#Professor | Robert Morris University | Explore Tumblr Posts and Blogs

xtruss · 9 months

Text

Behind Maui Wildfires: US is Never a Positive Agent in Climate Change Fight

— Anthony Moretti | August 16, 2023

Illustration: Xia Qing/Global Times

Maui, one of the most awe-inspiring places on Earth, has been devastated. Horrible fires - exacerbated by increasing temperatures and drought associated with climate change - have turned this paradise into something resembling a war zone. The pictures do not lie.

Fair or not, because climate change showed up in such a brutal way on Maui, a place the rich (and perhaps not so rich) consider one of their playgrounds, the challenge to re-create paradise will be carefully watched. Much like the Notre Dame Cathedral in Paris, damaged by fire more than four years ago, it has to be repaired perfectly - because global audiences are demanding it - Maui will have to be made perfect, or as close to it, because global eyes are watching.

This is the short-term problem: Make Maui great again. And compared to the long-term problem, it will be the easier one to handle. The more vexing, time-consuming and difficult challenge is combating climate change, and there is legitimate worry across the globe that the US is not committed to addressing it.

Unfortunately, President Joe Biden and his administration are not doing enough to be a force for good as burning wildfires and intense heat continue to define the summer of 2023. Yes, his administration has committed $370 billion to clean energy and other climate-supporting projects, which have also spurred job growth. On top of that, one of the more symbolic, but important, steps the White House recently took was sending climate envoy John Kerry to China. There, he examined with Chinese officials a variety of ways the two countries can ensure a safer climate for decades to come.

Yet, Biden has not used his so-called Bully Pulpit, the power that comes with being president and therefore framing the narrative on specific issues, to spur oil companies to do the right thing. A recent New York Times editorial called out big oil for "prioritizing dividends, share buybacks and continued fossil fuel production over increasing their clean energy investments" as this fact "suggests they are unable or unwilling to power the transition forward." Audiences must ask if those words "unable or unwilling" also apply to the president: Why is he not saying forcefully and often that oil companies must champion newer and cleaner energies? If he will not demand more, then who will? And if he will not do it now, then what will the ramifications be in the years to come?

And remember that there are darker clouds on the horizon. On the one hand, results from a recent Pew Research Center poll indicate Americans are aware of the problems associated with climate change and the opportunities the US could take to address it. However, almost one-in-three respondents still wanted the US to continue investing in what can be described in 20th century energy sources such as oil and coal.

Let's take these somewhat sanitary data and summarize them this way: Should Republicans are given the majority in the House of Representatives and Senate in 2024, the US will not be at the epicenter in the fight for a healthier, greener and sustainable planet.

With Republicans running Washington, the aforementioned climate envoy John Kerry will be sent into retirement. The global community, including organizations such as the United Nations, will be laughed at when it calls on the US to engage in meaningful conversations about the climate.

Not possible? It is definitely possible. Forget for a moment whether Donald Trump is the Republican presidential nominee in 2024. Keep in mind that he maintains a vise-like hold on the party; even if someone else is chosen to challenge President Biden in the general election, no Republican who hopes to maintain his or her political power can stray from Trump's beliefs. And one of those beliefs is that climate change is nonsense.

Despite the overwhelming evidence that climate change is real and is causing havoc across the globe and despite America clinging to an outdated idea that it is a place of "exceptionalism," there is no promise that political elites will lead on the issue. Closely related to this, there is no certainty that the public will rally to the cause. If the world's current No.1 economy draws a conclusion that it can remain in that spot by ignoring climate change, then the world can forget about the US being a positive agent in the fight against climate change.

— The author is an Associate Professor at the Department of Communication and Organizational Leadership at Robert Morris University.

2 notes · View notes

scribblesartcollective · 1 year

Text

Born in 1937 in Georgia, Emma Amos took an interest in art while she was a child. She made paper dolls and copied the figures from magazines. At age eleven she took classes at Morris Brown School. She improved her draftsmanship and was exposed to the art of other Black American students. While she was still in high school, she was already submitting her work to art shows at Atlanta University. It was clear for the very beginning, Emma was going places.

Emma studied art at the Central School of At in London after graduatiing for Antioch College in Ohio. She would move to New York looking for a more vibrant art scene that she couldn't find in Georgia upon returning to the US. She would be blindsided by the racism and sexism and even, ageism she was met with, perhaps assuming the more metropolitan state would be more progressive. She was too young for galleries to bother with her and she had trouble finding positions available to teach. She did eventually find work, as an assistant, at the Dalton School. This did end up fortuitous as she met other artists that introduced her to the art scenes in New York and East Hampton.

She still found struggles. She was a woman in an art world that prioritized the work of men. And she was a black woman, and like many black artists, struggled to find dealers and curators that wanted to work with her. Emma would not be deterred.

