibilities to express oneself. For example, a movie may be original, including new concepts or by choosing a separate genre to base their films on. Western music is limited to twelve-note octaves. The twelve notes limit themselves to several permutations and combinations on the music sheet.
History has been witness that many of these artists draw from various other sources to produce the final form of their art. Some artists are influenced by the great artists that existed before them: some different intermix genres of music in the final form. Many opera artists also engaged in creating different melodies with pre-existing music in the colonial era. This is termed as influence as compared to originality. Under the law, originality comes from the independent creation of the author and his degree of creativity. The originality can only be determined by a jury who could hear the overall music rather than depending on the music sheets, which would confuse the jury of the quality of the music.
The main aim of Copyright laws is to differentiate between ideas and expression to exclude the former from its ambit. The only exception to this rule is the doctrine of merger in the Copyright law. The doctrine of merger postulates that when the expression is the idea and vice-versa, the Copyright law will not apply to the same. Otherwise, expression in music is based on the creativity of the artists, how the artists express themselves. In the form, the artist decides to do so. Sheet music, however, is only an expression of ideas of the music and not a form of expression per se. There is a difference in the music expressed by an artist and the one that is written down on a piece of paper.
Above all, sheet music is not actual music but pre-music. Music has a language of its own, which is deciphered only when the sound hits our eardrums. Furthermore, musical work contains various common elements that form part of the overall music. Since they are used repeatedly throughout the industry, it leads to critics disregarding it as common elements within the public domain. This, in the end, makes the line between originality and influence difficult to define.
Conclusion
The focus on musical recordings in the intrinsic test does not always lead to favorable outcomes. It leads to, at times; arbitrary decision- making as the juries focus on what soothes the ears. This difficulty can be overcome when sheet music, along with musical recordings, is compulsorily made to pass the extrinsic and intrinsic test.
The 21st century is an age of musical borrowings. New music is coming up being heavily influenced by the music of the past. In many cases, artists are remixing the music and releasing the new one. In this scenario, it becomes imperative that the interests of the artists are protected in these times through copyright. The case of Led Zeppelin could be a significant inflection point in this regard. However, the Court decided to stick with the law and relied on music sheets to understand the music. This case would now have a direct impact in Ed Sheeran” s battle in Thinking Out Loud v. Let’s Get it on. Ed Sheeran has been accused of copying Marvin Gaye’s ‘Let's Get it On', which was released in 1973, in his song 'Thinking Out Loud' which was released over 40 years later in 2014. The Court, in this case, would be compelled to follow the same guidelines, where it would be restricted to construing only the deposit of Let's Get it On, a music sheet as compared to the overall song. The law must shift its focus from the music sheet to the overall song while deciding on Copyright issues of songs. Otherwise, music that is only protected by sheet music could be remixed soon and passed off as the music of another artist who will take the credit for the same, which is a clear violation of the intention of the Copyright legislature.
Title Image Source: The Score Magazine
This article has been written by Aanish Aggarwal who is a Second year student at the West Bengal National University of Juridical Sciences, Kolkata. | https://www.tiplpr.com/post/the-need-to-overhaul-us-music-copyrights-concerning-led-zeppelin-v-michael-skidmore |
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Creativity involves, to greater or lesser degrees, the act of ‘copying’ – whether in the form of musical imitation or technical processes. These are circumscribed, rewarded and understood differently within industrial practices and their surrounding legal and political contexts – most obviously through copyright.
This paper discusses the politics of popular music production, particularly the use of sampling, and the ways in which its ethical dimensions have been legally differentiated from other types of musical copying. It argues that comparable ethical codes exist within and across musical methods wherein sampling is part of the spectrum of activities.
The commonplace nature of digital technology within popular music production and the resultant closer relationship between sampling and other musical techniques raises issues for how the resultant ‘sampling aesthetic’ is dealt with in its legal and industrial contexts. This has ramifications beyond purely musical concerns. Copyright is an important driver of the creative economy with consequences, not just for the distribution of rewards and resources in the creative industries, but as a site within which political concerns – collective and individual interests and identities – are articulated and negotiated. Notions of ‘originality’, ‘creativity’ and ‘copying’ are politically constituted and played out within sampling and other musical practices.
This paper is based on research conducted for the project ‘Digitisation and the Politics of Copying in Popular Music Culture’, as part of Research Council UK’s Centre for Copyright and New Business Models in the Creative Economy (CREATe). Drawing together interview evidence from musicians and their industry partners (such as managers) it argues for a more variegated and nuanced understanding of copying practices and explores the political aspects of copyright, along with how it operates to variously support and undermine specific interests and types of creative endeavour.
Speakers
Adam Behr
United Kingdom, Newcastle University
Sunday May 19, 2019 14:45 - 15:15 EDT
Classroom 511 (5th floor)
921 Boylston St, Boston, MA 02215, USA
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by Judith Greenberg Finell
New York Law Journal, May 22, 1992.
This is the second installment of a three-part article. Part I appeared in last Friday’s issue.
THE DEVELOPMENT of digital sampling technology has resulted in new challenges for forensics — in detection, application of the law and the definitions of originality and infringement. So far, most sampling claims seem to be initiated by recording companies, though music publishing companies should also want to protect their copyrights in the underlying music.
With sampling, many of the traditional standards for evaluating a copyright infringement claim do not apply. Access is obviously not an issue, since sampling establishes access to the sampled recording. Nor is copying an issue, since a sample is a copy, even if the original has been altered electronically.
Therefore, determining whether one recording has sampled another requires forensic methods different from those used in traditional copyright infringement. Many of the elements that are considered insignificant in conventional copyright infringement cases take on greater importance in detection of sampling. In non-sampling cases, one usually compares two songs’ main melodies (pitches and rhythms) to determine similarity, then harmonies (chords), structure and style. In a sampling case, the identity of these key elements is a given.
On the other hand, tempo is rarely important in determining classic copyright infringement. Where sampling is in question, however, a good way to detect it is to clock precisely the speed of each song’s related portion. If they are identical, and other factors sound identical, too, sampling is a strong possibility. If they are not the identical speed, and the second piece sounds distorted and in a slightly lower pitch, then sampling could still have occurred, but perhaps the sample was slowed down deliberately by the infringer.
ANOTHER CHANGE in the comparison process is in identifying the actual key of each piece. In classic copyright cases, whether two songs are in the same key is irrelevant to whether one is an infringement of the other. Where the issue is sampling, however, whether the related fragments of the two songs are in the same key bears directly on whether the second recording sampled the first.
A third factor in detecting sampling that does not exist in standard copyright cases is instrumentation. In a traditional copyright case, whether the allegedly infringing work uses the same instrumentation as the original is normally not relevant. In a sampling case, instrumentation takes on a new significance. One way to detect sampling is to determine if the supposed sampler has left a “footprint” that enables the second song to be traced to the first. These “footprints” include the underlying accompaniment parts. In one case, a sampler had taken a fairly common piano passage from another recording. He might have escaped unnoticed had he not also included the first syllable of the singer-songwriter’s next vocal passage from the original recording. This one syllable proved sampling.
ONCE SAMPLING has been established, the main questions asked by attorneys for both plaintiffs and defendants are, “How much was taken?” and “How important is the sampled fragment to the original and to the new piece?” At this point the attorneys are planning negotiation strategy and need to define the strength of their position. Attorneys for defendants and plaintiffs ask for quantitative and qualitative evaluations in order to determine a reasonable fee to compensate the proprietor of the sampled recording. In making such evaluations, the relevant questions include:
- What amount was taken from the original composition? Is it de minimis?
- What percentage of the original recording was sampled?
- What percentage of the infringing recording consists of the sampled material?
- How important is the sampled material both to the original recording and the infringement? For example, is it the “hook” (main signature melody) in either piece?
- Has the sampled material been changed or enhanced? If so, is it still recognizable as being derived from the earlier recording?
- Could the new recording maintain its identity without the sampled material?
- Has additional material in the new song evolved from the sampled material, thus enlarging the degree of copying?
Often, as is typical of rap music, a short musical fragment from the original song occupies a large portion of a new piece because it has been looped (repeated constantly). Because of its repeated use, this fragment takes on greater significance in the infringing piece than it had in the original piece. Also, if the new piece is rap music, then it is mostly spoken, rather than sung. Therefore, the sampled music fragment might be the only melodic material in the new song, and may be the musical glue that binds the piece.
Next week: Disguised infringement.
Judith Greenberg Finell is a musicologist and the president of Judith Finell MusicServices Inc., a consulting firm in Scarsdale, a suburb of New York City. She has served as an expert witness and consultant in various litigations involving copyright infringement, and often advises advertising agencies on making musical choices to avoid litigation. She has also done work in the area of digital sampling.
Copyright 1992 New York Law Publishing Company. | https://www2.jfmusicservices.com/new-york-law-journal-how-a-musicologist-views-digital-sampling-issues-part-two-of-three-may-22-1992/ |
Contemporary Sri Lankan Pop music across the board ranging from Sinhala light Pop to Hip Hop to Rock makes reference to Sri Lankan traditional music. Being commercially oriented, one questions the real intentions of these contemporary artists behind adapting elements of traditional music. In some cases, artists use the traditional element as the 'cultural trumph card' when attempting to promote music globally. In other instances, it is a matter of filtering out the 'easy listening' elements of the tarditional music to cater to the general masses. Sadly, neither of these practices portary the richness of the traditional music, nor generates a level of appreciation it deserves. Therefore, he would like to identify these current commercial trends as musical contexts in which the traditional music is deteriorated further, in addition to the challenges it faces in its original context.
Is it possible to adapt elements of traditional music onto a contemporary setting in which both the traditional and contemporary can mutually benefit from each other ? That is a context in which the music essence, richness and uniqueness of the traditional music is highlighted, along with an innovative new sound produced as a result of interaction and communication with contemporary music elements. Dr. Sumudhi Suraweera belives that it is possible, with a careful, in-depth study of the traditional. To go a step further, he belives, an adaptation carried out in such a manner can help preserve and revive interest in the traditional. Such a project can only exist outside the commercial, market-driven industry, within the context of non-mainstream contemporary art and music.
It is in this light that he introduced an ensemble featured in the 2013 Musicmatters Festival, the Baliphonics. Baliphonics is an ensemble that adapts the music of the bali ritual in the Raigama region of the low-country tradition into a musical context that includes elements of the contemporary improvisations and jazz. The ensemble first came into life in 2008 during his doctoral research of low-country drumming through his own initiation. | https://artra.lk/performance-art/adapting-traditional-music-onto-a-contemporary-context-2 |
Is there a relationship between art and economics? At one level the response to this question seems obvious – even though works of art may be produced for purely aesthetic reasons, they are bought and sold on markets, they have a price, and in many other ways there is an economic dimension to their existence. But interactions between the economy and the world of the arts can have far wider implications, derived particularly from notions of value. Can the cultural significance of the arts for society be rationalised against their undoubted commercial value? And how does the practice of the arts, with its unique engagement of creativity and imagination, generate innovation that can in turn lead to economic growth?
The subtitles of these two books indicate how both occupy some part of this wide-ranging territory. The question explored in Patrick Kabanda’s book is “Can the arts advance development?”, whilst Michael Hutter’s volume is subtitled “Artistic invention and economic growth”. Both books are concerned with the ways in which the work of artists contributes to the advancement of the economy and society, and both deal with people’s experience of the arts as consumers in their everyday lives. But they approach these issues from very different standpoints. Kabanda’s agenda is the contribution that art and culture can make to economic development, particularly in the global South. Hutter, on the other hand, constructs a comprehensive theoretical framework for interpreting how artistic ideas have, throughout history, generated commercial production, and how the opposite may occur when economic growth has an impact on artistic invention.
The Creative Wealth of Nations is located within the extensive debate of recent years surrounding the role of culture in sustainable development, a debate which has paid particular attention to the creative and/or cultural industries as the arena in which the practice of culture is transformed into economic benefit. Indeed, the cultural industries have been portrayed as a potential driver of development in their own right, with the economic payoff they generate being complemented by social impacts in communities and by increased recognition of the importance of arts and culture in everyday life. In a more general sense it can be argued that culture is the context in which development occurs, such that any development strategy that ignores culture is bound to fall short. These propositions are strongly supported by Amartya Sen in his Foreword to the book, and repeated in endorsements of Kabanda’s work by two other Nobel Laureates in Economics (George Akerlof and the late Kenneth Arrow) that are reprinted on the back cover.
Over the last 40 years or so, economists have broadened the concept of ‘development’, taking it beyond mere economic growth to include measures of education, nutritional status, health, and environmental amenities. An important argument put forward in the book is that the concept should be widened further to embrace people’s experience and practice of their culture, most immediately reflected in the arts. An appeal to the development community to expand its world view in this way is not new, but it is put forward here with vigour and originality, tied very closely to a grass-roots sense of how art contributes to human welfare.
The author is an accomplished musician; his career began in his childhood in Uganda and led to a range of professional activities and qualifications in the United States. His personal background in the arts gives his writing a sense of freshness and immediacy; he argues his case from a strongly-felt personal conviction about the importance of art and culture in human affairs, both generally and specifically in the developing world. He cites a wide range of illustrative examples to support his view, drawn from many countries around the world, especially in Africa. Much of this evidence is of anecdotal value, and many of the sources quoted are located in media, journalism and the grey literature, i.e., materials and research produced by organisations outside of the traditional commercial or academic publishing and distribution channels. The exposition is polemical rather than scholarly – the book is written in a colloquial style that is readily accessible and indeed entertaining to the general reader. At the same time, it must be noted that the book has the potential to make a genuine contribution to the academic discourse – it can be seen as an extended practical case-study to complement more formal scholarly and policy discussion of a number of issues in the field.
In a charming nod towards his musical practice, Kabanda labels his chapters with titles such as “overture”, “suite”, “variations on a theme”, “rondo” and “finale”. He deals with a wide range of topics, including discussions of sustainability, economic and cultural value, environmental stewardship, trade in culture, artists’ exchanges, cultural tourism, issues of gender and disability, and the challenges of data collection. In one especially significant chapter he discusses the importance of the arts in education, or “cultivating creative minds for development”. With a wealth of illustrations, he demonstrates the pervasive impacts on children’s capabilities of exposure to and participation in art from an early age, and he argues persuasively for the allocation of increased resources to art education at all levels of school and post-school experience.
The title of the book pays homage to Adam Smith’s seminal work The Wealth of Nations of 1776. A similar reference to a great book of the past is contained in Michael Hutter’s title, which is an ironic reference to Tibor Scitovsky’s The Joyless Economy, published in 1976. But whereas Scitovsky’s book painted a gloomy picture of a population too stupid to devote their increasing amounts of leisure time to enjoying the arts, Hutter interprets the behaviour of consumers somewhat more optimistically. He sees them as deriving joy from consuming experiences in the form of literature, music, performance, images and so on, and from expanding their consumption through learning new tastes and acquiring new products to give themselves fresh surprises and renewed joy.
In The Rise of the Joyful Economy, Michael Hutter seeks to identify the ways in which artistic innovation has economic impacts, and the reverse process where the economic context influences the nature and content of art. He finds evidence of these two effects in the history of Western art and society over the past six hundred years. In pursuing this ambitious project, he singles out three periods of evolutionary growth during this time that exhibit increasing complexity in the markets for joyful goods.
The first period began in the 15th century with the discovery of perspective in visual art, allowing artists to generate the effect of spatial illusion, an innovation that had widespread ramifications and provided a stimulus to commercial development, including the growth of trade in art. The second period, which the author labels the “period of exploiting social relations” lasted from the early 18th to the end of the 19th centuries. Over this time the subject matter of paintings changed to living persons and their social environments, influencing tastes and leading in due course to changing consumption habits. Finally, in the third period, which began in the 1920s and continues today, it became possible to exploit “serial variations”, the capacity of artworks to be reproduced in infinite numbers and variety, generating markets for experience goods (i.e., products that can only be evaluated once purchased and experienced) in the visual arts, film, television, popular music, and so on. For each of the three periods, Hutter provides numerous illustrations, drawn primarily from the history of painting, but also including many examples from architecture, urban planning, photography, music and design. There are images of many of the works referred to scattered through these pages, some in black-and-white, and a group handsomely reproduced in colour.
This is not an easy book to read. The exposition is dense and copiously referenced. The analysis throughout interprets behaviour, events, social interaction, artistic creativity and other phenomena as games in which play occurs as an ordered series of moves subject to various rules. Progress occurs through surprises, misunderstandings, accidents and other events that generate increasing complexity. Readers may have some difficulty accepting the relentless re-interpretation of social and cultural history in these terms, but the intellectual breadth and depth of Hutter’s scholarship are undeniable, and the originality of his ideas is impressive. Despite the challenges, there is much in the book to interest the general reader as well as the specialist.
Taken together, these two books provide contrasting but equally rewarding excursions into the fascinating territory that lies in and between the fields of art and economics. From their different perspectives, both authors present convincing arguments about the importance of creativity and innovation in the arts, and the impact that culture in its broadest sense has on economic life.
How many people participate in complementary training courses linked to culture? In 2015, 5.9% of the Spanish population underwent some training of this type.
Are immigrants more ambitious than their non-migrant compatriots?
Does emigration always bring with it a dose of ambition? We analyse whether immigrants are more oriented toward success, risk, and money than their non-migrant compatriots.
Economic crises bring with them numerous political decisions that affect healthcare systems. In this article by the Social Observatory of “la Caixa”, we analyse the effects of the crisis on the reform of the long-term care system in European countries.
What is the relationship between social background and quality of employment? We analyse whether, independently of education, family background is a conditioning factor in finding a good job and whether the crisis has influenced this situation.
A large difference exists between the productive activity of men and women, especially when the latter are mothers and devote considerable time to managing the household and caring for children and dependent elders.
Cultural participation and wellbeing. What do the data tell us?
Culture plays an important role in constructing and consolidating the bases for social cohesion and inclusion and for individual and collective wellbeing. The fourth issue of the Dossier from the Social Observatory of "la Caixa" analyses the factors that determine the cultural participation of citizens and reflects on how to guarantee equal conditions for such participation.
On music, happiness and health. What do we know?
How does music influence our wellbeing? This article by the Social Observatory of "la Caixa” describes how various researchers, healthcare practitioners and other professionals interpret the relationship that exists between music and happiness.
The Social Observatory of "la Caixa" and “la Caixa” Banking Foundation are not necessarily in agreement with the opinions of the authors.
© Fundación Bancaria Caixa d’Estalvis i Pensions de Barcelona, “la Caixa”. All rights reserved. | https://observatoriosociallacaixa.org/en/-/resena-cultura |
The year is 1964. The music industry is being stifled by bland, monotonous pop songs, and rock-and-roll is almost completely dead. Its biggest stars have left the scene, some by choice and others by reasons beyond their control (i.e., death). The industry has replaced these people with uncreative and overly polite “teen idols” in an attempt to sanitize rock-and-roll by softening its edges. America, still grieving President John F. Kennedy’s 1963 assassination, is desperate for something, anything, to come and revive them.
Their saviors went by the names of Paul McCartney, John Lennon, George Harrison and Ringo Starr (A.K.A. the Beatles). When the four arrived in America in 1964 with their rebellious spirits, unique style and clean-cut hair, people went crazy. The Beatles’ musical creativity was a breath of fresh air for Americans, cutting through the monotony of the pop-dominated industry. But while the Beatles’ early music was deemed creative at the time, it simply doesn’t compare to the artistry of their later songs. As time went on, the group became increasingly more innovative, both in their songwriting and in their production techniques.
After the group received criticism from Bob Dylan in August of 1964 that their music lacked deeper meanings (Dylan’s songs protested the Vietnam War and racism), John Lennon began to write more personal and introspective songs. His song “I’m a Loser,” marked the start of that transition, and the 1965 album “Help!” served as a transition point for the group, implementing some of their techniques from the past while also hinting at a new direction.
The group’s 1965 album “Rubber Soul” and 1966 album “Revolver” demonstrated an elevation in their musical creativity and complexity. Their experimental sides started to really show, and “Revolver” was the band’s first psychedelic album, sparking a revolution. There were also major social changes in the mid-1960s, the biggest being the normalization of marijuana and LSD use.
By 1966, there were two primary social groups in London: the Psychedelia and the Mods. The Mods were working-class young people from metropolitan and southern London who had neat haircuts and stylish clothing. They took “speed” so that they could party for hours at a time, and they listened to bands like The Rolling Stones and The Who. The Psychedelia, on the other hand, which was present in both America and Britain, had a focus on love and drugs, and using LSD instead of speed. They wore bell-bottoms and listened to artists like Jimi Hendrix.
The Beatles embraced Psychedelia, and by 1966, all four were doing drugs, particularly LSD. Since they stopped touring, they became a studio band, meaning they had to show creativity in their music – and that they did. They were becoming much more sophisticated and mature songwriters, and they were no longer releasing simple melodies that they knew people would love.
Following “Revolver,” Paul McCartney crafted a new idea: an album entirely from the perspective of a made-up band that would serve as the Beatles’ alter-ego. Ultimately, the basis was that the Beatles could record songs pretending to be an entirely different group, allowing them more artistic freedom so that they wouldn’t have to produce the typical music that the Beatles were known for. This culminated in “Sgt. Pepper’s Lonely Hearts Club Band,” or Sgt. Pepper for short.
Sgt. Pepper is said to be rock-and-roll’s first “concept album,” and it not only pushed the boundaries of production technology, but it also completely changed the way people listened to music. Thus, it’s one of the greatest albums of all time; not because of its songs, but because of its significant impact on pop culture and the music industry. It showed that albums could be stories within themselves, and it supported the counterculture of the time, by promoting Psychedelia. Its songs explore the idea of expanding the mind with love and drugs. Ultimately, Sgt. Pepper’s glory lies in the fact that it showed just how much music was capable of.
While the Beatles continued to make more groundbreaking music, “Sgt. Pepper’s Lonely Hearts Club Band” is practically unbeatable. Because of that album, the music industry has been changed forever. Thanks to the Beatles, pop culture and the world in general will never be the same. | http://www.valleymagazinepsu.com/the-beatles-journey-to-the-top/ |
VPA Winter Showcase 2020
Welcome to the Visual & Performing Arts Winter Showcase 2020! It is my pleasure to invite you to explore the creative flair and artistic talent of our wonderful student body, represented here for your enjoyment across a variety of artistic disciplines. Throughout the school divisions, our students have wholeheartedly embodied the notion of embracing new opportunities and challenges. By producing such wonderful art, they have demonstrated an admirable level of resilience and adaptability to overcome the adverse circumstances faced within our current educational landscape. I invite you to join us in celebrating each and every one of their achievements, of which our community can be proud.
Robert Kilvington-Shaw
Visual & Performing Arts Head of Department
Elementary School Art
Our elementary artists have been hard at work this year. Grade 1 have produced beautiful drawings from observation, memory and imagination. Grade 2 have explored a range of natural forms and scenes, including the beautiful mountain scenery of Hong Kong. Digital design skills have been at the heart of Grade 3’s work, where they used drawing tools on Google Drawings to create colourful and unique avatars. Grade 4 have explored visual symbolism through the concept of animal form and produce wonderful, original Art work of their ‘inner animal’, using their own choice of subject and media.
Elementary School Music
Although we’ve had many changes and challenges due to Covid restrictions, that didn’t stop our EC and ES students from learning music! Lower-grade students have been dancing a lot in music class. ‘Music and movement’ activities help children develop coordination, understand rhythm concepts, and build motor skills while allowing them to practice self-expression. We also incorporated American sign language (ASL) in songs to keep students actively engaged and to help with their kinesthetic learning. This also encourages students to attach meaning to the word. All EC and ES students learn to play the musical instruments. They explore and practice rhythm and melodic concepts using unpitched and pitched percussion instruments. Upper-grade students have been hard at work composing music and making musical instruments. Students created their own steel drums on old pots, pans or cans of various sizes found at home so that each instrument has its own pitch. They then experimented further with wooden or metal strikers to identify the sound most like the steel drums they heard in music class.
Middle School ART
Our Middle School artists have been busy this year making fantastic art. Whilst it’s been a trying semester being stuck online, that hasn’t halted the creativity of our Grade 7 and 8 students. Grade 7 kicked the year off with some stunning experimental pieces based on mark-making and mixed media. We had huge fun looking into the history of colour and making our own paints with condiments and spices found at home. Unit Two focused on patterns and print-making and we were able to utilise our classroom/studio space time to make some tremendous lino print pattern design. Unit Three was short and sweet, but our artists really encapsulated the fun of typography design considering formal elements and principles of design. Grade 8 started the year producing a range of different drawings, both observational and imaginative. Students then explored the ideas and theories of the surrealist movement to create fun and exciting compositions. Unit Two was focused on portraiture, painting and the techniques and styles of the Renaissance that still inspires artists today.
Middle School Music
Grade 6 Middle School students have been composing original music using an online digital audio workstation called Soundtrap, as part of the “Music For Spaces” project. To begin, students had to consider the driving question: how can music add value to the spaces within our school? Students identified areas of our campus where music could add a sense of peace and tranquility. Inspired by the ambient pioneer Brian Eno, they then created ambient works to enhance the atmosphere of selected spaces in our school. Unfortunately, school closure has postponed the exhibition of the music being played in these spaces for the time being. In the meantime, some selected works have been specially curated here for you to enhance your online experience. We hope you enjoy the calming atmosphere that they create!
Alise
Crystal
Enrico
Fatima
Kanon
Madeline
Maegan
Yashi
Middle School PERFORMANCE
Middle School Performance has had an interesting challenge this year, transitioning from the stage to the screen and audio. Exploring dramatic elements including tableaux, process drama, audio drama, voice, and scene study, students have worked with new technology to perform in a variety of ways. Students are now professionals in using Zoom as a rehearsal space as well as a way to capture their performances. They have also learned how to edit audio and video in apps including: Garageband, iMovie, Audacity, and other applications.
Infected – A Haunted Audio Scene
In the Dark – Audio Scene
High School Art
High School Music
High school music classes have looked very different this year due to Covid-19. Band students were not able to play wind instruments and choir students had to sing with masks, which made for challenging classes. Students overcame these challenges beautifully through learning and reviewing the basic fundamentals of music theory, working on some percussion instruments and trying their hands at composing and arranging. All work submitted here shows the determination and dedication of all the high school music students to rise above the limitations of our current situation. | https://www.ais.edu.hk/vpa-wintershow2020/ |
SaskMusic is pleased to announce the opening of the nomination submission period for the 2021 Saskatchewan Music Awards. The fourth annual awards will honour excellence in the Saskatchewan music industry and celebrate the achievements of our music industry members over the past year. An awards event announcing the winners will be streamed online on January 20, 2022, in conjunction with the Very Prairie: Saskatchewan Music Summit.
SaskMusic notes, “We invite artists and industry members from all across the province to make submissions. There has been so much exciting music coming from Saskatchewan this year, with creativity continuing despite the challenges of the pandemic. We hope to see representation from a wide range of musical styles, cultural backgrounds, and artistic experiences of those working in our music scene. We look forward to a wonderful celebration honouring the hard work of our talented artists and industry members this past year.”
Submissions for the Artistic categories of the SMAs closed 11:59pm CST November 2, 2021.
Submissions for the Industry categories (Achievement categories, Venue, and Producer) closed 11:59pm CST November 7, 2021 (extended).
For full rules and eligibility criteria, click here (PDF).
ARTISTIC: Artist of the Year Categories
Please note these are very broad categories; although you may not see your specific genre listed, apply in the most appropriate one. If in doubt, please contact us!
Nominees and winners in these categories will be determined by a combination of artistic merit and career achievements. 3 tracks which have been commercially released during the period of April 15, 2020-October 30, 2021 must be provided in your submission, however there are no sales qualifications for these categories.
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Alternative Artist of the Year: including but not limited to alt rock, alt pop, plus genres which may be outside of the Hard or Rock/Pop categories.
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Country Artist of the Year: including but not limited to mainstream and traditional country.
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Electronic Artist of the Year: including but not limited to dance and instrumental electronic.
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Experimental or Contemporary Artist of the Year: This category recognizes an innovative, non-mainstream, instrumental, or eclectic album without genre limit, based on artistic vision and creative merit. It also aims to recognize artists working in a genre that produces a limited number of releases per year. Genres which may be suitable for this category include but are not limited to spoken word, noise, jazz, classical, children’s, witch house, comedy, and original soundtrack.
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Hip Hop Artist of the Year: including but not limited to rap, urban R&B, and neo soul.
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Metal/Loud Artist of the Year: including but not limited to hard rock, metal, punk, heavy alternative, and heavy instrumental.
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R&B Artist of the Year: Genres including but not limited to soul, funk, and rhythm and blues. 2021 is a trial year for this new category to gauge engagement. A minimum of 3 nominees must be recommended by the jury for the category to move forward.
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Rock/Pop Artist of the Year: including but not limited to those considered mainstream, such as rock, pop, blues, and adult contemporary.
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Roots/Folk Artist of the Year: including but not limited to singer/songwriter, traditional blues, and Americana.
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Indigenous Artist of The Year: This is a non-genre-specific category open to artists working in any style of music who self-identify as Indigenous. Submissions may come from any musical style including but not limited to commercial contemporary genres such as hip hop, country or rock; as well as traditional music and fusions that incorporate traditional instrumentation/rhythm, and/or reflect the Indigenous experience through their lyrics. For this category, 2 songs are required which have been made available to the public during the period of April 15, 2020-October 30, 2021.
Artistic: Single of the Year recognizes the top commercial Saskatchewan song of the year released during the period of April 15, 2020-October 30, 2021, determined solely by a numerical calculation of industry data.
Artistic: Music Video of the Year recognizes an exceptional music video made available to the public during the period of April 15, 2020-October 30, 2021.
Artistic: Best Saskatchewan Album of the Year is based on a full-length album, as a whole, released during the period of October 15, 2020-October 30, 2021. All genres of music are included in consideration. An industry jury determines a shortlist of finalists, with the final winner of Album of the Year then determined by public vote.
INDUSTRY Categories
For activities in the period from April 15, 2020-October 30, 2021:
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Industry Achievement Award: Will recognize excellence in the provision of skills and/or services by those helping to build the music industry of Saskatchewan.
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Venue of the Year: Will recognize live music venues or music festivals that strove to celebrate and present live music during the global pandemic, including both in-person shows and alternate programming initiatives such as virtual concerts, as well as excellence in programming and community engagement.
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Producer of the Year: Will recognize excellence in music production by a producer residing in Saskatchewan, who was primarily responsible for the recording and/or mixing process for a submitted project(s) released within the eligibility period.
SPECIAL HONOURS: Indigenous Music Achievement Award
The Indigenous Music Achievement Award, new for the 2021 SMAs, will recognize excellence in an individual demonstrating musical impact, leadership, innovation and/or community-building which has created a positive and lasting impact on the Indigenous music community. A potential honoree may be, for example: an established music artist; a music manager or label owner; and/or a music teacher, as long as the activities they are nominated for are centred on music practices. This award is intended to honour a long-term commitment to integrity and involvement in music which has inspired and uplifted others, and will consider the individual’s work over their career.
Self-nominations as well as community-suggested nominations will be accepted. Nominations will be reviewed by the IMAA Review Committee, consisting of representatives from the SaskMusic Indigenous Advisory, peers, and music industry professionals, who will make the selection for this year’s recipient.
Anyone requiring assistance with their submission or questions on the process may contact SaskMusic, 1-800-347-0676 (toll-free in Saskatchewan) or [email protected].
For updates, visit this page, and make sure you’re subscribed to the SaskMusic E-Release.
Download this page as a press release
Important dates
Nov 2, 2021, 11:59pm - SMA artistic nomination deadline
Nov 7, 2021, 11:59pm - SMA industry nomination deadline
Dec 2, 2021 - SMA Nominee Announcement; Public voting for Best Saskatchewan Albums begins online
Dec 16, 2021 - BSA voting closes
Dec 20-23, 2021 - BSA top ten rollout on SaskMusic socials
Jan 20, 2022 - 2021 Saskatchewan Music Awards
Jan 21-23, 2022 - Very Prairie Music Summit
Questions? Contact SaskMusic at 1-800-347-0676 (toll free within Sask) or 306-347-0676. | https://www.veryprairie.ca/sask-music-awards-subs |
I have always found art and music totally absorbing. Some of my earliest childhood memories relate to them. I clamoured for pencils and paper when I was young so that I could draw – anything and everything. Some songs on the radio made me emotional at a very tender age. Sketching, painting, creating, listening and performing have been central to my emotional and intellectual life ever since. As I grew up I realised that I would not be a mad, bad and outrageously gifted extrovert like the tempestuous painter Caravaggio or the flamboyant Florentine sculptor Benvenuto Cellini, so admired by the equally volatile an outrageous composer Berlioz! Real musical talent had also eluded me too and I was not destined to become the charismatic trumpet virtuoso of my dreams.
Creativity excites me. Although my artistic and musical aspirations were pursued at less ambitious levels, an exciting and challenging career in music publishing later brought me into contact with many immensely talented composers, songwriters and artists for whom I have great admiration. Since then, encouraging participation, particularly by young people, in fine art, illustration and writing songs has been a major pre-occupation. I believe the two creative disciplines are virtually inseparable and I cannot imagine life without them. Both can enrich our existence by imparting enjoyment, excitement, beauty, drama, liberation, and often profound truths through originality in visual art and music. Each has the potential for expression to convey what is beyond words.
I do not have any qualifications in either art or music, although I have painted, performed and listened for many years so, on retirement, I decided to start a project to study the history of both subjects and have compiled several sketchbooks with copious notes, drawings, paintings and other visual material on my findings as a permanent record of my own further education. These sketchbooks are an integral source of reference for so many of the paintings I have produced over the last twenty or so years. The benefit of supporting creativity at an early age is immeasurable and I believe every child, irrespective of their background, should have the opportunity to access art and music as soon as they are able to as these creative interests can and should be a joy for life.
During this time I went to a wonderful one day series of workshops for children as part of the “Big Draw” celebrations at Handel House in central London which encouraged them to respond to all kinds of music being played in all the rooms of this large listed building with paper and coloured pencils provided for them. Guidelines were given asking them how the music made them feel and what colours they might use to express various moods such as happy, sad, angry and other emotions. As listening to music and trying to create various genres of painting from it has constantly fascinated me, seeing what the young people produced was rewarding and inspiring.