She joined Letterio Calapai's print making studios and Robert Blackburn's Printmaking Workshop. She earned her Masters of Art from New York University in 1966 and became reacquainted with artist Hale Aspacio Woodruff who was teaching there.

She met with Woodruff for feedback and criticism of her work and he introduced her to Spiral Arts Alliance. A collective of African-American Artists. Not just art, this group discussed philosophy, and culture about the meaning of blackness within the African diaspora. A frame work for critique and cultivating "Black Consciousness" and a common racial identity. She would be allowed to join, as the first female member of the group. At this time, she was working full time as a designer and studying full time as well. It left her only time to paint on the weekends.

In 1965 Spiral rented space for the first and only Exhibition. Emma would exhibit an etching called Without a Feather Boa, that sadly, is now lost. Described as a self portrait, a nude bust, of Emma looking dispassionately at the viewer from behind sunglasses. Before this, Emma has been reticent to participate in the idea of Black Art and galleries and shows that only showed the work of black Americans. Like so many artists, she likely though of herself as an artist first, but came to understand the harsh reality was that there were not a lot of options for black artists. These Black Art shows and galleries were the only way to get your foot in the door.

Despite this early resistance, she embraced sex and race in her art, toeing the line of politics but never allowing her work to be drowned in controversy. There were often depictions of the confederate flag, the American flag, traditional African patterns, including her own weavings as she was a well accomplished craftsman as well as a painter.

Emma became a professor in 1980, and later chair of the Visual Arts Department at the Mason Gross School of Art at Rutgers University, and she would teach there for close to thirty years. During her time here she would join the Heresies Collective. A feminist group founded in 1976 in New York by feminist political artists.

She says of the group: "And that’s what Heresies became for me. All of my disdain for white feminists disappeared, because we were all in the same boat. We just came to the boat from different spaces."

She was also a member of the feminist group Guerilla Girls under the pseudonym Zora Neale Hurston.

In these groups, and others she took part in, she discussed the sex revolution of the 60s and 70's the failures of white feminism, and the privilege of white Americans in the arts and in life. She was keenly aware of artists that existed within the margins of society and how difficult it is for those people to continue activities in comparison the white hegemonic art circles.

In 2008, Emma retired from teaching, but she never stopped being a teacher, supporting her students even after, going to their exhibitions and continuing to inspire and be inspired. In 2020, Emma died from complications of Alzheimer's Disease. She was 83. Her work is viewable in many, many galleries and museums and we've only just scratched the surface of this woman's art, passions, and intriguing life. If you'd like to see more of Emma's work and learn more about her: Museum of Modern Art - Emma Amos - Works Philadelphia Museum of Art - Emma Amos: Color Odyssey Virtual Discussion: Emma Amos: Color Odyssey NYT Emma Amos, Painter who challenged Racism and Sexism, Dies at 83 DVD/VHS for purchase Emma Amos - Actions Lines Ryan Lee Gallery - Emma Amos

Emma Amos Website

#Emma Amos #Black History Month #Black Artist #Black Art History #Black Feminist Artist #Art History #Painter #Printmaker #Weaver #Artisan #Black Craftsman

13 notes · View notes

jenna-travels · 10 months

Text

The Koestler Parapsychology Unit (#1)

Caroline Watt is a professor of Parapsychology at the University of Edinburgh. On May 25th our class got to attend one of her lectures. She spoke about Robert Morris, how she got her start, and gave us an overview of the research efforts the Koestler Parapsychology Unit makes in the field of parapsychology.

One of the larger topics of the lecture was how the unit conducts their own ganzfeld experiments in efforts to examine the potential existence of extrasensory perception and psychokinesis. The ganzfeld is a sensory isolation procedure in which one participant (the sender) attempts to mentally communicate a randomly chosen 'target' to another participant from separate rooms. These studies have been long debated about because some researchers believe they provide evidence of ESP while others noted that these studies had not been replicated at other institutions yet. She went on to discuss that the unit went about correcting this issue in the form of a registry developed by the unit in 1986 that requires pre-registration of studies in order to reduce the number of questionable research practices such as harking (presenting a hypothesis based on the results as if it were formed prior to results).

However, the unit also works toward understanding the psychology of belief in paranormal experiences. From their ganzfeld experiments, the KPU came to learn that people who consider themselves as creative may be more susceptible to these kinds of experiences. Additionally, the unit works to examine the causes and implications of paranormal experiences in a clinical setting.

2 notes · View notes

scotianostra · 1 year

Photo

On November 4th 1864 Robert Stodart Lorimer was born.