Some pieces of music I have created abstracts from have been particularly elusive, such as the Four Last Songs by Richard Strauss, which have such an overwhelming raw emotional effect on me. The beautiful sounds I hear never seem to be adequately matched by what emerges in colour, shape and structure on the canvas. Here is the most recent version of one of them Beim Schlafengehen (Time to Sleep) which was used in a recent scientific study of how the human brain reacts to music, a gorgeous female soprano voice, sublime sounds from solo violin, horn and full orchestra and so much more yet so challenging to convey visually in oils! However, I will keep trying.
I have also tried to respond through painting to many musical influences past and present covering a wide musical spectrum ranging from Beethoven, Gustav Mahler and Stravinsky to Kate Bush, Pink Floyd, The Who, Billie Eilish and Stormzy! The music and my interest in portraiture too inspires what eventually appears on board or canvas; the art varies from traditional and figurative to the totally abstract and my style constantly changes.
Certain artists such as Wassily Kandinsky and Paul Klee were famous for their interest in the relationship between art and music. Paul Klee’s book Painting Music is a must for those interested in the subject and Klee admired Mozart, regarding him as “the Pinnacle of Art”. It was Mozart that this artist most enjoyed listening to and playing. Composition, shape, form, colour, harmony and rhythm came under immense scrutiny in both their artistic explorations and development. Some artists like Kandinsky and Van Gogh were thought to have synesthesia and actually see colours on hearing musical sounds. One of my paintings, shown below, was once featured in a televised BBC promenade concert and when it was discussed during the interval, it was thought that I might have synesthesia but I can confirm that I do not! | https://art2arts.co.uk/magazine/art-music-a-joy-for-life-by-peter-dadswell/ |
Tell us about yourself.
I’m Zoey Georgeades, I’m 16 years old, and I’m from Greeley, Colorado. I love music and it’s practically my life.
Tell us about yourself as an artist.
I’d like to describe myself as someone who makes pop music with a Latin/electronic twist. I play 7 instruments and music is one of the very few things I can do for fun while also taking it seriously.
Tell us about the genre of your music.
It’s mainly pop with a Latin/electronic undertone.
Tell us about the story behind your song.
“Runaway” was one of the few songs I’ve written where I’m deeply connected to it. It’s about liking someone and them giving you an impression that they like you back. But, after a few minutes of them giving you the idea that they’re into you, they run. It’s like dipping your toes into cold water that you think is warm. I wrote it, conceptualized it, and made a demo for it in less than two hours; the fastest I’ve ever created a song.
Tell us about the problems you face as a musician and high school student.
There is an endless list of problems, but the main one I face is time. I have to dedicate a lot of time to my academics, but I also have to dedicate a lot of time to my music. I’m a junior currently and the pressure is high to get ready for college and having a music career in its infancy definitely packs on the weight. It’s all worth it though as I love music.
Tell us about the recording and production of the song.
I recorded the song back in October of 2017 out in LA and had it produced by Stefan Litrownik. He’s an incredibly talented and amazing guy and it was such a fun experience.
List the names of blogs, radio, or TV stations that have supported you so far.
MI2N
The Young Folks
Music Is my Radar
Wonky Sensitive
Vents Magazine
Listen Here Reviews
Caesar Live N Loud
Neufutur Magazine
All Access Music Magazine
Teen Music Insider
The Musical Hype
B Sides and Badlands
World Arts News
Tell us more about your music career, experience, and future goals.
Truthfully, my professional music career just started less than a year ago. My more unprofessional music career started when I was four when I was put into piano lessons. It’s been an exponentially growing process, something I’m incredibly blessed and grateful for, and it’s been an amazing experience. I hope to soon tour, make more music, and ultimately just help people with my music.
Brief us on what inspires you to write, compose and sing.
Sometimes it’s very random, like inspiration will hit me when I’m on a train of thought in my head and a lyric pops up and I have to grab a piece of paper and scribble it down before it I forget it. Other times, it’s when I watch a musician documentary or a music award show; something to where I see a musician doing something that amazes or impresses me.
Brief us the top-secret behind making a hit song.
I’m not quite sure what makes a hit song. What I do know from watching hours and hours of behind-the-scenes videos of producers working on hit songs, i.e. Max Martin, Mark Ronson, etc., is that a hit song comes when you least expect it. There is definitely a method to the madness, but that comes from years and years of listening to endless hours of music. I grew up listening to all the early 2000s-today pop hits and classical music on repeat all the time and It’s beginning to bleed into my work. It’s like modeling the masters while making something brand new. It’s a difficult task, but it can be done. That’s why every high schooler has to read The Great Gatsby or Of Mice and Men so that they can know what classic literature is. The same goes with music, it deals a lot with exposure.
Tell us the piece of advice you will give to an upcoming artist.
Probably to have confidence in yourself all the time, never once doubt yourself. There is always going to be a bunch of people pitting against you, but if you believe in yourself, you’re invincible. Nobody can take your confidence away from you. There’s this Logic’s quote I love, “I’d rather be hated for who I am than who I ain’t.”
Discuss at length your music careers, albums, songs, tours, recognition or awards you might have obtained.
My music career is very new, so I only have one song out at the moment, haha. I have a project I’m planning to release soon and go on tour as well.
Tell us how you write your lyrics, compose, sing and record in the studio.
I have a little make-shift studio in the basement of my house. I go down there and just mess around on my piano and different sounds and when I find something I like I find a melody. Then, I write lyrics. Sometimes the process is completely backward where I come in with a lyric idea and make a melody and then find a sound.
Name the artists you are willing to collaborate with.
I’d love to collaborate with anyone, but I’d truly love to collaborate with Lady Gaga, Camila Cabello, Max Martin, and so many more.
State the links to your social networks and stores for the purchase of your songs.
Musical.ly: @officialthezoeyg
Apple Music
iTunes
Spotify
Google Play
Tell us about your happiest day and saddest day.
My happiest day was probably when I met Fifth Harmony at a meet and greet of theirs back in 2015. I was a huge fan of them and meeting them was definitely one of the top 5 best days of my life. That day definitely solidified my dream of being a musician. My saddest day probably was when my first dog Toby, a little black Pomeranian, ran away when I was 8. I loved that dog and my parents and I joke about it now, but every day for probably a few solid months after he ran away I’d cry before bed because I missed him so much.
Tell us how you will spend a million dollars.
I’d save some, probably invest into some stocks and into some cryptocurrencies, buy my family and friends and some stuff, and buy some things for myself.
Tell us, five artists, you can regard as legends.
That’s definitely a tough one, but probably Lady Gaga, Britney Spears, Max Martin (a producer), Beethoven (An old one but a classic one), and Justin Bieber.
Tell us your future plans pertaining to music.
I have a project I’m planning to release soon and go on tour as well.
Tell us what you think about creativity and originality in music.
Creativity and originality go hand in hand in music. In order to be original, you have to be creative. In order to be creative, you have to be original. The word ‘create’ is in creative. If you’re copying something, that’s not creating something, that’s copying something. We’re definitely at a point in music where we have the technology to our advantage, but a lot of people are abusing it. If I’m correct, sampling has been huge since the 70s and it’s where you take a piece of a song, whether it be a piano pattern, a vocal chop, or a drum loop, and create something new with it. A lot of people abuse the idea of sampling and completely just rip off songs. On the other hand, many people use sampling beautifully and create something amazing from an old classic. Kanye West is an example as he’s really good at it. His music is based around sampling and he does it in a way where it’s brilliant as he creates something new from something old. Sampling has become a lot more accessible and easier to the general public since the 70s with the rise of downloadable music and computers. A lot of music is becoming overrun with similar synths and beats, but there are always a select few who always pop in and completely shake the industry, i.e. Lady Gaga popping in and creating electropop music when we were transitioning from an era of hip/hop and pop-rock. The industry lately has been super difficult to break into since the change from buying and downloading music to streaming has completely cut the budgets of labels and artists. Originality is rare, but there are always few creative people who always break in to make a change.
Tell us the major reason you are into music.
I’m into music because I love it. It’s something that brings me joy and it’s also one of the few things I’m good at, haha. I’ve grown up around it and I’ve seen how much happiness it can bring to people. I also love it because it’s a beautiful thing; it’s a universal language that you don’t have to speak in order to understand.
Tell us your view on old school music and new school music in terms of preference.
I’d say it’s a mix of both honestly. I love 50s soul/pop music, a product of my grandma and grandpa, and 80s pop/rock music, a product of my dad and mom. To go super old school, I also love classical music, a product of my classical piano lessons. Also, a part of me still loves modern music.
Tell us about your most memorable day as an artist.
My most memorable day as an artist was probably when I got a message from a talent scout saying that she worked for a producer that might be interested in working with me. I had about 400 Instagram followers and that was in April of 2017. That producer worked with me one on one and for sure got the ball rolling in my career.
Tell us what you will do If you found yourself in a position of power.
I’d love to focus on unity. Unity is something our world/country is lacking severely at the moment. I’d like to make everyone feel as loved and accepted as possible, no matter the color of their skin, sexual preference, gender, religion, etc. I’d also really love to spread the message that we as humans go through things on a daily basis; we’re all hurting. Also, that we shouldn’t put others down just because we’re hurting, that just adds more hurt. Instead, we should be spreading more love and positivity. We should just embrace the struggle as a whole and work together as a team by helping each other when it comes to small things or even huge things. | https://broadtubemusicchannel.com/zoey-g/ |
Cullen G.
Teaching Locations:
Teaching Locations:
Levels taught:Beginner, Intermediate, Advanced
As someone who pushes themselves daily to further develop their musical skills, I find it very important to not only give back some of the knowledge I've acquired over the years but to also help others learn how to learn effectively and efficiently. Having spent time learning and playing in various settings, from high school jazz bands to jam sessions to recording sessions, I've been able to distill what's essential across different styles and present them in an easily digestible way, allowing for students to see the connections between their favorite music and the underlying elements of music in general.
For each student I tailor a lesson plan built around the student's long term goals. Whether its learning your favorite songs, how to write your own, or taking the steps towards mastery of the instrument, I find it very important to explore music through the artists and styles that caught your ear in the first place. In conjunction with learning your favorite music, I will also show you the relevant music theory that applies to the music you love. You will not only be able to play your favorite songs but will also know how the artists you love made them. The tools of your favorite artists can be at your fingertips!
About Cullen G.
Having been a musician for the last 15 years and a music teacher for the last six, I feel that at this point I can distill the most valuable lessons I've learned over the years and present them in an easy to grasp manner. As someone who continues to actively improve their own skills, I understand how to establish great practicing habits as well as get to the heart of what's most important in achieving different musical goals.
While guitar and bass are my primary instruments, I also play drums, keys, and ukulele. Constantly striving to revisit the state of being a beginner has allowed me to refine the universal qualities associated with learning in general, music especially. I have played in many different contexts, ranging from big bands and jazz combos to rock bands and recording projects. These different experiences have offered valuable insights into not only playing music, but also creating it and working together with other musicians. These insights are a joy to share and I feel that there's great value in helping others learn quickly and effectively.
The world of music is a vast one and the astonishing number of genres and unique artists is truly inspiring. When it comes to learning the particular language of a genre or artist there are specific nuances that create an overall feel when put together. I can not only show you how to practically employ those skills but I can also explain how it works in terms of theory, which can be invaluable when wanting to incorporate certain flavors into your own writing. My goal is to make your goals a priority while making the way there a fun yet efficient journey.
Thank you for your interest!
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Very helpful and patient instructor. Breaks things down into understandable concepts for newer learners. Highly recommend!
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Experience
Guitar InstructorSep 2012 - Present
Self-Employed
I have been teaching music lessons throughout the last 6+ years. Originally, I started with guitar but now offer bass and ukulele. It's been a wonderful experience helping others discover how to express themselves through music. Being able to see a student's face light up when a concept clicks is one of the most rewarding aspects of teaching.
Studio AssistantAug 2016 - May 2017
Sound n' Vibe Recording Studio
I was an Intern at music studio located in Long Beach, California. During my time there I had many different tasks including playing bass and guitar on tracks with different artists. I was able to learn about the in's and out's of the recording process and also the creative process in a studio setting. I was able to observe and participate in playing and recording many different styles of music during my time there.
Guitar InstructorMar 2011 - Jul 2012
Ernie's Music
I was a guitar teacher at a local music studio. I used to take lessons from the former guitar instructor and the owner, who taught piano, offered me the position after the previous teacher had moved on. The location had to close due to rising rents.
Education
PhilosophyAug 2014 - May 2016
Whittier College
Languages
English
Fluent / Native Proficiency
Let Our Student Counselors Help YouWe can match you with the perfect teacher and take care of all your scheduling needs. | https://takelessons.com/profile/cullen-g1 |
Short biography of Hæretici 7o74:
Hæretici 7o74 is a duo of Ovro and Niko Skorpio from Finland. The artists combine the more meditative and ritualistic elements of their solo works, blending it to something completely new and allowing the artists to take on roles other than those of their everyday solo selves.
Hæretici 7o74 has incorporated Western Tradition ritual and theatrical elements into their performances and music, used extensive sampling and live sound manipulation, and their own chanting & singing voices. | http://mp3muse.ru/download-artist/ceghabbh/H%C3%A6retici-7o74 |
Interview With Tommie Tei
Have you always been interested in music? What is your story and how did you start making music?
I loved singing from a tender age so developed a love for music from then
What are you working on now? Any future releases we can look forward to?
I am working on a song to be release in early February
What Is Your Ultimate Goal In The Music Industry?
I would like to gain many fans as possible from my music
What Has Been The Biggest Challenge In Your Career Thus Far?
My biggest challenge is getting support in the form of exposure by radio stations and DJs
How do you go about writing a song? Do you have a melody in your head and then write the other music for it or what’s Your typical songwriting process?
I get the melody then I think of a concept which inspires me to write my songs
How do you feel the Internet has impacted the music business?
The internet is a very good medium for sharing my music. It has helped me to gain a lot of fans
List some famous musicians currently on your playlist?
Bob Marley, Micheal Jackaon, Shaggy, Sean Paul
What Did You Do Before You Started Making Music?
I used to run my own business and also had a 9-5 job
Would you have any advice for young people wanting to follow in your footsteps?
I want the young people to make positive and uplifting music
If you could change anything about the music industry, what would it be?
I wouldn’t want to change anything
How do you feel about originality?
I love originality because I work to give people a song they have never heard before
Is there anything else we should know about you? or Something that you would like to add? | https://www.glacerfm.com/team/interview-with-tommie-tei/ |
Minimal electronic music is my passion. I love everything about it, the way it’s composed, produced and perceived. In the last few years I have become more and more engrossed in minimal electronic music and began to explore some of the many branches that fall under its umbrella.
I’ve always found the human aspect of music most interesting, the stories behind how songs were written, who they were written for and what inspired their composition. This blog is an attempt to chronicle some of my own musical experiences as well as exploring some of the lesser known areas of minimal electronic music.
If you’ve enjoyed this blog or have any comments or questions feel free to email me at [email protected]
Cheers,
David Nicholson
I love minimal electronic music. I’m especially a fan of the “motorik” style, i.e. the relentless (and usually very fast) beats that seem to go on forever, but which are constantly evolving and changing in subtle ways. It’s often compared to techno or house music, but if you’ve ever listened to it before you’ll know it’s very different.
As a genre it’s not too well known and there aren’t many resources online about it either, so I decided that the best way to learn more about the history of this type of music was to write a website about it! As I learn new and interesting things about minimal electronic music, I’ll share them here for your reading pleasure.
What is minimal electronic music? It is a type of music that uses electronic instruments, created using analogue or digital synthesizers. It is often more repetitive than traditional pop music, and it is usually instrumental.
Minimal electronic music has a long and rich history, stretching back to the early days of the 20th century. In the 1920s and 1930s, composers like Edgard Varèse began experimenting with electronics – they used phonographs, radios and gramophones to create sounds. By the 1950s and 60s, composers such as Karlheinz Stockhausen were using electronic technology to create music. The 1970s saw many new artists emerging, such as Brian Eno, Robert Fripp and John Cage.
Why minimal electronic music? It’s simple: it’s fun! There are no rules about what you can do in a piece of music – you can create any sound imaginable with synthesizers! And the best part? You don’t need to be an expert musician or composer to get started. With today’s technology, anyone can make great-sounding songs on their computer!
What are some good examples of minimal electronic music? Some good examples include Aphex Twin’s Selected Ambient Works 85-92 (1992), Brian Eno
Minimal electronic music is a genre of electronic music. It has its roots in the 1980s and 1990s, with some of the most prominent groups being Kraftwerk, Tangerine Dream and The Prodigy.
Minimal electronic music is a genre of electronic music that uses only minimal elements to create a song. This can include simple melodies and rhythms, or just a single note. The genre has been around since the late 1960s, but it wasn’t until the early 1990s that it really started to take off.
Music has always been a physical experience for me. Feeling the bass in my chest. Feeling the energy of a performance. Hearing a song that reminds me of an experience or an emotion I’ve felt.
After spending most of my life immersed in this style of music, I began to realize that there was a whole other world of music out there. A genre of electronic music that seemed to be about creating something purely intellectual, but for some reason still appealed to me on a physical level.
I’m not sure why minimal electronic music is so appealing to me, but I think it’s because it addresses the issues I have with traditional forms of music production. The fact that the genre consists entirely of loops and samples makes it extremely easy to produce and allows anyone with a computer to create music. It also has a more direct connection to the human body than any other genre, since it is created nearly entirely by real people (as opposed to synthesizers) and therefore reflects the human condition much more than any other form of music.
Minimal Electronic Music is a genre of music that has gained popularity in the past ten years. It’s a genre of music that is based on minimalism, which means it uses only the bare minimum of sound to create a song. It has also been called minimal techno, electronic dance music and ambient electronic music.
The genre began as an offshoot of techno, which was popular in the late 90s and early 2000s. The style of music was based around simple beats and minimal use of instruments. This style soon became popular with clubbers who wanted their clubs to be more like the bars they went to in London and New York.
The style began to grow in popularity among artists such as Moby, Daft Punk and The Chemical Brothers who all made use of minimalistic techniques. The style grew even more when other artists such as The Prodigy started using it, creating a new sound altogether. The Prodigy were one of the first bands to incorporate elements of hip hop into their music, as well as incorporating drum machines and samples from other genres such as dubstep and jungle. Other artists soon followed suit and began incorporating elements from different genres into their own work.
As time progressed the style became more popular with artists such as Aphex Twin, Squarep
Ablaze Records has just released a new compilation album featuring many of our label artists. You can download it for free now from the link below. The album features both artists featured on our previous releases as well as some new ones to keep an eye out for in the future.
Boomkat Product Review: | https://www.electronicmusicmall.com/blog/why-minimal-electronic-music-a-blog-about-minimal-electronic-music-and-a-brief-history-of-the-genre/ |
Electronic music is like the universe itself, it expands at an exorbitant speed. Each primary genre takes different paths that intersect with other influences, each artist creates from his or her own criteria, so it is not necessary to be subject to the laws of the music industry or the unanimous conditions of the mainstream.
Such singular identities may seem exclusive to many erudite ears, but for projects like ours it is a blessing to discover artists with a certain originality and who are also totally anonymous, or who have not had a long career. It has happened to us with many of the artists who have released on Industrial Complexx, and it has happened to us again with H/S/P, an Argentinian artist who runs his label Armed Records and who also uses the alias Artist Øne to release techno on different platforms.
N.H.DLV is an album in which its author exhibits great potential in terms of creativity and sound design. This 15 tracks evokes the multitude of paths an artist can take to develop a work based on thousands of musical experiences, with a sound impossible to categorise as a single trend. Industrial, noise, techno, experimental…. an ambitious and non-conformist itinerary.
Artcover: Mimusa
Release date: August 23rd, 2021. | http://industrialcomplexx.com/h-s-p-n-h-dlv/ |
Christian music star Matthew West details collaborating with Candace Cameron Bure on ‘Come Home for Christmas’
Candace Cameron Bure’s music may be known for “jazz and rock,” but it’s her ability to turn classic songs in to modern works that sets a new standard in what makes a great Christmas song.
For the last ten years, she’s collaborated with Matthew West on four holiday albums. (The pair met on Facebook in 2008 and became friends through mutual friends.) Now, the two are teaming up again, and their next album, which they’ll release this month, is called “Come Home for Christmas.”
“This one was a challenge,” West says. “We have to go in like a modern artist and do our own thing, but also try to incorporate the way that Candace does with classic Christmas songs.”
West says one of the challenges for him was finding songs that had never been tackled by Christmas music artists. One of his favorite Christmas songs is “Jingle Bell Rock,” written in the 1970s by Billy Murray, and then covered by many artists, from Mary J. Blige to John Lennon. West and Cameron Bure have chosen songs that they both love, but they’re also choosing songs that will be great for their fans.
“So we’re going to go really far out on the edge there with a ’60s-influenced sound, and there’s no limits,” Cameron Bure says. “A lot of our fans are going to love this.”
Matthew West says the album is full of “brilliant songs.”
“It’s a combination of old traditional Christmas songs with a contemporary sound,” West says. “We wanted to be as adventurous with it as possible.”
The album comes out on Nov. 5, but you can listen to it now right here in this radio spot.
Related: | http://bfuj.info/candace-cameron-bure-and-matthew-west-are-releasing-a-new-album-this-month/ |
Interview with Monty AdkinsTobias Fischer
These days, originality appears to be the main gauge for artistic success: No insult could be worse than being made out a copycat or rip-off, no praise higher than having one's work being commended as 'unique', 'personal' or 'inventive'. And yet, as much as it's in demand, originality is a highly problematic term. For one, entirely original music is an impossibility, since every composition already builds on what came before it in some form or the other. Also, originality as a main priority does not by default result in satisfying results. Even more critically, our notion of originality is questioned by the advances of the information age: The more people are making and releasing music, the smaller the potential for each of them to create something truly original, after all. What happens when everything has been done - every sound sculpted, every beat programmed, every chord played and every arrangement tried? We spoke to a wide selection of artists from all corners of the musical spectrum to find out more about their take on originality, how they see it changing and what it means in their work.
In this interview, sound artist and electro-acoustic composer Monty Adkins stresses that originality should never not just be a personal ambition – but always inspire other artists to put their own spin on it as well.
For most artists, originality is first preceded by a phase of learning and, often, emulating others. What was this like for you? How would you describe your own development as an artist and the transition towards your own voice?
I recognise the sentiment of your question wholeheartedly in my own development as a creative artist. I came to electronic music relatively late. I’d studied classical music until I was 21, always knowing that the kind of sounds I wanted to make were really beyond what traditional instruments could do. Electronic music was a real epiphany and during my PhD I listened to as much as I possibly could. The series of pieces that I produced during this time I now regard as exercises in technical craftsmanship, rather like a renaissance apprenticeship. Don’t get me wrong, these pieces have some artistic worth and have been released (empreintes DIGITALes) but they only explore some of the things I am interested in musically. I then spent five or six years in the musical wilderness - making a whole variety of pieces that explored some of these - such as rhythm ("Symbiont or Cortex") and instrumentality ("Silk to Steel"). I didn’t compose anything in 2006-7 as I was again trying new things, some of which worked and some didn’t. It was only in 2008 at the age of 36 (the age Mozart died!) that I started creating a series of albums that I am really proud of.
When, would you say, did you start to appreciate originality as an important quality in music? What were some of the first artists that stood out in terms of their originality to you and what was it about the originality in their work that attracted you to it?
When I was a teenager I was really attracted to the works of Penderecki. I didn’t really think of it in terms of originality, but perhaps more sonorous novelty that was completely different to all of the other pieces I knew. Later, John Wall’s "Constructions" were really striking for me. I found these pieces totally mesmerising and original in their approach to treating musical time. The sounds I did not find particularly novel in themselves, though they are exceedingly beautiful and expertly crafted. What I was fascinated with is how Wall had put them together. The closest analogy I can think of is that of a poet, who takes words you already know but through their syntactic arrangement makes something completely original with them. For me, it is Wall’s musical syntax that marks his work out as being original.
What's your own definition of originality?
It was with John Wall that I began to realise that sonic (or technological) novelty was really only that - a novelty. Originality was something far more radical. For me, originality requires some kind of conceptual shift in thinking about the creation of music that is not merely novel, but opens up new avenues for musical exploration that can be followed by other artists who will bring their own perspectives as well.
Originality is one, but certainly not the only aspect of quality in music. What, from your current perspective, is the value of originality and has it become more or less important to you over time?
I don’t think originality has become less important, but I think it is increasingly difficult to achieve. If you think, in general terms, that originality has often been associated with expanding the boundaries of music language in some way then to some extent, I would consider those boundaries to have been mapped out (history will no doubt prove me wrong) … John Cage’s "4’33" (silence), Eliane Radigue’s "Trilogie de la Mort" (very slow gradual change of a musical continuum of extended time-spans), Ferneyhough’s "Etudes Transcendantales" (rhythmic and notational complexity), Klaus K. Hübler’s "Opus breve" (complexity of physical actions to create instrumental sound), to Jazkamer’s "Eat Shit First" (noise) offer just a few examples of these extremes. There are of course a myriad of others. Originality is then how we negotiate new paths within our existing musical universe by drawing elements together in unexpected ways. Some of these elements may be purely musical - bringing characteristics from diverse genres together to create a new musical syntax or sound world, others however, maybe from outside the realm of music altogether as musicians draw on computer science, evolutionary biology and artificial intelligence as models for their work. Having said this, I think one can get hung up on trying to be original. Trying to be totally original in every album or work is setting oneself up to fail. In science, originality is adding 0.1% or less to existing knowledge in an existing field of study. Mapping out whole new fields of investigation as a result of a paradigm shift in thinking is often a one in a lifetime event. I think the same is true of music. There are many artists who are not radical or original but nevertheless have something artistically to say that is meaningful and resonant with their audience.
With more and more musicians creating than ever and more and more of these creations being released, what does this mean for you as an artist in terms of originality? What are some of the areas where you currently see the greatest potential for originality and who are some of the artists and communities that you find inspiring in this regard?
I don’t think that the amount of music being made has any correlation to originality. Just as in the baroque and classical era there are plenty of musicians creating good music today that is unexceptional. For example, with over a 1000 dubstep tracks being uploaded to Soundcloud every week how many of those are going to do something new other than rehash existing cliches? How many ambient releases are rehashing the mid-frequency biased, pretty melody and pseudo-vinyl crackle set of ingredients? As always, the best examples of these will float to the top and be recognised either now or over time. These best examples will have something about them that differentiates them somehow either in terms of artistic quality, conceptual aims or in terms of musical syntax or sound. From a personal perspective I am interested in forming collaborations with musicians who will challenge me and offer differing perspectives and then reflecting on how the results of this process can reinvigorate my solo practice. Many of the artists I am interested in are also friends, as I appreciate the integrity, craft and thinking that goes into their work. I think Alexander Schubert, Nicolas Bernier, Arturas Bumšteinas, Ambrose Field, Jo Thomas, Radek Rudnicki and Helena Gough are all producing work that I think is forward thinking and provocative.
The idea of originality is closely related to one's understanding of the creative process. How would you describe this process for yourself - where do ideas come from, how are they transformed in your mind and how do experiences and observations turn into a work of art?
I have recently written about this in terms of nodalism. Although I am primarily a creative practitioner, I am also an academic. I don’t consider these to be mutually exclusive. Through an understanding of models of creativity, such as those written about by Margaret Boden, or memetics (Richard Dawkins and later Steven Jan) - the idea of our brains being packed with memes (cultural ideas, tunes etc.) from our experiences and that we draw on in our music, to the functioning of the brain in cognition Donald Hebb and later John Horgan, I feel that I am able to reflect on my creative process from a more considered position. For me, these models don’t imply a completely different manner of doing things, but through knowing about them make me ask questions about why I am doing what I am doing, how I approach musical materials, my methods of processing them in the studio and how I put them together. Although this can sound overly theoretical I can assure you it isn’t. My main concern is to be aware of what I am doing and not fall sub-consciously into a method of making music that is merely a pattern that I repeat over and over.
Where ideas come from is a difficult one to answer. Sometimes they are from what I have been reading or listening to, sometimes as a result of a conversation with a friend. Other times they seem to come completely from nowhere - a kind of extreme lateral thinking from whatever I was doing at the time. I often start with this initial idea and then sketch a nodal diagram that develops ideas from this starting point. I like to be as wide ranging as possible, often bringing in literary, artistic or cultural ideas that can offer a different perspective on the form or syntax of a piece, or a different way of processing or mixing material. Some aspects of these nodal sketches are freely associative and quick unconscious connections. Later, I can consciously reflect on these and develop further connections. All of these often form the conceptual approach to the piece and then later inform other details of the work. For example, Rift Patterns (Audiobulb, 2014) has a number of diverse influences. I was really interested in exploring the personal meaning of places but without necessarily just presenting location recordings or manipulations of these. So there are ideas from psychogeography, the writings of Iain Sinclair, Gillian Rose’s writings as a social geographer and the aesthetics of ‘atmosphere’ by Gernot Böhme. I’m also aware of other ways in which artists have drawn on places such as Richard Skelton’s Ridgelines, Simon Bainton’s Visiting Tides to John Surman’s Road to St Ives. I was also interested in working with the prepared piano. Here there are sonic links to John Cage and Hauschka and the differing traditions that these artists reflect. Classical forms (such as the chaconne in Soliloquy, track 2) also inform the piece. All of these ideas and ‘nodes’ of reference provide points of context and shape the form of the work. However, I don’t go to the level of having these nodes shape the moment to moment content of the track. Once the overall shape and conceptual starting point is decided I use these as ‘constraints’ within which to work more intuitively.
The aspect of originality has often been closely linked to copyright questions. I'm not so much interested in the legal and economic consequences, but your thoughts on how far an artist can claim an idea / composition as being their own – is there, perhaps, a better model for recognising originality than the one currently in place?
I think this is a complex question that mixes two issues. The first is the ownership of a product. This could be a House track or a symphony. It makes no difference. There is a need to protect a producer or composer’s rights. The most unoriginal pieces can be a huge commercial success and copyright is important for these artists to make a living. I don’t think copyright really equates to originality - but merely an original work - a work that simply did not exist before. Originality is much more difficult to quantify from the perspective of ‘ownership’. Of course some artists are considered highly original but their work still builds on that of others. No work stands on its own in isolation. It always refers to something else even if by negation. Artists don’t patent their ideas like inventors, though they may patent their tools (software or hardware). I think originality is something that can be recognised only years later. Think of Gorecki’s Symphony no.3 - popular in amongst the most avant garde musical circles, Gorecki realised that to do something really radical (in the mid-1970s) actually meant to do something simple, repetitive, slow and emotive.
Our contemporary ideas of originality have their origin in nineteenth century Romanticism and the later commodification of an artist’s work. Manufacturers and artists need to protect their outputs in terms of scores, recordings or software. Our laws protecting us are again relatively recent (from the Berne Convention of 1886, the Buenos Aires Convention of 1910 to the Copyright, Designs and Patents Act passed in England in 1988). All of these are attempts at the time to protect those creating work, ideas, new tools at that particular time in history. I am sure that in 20 - 50 years time we will find that technology has developed exponentially and necessitates another model.
How do you see the relationship between the tools to create music and originality?
No tool is neutral. Everything is designed with some purpose in mind and creative practitioners can use or subvert tools in anyway they consider useful to their work. I know a number of people who maintain that to create something really original you have to program it from scratch in a software like MAX or Supercollider. I disagree with this. I think the most important thing is not to be lead by the tools but to have sufficient knowledge of as many tools as possible to make sure that you use the right tool for the right job. In some cases this does involve creating things anew. Two good friend of mine demonstrate this perfectly. Alex Harker (Ergodos) has created some amazing new tools in MAX, but these tools are always necessary due to the conceptual starting point of the piece that he wants to create. His piece "Fluence for clarinet and electronics" uses bespoke descriptor analysis tools to select, transform and playback samples from a bank over 1600 sound files in realtime. Here Harker’s tools allow a sonic richness that one would expect from months of crafting sound in a studio to be released in realtime and controlled by the performer. On the other hand, Richard Ginns (12x50Recordings, Woven Loop, Cotton Goods, ANALOGPATH Records, Twiceremoved) is able to produce sensuous enveloping textures and beautiful fragile melodies from a four-track machine and simple processing tools. Both of these artists show that it is their imagination that is the driving impetus creatively. The question for both is how to select and then use tools that will offer the sound and means they need to create their work.
In terms of supporting originality, what are some of the technological developments you find interesting points of departure for your own work?
I have to be honest and say that I am not driven by technological developments. As an artist who predominantly works and records in the studio, I like to think away from the computer and then realise my ideas with the tools I have. Many of the newer tools I have or have made simply allow me to do things more efficiently or more effectively than before. These tools may be software or hardware controllers. Having said that, I consider Alex Harker, who I work alongside with at the University of Huddersfield to be one of the best coders around. Some of the ideas he is currently working on in MAX are truly inspiring and I can’t wait to see how I can integrate these into my own work.
Fundamentally what drives me is interesting sound. I am not bothered by interactive tools, sensors or other such technologies to control sound. I know there are great advances being made here and a wealth of artists using these in innovative ways. However, what remains the most important thing for me is creating sounds and tracks that are interesting, new and surprising to me. Sometimes newness and being surprised can result from using or hacking the oldest of technologies. It is one’s imagination that is most important, not the technology.
The importance and perspective on originality has greatly varied over the course of musical history. From your point of view, what are some of the factors in the cultural landscape that are conducive to originality and what are some of those that constitute obstacles?
I think that artists, scientists and creative thinkers have always been stimulated by originality - whether it has been called that or not. As humans, we are naturally inquisitive and this comes through in all disciplines. Whether what we propose is accepted or not is a matter often of politics and circumstance. I recently examined a PhD in England by an Iranian musician. His work was highly original in its mixing of traditional Iranian instruments and their musical idioms and more avant garde electronic music genres. In England his music could be played widely and openly. In Iran he had to play in underground venues and only advertise the concert by social media and texts at the last minutes for fear of the concert being stopped by the authorities. I think our freedom of expression is something that we often take for granted.
Do you have a vision of a piece of music which you haven't been able to realise for technical or financial reasons?