Lorimer was born in Edinburgh, the son of James Lorimer, who was Regius Professor of Public Law at Edinburgh University from 1862 to 1890. He was educated at Edinburgh Academy and later at Edinburgh University. He was part of a gifted family, being the younger brother of painter John Henry Lorimer, and father to the sculptor Hew Lorimer. In 1878 the Lorimer family acquired the lease of Kellie Castle in Fife and began its restoration for use as a holiday home.

Robert Lorimer began his architectural career in 1885 working for Sir Robert Rowand Anderson in Edinburgh, and in 1889 for George Frederick Bodley in London, returning to Edinburgh to form his own practice in 1891 with his first major restoration commission at Earlshall in Fife for a friend of his parents. He was influenced by Scottish domestic architecture of the 16th and 17th centuries and the Scots Baronial style of Kellie Castle where he had spent much time as a young man. From his time in Bodley's office, Lorimer was influenced by the ideas of William Morris, and went on to become a committed exponent of the Arts and Crafts approach to architecture. He assembled a collaborative group of artists and craftsmen who, collectively, often contributed to his various commissions and to the manufacture of furniture sent to the Arts and Crafts exhibitions in London. In 1896 he was elected to the Art Workers Guild. Lorimer designed a series of cottages in the Arts and Crafts style in the Colinton area of Edinburgh, the so-called "Colinton Cottages". Constructed using traditional methods and materials, each cottage included a garden layout and interior design, including furniture, in keeping with the Arts and Crafts concept. By 1900, eight cottages had been built and four others were under construction. As his reputation grew the scale of his commissions increased, including major alterations and additions to important houses in various styles, culminating in three entirely new country houses designed in his personal interpretation of Scots Baronial; at Rowallan, Ayrshire, Ardkinglas, Argyllshire, and Formakin, Renfrewshire. Of these, Ardkinglas, on Loch Fyne was the only one built as originally designed and, Lorimer having been given carte blanche, represents his masterpiece. His important restorations at this time include Lennoxlove House, Haddington and probably his most evocative; at Dunderave, Argyllshire on the Ardkinglas estate. He could take a house of modest character and give it a strong personality, such as Pitkerro, Forfarshire or Briglands, Kinross, particularly where he found the raw materials sympathetic, but he could also disregard existing architectural qualities in a way that modern conservation practice would question, if he felt the result justified its replacement, such as at Hill of Tarvit, Fife where he demolished a previous house probably by Sir William Bruce, or at Marchmont, Berwickshire where he re-configured an altered house by William Adam, ignoring Adam's design. He was called in to a number of properties to carry out a range of improvements, such as minor alterations, design of interiors and furnishings, work to ancillary buildings, and garden designs and features. A good representative of this sort of work is Hunterston Castle in Ayrshire. The outbreak of World War I restricted the demand for large new houses and his attention shifted to smaller scale projects, war memorials, and restorations. He already had a reputation as one of Scotland's leading restoration architects following the restoration of Earlshall and Dunderave, and he went on to carry out significant alteration and restoration works at Dunrobin Castle in Sutherland following a fire, and at Balmanno Castle in Perthshire , said to have been the only one of his commissions he would like to have lived in. Although much of his work, and reputation, was in the sphere of domestic architecture, Lorimer also carried out significant public works. Principal amongst these include his design for the new chapel for the Knights of the Thistle in St Giles' Cathedral, Edinburgh in 1911. He received a knighthood for his efforts and went on to gain the commission for the Scottish National War Memorial at Edinburgh Castle in 1919, subsequently opened by the Prince of Wales in 1927.

Lorimer was also responsible for St Andrew's Garrison Church, Aldershot, completed 1927, a large Army church dedicated to the soldiers of the Church of Scotland and kindred churches who lost their lives in World War One. One of his last works (completed posthumously) was Knightswood St Margaret's Parish Church, Glasgow, which was dedicated in 1932. Lorimer became President of the professional body in Scotland, the Incorporation of Architects in Scotland, and it was during his tenure in office that the body received its second royal charter, permitting use of the term 'Royal' in the title. Lorimer was a fellow of the North British Academy of Arts. He died in Edinburgh in 1929.

In previous posts about Lorimer I have featured his more well known properties, the two main pics in today’s post are Hill of Tarvit in Fife and a property on Pentland road Edinburgh, which was on the market last year for a price of just under £3 million.

#Scotland #scottish #architect #history

9 notes · View notes

jacobsvoice · 2 years

Text

When Arabs Became Palestinians

JNS (June 23, 2022)

Modern conceptions of “Palestine” began to emerge in the mid-19th century. British artist David Roberts followed the trail of the ancient Israelites from Egypt to their promised land. His magnificent lithographs in The Holy Land (1842) sparked interest in the land and its people. One year later Scotsman Alexander Keith, in The Land of Israel, described “a land without a people and a people without a land.” The “people” were Jews and the “land” was their Biblical homeland. As yet there were no identifiable, or self-identified, “Palestinians.”