There are things that I am beginning to want to do regarding the control of multiple parameters that I know can only really efficiently be realised in programs like Supercollider or MAX. It’s not that this is particularly difficult, it is just something that I haven’t done before at such a scale and so I need to learn some new tools. There are many pieces I’d like to do but don’t have the finance for. For one, I’d love to do a large immersive ambient piece for two orchestras surrounding an audience with electronics and hemispherical dome video projection.
Monty Adkins latest album Rift Patterns is available from Audiobulb, with a new full-length, Borderlands, planned for January. | http://www.tokafi.com/15questions/interview-monty-adkins/ |
Our mission is to accelerate the transition to autonomy by providing retrofit solutions that enable the automation of conventional vehicle fleets rapidly and cost-effectively.
Leveraging the capabilities of the AB Dynamics Group, we have access to a global network of simulation, testing, and autonomy capabilities, which we use to deliver off-highway autonomy.More About Us
Improved safety
Better utilisation
Increased productivity
Simplified operations
Retrofit autonomy to your legacy fleet
Cost reductions
Ensure the efficient flow of materials across the airport, harbour, logistics, warehousing and construction sectors.
Protect personnel and assets through autonomous driverless technology whilst increasing operational efficiency.
Enhance safety and improve productivity by automating and controlling the operation of a wide range of vehicles in rugged locations.
Improve operational efficiency, enhance safety and increase farm productivity with robotic vehicle technology.
September 2022
Last week we exhibited at DVD2022 where we launched Indigo Drive, our end-to-end system to make existing fleets driverless.
August 2022
ABD Solutions has signed an MoU with Greenland-focussed Amaroq Minerals. | https://www.abdsolutions.com/ |
Another year has come and gone. While the COVID-19 outbreak did a lot to shake up the commercial fleet management market, there are still numerous trends from earlier years that are continuing despite the disruption.
Many of these trends are being driven by the primary goals of commercial fleet managers and the companies they work for—such as improving driver safety, minimizing fleet management costs, increasing operational efficiency, and achieving compliance with state and federal regulations.
Not every company has a formal “commercial fleet manager” or “VP of fleet management” in their organizational chart. So, it’s important to establish what commercial fleet management is before getting into the specifics of what fleet managers are responsible for and the trends they need to watch out for in the coming year.
What Is Commercial Fleet Management?
Commercial fleet management consists of all of the practices and activities involved with overseeing, organizing, maintaining, and controlling an organization’s fleet of vehicles.
To put it in simple terms, if it involves a company-owned or operated vehicle (or the driver/operator of a vehicle), it can be considered part of a company’s commercial fleet management activities.
Commercial Fleet Manager Responsibilities
Commercial fleet managers (or those in an organization charged with fleet management tasks despite not having the “fleet manager” title) are often responsible for:
- Setting up vehicle maintenance plans.
- Tracking vehicle lifecycles for optimal replacement timing.
- Recruiting/onboarding new drivers in the fleet.
- Creating plans for optimizing fuel costs.
- Planning routes that drivers take with fleet vehicles.
- Overseeing driver performance and addressing any issues.
- Tracking vehicular assets and overall fleet performance.
- Ensuring compliance with state and federal regulations.
10 Commercial Fleet Management Trends for 2022
Now that we’ve covered what fleet management is and what fleet managers are responsible for, what are some of the major commercial fleet management trends to watch out for?
Many of the trends in this list have been ongoing for a few years now, but that doesn’t make them any less relevant as their impact on the fleet management industry continues to grow.
1. Continued Adoption of Electric Vehicles in Commercial Fleets
Consumers and the auto industry are both starting to embrace electric vehicles (EVs) in earnest. So, it’s only natural to assume that some commercial fleets will start using electric cars and trucks as the technology continues to improve.
However, this isn’t going to happen overnight—despite resolutions from certain politicians and organizations to go emission-free by a set date.
There are a few obstacles to this particular trend, such as:
- Long recharge cycles for electric vehicle batteries. Even with fast chargers, it can take upwards of 30 minutes for an EV to recharge (and 12 hours or longer with regular electric outlets).
- High costs to replace existing fleet vehicles. Electric vehicles have a high upfront cost compared to traditional gasoline vehicles.
- Limited driving ranges for electric vehicles. Right now, the longest-range electric vehicle is the 2022 Lucid Air Dream Edition R all-wheel drive with a range of 520 miles. At $169k, this is a prohibitively expensive vehicle that has a sedan form factor—which isn’t ideal for many commercial applications. Larger vehicles tend to have shorter ranges.
These obstacles are balanced against the positives of a purely electric drive, such as:
- Reduced Fuel Costs. As of February 11, 2022, the average price of gas across the USA was about $3.48 per gallon (Source: AAA). Meanwhile, the average price per kWh for electricity in the USA was about $0.15 (Source: BLS). To travel 540 miles, the average EV will consume about 180 kWh of energy—costing about $27 (180 x 0.15 = 27). Meanwhile, a vehicle that gets 25 miles to the gallon will consume 21.6 gallons of gas—which will cost about $75.17 (520/25 = 21.6, 21.6 x 3.48 = 75.168).
- Reduced Maintenance Costs. Another major cost factor for vehicle fleets is the cost of basic maintenance—such as oil changes. One advantage of a purely electric drive is that you don’t have to worry about oil changes (or any of the moving parts found in fossil-fuel-powered engines). This helps to streamline and minimize maintenance costs for the fleet over time. In fact, EVs cost about 31% less to service over the first three years than gas cars (Source: Business Insider).
2. Expanded Use of Autonomous Vehicles
Another technology that is growing alongside the use of electric vehicles, autonomous vehicles (AVs) have been in testing for several years. In fact, the first autonomous cross-country commercial freight trip was conducted from Tulare, California to Quakertown, Pennsylvania in 2019.
The autonomous trucking startup TuSimple completed its first fully autonomous (i.e. no humans) run on roads open to the public in 2021.
FedEx has also started to leverage the power of autonomous trucks—though they still have a “safety driver” in the vehicle to monitor the autonomous driving of the vehicle and intervene if needed.
Without the need for lengthy rest stops, autonomous trucking has the potential to help companies massively increase their productivity. The introduction of bills like the SELF Drive Act also encourages the growth of AVs in commercial fleets.
3. Increased Use of Remote Fleet Management Technology
Even before the COVID-19 global pandemic spurred the closure of offices across the globe, many companies had been investing in remote technology to let key employees “work from home” to reduce stress and increase productivity.
However, the outbreak of the coronavirus spurred that remote work trend even faster—leading to the increased adoption of remote fleet management solutions. With the right mobile fleet management solution, managers can track important fleet information from their phones and get important alerts right away—improving their speed of response to emergency situations.
4. Increased Reliance on 5G Technology
The trend towards mobile fleet management has been further empowered by the introduction of 5G networks that improve the stability and speed of mobile device connections. The technology rolled out nationwide in 2021. The impacts from this new technology are being seen even now—such as:
- More Efficient Routing. Fleet managers will be able to quickly alert drivers to emergency road conditions and re-route them through their fleet management software with no delays or downtime. Artificial intelligence (AI) will also be on hand to help out.
- More Responsive Networks. This will improve fleet-wide communication between drivers, managers, and customers.
- Improved Sensors. Internet of Things (IoT) sensors will improve safety by keeping drivers in their lanes, helping them avoid collisions, and automatically calling 911 should an accident occur.
- Improved Vehicle Maintenance. 5G will be able to provide faster transmission between vehicle parts and software for real-time diagnostics.
- Real-time V2V Applications. These apps have the potential to significantly reduce the number of – and severity of – crashes. Every fleet vehicle will be able to share data on routes, speeds, and traffic, making every truck responsive to its surroundings.
These advantages will make mobile technology solutions even more practical in the future—leading to increased adoption of technology of all kinds in vehicle fleets.
5. Increased Adoption of Dash Cams (and Other Vehicle Cameras)
Although there were fewer drivers on the road in 2020 (and early 2021) due to the pandemic, the National Highway Traffic Safety Administration’s (NHTSA’s) early estimates show that approximately “38,680 people died in motor vehicle traffic crashes—the largest projected number of fatalities since 2007.”
According to the NHTSA’s report, the largest increases in crashes included (but were not limited to) factors such as speeding (up 11%) and alcohol involvement (up 9%).
Distracted driving is another contributing factor to many crashes. This can include things like:
- Eating and drinking
- Personal grooming
- Watching videos
- Conversing with passengers
Commercial fleet management has an enormous responsibility to increase the safety and efficiency of drivers to avoid serious incidents. A distracted driver can put a business’ reputation on the line and cost them billions in insurance and legal costs.
One way that companies and government agencies are trying to fight distracted driving is through the use of dashboard cameras. Using dash cams is a valuable tool towards maintaining driver accountability so that fleet assets and other drivers are left safe on the roads. Rastrac is poised to help with ensuring compliance with safe driving standards by offering dash cams to track in-cab and out-of-cab activities on the road.
6. More Focus on Redundancy in Fleet Management Supply Chains
Another effect of the COVID-19 pandemic was the massive disruption the closure of businesses across the globe caused to international supply chains. This disruption was further exacerbated by the Suez Canal being blocked by the container ship Ever Given in 2021—which held up an estimated $9.4 billion in trade before the ship could be cleared and refloated.
The closure of so many businesses and the disruption of international trade routes for goods put a squeeze on fleet managers who needed timely delivery of replacement parts for their fleet vehicles.
To counter this instability, many fleet managers are having to look for alternative sources for critical vehicle parts and maintenance supplies. This way, if one supplier runs out of resources, the fleet manager can turn to an alternative vendor to keep their fleet vehicles in good condition.
7. Increased Security for Commercial Fleet Vehicles
Stolen vehicles can be a major expense for any company to deal with—even when insurance covers the theft of the vehicle, the loss of productivity from being a vehicle short can be damaging to the company’s bottom line. This is why preventive measures such as GPS tracking devices have long been used to reduce the risk of auto theft.
Rastrac offers versatile fleet management capabilities that allow you to upload your own maps. With our geofencing tool, you can be alerted either by text or email whenever a vehicle enters or leaves specific areas. This documented data also gives law enforcement details that can help them locate your fleet vehicle in the event that it is stolen.
Another security feature of Rastrac’s fleet tracking devices is the starter disable function, which allows a fleet manager to disable the starter for a programmed period of time and then re-enable the starter when it’s time to move again. It won’t stop the engine if it is already running, but the next time the ignition is turned, the vehicle will not start. This can be vital for ensuring that vehicles aren’t stolen straight out of storage or when they’re sitting at a rest stop on the road.
8. Increased Focus on Recruitment Efforts
“Good help is hard to find” has moved from the realm of being a simple platitude to becoming a truism of the modern job market. The COVID-19 pandemic led to many jobs being lost due to business closures and companies in all industries struggled to recruit new talent for all roles during the “Great Resignation” wherein 4 million Americans quit their jobs in July of 2021.
The sudden loss of talent has led many (including fleet managers) to start focusing on increasing recruitment. In fact, Bloomberg reported that “The U.S. economy added a record 6.4 million jobs in 2021, rebounding strongly from unprecedented losses in the year prior.” However, this increased focus on recruitment means that there will be more competition for skilled and qualified drivers.
9. Increased Accessibility of Fleet Data and Analytics
For years, fleet tracking solutions have been available to increase the transparency of driver and vehicle performance in the field. Fleet managers highly benefit from this cost-effective strategy with the countless streams of data fleet management software provides.
Along with monitoring driver performance and providing route optimization, commercial fleet management software offers data and analytics on lane departures and whether a seatbelt is used; it also gives predictive maintenance analysis on areas of fleet vehicles that need attention.
10. Increased Use of Application Programming Interfaces (APIs) to Integrate Disparate Software Platforms
To help drive the use of data and analytics in vehicle fleets, many fleet managers are turning to custom software APIs to integrate a variety of tools that were not originally built to go together. The ability to use an API key to connect databases from outside sources not only expands the functionality of a fleet tracking device but offers deeper data analysis capabilities in reviewing the performance of your fleet vehicle and driver.
The range of software platforms that can integrate with fleet management software greatly extends the involvement fleet managers have in daily fleet operations. A fleet manager can find themselves able to do a variety of tasks such as:
- Transmit messages directly to a driver’s device.
- Review daily fuel expenditures through their fuel card.
- Track a driver’s hours by punching in and out directly from their vehicle.
Are You Ready for the Future of Fleet Management? Get Prepared!
These latest commercial fleet management trends are proving to be a huge step forward in fleet management. Rastrac’s diverse selection of fleet tracking and monitoring devices can fit any of your fleet management needs.
Our continued dedication to evolve and adapt with fleet technology is to ensure our customers have the most relevant commercial fleet software updates and upgrades. If you’re looking to invest in quality fleet management software, contact Rastrac for more information!
Like what you're reading? Subscribe to our blog.
Get our latest posts straight to your inbox. | https://info.rastrac.com/blog/commercial-fleet-management-trends-2019 |
In a popular video, Youtuber GCP Grey makes the claim that autonomous vehicles (AVs) will solve traffic jams. Whilst the basic logic underlying his claim is accurate, it couldn’t be further removed from the truth because it utterly ignores externalities. As does this laughably inaccurate article from 2016 that claims we’ll only need 15-25% of our current number of cars after AV technology becomes widely adopted.
GCP Grey’s claim is essentially that AVs can react faster than humans and communicate with one another, and therefore they can travel on roads more efficiently. This is true, but there are some issues with this that he overlooks, some are outlined in a response video by Youtuber Adam Something. There’s one major issue in particular that GCP Grey and many other people predicting the future of AVs don’t consider: Jevon’s Paradox.
What is Jevons’ Paradox?
Jevons’ Paradox is a phenomenon that was initially described by economist William Jevons in the mid-nineteenth century whilst studying coal consumption in England. It essentially states that when the efficiency of resource consumption increases so does overall use of the resource.
This initially sounds counterintuitive to most people, but in fact, this follows the laws of supply and demand which makes it a veridical paradox (something that sounds untrue but is nonetheless true). In Jevons’ case, he found that as technologies that used coal as fuel increased in fuel efficiency, the demand for coal increased; so much so that overall coal consumption continued rising despite technologies continually improving the amount of useful work that could be generated from the same input of coal.
Energy efficiency increases demand
Jevons’ Paradox presents itself in myriad ways in our society. For example, as energy efficiency of refrigerators improves the cost of refrigeration decreases, therefore increasing the demand.
In the US, the amount of electricity used to refrigerate has increased as this energy efficiency has improved. More people bought refrigerators and people began owning multiple refrigerators (27% of urban households and 40% of rural ones havemore than one refrigerator). This has also occurred with energy for light bulbs, gasoline for cars, computational power for computers, with usage of raw materials such as copper, and many other things.
In other words, as the cost to use something decreases, it gets used more.
Easy car use means more mileage
Jervons’ Paradox does not only apply towards monetary costs; it also applies to opportunity costs. Whilst there are a lot of people who are constrained by the costs associated with driving (buying a car, maintaining it, gasoline), there are plenty of people for whom the opportunity cost of driving is the most limiting factor. After all, would you travel in a car more if you no longer had to actually drive the car? Also, for most people who can’t afford to buy a car, they will be able afford occasional trips in self-driving taxis.
When one can do whatever they want in their car whilst it gets them to their destination, they become more comfortable spending more time in the car. Imagine being able to do work, watch TV shows, sleep, or eat whilst your car gets you to work. We would all accept longer commutes.
AVs would also herald a whole host of person-less trips: picking up your groceries whilst you stay home, dropping off your pet at the vet, picking up medication for you, dropping children off at school or soccer practice and then driving back home.
Imagine being able to go to sleep in your car and wake up the next day in a vacation destination or a relative’s house in another state, having the car drive you to your destination whilst you sleep comfortably in the bed inside. AVssignificantly decrease the opportunity cost of travel and therefore lead to more travel. Think of how much more van-dwellers and RV retirees would travel if they could do anything they want inside their self-driving RV. Or how many more people would live that lifestyle.
Autonomous vehicles mean more vehicles on the streets
AVs will also make taking taxis cheaper leading to more taxis on the streets. And shipping things becomes cheaper, leading to an increase in consumption. This all leads to more and more vehicles cramming onto our limited street space. This will be especially pronounced in dense urban areas and at popular tourist locations (there are already infamous lines of cars to get into places like the Grand Canyon or Yosemite; with AVs, travelling to these places by road would become impossible).
In GCP Grey’s video, he shows cars travelling all at the same rate of speed on a straight roadway. But even AVs have to slow down for turns and stop to let people in and out. How will New York City look when it becomes overtaken by autonomous vehicles?
AVs are an amazing, revolutionary technology that will provide a lot of benefits: such as providing freedom of mobility to people with disabilities, children, and the elderly, reducing shipping costs, and likely being safer than human driving.