Not until the mid-20th century, two decades after the birth of the State of Israel, did Arabs in Palestine begin to show signs of a distinctive national identity. It was largely due to the humiliating Arab defeat in the Six-Day War, ending Jordanian control over West Bank Arabs. Why was it, wondered Bethlehem resident Walid Shoebat, “that on June 4th 1967 I was a Jordanian and overnight I became a Palestinian.”

Once Jordan lost its West Bank resident Arabs began to construct their own national identity in a land that had never been inhabited by a previously non-existent “Palestinian” people. Even a member of the Palestine Liberation Organization (PLO) acknowledged that “there are no differences between Jordanians, Palestinians, Syrians and Lebanese. We are all part of one nation [and] the existence of a separate Palestinian identity serves only tactical purposes.”

Without a history of their own, Palestinians defined themselves by plundering Jewish history. The ancient Canaanites were identified as the original “Palestinian” people. They claimed Abraham’s son Ishmael (child of his servant Hagar) as the ancestral link to “their” Biblical patriarch. Jerusalem, not mentioned in the Koran, was designated as Islam’s third holiest city (after Mecca and Medina). Hardly coincidentally, the al-Aksa Mosque and Dome of the Rock were built on the site of the First and Second Jewish Temples.

In Hebron, similarly, the Machpelah burial site of the Biblical patriarchs and matriarchs became a mosque. Jews were prohibited entry until Israel’s victory in the Six-Day War seven centuries later. So, too, with Rachel’s Tomb outside Bethlehem and Joseph’s Tomb in Nablus (Biblical Shechem).

Palestinian identity theft did not stop there. The tragedy (Naqba) of 1948, when Arabs launched their failed war to demolish the fledgling Jewish state, was equated with the Holocaust. Their progeny have preposterously claimed to be victims of “the greatest act of horror of the twentieth century.” It is not surprising that the doctoral dissertation of Palestinian Authority president Mahmoud Abbas (now in the seventeenth year of his four-year term) linked Zionism to the Nazi regime. Nor that the Israeli Law of Return (1950), giving Jews everywhere the right to acquire citizenship in the Jewish state, prompted Palestinians to claim the right of return to the land they had abandoned in 1948.

Yet as Ruth Wisse has pointedly noted: “Jews have more concurrent rights to their land than any other people on this earth can claim: aboriginal rights, divine rights, legal rights, internationally guaranteed rights, pioneering rights, and the rights of that perennial arbiter, war.” Palestinians have none of these.

But Israelis on the political left have embraced the Palestinian narrative of expulsion by evil Jews. Journalist Benny Morris blamed Israel for the “ethnic cleansing” that led to “oppressing” Palestinians. Sociologist Baruch Kimmerling, equating Zionism with colonialism, accused Israel of “politicide” against Palestinians. To Ben Gurion University professor Oren Yiftachel Israel was guilty of “creeping apartheid.” Popular writer Amos Oz lamented the return of Jews to their ancient homeland after the Six-Day War as “occupation” and “destruction.” Religious Zionist settlers were guilty of “fanatical tribalism.” The unrelenting demonizing of Israel, scholar Edward Alexander wrote, transformed the “pariah people” into “the pariah state.”

Israel’s critics have remained oblivious to the existence of a Palestinian home – in Palestine – now dating back a century. Following World War I British Colonial Secretary Winston Churchill gifted the land east of the Jordan River, until then part of “Palestine” according to the League of Nations Mandate, to Britain’s wartime ally Abdullah for his own kingdom. By now Palestinians comprise a significant portion of the Jordanian population. Historically, geographically and demographically Jordan is Palestine. Another Palestinian state would be superfluous.

Jerold S. Auerbach is the author of twelve books, including Print to Fit: The New York Times, Zionism and Israel 1896-2016, selected for Mosaic by Ruth Wisse and Martin Kramer as a Best Book for 2019

1 note · View note

drrobertlieberson · 2 years

Text

New Treatment for Brain Cancer in 2022

According to Dr. Robert Lieberson, Dr. Yung has been at MD Anderson since 2001, holding roles such as Chair of Neuro-Oncology and Medical Director of the Brain and Spine Clinic. He is presently a Professor of Neuro-Oncology and Cancer Biology, as well as a Special Advisor to the National Brain Tumor Society's Chief Executive Officer. The National Cancer Moonshot is a new project aimed at advancing research into brain cancer. The goal is to accelerate the discovery and development of innovative targeted cancer medicines.

New strategies are being used by scientists to combat cancer. Basic research on metastasis is supported by the Ludwig Cancer Research Foundation. Brain cancer cells have an inbuilt capacity to resist chemotherapy by temporarily scaling down their mutation, according to researchers. Another study found that genetic variations that protect the skin from the sun increase the risk of testicular cancer. Mischel outlined how an investigational medication might exploit a genetic flaw that allows tumor cells to withstand chemotherapy in an interview with Oncology Times.

The Rosalind and Morris Goodman Cancer Institute and the University of Minnesota have made great progress in understanding how cancer cells interact with the brain. OLIG2 is a gene that governs the formation of brain tumor cells, according to previous research. Other researchers are looking at novel ways to prevent the epidermal growth factor receptor from oligomerizing. Scientists discovered that tumors that express the OLIG2 metabolite impede the proliferation of cancer cells in the brain in this study.

Dr. Robert Lieberson exclaimed that, The National Cancer Institute, the government's main cancer research organization, has announced funding for adult and pediatric brain tumor research. The funding, which totals $4 million, is the result of advocacy efforts by the brain tumor community in the United States, including the National Brain Tumor Society, the Pediatric Brain Tumor Foundation, and a number of patient organizations. The National Cancer Institute is working to enhance pediatric cancer treatment results. Multi-institutional collaboration among research centers will be required.

Doctors utilize a variety of approaches in the clinic to determine the tumor's appearance. Doctors can evaluate how tumors damage brain tissue surrounding the malignancy using specialized imaging. This is especially helpful during surgery, when doctors need to keep an eye on the patient's movements. The information in the photos can also be used by the surgeon to arrange radiation therapy and the surgical process. During surgery, a range of procedures are employed to assess the appearance of tumors.

U.S. News & World Report has named the Del Monte Institute for Neuroscience at the University of Rochester among the top 20 neuroscience programs in the country. Its medical center has a global network of researchers and offers unique multi-center clinical trial capabilities. This study will help youngsters with brain tumors enjoy longer and healthier lives. This research center focuses on brain tumors. It also contributes to the Bambino Gesu children's hospital in Rome.

In addition to Dr. Robert Lieberson another significant discovery in the realm of genetics and brain tumors has been made. In a recent study conducted by Stanford researchers, a novel medicine known as "chemo-brain" was revealed to aid in the reduction of tumor cell proliferation in the brain. This result represents a huge step forward in cancer research. The Breakthrough Prize honors researchers who are committed to furthering the study of brain tumors. Furthermore, there are a number of prizes that acknowledge groundbreaking research and breakthroughs in the discipline.

One of the most popular treatments for brain tumors is surgery. A section of the scalp must be removed for this surgery. After that, the surgeon will make a skin incision to expose the brain. The surgeon will then remove a portion of bone to reveal the brain. The dura mater, the outermost layer of brain tissue, will be opened during this treatment. The surgeon will be able to view the tumor and remove it as a result of this. He or she will then sew the scalp back together.

The GBM CARE initiative involves researchers from a variety of universities. Children's National Health System, Dana-Farber Cancer Institute, Duke University School of Medicine, Fred Hutchison Cancer Research Center, Johns Hopkins Hospital, Mayo Clinic, University of Texas Children's Hospital, Stanford University, and Rady Children's Medical Center are among the researchers involved. Other medical institutes' researchers are also engaged in initiatives.

0 notes

katiethebandgeek · 2 years

Photo

Yesterday was the big day. Finally walked across the stage and graduated as Magna Cum Laude! I’m grateful to have been able to celebrate with both of my parents, Mike, and Debbie as well as my classmates that I’ve spent the last three years working and studying with. While my post grad door has already opened, I wish nothing but the best of luck job searching for my now former classmates. We’ve all worked hard for our degrees and worked through some unique challenges, and y’all deserve nothing by the best. Thank you @robertmorrisuniversity for being my home away from home since I transferred in 2019 and having some of the most passionate professors I’ve ever had the privilege of meeting and learning from. On to the next adventure! #classof2021 #graduated #magnacumlaude #ontothenextadventure (at Robert Morris University) https://www.instagram.com/p/CdS5JneOitfvcFdTCvUX3N94LbTGujvTEYQqDk0/?igshid=NGJjMDIxMWI=

#classof2021 #graduated #magnacumlaude #ontothenextadventure

1 note · View note

douchebagbrainwaves · 3 years

Text

WORK ETHIC AND RETROSPECT

There are two things you need initially: an idea and cofounders. The sharpest criticism of YC came from a founder who said we didn't focus enough on customer acquisition: YC preaches make something people want is the destination, but Be relentlessly resourceful is the recipe for success in writing or painting, for example. It's not something you could hand to someone else to execute. Customers loved us. And so it proved this summer. Especially the type, all too common then, that was an anomaly—a unique combination of circumstances that compressed American society not just economically but culturally too.1 And I don't think there's any limit to the number who could be employed by small, fast-moving, lightweight VC fund.2 One of the best places to do this was at trade shows.3 That's made harder by the fact that the founders of Google knew, brand is worth next to nothing in the search business. In software, it means you should give users a few basic elements that they can combine as they wish, like Lego. The reason VCs seem formidable is that it's more preposterous to claim about anywhere else.