But the downsides will be a tragedy of the commons. I’m not looking forward to this revolutionary technology and I can only hope that we make our cities car-free before then. | https://thenextweb.com/news/more-autononous-vehicles-on-the-road-means-more-traffic-congestion |
Manufacturers are facing increased global pressure and are stressed to find new efficiencies. Becoming lean has been a goal of many of these companies over the last few years. Why is lean so popular? Lean delivers what companies really need in today's highly competitive world: shorter lead times, improved quality, reduced cost, increased profit, improved productivity, and better customer service. Lean advocates have come to recognize that Enterprise Resource Planning (ERP) software and lean work together very well, each supporting and enabling the most important objectives of the other. | http://www.bizreport.com/whitepapers/five_ways_erp_can_help.html |
Personal mobility is moving towards the era of electrification. Adopting electric vehicles (EV) is widely regarded as an effective solution to energy crisis and air pollution. Many automakers have announced their roadmap to electrification in the next 1-2 decades. At the same time, limited electric range and insufficient charging infrastructure are still obstacles to EV large-scale adoption. However, with the emerging technologies of ride-hailing, connected vehicles, and autonomous vehicles, these obstacles are being solved effectively, and the EV market penetration is expected to increase significantly. Among the many kinds of electric mobility, electric taxis and personal battery electric vehicles (BEV) especially are gaining increasing popularity and acceptance among customers. This dissertation studies the future challenges of electric taxis and personal BEVs.
First, this dissertation examines the BEV feasibility from the spatial-temporal travel patterns of taxis. The BEV feasibility of a taxi is quantified as the percentage of occupied trips that can be completed by BEVs during a year. It is found that taxis with certain characteristics are more suitable for switching to BEVs, such as fewer daily shifts, shorter daily driving distance, and higher likelihood to dwell at the borough of Manhattan. Second, we model and simulate the operations of electric autonomous vehicle (EAV) taxis. EAV taxis are dispatched by the optimization-based model and the neural network-based model. The neural network dispatch model is able to learn the optimal dispatch strategies and runs much faster. The EAV taxis dispatched by the neural network-based model can improve operational efficiency in term of less empty travel distance and smaller fleet size. Third, this dissertation proposes a cumulative prospect theory (CPT) based modeling framework to describe charging behavior of BEV drivers. A BEV mass-market scenario is constructed using 2017 National Household Travel Survey data. By applying the CPT-based charging behavior model, we examine the battery state-of-charge when drivers decide to charge their vehicles, charging timing and locations, and charging power demand profiles under the mass-market scenario. In addition, sensitivity analyses with respect to drivers’ risk attitude and public charger network coverage are conducted.
Copyright Owner
Liang Hu
Copyright Date
2019-05
Language
en
File Format
application/pdf
File Size
123 pages
Recommended Citation
Hu, Liang, "Data-driven analyses of future electric personal mobility" (2019). Graduate Theses and Dissertations. 17215. | https://lib.dr.iastate.edu/etd/17215/ |
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Title: Competition between shared autonomous vehicles and public transit: A case study in Singapore
(Submitted on 9 Jan 2020 (v1), last revised 21 Feb 2021 (this version, v3))
Abstract: Emerging autonomous vehicles (AV) can either supplement the public transportation (PT) system or compete with it. This study examines the competitive perspective where both AV and PT operators are profit-oriented with dynamic adjustable supply strategies under five regulatory structures regarding whether the AV operator is allowed to change the fleet size and whether the PT operator is allowed to adjust headway. Four out of the five scenarios are constrained competition while the other one focuses on unconstrained competition to find the Nash Equilibrium. We evaluate the competition process as well as the system performance from the standpoints of four stakeholders -- the AV operator, the PT operator, passengers, and the transport authority. We also examine the impact of PT subsidies on the competition results including both demand-based and supply-based subsidies. A heuristic algorithm is proposed to update supply strategies for AV and PT based on the operators' historical actions and profits. An agent-based simulation model is implemented in the first-mile scenario in Tampines, Singapore. We find that the competition can result in higher profits and higher system efficiency for both operators compared to the status quo. After the supply updates, the PT services are spatially concentrated to shorter routes feeding directly to the subway station and temporally concentrated to peak hours. On average, the competition reduces the travel time of passengers but increases their travel costs. Nonetheless, the generalized travel cost is reduced when incorporating the value of time. With respect to the system efficiency, the bus supply adjustment increases the average vehicle load and reduces the total vehicle kilometer traveled measured by the passenger car equivalent (PCE), while the AV supply adjustment does the opposite.
Submission historyFrom: Baichuan Mo [view email]
[v1] Thu, 9 Jan 2020 19:34:54 GMT (6462kb,D)
[v2] Mon, 3 Feb 2020 09:27:20 GMT (16647kb,D)
[v3] Sun, 21 Feb 2021 14:26:28 GMT (21133kb,D)
Link back to: arXiv, form interface, contact. | https://export.arxiv.org/abs/2001.03197 |
Rail commuters are spending over two hours getting to and from work every day as travel times increase for Britain's workers, a new study reveals.
Workers now take an average of 27 days a year getting to and from work after travel times increased by five minutes a day compared to a decade ago, the TUC said.
Rail passengers face the longest journeys at an average of two hours 12 minutes a day, compared with 52 minutes for drivers and 39 minutes for those who travel by bus, the research found.
People who walk to work have the quickest daily journeys at 30 minutes, followed by cyclists (43 minutes).
Londoners have the longest commute, while Welsh people have the shortest, the TUC added.
General Secretary Frances O'Grady said: "We're now spending 27 working days a year going to and from work. That's wasted time, which could have been better spent with family and friends.
"Commutes should be getting shorter, but inflexible bosses and our cash-starved transport system mean we're wasting more and more time getting to work.
"It doesn't have to be like this. Home working and less rigid hours would take pressure off road and rail.
"And serious government investment could give us a transport network that's up to the job."
Phil Flaxton, chief executive of Work Wise, which promotes flexible working, commented: "This should act as a wake-up call to employers to change their outdated attitudes to commuting.
"Year on year, the UK's roads and public transport infrastructure become more congested. It's time to act to protect the health and wellbeing of the weary commuter.
"Not only are long commutes bad for our health, but they can affect our ability to concentrate at work.
"That's bad for productivity, resulting in a lose/lose situation for employers, employees and the whole economy."
The TUC blamed longer commutes on low government spending on transport infrastructure, employers not offering flexible and home working and real wages falling while property prices "soar", making it hard to move closer to work. | https://www.insider.co.uk/news/how-long-commute-to-work-11532403 |
Ask any operator about three of the main issues which constrain productivity in their business and they will tell you what they are, access, access and access. Diesel News looks at access discussions past and present and whether we can expect any realistic change.
The transport industry is now entering a period of great potential in terms of change, change which has been a long time coming. The Transport Ministers of Australia have asked the National Transport Commission (NTC) to lead the review of the Heavy Vehicle National Law (HVNL) in a process of consultation with stakeholders.
One of the most important aspects of this review is the stated desire of the Ministers’ committee to get the NTC to start from a clean sheet of paper solution, getting rid of the past issues and roadblocks.
The statements made by NTC recognise that the current law is not best practice and openly admits it’s outdated, complex, long, prescriptive and does not support road safety outcomes. On the review process website it states, “We are going back to basics to review the law from first principles.”
Five simple aims have been identified by the review, to improve safety for all road users, support increased economic productivity and innovation, simplify administration and enforcement of the law, support the use of new technologies and methods of operation, and provide flexible, outcome-focused compliance options. This is a set of aims with which no-one working with road transport could argue.
The review will be wide ranging with eight topics on which a discussion paper has been released and a consultation period is in process. One of the most important issues identified is that of access, a subject which has been front and centre of discussions on the improvement of productivity in trucking forever and a day.
Highly prescriptive state laws had restricted the growth of the trucking industry when the pioneers of road transport were breaking new ground after World War II. There was an improvement in the standard of living of the general population at that time and one of the contributory factors had been the freeing up of road transport to be able to compete with state-owned rail operations.
One major contributor to the rapid growth of the interstate freight transport industry, opening up access all around Australia, had been the Hughes and Vale v NSW case, back in 1954. As a result of the landmark decision taken by the High Court of Australia in this case, road transport operators had been given permission to trade freely across state borders.
Over time, the restrictions were further eased as GCM allowances crept forward and speed limits increased, but the wide variations in rules across borders continued to create issues.
By the early nineties progress had reached a tipping point, real change was needed to cope with an economy coming out of the ‘recession we had to have’. On March 12, 1991, the then Prime Minister, Bob Hawke issued a parliamentary statement called, ‘Building a Competitive Australia’ about getting the economy going.
“In telecommunications, in aviation, in road and rail transport, in removing through national uniform regulations the requirement for business to meet six or seven different
standards, we are achieving fundamental gains in efficiency,” said Hawke.
Many in the trucking industry are still waiting.
It was around this time that some major steps occurred in the development of B-doubles. Initially limited to just 23 metres long, these were much more productive trucks and were allowed to travel under permit on prescribed routes. By the mid 90s, 25 meters long combinations were able to get on the road and, after a prolonged period of lobbying the 26 metre B double came into existence with a trailer length restriction allowing for larger cabins and improved driver comfort.
Over time, the permit requirements for B-doubles and access issues became clearer as a clearly defined B-double network emerged. It was the existence of a consistently regulated and as of right access for these higher productivity trucks which led to the explosion in the number of B-doubles on our highways. This enabled the trucking industry to cope with a fast-growing freight task during the period of a driver shortage.
The change in regulations to allow 26 metre B-doubles, in 2004, was the last change in prescriptive truck regulations, allowing greater access for high productivity vehicles to the Australian road network. Ever since that time, the only way to get an even higher productivity vehicle on the road has been through the Performance Based Standards (PBS) process.
The PBS scheme had been touted as the ongoing solution to the ever-increasing need for improved productivity as ongoing economic growth drove an exponential growth in the freight task on our roads. Unfortunately, even though truck designers and operators came up with many and varied high productivity vehicles to improve efficiency, a recalcitrant, antiquated and restrictive access regime across the country severely limited the ability of PBS to improve road transport efficiency.
“In the late 1980s, longer semi-trailers and B-doubles were allowed to operate on limited access arrangements in every State and Territory,” says Gary Mahon, Queensland Trucking Association CEO and a member of the Expert Panel appointed by NTC to guide the review. “It was not until national action occurred that much wider application was adopted that derived significant efficiency benefits.
“Today, we have similar arrangements for PBS where they operate in limited arrangements within their state. All levels of government need to champion wider adoption across a national network to deliver a step change for road freight efficiency. The circumstances of the late 1980s cannot continue to be repeated. It is unacceptable for déjà vu all over again. | https://powertorque.com.au/access-access-and-access/ |
Fortescue Metals Group completed its Chichester Hub autonomous haulage project. The fleet conversion project expanded the Fortescue autonomous haulage fleet to 183 haul trucks operating at Fortescue’s Solomon and Chichester hubs.
The multi-class fleet includes Cat 793F, 789D and Komatsu 930E haul trucks, and has safely traveled more than 52 million km and moved 1.5 billion metric tons (mt) of material since 2013, the miner reported. An additional 900 assets, such as excavators, wheel loaders and light vehicles, are integrated and operated from the Fortescue Hive, the company’s integrated operations center in Perth, Western Australia.
The company said the fleet will deliver productivity and efficiency benefits. “The introduction of AHS technology has improved safety outcomes across our operations and we’re very pleased that the team achieved this important milestone in the truck conversion program to the highest safety standards,” Fortescue CEO Elizabeth Gaines said. | https://www.e-mj.com/departments/suppliers-report/fortescue-converts-to-autonomous-haulage-fleet/ |
In this article published in Foreign Affairs, Amory Lovins describes a U.S. transition from fossil fuels--a blueprint detailed in Reinventing Fire-- that requires pursuing three agendas. First, radical automotive efficiency can make electrification affordable and save fuel in heavy vehicles; and all vehicles can be used more productively. Second, new designs can make buildings and factories several times more efficient than they are now. Third, modernizing the electric system to make it diverse, distributed, and renewable can also make it clean, reliable and secure. Getting the U.S. off fossil fuels would transform its foreign policy, and turbocharge global development. He argues that we don't have to wait for congress to seize these opportunities.
This article is also available to read at Foreign Affairs.
This document provides RMI's methodology for the analysis of the industry sector in Reinventing Fire.
This story of Interface Inc.’s Shanghai plant illustrates the pitfalls of the conventional design process—and the remarkable gains that are possible by rethinking basic assumptions. This paper describes how the lead designer Jan Schilham created a radical new layout with shorter, fatter pipes and smaller pumps to save nearly 90 percent of the energy—with lower capital costs. Several Factor Ten Engineering principles are highlighted in Schilham's design process.
There is an enormous gap in the electric productivity of the nation. Increasing industrial electric productivity is a significant near-term opportunity that can reduce electricity costs, carbon dioxide emissions per unit of output, and increase profits. RMI believes that increasing industrial electric productivity is an untapped source of value, and is important to the longevity of industry in the United States.
This article, published in the Japanese Nikkei Ecology, gives an overview of industrial ecology, an emerging interdisciplinary field, and explains how a groundbreaking program at Walmart, which will require a Life Cycle Analysis of all products on the shelf, will increase demand for industrial ecologists.
In an overview of the Factor Ten Engineering (10xE) initiative at RMI, Amory Lovins and Imran Sheikh point to the next industrial revolution and the key role of engineering education in bringing this revolution about. This article describes a 10xE case study - the optimized piping system designed for carpet-maker Interface's factory in Shanghai. This article appeared in the Institution of Chemical Engineers publication The Chemical Engineer (September 2007).
This paper, which was commissioned by the InterAcademy Council, discusses the importance and benefits of considering energy end-use efficiency when making energy economic decisions. Energy end-use efficiency is the concept of providing more desired services per unit of energy consumed.
This is a brief summary of the principles of natural capitalism with case studies illustrating how natural capitalism can be implemented in business environments to save energy and money. The principles discussed are biomimicry, reinvestment in natural capital, radical resource productivity, and service and flow economy. This article describes companies that are increasing profits without increasing energy use. Lovins argues that natural capitalism will subsume industrial capitalism into its new paradigm much as industrial capitalism subsumed agrarianism and that natural capitalism can help reverse the decline in jobs, security, hope, and satisfaction. | http://10xe.orwww.10xe.org/search-category/Industry+~+Materials/Manufacturing/sharepoint |
Autonomous vehicles on UK public roads
Posted:
The first use of fully connected and autonomous vehicles (CAV) on public roads is set to take place in Oxfordshire, following the announcement of £2.5 million of government funding into a trial project.
The 30-month MultiCAV project will trial self-driving vehicles in and around Milton Park, the large, high-tech business and science hub near Didcot. The vehicles will travel between private roads at Milton Park and the public roads that link the site with nearby transport services.
Despite being relatively close to Didcot Parkway station, most travel to and from Milton Park is currently made in private vehicles. With the site set to expand in the coming years, the MultiCAV consortium is building on the work already underway to provide the park with long-term, safe sustainable transport. Commuters to the site will be able to connect with the self-driving pods from local transport services, while booking and paying for their trip in one easy process. It is hoped that by the end of the trial up to 50% of private vehicle journeys within the business park will switch to using the shared, electric-powered pods. | http://entranltd.com/news/autonomous-vehicles-on-uk-public-roads |
participated in a six-day seminar covering the value-creation managerial
philosophy, methodology, and tools,
including presentations, discussions,
and hands-on assignments. At the end
of the seminar, top management approved an implementation plan for the
following six major value drivers, as
well as for the IT division itself:
˲ Identifying and managing IT division bottlenecks;
˲ Implementing strategic gating and
25/25 mechanisms;
˲Implementing the complete-kit
concept in the main work processes of
the division and its subcontractors;
˲ Implementing high-level and low-level tactical gating while eliminating
over-requirements, large activities, and
bad multitasking;
˲ Avoiding ineffective times; and
˲Defining performance measurements for the IT division.
All managers in the IT division, up
to team leaders, participated in follow-on three-day seminars covering value-creation enhancement, forming several task force teams to address value
drivers.
Top management reported three
main results (within three years):
Productivity. Increased 120% from
109 CR-equivalent units to 241 CR-equivalent units per quarter (see Figure 6);
Operating expenses. Annual TCO
budget practically constant; and
Due-date performance (DDP1).
Increased from 69% on-time delivery to
76% on-time delivery.
We found similar results in seven
other companies we studied.
Predicting the effect of the strategic-gating mechanism is difficult, as it is
situation-dependent, reflecting the
actual value and ease of all potential
software solutions proposed for a
specific situation and the realization
portfolio that would have been selected by the IT division in the absence of
a strategic-gating mechanism being
in place. However, the effect of implementing IT productivity improvement on the value of the company can
be clearly shown.
Value-leverage example. Consider acompany in which approximately 30%of revenue depends on or originateswaste of their work-time capacity dueto several sources (see Figure 4). Sup-pose by applying one or more of theremedies to major waste sources,waste is not totally eliminated butrather conservatively cut to 40%. Thismeans productive time actually growsfrom 50% to 60% with the same re-sources (see Figure 5). Increasing ef-fective time from 50% to 60% is likeadding 20% trained and experiencedresources at no extra cost in termsof, say, wages, recruitment, training,mentoring, working space, worksta-tions, or software licenses.
A proven practice for improving IT
efficiency is to control the release of
projects into the system, as well as
the release of tasks to individual developers, enabling fast flow of work
through the system, shorter lead
times, and increased productivity. At
the same time, it allows better utilization of the bottleneck resources of the
IT division.