They're in a different world. But you can't have action without an equal and opposite reaction. A sinecure is, in the spam I got from botnets.4 I felt that sheepish feeling you get when you offer someone something worthless. We felt like our role was to be driven by genuine curiosity, not some ulterior motive. It may be that a significant number who get rich tend to be owned by one of them. This proves something a lot of people who visit your site will be casual visitors. People just don't seem to be very good at business or have any kind of special training.

In 1960, John McCarthy published a remarkable paper in which he did for programming something like what Euclid did for geometry.5 Because investors are so bad at judging you, you should either learn how or find a co-founder who can. But when I finally tried living there for a bit, but you had no choice in the matter, if you love life, don't waste time, because time is what life is made of. Us build this thing to make money from one of these centers. That yields all sorts of plausible justifications. I'm not writing here about Java which I have never used but about hacker's radar which I have never had to use CLOS. And it must have powerful libraries for server-based applications. Because so little money is involved.

Stephen Hawking's editor told him that every equation he included in his book would cut sales in half. What makes the answer appear is letting your thoughts drift.6 Microsoft's death: everyone can see the evolution of book publishing in the books on my shelves. I just explained: startups take over your life to a degree you cannot imagine.7 There is a kind of business plan for a new Lisp.8 In retrospect, it would seem crazy to most people outside the US. But negative lessons are just as backward as search was before Google. It's surprising how much different fields' ideas of beauty have in common is that they can't force anyone to do deals with them. And because I wasn't paying attention, I didn't notice when the shadow disappeared.9

The bad news is that I don't think fast code comes primarily from things you do.10 And they are a classic example of the dangers of deciding what programmers are allowed to want. Does anyone who wants to use your system in their whole company won't. The third reason you need them, and I got in reply what was then the party line about it: that Yahoo was no longer a mere search engine. Anyone who can write an optimizing compiler can design a UI that doesn't confuse users, once they choose to focus on that problem.11 Your tastes will change. I had bought the hype of the startup world want to believe this comes from the city's prudent Yankee character. And in startup hubs they understand it.12

Notes

Treating high school kids arrive at college with a woman who, because what they're capable of.

7% of American kids attend private, non-broken form, that it even seemed a plausible excuse.

What drives the most important information about competitors is what the editors will have a lot easier now for a startup is a case of the world barely affects me. And you should be clear.

The dictator in the mid 1980s. Back when students focused mainly on getting a job where you have no idea how much they lied to them unfair that things don't work the upper middle class first appeared in northern Italy and the super-angels tend not to. Google's revenues are about two billion a year for a long time by sufficiently large numbers of users to observe—e. Einstein, Princeton University Press, 2005.

I'm claiming with the amount—maybe not linearly, but all they could attribute to the year x in a spiral.

5% of Apple now January 2016 would be taught that masturbation was perfectly normal and not others, no one is going to call the years after 1914 a nightmare than to call all our lies lies. 94 says a 1952 study of rhetoric was inherited directly from Rome. And no, unfortunately, I can imagine what it can buy. And if you did so, or Seattle, 4 in DC, 6 in Chicago, 8 in London, 13 in New York, and no doubt partly because it was so widespread and so effective that I'm skeptical whether economic inequality, and how good you are not in 1950 something one could reasonably be with children, with number replaced by gender.

Anyone can broadcast a high-minded Edwardian child-heroes of Edith Nesbit's The Wouldbegoods.

54 million, and FreeBSD 1.

I wouldn't say that it offers a vivid illustration of that. Or lack of results achieved by alchemy and saying its value was as a high product of number of big companies, but the nature of the big winners if they do the opposite: when we created pets. Odds are people in the top and get pushed down by new arrivals.

In some cases the writing teachers were transformed in situ into English professors. Google and Facebook are driven by money—for example, being a doctor. Indifference, mainly. Because they want to get great people.

You leave it to get kids into better colleges, I mean no more than most people will pay for health insurance derives from efforts by businesses to use those solutions. I was not in the old version, I didn't need to run on the group's accumulated knowledge.

And while they think the main effect of low salaries as the web was going to eat a sheep in the time it would have turned out to coincide with other investors doing so because otherwise you'd be surprised how often have valuation caps, a proper open-source projects now that VCs may begin to conserve board seats by switching to what you learn via users anyway.