High-level tactical gating controls
the release of projects onto the development floor according to a predefined prioritization mechanism;
starting too many projects at once
could bring chaos, so staggering projects is preferred. Low-level tactical
gating is a mechanism for controlling
the release of tasks to developers according to a predefined prioritization
mechanism. Managers and team leaders release new tasks to their subordinates only if they have fewer than
three or four released tasks, or two
to four weeks of work. The require-ments/specifications/design of these
tasks must also comply with the complete-kit policy. Instead of assigning
large tasks to a developer, we recommend dividing large tasks into smaller
activities taking five to 10 days each. In
addition, according to low-level tactical gating, IT managers should spare
bottleneck developers as much as
possible day-to-day interruptions like
customer support and unnecessary
meetings. Synchronized implementation of high- and low-level tactical-gating mechanisms results in shorter
lead times and faster flow of projects,
as well as improved due-date performance and software quality.
B is a multibillion-dollar telecommunication company whose business
depends on its IT division in all activities, including sales, marketing, operations, engineering, customer service,
billing, and finance. B’s top management has decided to implement the
value-creation methodology and tools
throughout the organization. It also
Figure 5. Effective vs. ineffective time
(following waste reduction).
Effective time
60%
Ineffective time
40%
Figure 6. Productivity improvement over time. | https://mags.acm.org/communications/may_2014/?pg=88 |
2016 Field Trials conducted at the University of Illinois’ Energy Farm (Credit: Brian Stauffer/University of Illinois)
Plants are factories that manufacture yield from light and carbon dioxide—but parts of this complex process, called photosynthesis, are hindered by a lack of raw materials and machinery. To optimize production, scientists from the University of Essex have resolved two major photosynthetic bottlenecks to boost plant productivity by 27 percent in real-world field conditions, according to a new study published in Nature Plants. This is the third breakthrough for the research project Realizing Increased Photosynthetic Efficiency (RIPE); however, this photosynthetic hack has also been shown to conserve water.
“Like a factory line, plants are only as fast as their slowest machines,” said Patricia Lopez-Calcagno, a postdoctoral researcher at Essex, who led this work for the RIPE project. “We have identified some steps that are slower, and what we’re doing is enabling these plants to build more machines to speed up these slower steps in photosynthesis.”
The RIPE project is an international effort led by the University of Illinois to develop more productive crops by improving photosynthesis—the natural, sunlight-powered process that all plants use to fix carbon dioxide into sugars that fuel growth, development, and ultimately yield. RIPE is supported by the Bill & Melinda Gates Foundation, the U.S. Foundation for Food and Agriculture Research (FFAR), and the U.K. Government’s Department for International Development (DFID).
A factory’s productivity decreases when supplies, transportation channels, and reliable machinery are limited. To find out what limits photosynthesis, researchers have modeled each of the 170 steps of this process to identify how plants could manufacture sugars more efficiently.
In this study, the team increased crop growth by 27 percent by resolving two constraints: one in the first part of photosynthesis where plants transform light energy into chemical energy and one in the second part where carbon dioxide is fixed into sugars
Inside two photosystems, sunlight is captured and turned into chemical energy that can be used for other processes in photosynthesis. A transport protein called plastocyanin moves electrons into the photosystem to fuel this process. But plastocyanin has a high affinity for its acceptor protein in the photosystem so it hangs around, failing to shuttle electrons back and forth efficiently.
The team addressed this first bottleneck by helping plastocyanin share the load with the addition of cytochrome c6—a more efficient transport protein that has a similar function in algae. Plastocyanin requires copper and cytochrome requires iron to function. Depending on the availability of these nutrients, algae can choose between these two transport proteins.
At the same time, the team has improved a photosynthetic bottleneck in the Calvin-Benson Cycle—wherein carbon dioxide is fixed into sugars—by bulking up the amount of a key enzyme called SBPase, borrowing the additional cellular machinery from another plant species and cyanobacteria.
By adding “cellular forklifts” to shuttle electrons into the photosystems and “cellular machinery” for the Calvin Cycle, the team also improved the crop’s water-use efficiency, or the ratio of biomass produced to water lost by the plant.
“In our field trials, we discovered that these plants are using less water to make more biomass,” said principal investigator Christine Raines, a professor in the School of Life Sciences at Essex where she also serves as the Pro-Vice-Chancellor for Research. “The mechanism responsible for this additional improvement is not yet clear, but we are continuing to explore this to help us understand why and how this works.”
These two improvements, when combined, have been shown to increase crop productivity by 52 percent in the greenhouse. More importantly, this study showed up to a 27 percent increase in crop growth in field trials, which is the true test of any crop improvement—demonstrating that these photosynthetic hacks can boost crop production in real-world growing conditions.
“This study provides the exciting opportunity to potentially combine three confirmed and independent methods of achieving 20 percent increases in crop productivity,” said RIPE Director Stephen Long, Ikenberry Endowed University Chair of Crop Sciences and Plant Biology at the Carl R. Woese Institute for Genomic Biology at Illinois. “Our modeling suggests that stacking this breakthrough with two previous discoveries from the RIPE project could result in additive yield gains totaling as much as 50 to 60 percent in food crops.”
RIPE’s first discovery, published in Science, helped plants adapt to changing light conditions to increase yields by as much as 20 percent. The project’s second breakthrough, also published in Science, created a shortcut in how plants deal with a glitch in photosynthesis to boost productivity by 20 to 40 percent.
Next, the team plans to translate these discoveries from tobacco—a model crop used in this study as a test-bed for genetic improvements because it is easy to engineer, grow, and test—to staple food crops such as cassava, cowpea, maize, soybean and rice that are needed to feed our growing population this century. The RIPE project and its sponsors are committed to ensuring Global Access and making the project’s technologies available to the farmers who need them the most.
The Latest Updates from Bing News & Google News
Go deeper with Bing News on:
Plant productivity
- The US is scrambling to send promised vaccines abroad after the production plant that ruined millions of J&J vaccines may have tainted AstraZeneca shotson June 18, 2021 at 9:38 pm
Emergent BioSolutions also ruined at least 15 million doses of Johnson & Johnson's COVID-19 vaccine earlier this year.
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Hydrogen solutions provider Plug Power will invest $84 million to open a green hydrogen fuel production plant in Kingsland, Georgia, Gov. Brian Kemp's office said.
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General Motors will raise its spending on electric and autonomous vehicles and add two U.S. battery factories.
- Stellantis mulls production boost at Melfi plant as part of EV shifton June 16, 2021 at 2:08 am
Stellantis plan to go to one production line from two at its assembly plant in Melfi, southern Italy, but will still have capacity to produce about 400,000 vehicles a year, according to Italian unions ...
- 2021 Ford Bronco Production Underway at Michigan Assembly Planton June 15, 2021 at 1:35 pm
Production on the 2021 Ford Bronco is underway at the Michigan Assembly Plant (MAP) in Wayne for both the two-door and four-door models.
Go deeper with Google Headlines on:
Plant productivity
Go deeper with Bing News on:
Photosynthetic bottlenecks
- Quantum computers are already detangling nature’s mysterieson June 16, 2021 at 10:00 pm
Practical quantum computers may be decades away – but the race to build them is already tackling thorny global problems, and unlocking the secrets of the universe ...
- Contacting aliens ‘could end all life on Earth’, warns physiciston June 14, 2021 at 6:51 am
Photosynthesis evolved 1.5 billion years ... may create a chain of evolutionary bottlenecks or filters. If so, our evolution wasn’t like winning the lottery. It was like winning the lottery ...
- Quantum biology revisitedon June 10, 2021 at 5:00 pm
Thus, the efficiency bottlenecks are not found in the subpicosecond intraprotein ... Review is to critically assess the persistence and role of quantum coherence in photosynthetic light harvesting. In ...
- Artificial Photosynthesis Turns Carbon Dioxide Into Liquid Fuelson June 1, 2021 at 5:00 pm
Unlike other artificial photosynthesis processes ... “We would also like to mitigate bottlenecks that currently exist in the conversion of light energy into energy-rich bonds,” he said. “Through ...
- Turning problems into opportunities: photorespiration for improved plant metabolism.on May 28, 2021 at 7:00 am
But, as the team pointed out, several bottlenecks still mask the full ... Furthermore, crops with increased photosynthetic efficiency might become valuable tools in the face of climate change ... | https://innovationtoronto.com/2020/08/boosting-plant-productivity-by-27-percent-in-real-world-field-conditions-how/ |
Lord of the Rings Locations
Lord of the Rings LocationsNew Zealand's dramatic and diverse scenery was a compelling element in Peter Jackson successfully pitching his homeland as the location for the epic.
'Tolkien's world was one of deep hidden valleys, barren wastelands, remote mystical mountains and lush, low valleys, and we found all these places throughout New Zealand.'
(Peter Jackson, Foreword, Lord of the Rings Location Guidebook, by Ian Brodie)
This website provides an overview to the locations that help make these special films - New Zealand's remarkable outdoors and its people. Please note that most Lord of the Rings set locations (eg: any actual buildings or sets constructed for filming) have long gone. In the few cases where they remain - access is often limited. You can, however, visit the stunning natural features that served as a backdrop for filming.
Search for film locations
Waikato - Hobbiton
Taupo Region - Mordor, Emyn Muil
Kapiti Coast - East Road
Upper Hutt - Isengard, Rivendell, Great River Anduin
Lower Hutt - Minas Tirith, Minas Morgul, Helms Deep
Wellington - Bree, The Shire, Moria, Weathertop and Studio scenes
Nelson - Dimrill Dale
Takaka - Chetwood Forest
Queenstown - Lothlorien
Canterbury - Edoras, Plains of Rohan
Tarras / Wanaka - Golden Plains
Twizel - Pelennor Fields
Te Anau - The Dead Marshes
Milford Sound - Nen Hithoel, Amon Hen, Fangorn Forest
Southern Alps - Misty Mountains
The pivotal battle at Pelennor Field and scenes involving the Eastemnet Gullies were filmed on the spectacular Ben-Ohau high country sheep station located in the Mackenzie Basin, near Twizel. The farm is nestled at the foot of the Southern Alps in the South Island of New Zealand. Tours can be booked at the Twizel Information Centre.
Other useful links and articles
Department of Conservation - Lord of the Rings Locations
Peter Jackson - the director of The Lord of the Rings
The Lord of the Rings - World of Wearable Art
The Lord of the Rings Motion Picture Trilogy - The Exhibition
Stansborough - fabric weavers to The Lord of the Rings - the Magic Cloaks
Weta Studio - Heart of The Lord of the Rings
Wellington - At the Centre of The Lord of the Rings
Wellington - Visit The Lord of the Rings Locations
The Lord of the Rings - Merchandise - Online at Te Papa Wellington
A link to plot summary and cast.
Ian McKellen talks about shooting The Return of the King.
Order Jasons Travel Guides & Maps.
LOTR location guidebook
For more detailed information on the filming locations, pick up Ian Brodie's Lord of the Rings Location Guidebook (Harper Collins 2002, revised edition 2003) or Lonely Planet's Lord of the Rings New Zealand Guide Book. The revised edition of the Lord of the Rings Locations Guidebook contains new interviews with key cast and crew, new location photographs and movie images from the Return of the King, along with touring information, GPS references and local directions to filming sites. It can be ordered online at the link above, or from a local supplier or bookstore by quoting the ISBN code (1-86950-452-6) and HarperCollins NZ as the publisher.
Lord of the Rings Tours
For those interested in group travel there are a range of credible touring companies offering Lord of the Rings themed tours to New Zealand.
This site is maintained and updated by Jasons Travel Media, and is in no way affiliated with Tolkien Enterprises or the Tolkien Estate. We in no way claim the Lord of the Rings artwork or images displayed to be our own. Copyrights and trademarks for the books, films, articles, and other promotional materials are held by their respective owners and their use is allowed under the fair use clause of the Copyright Law. All images are sourced from various Newspapers and considered to be in the public domain. | https://jasons.com/lordoftherings/ |
From the green fields of The Shire through to the imposing peaks of Mordor, New Zealand plays host to many of the key destinations featured throughout the film adaptations of J.R.R Tolkien’s Lord of the Rings and Hobbit trilogies. Filmed across the country’s North and South Islands, there are plenty of scenic, spectacular and iconic sites perfect for setting out on a Tolkien themed adventure.
North Island
Retrace Sam and Frodo’s arduous journey to Mordor within the boundaries of Tongariro National Park. Home to desert-like plateaus, active volcanos and fantastic scenery, New Zealand’s oldest national park provided the backdrop to one of the Lord of the Rings trilogy’s most iconic story arcs, the destruction of ‘the one ring’. Standing in for Tolkien’s Mount Doom, Mount Ngauruhoe, an active volcano, is an imposing landform that dominates the park’s landscaped.
Situated near Wellington, the Kaitoke Regional Park played the part of Rivendell’s setting. While the Elven outpost was digitally added into the scenery of the Kaitoke Regional Park, the park’s stunning landscapes are more than enough reason to plan a visit.
Stop by the Hobbiton Movie Set, found near Matamata, to see the iconic buildings of The Shire. From The Green Dragon Inn and The Mill through to the round doors of Hobbit Holes, the set is a great way to see a number of Hobbit sites in a single afternoon.
The backdrop to Aragorn, Legolas and Gimli’s ride to meet the Army of the Dead during the Return of the King, the Putangirua Pinnacles are a fascinating rock formation well suited to the Tolkien universe. Walking tracks winding their way past the Putangirua Pinnacles are a great way to see the unique natural formation.
South Island
One of The Fellowship of the Ring’s most quotable moments, the scene where Arwen yells “You want him? Come and claim him!” was staged at Shotover River near Arrowtown. Featuring the Witch-king of Angmar, the scene featured Liv Tyler’s character summoning waters to sweep him away and keep Frodo safe.
Also featured in the first film of the Lord of the Rings trilogy, the island’s Southern Alps filled in for the Misty Mountains of Middle Earth. The longest and highest mountains in New Zealand, the Southern Alps were passed through by the fellowship during one of the first stages of their journey.
Situated in the island’s south, the Dart River Valley provided the ideal spot for the fortress of Isengard and the black tower of Orthanc to be imagined, designed and digitally added into the film. Surrounded by spectacular snow capped peaks, the valley provided the perfect setting for Saruman’s one time prison.
Set within the Fiordland National Park, Kepler Mire acted as the perfect backdrop to the scene where Gollum guided Frodo and Sam through the Dead Marshes during the second installment of the Lord of the Rings trilogy. Follow the Kepler track to soak up great views of the park, and even recreate the trio’s trek past ghostly underwater beings.
Whether you’re looking to recreate some of your favourite scenes or simply soak up the beauty of New Zealand, you’ll find plenty of fantastic destinations to visit across the country. Why not book a cheap flight, find some comfy accommodation and see The Shire, Mordor and more of Middle Earth come to life. | https://www.webjet.com.au/travel/outdoor-adventure/lord-of-the-rings-locations-across-new-zealand/ |
Otago is a region of New Zealand in the south of the South Island. The region covers an area of approximately making it the country's second largest region. The population of Otago is...
, New Zealand
New Zealand
New Zealand is an island country in the south-western Pacific Ocean comprising two main landmasses and numerous smaller islands. The country is situated some east of Australia across the Tasman Sea, and roughly south of the Pacific island nations of New Caledonia, Fiji, and Tonga...
. The region roughly surrounds the upper reaches of the Taieri River
Taieri River
The Taieri River is the fourth-longest river in New Zealand and is located in Otago in the South Island. Rising in the Lammerlaw ranges, it initially flows north, then east around the Rock and Pillar range before turning southeast, reaching the sea 30 km south of Dunedin.The upper reaches meander...
and the Manuherikia River
Manuherikia River
The Manuherikia River is located in Otago in the South Island of New Zealand. It rises in the far north of the Maniototo, flowing southwest for 85 kilometres before its confluence with the Clutha River at Alexandra. During the 1860s the Manuherikia was one of the centres of the Central Otago Gold...
. It is bounded by the Kakanui Range
Kakanui Range
The Kakanui Range is a range of high hills located inland from Oamaru in the South Island of New Zealand. The range forms a boundary between the valley of the Waitaki River to the north and the high plateau known as the Maniototo to the southwest. The highest point in the Kakanuis is Mt...
to the north and the Rock and Pillar Range
Rock and Pillar Range
The Rock and Pillar Range of high hills is located in the Maniototo, an area of inland Otago, New Zealand. They are surrounded by the Taieri River, which has its source in the range, flowing out across the scroll plain at Paerau, before almost doubling back on itself at Waipiata and flowing back...
to the southeast. It has a harsh, dry climate, ranging from over 30°C in mid-summer to -15°C in mid-winter.
The region is sparsely populated, with the largest centres being Ranfurly
Ranfurly, New Zealand
Ranfurly is the largest settlement in the Maniototo district of Otago, New Zealand. Located 110 kilometres north of Dunedin, it lies in dry rough country at a moderately high altitude close to a small tributary of the Taieri River. It is a service town for the local farming community...
, Naseby
Naseby, New Zealand
Naseby is a small town, formerly a borough, in the Maniototo area of Central Otago, New Zealand. It is named after a village in Northamptonshire, England....
, Omakau, and Ophir
Ophir, New Zealand
Omakau is a settlement in Central Otago, New Zealand, located between Alexandra and Ranfurly on the northwest bank of the Manuherikia River.The smaller settlement of Ophir, New Zealand is located on the opposite bank, three kilometres to the southeast....
.
Part of the Canterbury-Otago tussock grasslands
Canterbury-Otago tussock grasslands
The Canterbury-Otago tussock grasslands are an ecoregion of South Island, New Zealand.-Location and description:This ecoregion is a large area of dry grassy plains between the east coast and the Southern Alps that form the spine of South Island, in the regions of Canterbury and Otago...
the land surrounding the plain is hilly, with many outcrops of rock which also break up the plain in places. The scenery between Omakau and Ranfurly appeared in Peter Jackson
Peter Jackson
Sir Peter Robert Jackson, KNZM is a New Zealand film director, producer, actor, and screenwriter, known for his The Lord of the Rings film trilogy , adapted from the novel by J. R. R...
's The Lord of the Rings
The Lord of the Rings film trilogy
The Lord of the Rings is an epic film trilogy consisting of three fantasy adventure films based on the three-volume book of the same name by English author J. R. R. Tolkien. The films are The Fellowship of the Ring , The Two Towers and The Return of the King .The films were directed by Peter...
film trilogy as the location for many of the scenes set in Rohan
Rohan
Rohan is a realm in J. R. R. Tolkien's fantasy era of Middle-earth. It is a grassland which lies north of its ally Gondor and north-west of Mordor, the realm of Sauron, their enemy . It is inhabited by the Rohirrim, a people of herdsmen and farmers who are well-known for their horses and cavalry....
.
During the 1860s the region was one of the sites of the Central Otago goldrush, and relics from that era can still be seen around the towns of Kyeburn, Naseby
Naseby, New Zealand
Naseby is a small town, formerly a borough, in the Maniototo area of Central Otago, New Zealand. It is named after a village in Northamptonshire, England....
, and St. Bathans
Saint Bathans, New Zealand
The former gold and coal mining town of St Bathans, formerly named Dunstan Creek, lies deep in the heart of the Maniototo in New Zealand's Otago region. Mining has long ceased, and it is a tranquil holiday retreat. The preservation of many of its historic buildings makes it one of the region's more...
.
Sheep farming is the major source of income. The area is closely associated with the sport of curling
Curling
Curling is a sport in which players slide stones across a sheet of ice towards a target area. It is related to bowls, boule and shuffleboard. Two teams, each of four players, take turns sliding heavy, polished granite stones, also called "rocks", across the ice curling sheet towards the house, a...
. Naseby has the only indoor curling rink and the only natural luge track in the Southern Hemisphere. | http://image.absoluteastronomy.com/topics/Maniototo |
Rotorua is known as the thermal wonderland of New Zealand. It is a place of fascinating Maori culture, hot springs and boiling mud pools.
This city, in the Bay of Plenty area of the North Island, is located on a volcanic plateau which has some of the world's most lively geothermal activity. All around the city there are natural eruptions of steam, hot water and mud. Here you can clearly see the turbulent forces that have formed New Zealand.
About 600 years ago the Te Arawa people settled in Rotorua. Their presence provides several cultural experiences, such as taking a tour of an authentic pre-European Maori village or trying a Hangi feast. Hangi is a traditional way of preparing a meal in an oven underground, while making use of the hot steam from the volcanic activity.
Furthermore you can just enjoy the view of the spectacular and colorful environment or indulge in a hot spring spa treatment. For the more active people amongst you there are some attractions such as skydiving or mountain biking that will get your adrenalin flowing.
2 Explore the real Middle-earth
Lord of the Rings has been one of the most popular films in Hollywood's history. This exciting trilogy was filmed entirely in New Zealand. For fans of these movies it is possible to visit the stunning locations and landscapes that starred as Middle-earth.
Some Lord of the Rings locations you can visit are Matamata, Wellington, Nelson, Canterbury, Mackenzie Country, Southern Lakes and Fiordland. In Matamata you can visit the Shire region of Middle-earth which has been currently rebuild to be used for the filming of The Hobbit trilogy. This area will now remain as a permanent attraction.
Following these locations from the North of New Zealand to the South, will definitely provide you with a tour of the most beautiful and memorable places of New Zealand.
1 Milford Sound
Described as the "8th Wonder of the World" and voted as the world's top travel destination in an international TripAdvisor survey in 2008, Milford Sound is number 1 on this list.
Milford Sound offers some of the world's most amazing coastal scenery with its dramatic peaks and beautiful dark blue waters. When it rains in Milford Sound, as it often does, waterfalls cascade downwards from the mountains, only multiplying the magnificent effect.
There are different ways of exploring this memorable attraction. You can explore the lake by kayak or cruise boat while interacting with the marine wildlife. On land you can walk through this hiking mecca. | http://www.olaleone.com/2016/04/explore-new-zealand_25.html |
Located on the south western tip of North Island, the national capital has firmly established itself as a destination for visitors thanks to an abundance of arts and cultural events and an increasingly innovative culinary scene. Boasting an outstanding harbour and being surrounded by a rugged coastline and rolling hills means you get a vivacious inner city experience with scenery, nature, walking trails and vineyards on your doorstep.
Wellington's compact size means most of the major attractions are within easy walking distance from the hotels, restaurants and bars. On the waterfront you'll find Te Papa, New Zealand's national museum and a must-see. It's highly interactive, fun and full of surprises, with a rich collection of Maori artefacts, natural history and themed discovery centres. Also worth a look is the revamped Museum of Wellington City and Sea, which charts the city's development, Maori history and seafaring traditions.
Get a panoramic view of the city and harbour, along with great photo opportunities, at the Mount Victoria Lookout. Another lookout is at Kelburn, which you can reach by riding on the historic Wellington Cable Car from Lambton Quay. The northern end of Lambton Quay marks the start of the Parliamentary district, dominated by the grandiose Old Government Buildings, which were completed in 1876 and remains the largest wooden building in the southern hemisphere.
Wellington's waterfront is a beautifully walkable public space, dotted with cafes, parks, sculptures and bars, while locals can be seen jogging, skating and cycling. Stop by one of three markets on the weekend before wandering to Oriental Bay beach for a swim or to just sit and soak up the sun. The natural environment can also be enjoyed on a harbour cruise or perhaps hiring a sea kayak and paddling around the picturesque bays.
Wellington is also the capital of New Zealand's film industry, which is increasingly centred on the Miramar Peninsula. This stunning natural setting has been used for numerous films including Lord of the Rings, King Kong and Hobbit films. Tours depart regularly to local locations used during film of The Lord of the Rings trilogy and are a must for any fan.
The city is full of fashionable stores and boutiques, centred around Cuba, Willis, Victoria, Wakefield and Featherston Streets along with the Golden Mile on Lambton Quay, regarded as the main shopping strip with international chain stores and brand names aplenty. Supposedly home to more cafes, bars and restaurants per capita than New York, Wellington is also known for its lively nightlife and world-class culinary scene. It's also become the hub of New Zealand's craft beer revolution, with experimental breweries and specialist bars popping up all over the city.
GMT +12 hours.
New Zealand dollar
Wellington is approximately 27 hours from the UK (including a stopover).
Being close to the sea keeps temperatures mild. In summer the maximum averages are around 19ºC to 24ºC, so lovely to be out in. While winter temperatures can drop to around 6-9ºC, frosts are rare, although it can be windy at certain times of the year. | https://www.premierholidays.co.uk/holidays/australasia/new-zealand/islands/north-island/resorts/wellington |
New Zealand is a small island country in the South Pacific that is famous for its unique culture, breathtaking nature views and natural parks and lakes as well as a thriving museum and arts scene. New Zealand is also known for great local cuisine and a fantastic nightlife. The following guide will tell you everything you need to see as a first time visitor to the nation of New Zealand.
Most visitors arrive in the largest city in New Zealand, Auckland. Auckland has almost one and a half million people and is consistently ranked among the best places to live in the world. Known for having an incredibly clean environment and air, Auckland is a health nuts dream. Auckland is also the most important commercial city in all of New Zealand, and much of the commerce and business done in the country of New Zealand happens in Auckland. Along with a thriving and large business sector Auckland boasts the best nightlife on the island and if you have come to New Zealand to party and hang out at night Auckland is the city for you. There are also a number of culinary options in Auckland including a great deal of fare influenced by East and Southeast Asia, including Indonesian, Singaporean, Chinese, Indian cuisines among others. Auckland also has a number of restaurants that serve sheep and lamb from New Zealand and Australia, which many consider to be the finest in the world.
After leaving Auckland you should head to the Capital and third largest city in New Zealand, Wellington. Aside from being the head of the government of New Zealand Auckland is home to a fantastic cultural scene. One popular attraction is the Wellington Jazz Festival, which showcases Jazz from around the Pacific. Other festivals in town include the New Zealand International Film Festival as well as television, film, and literary awards dinners and shows. Wellington is known as the “best little capital” and while small, has a fantastic nightlife and pub scene. Going out for a drink is great fun in Wellington and the entire city is very visitor and tourist friendly.
After Wellington you should check out the many New Zealand locations that were used to film the popular Lord of the Rings Trilogy. There is a great deal of locations and you may want to see some or all of them. Mt Ruapehu was used as the evil “Mount Doom” which is a fiery volcano where the characters in the movie had to reach in order to fulfill their mission of destroying The One Ring. Also used in the movie are the green mountains and hills near the town of Matamata.
Queenstown is a also great place to visit in New Zealand, known as the outdoor sporting capital of New Zealand not only were a great deal of the most stunning scenes in the LOTR trilogy filmed here, a number of people from all over the world come to Queenstown to engage in outdoor and extreme sports, such as hang gliding, parasailing, mountain biking and much much more. For the outdoor oriented visitor to New Zealand Queenstown is a great place to visit. Queenstown also has an excellent set of restaurants for all of the hungry outdoorsmen.
Visitors to New Zealand have a great deal of options at their fingertips, and these are just a few recommendations of places to visit in New Zealand. Whether you want to be indoors or out, daytime or nighttime, New Zealand has something for you. Just browse through numerous New Zealand holiday packages and you are bound to find something of interest. | http://www.newzealandtraveller.com.au/nz/news/ |
Even though you will not see iconic characters such as Bilbo or Frodo Baggins, “The Rings of Power” still has iconic scenery, amazing cinematography, and an excellent storyline that will hook you on episode one.
The plot is based on Middle-Earth’s history prior to the notorious “one ring.” The narrative revolves around the creation of the twenty rings for the many races of Middle-Earth. The source material for this five-season projected epic is “The Silmarillion” and published letters from Tolkien.
A brave lady elf named Galadriel, an inquisitive hobbit named Elanor “Nori” Brandyfoot, and a stern but kind-hearted elf named Arondir are among the characters in “The Rings of Power.”
The environment and set design are two of the greatest aspects of this series. The fact that the film was shot in New Zealand presents the audience with stunning vistas. The following locations were featured in “The Lord of the Rings” and are now included in the new show: | https://xaviernews.org/6892/uncategorized/harriss-review/ |
I’m a huge fan of The Lord of the Rings films. Living in New Zealand, I’ve visited a lot of the filming locations. They’re worth visiting even if you’re not a fan; their sheer beauty is unsurpassed. People flock to them from all over the world, and they’ve certainly been amongst the highlights of my various New Zealand travels. Here’s a list of ten of them:
1) Glenorchy
My family visited Glenorchy on our South Island campervan holiday. It’s near Queenstown, one of the most amazing spots on the planet, and includes the scenery of so many Lord of the Rings locations, among them Lothlorien, Isengard, the River Anduin and Amon Hen, the site of Boromir’s departure. There are lots of tours to choose from, but the one we went on was Dart Stables’ The Ride of the Rings tour – the world’s most scenic horse trek. I’d never ridden a horse before, but this was nice and relaxed, and I was soon riding with the confidence of Eowyn. Being on horseback makes it easy to pretend you’re in the story, cresting a hill to be confronted with the glory of the Wizard’s Vale, or clopping through the enchanted forest, wondering whether you’re being watched by elves with drawn bows. I had to give that tour a ten out of ten – the beauty was just overwhelming.
2) Matamata
Matamata is perhaps the most famous of all the Middle-earth locations in New Zealand, so much so that it has practically been renamed ‘Hobbiton’. It boasts the rolling, emerald hills of the Shire, especially impressive on a sunny day, and there is something very homely and comforting about it. The tour of the Hobbiton Movie Set is fantastic: you get to see all the round front doors with their flowers and even have a drink in The Green Dragon. It’s best to book ahead, as the place is always heaving with tourists, but considering this the cost is quite reasonable. If you’re a hardcore fan, though, be prepared to spend a lot of money in the gift shop!
3) Mount Victoria
Mount Victoria is in Wellington, New Zealand’s capital, and from its top you get great views of the city. That’s not why people go to it these days, though. I have a very clear memory of me, as a child, crying, “Get off the road! Quick!” in imitation of Frodo Baggins in that famous scene, and of crouching under a certain outcrop to hide from the Black Rider. Who could resist the urge to re-enact that? Wellington is also home to several other locations, as well as Weta Workshop itself.
4) Arrow River
‘Arrow’ seems like a strangely appropriate name for a river used as a filming location for The Lord of the Rings – the bit where Arwen confronts the Black Riders at the Ford of Bruinen. It’s in Otago and gave its name to the small town nestled upon its banks, Arrowtown. Arrowtown is an utterly charming place, a relic from the days of New Zealand’s gold rush, and it’s an attraction in its own right. I wish we’d been able to spend longer there, because the Ford of Bruinen isn’t actually the most beautiful spot in the area. It’s still pretty awesome, though – you just have to imagine a charging line of white, foam horses coming at you!
5) Lake Pukaki
I first laid eyes upon Lake Pukaki long before the filming of The Hobbit: The Desolation of Smaug, when it became the manifestation of Esgaroth, or Lake-town. Even without this recommendation, it’s a magnificent place. The water is a creamy, glacial turquoise, reflecting the snowy crown of New Zealand’s highest mountain, Aoraki, or Mount Cook. The view across the lake is simply awe-inspiring – to me, it epitomises the sheer beauty of the South Island. My parents took a scenic flight over Pukaki, but there isn’t much else to do there aside from walking and mountain biking – maybe the film’s release will boost its popularity, although I don’t want its purity to be ruined. There’s a free overnight campground on the lake’s edge (and I can’t imagine a better place to spend the night,) but only if you have a self-contained campervan like this one.
6) Tongariro
Tongariro National Park, which is located in the centre of the North Island and contains the three active volcanoes of Tongariro, Ruapehu and Ngauruhoe, has become almost synonymous with Mordor. Mount Doom itself is a digitally enhanced Ngauruhoe, although the volcano looks impressive enough as it is. The park also contains Emyn Muil, Gorgoroth, the Black Gate and the spot in Ithilien where Faramir was camped, and, of course, parts of The Hobbit were filmed there as well. A great way to see all these sights – as well as the pretty Blue and Emerald Lakes and some spectacular craters and steam vents – is to walk the Tongariro Alpine Crossing. It takes about seven hours and you have to be moderately fit, but if you don’t feel like that you can fly over the park, go on a horse trek or, in winter, go skiing.
7) Shotover River
The Shotover River flows through the picturesque Skippers Canyon near Queenstown. It is a fast and often frothy river and, along with the Kawarau River, provided some of the scenery for the Anduin. Skippers Canyon is just gorgeous – my family went on a jet boat ride in it and it was the best jet boat ride I’ve ever been on. The Shotover Jet is heart-stoppingly thrilling as it skims around and even over rocks! Above the canyon wends the ridiculously frightening Skippers Road, which is so narrow and dangerous that you’re not allowed to drive any New Zealand rental cars on it.
8) Fiordland
In the deep south of the South Island, Fiordland is home to Milford Sound, Doubtful Sound, Manapouri and Te Anau. It is consistently cited as one of the most beautiful places in the world, so it’s no wonder that filming for both The Lord of the Rings and The Hobbit trilogies took place there. The Waiau River, between Manapouri and Te Anau, was used as parts of the Anduin, both sides of Takaro Road were used as Fangorn, Kelper Mire was used as the Dead Marshes, Manapouri was used as the area south of Rivendell… I could go on. The crowning glory of Fiordland is Milford Sound, and at the centre of that crown is Mitre Peak. Anyone who visits New Zealand should take a cruise on Milford Sound, but if you walk around you might find yourself following in certain hairy footsteps.
9) Pelorus River
Part of the pretty Marlborough Sounds at the very top of the South Island, the Pelorus River was filmed as Forest River for the second of The Hobbit trilogy, The Desolation of Smaug. You know the bit where they escape the Wood-elves in barrels and float down the river to Lake-town? Well the drop was done at Pelorus Bridge. The Pelorus Bridge Camping Ground, which is an excellent place to stay, was closed for filming. The river is awesome to swim in – that area of New Zealand is especially nice and warm – and, no doubt, kayaking down it is set to become a lot more popular.
10) Canterbury Plains
The Canterbury Plains are in the middle of the South Island and, along with Poolburn Reservoir in Central Otago, stand in for the Plains of Rohan, the Riddermark. Edoras itself is Mount Sunday, in the Rangitata Valley. The walk up to it and to the top is stunning with the snow capped mountains in the background. It’s easy to get to from Christchurch, and there are many activities to do in the area, including skiing and hot air balloon rides. I think the ultimate experience, however, would be horse riding through that spectacular scenery – you know why! | http://www.mynewzealandcampervantrip.com/great-places-to-go-2/locations-from-the-lord-of-the-rings-and-the-hobbit/ |
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