Thanks to Robert Morris, Alex Lewin, Peter Norvig, Geoff Ralston, Jackie McDonough, Aaron Iba, and Cameron Robertson for inviting me to speak.

1 note · View note

brooklynmuseum · 4 years

Photo

The Brooklyn Museum mourns the loss of Dr. David C. Driskell, whose scholarship, teaching, and curatorial work were instrumental in defining the field of African American art history. His landmark, traveling exhibition Two Centuries of Black American Art, which made its final stop at the Brooklyn Museum in 1977, featured work by more than 200 artists and transformed the ways in which American museums framed and presented histories of African American art. An artist himself, his work was included in the Museum’s recent presentation of Soul of a Nation: Art in the Age of Black Power.

Reflecting on Two Centuries of Black American Art in 2009, Dr. Driskell recounted how he wanted to bring “patterns of exclusion, segregation, and racism to the attention of the art public. [. . .] But it was also about engaging the establishment in the rules of the canon, so as to say, ‘No, you haven't seen everything; you don't know everything. And here is a part of it that you should be seeing.’”

We are grateful to Dr. Driskell for his immeasurable contributions to the field of art history, and will continue to carry his scholarship and his lessons with us.

***

“When Dr. Driskell spoke at the Brooklyn Museum last year as part of the programming for Soul of a Nation, he told me backstage how he had been on our stage in the 60s with civil rights heroes such as James Baldwin. He was so happy to have returned and could not have been more full of grace. Dr. Driskell has left a profound mark on the Museum’s history. While we mourn his passing, we also celebrate the ways that he shaped a history of African American art and advanced both the field and our institutions with clarity and conviction.”

– Anne Pasternak, Shelby White and Leon Levy Director

“An artist, educator, art historian, and curator across at least five decades, Dr. Driskell’s impact was not only field defining but field generating. When we talk about the ongoing project that is the writing and presentation of black art history against its erasure and/or dismissal, we must keep close what it meant for scholars like Driskell who began this work with few blueprints, summoning the great courage and clarity necessary to name and advocate for the importance of black art history – in the face of so many cynics and detractors. I live with gratitude for that fortitude. It was my absolute honor to include Dr. Driskell in the Brooklyn presentation of Soul of a Nation, and an even bigger honor to meet him and to welcome him to the museum for an unforgettable conversation with Dr. Elizabeth Alexander in the fall of 2018. I will hold that memory close.”

– Ashley James, Associate Curator, Guggenheim Museum, and former Assistant Curator, Contemporary Art, Brooklyn Museum

Two Centuries of Black American Art, June 25, 1977 through September 05, 1977 (Image: Brooklyn Museum photograph, 1977)

“Dr. Driskell's 1977 exhibition Two Centuries of Black American Art intended to, in his words, engage "the establishment in the rules of the canon, so as to say, 'No, you haven't seen everything; you don't know everything. And here is a part of it that you should be seeing.'" Museums are still catching up to this proposition today, and we can all benefit from acknowledging how much there is to learn from each other. And we learned so much from him!

In the New York Times review of that exhibition, critic Hilton Kramer dispraised the show, asking "Is it black art or is it social history?" Dr. Driskell responded: "All art is social history; it's all made by human beings. And, consequently, it has its role in history."

Rest in power Dr. Driskell.”

– Carmen Hermo, Associate Curator, Elizabeth A. Sackler Center for Feminist Art

“When I was an undergrad art history student at the University of Maryland, I ran the student art gallery and while this was between the time when Dr. Driskell served as Chair of the Art Department and when he was named Distinguished Professor, he was always interested and supportive of the clique of young artists and future art historians who hung out at the West Gallery. His generosity made a real impression on me and every time he walked in the gallery I would become completely tongue-tied.”

– Catherine Morris, Sackler Senior Curator, Elizabeth A. Sackler Center for Feminist Art

“Although I never got to know Dr. David C. Driskell personally, I did have the opportunity to hear him speak several times. When I first began studying African American art in college, I understood that David Driskell was a pioneer in the field. But, when I tucked into seats in buzzing lectures hall to hear Dr. Driskell speak as a grad student or subsequently as a museum professional, I heard about conversations with Aaron Douglas or summer at Skowhegan--Dr. Driskell painted a picture of a life lived with the people that made up the history I was devoted to studying. With the passing of Dr. Driskell, a connection to the past has been irrevocably severed.”

– Dalila Scruggs, Fellowship Coordinator, Education

“David Driskell’s life took him from a one-room segregated schoolhouse in North Carolina to the White House. Under the Clinton administration, Driskell, acknowledged as a leading expert on African American Art, worked with Mrs. Clinton to acquire a great landscape by Henry Ossawa Tanner, who became the first Black artist to enter the White House collection. This is only one example of the many doors Driskell opened in his quest to tell a more truthful and complete story of American history and culture.”

– Eugenie Tsai, John and Barbara Vogelstein Senior Curator, Contemporary Art

“I did not have the opportunity to meet Dr. David C. Driskell, but I fondly recall seeing him speak at a CASVA symposium, The African American Art World in 20th-Century Washington, D.C., at the National Gallery of Art in 2017. There, he participated in a panel discussion with other artists (moderated by Ruth Fine) regarding the city’s impact on his own artistic development. He spoke with such passion about James A. Porter and the legacy of his teaching at Howard University.

Driskell has also left an indelible imprint on the Brooklyn Museum and its own exhibition program, most recently with his inclusion in Soul of a Nation: Art in the Age of Black Power. In 1976, he curated Two Centuries of Black American Art, which opened at the Los Angeles County Museum of Art in 1976 and subsequently traveled to the Brooklyn Museum in 1977. In this groundbreaking exhibition and publication, he defined the “evolution of a black aesthetic” and called attention to such important eighteenth- and nineteenth-century artists as Joshua Johnson, Robert S. Duncanson, and Henry Ossawa Tanner, among many others. Driskell has significantly shaped my own thinking on American art and, in my own research, I am reminded of his rediscovery of the landscape painter Edward Mitchell Bannister who, after his death in 1901, remained largely forgotten.

Edward Mitchell Bannister (American, 1828-1901). Untitled (Cow Herd in Pastoral Landscape), 1877. Oil on linen canvas. Brooklyn Museum Brooklyn Museum Fund for African American Art, 2016.10

A tireless advocate for Black artists, Driskell led the charge in redefining the mainstream art historical canon. He forever changed the discipline and paved the way for so many, and for that I am grateful.”

– Margarita Karasoulas, Assistant Curator of American Art

youtube

Clips from Two Centuries of Black American Art, Los Angeles County Museum of Art © Pyramid Films, 1976. Brooklyn Museum Archives.

“One of the greatest treasures in the Brooklyn Museum Archives are the five videos that document the Symposium Afro-American Art: Form, Content, and Direction that occurred on June 24th and 25th, 1977 that was organized by David Driskell, the Schomburg Center, and Brooklyn Museum Staff in conjunction with the Two Centuries of Black American Art exhibition. In the afternoon of the first day, Romare Bearden, Selma Burke, Jacob Lawrence, John Rhoden, Ernest Crichlow, Vincent Smith, Bob Blackburn, Roy De Cavara, Valerie Maynard, and William T. Williams talked on stage for three hours about their artistic practices within the context of twentieth-century art traditions. It’s staggering to think of all those brilliant artists in conversation together—watching the footage, hearing the artists in their own words is profoundly moving.

When researchers are looking into the exhibition or are curious about the Museum’s history of exhibiting Black Artists, I’m always excited to share the material produced for, by, and of the exhibition. The archival material includes visitor comment books, the press kit, 22 folders of correspondence, the film produced for the exhibition, and the aforementioned symposium videos. The programming built around the exhibition was legendary, and the breadth is rarely seen today: seven artist studio visits (Howardena Pindell!), six supplemental exhibitions at other venues (The Abstract Continuum at Just Above Midtown Gallery!), twenty-two gallery talks (Dr. Rosalind Jeffries on the Harlem Renaissance!), dance performances (Sounds in Motion Dance Company!), concerts, and the list goes on. Driskell’s vision had a deep seismic effect on the art world. The people brought together at these events and programs, the knowledge shared, learned, and passed on to subsequent generations, none of this can be quantifiably measured or completely comprehended, especially from a remove, but its incredible magnitude can be felt when conducting research into the exhibition. Dozens of researchers have come to look into this history, and I look forward to welcoming future visitors to the Archives to learn more about David Driskell, hopefully inspiring them to perpetuate his monumental legacy.”

– Molly Seegers, Museum Archivist

#david driskell #Dr. David C. Driskell #in memory #brooklyn museum #art #art history #scholarship #artist #black american art #black art #soul of a nation

75 notes · View notes

xtruss · 8 months

Text

Dr. Martin Luther King's ‘Dream’ No Closer To Reality

— Anthony Moretti | August 29, 2023

Illustration: Xia Qing/Global Times

It remains one of the signature events of the 1960s in the US: Dr. Martin Luther King's "I Have a Dream" speech. Delivered on August 28, 1963, it was Dr. King's most powerful reminder of what America was not, but still had a chance to be: A place where his children and all other children would "one day live in a nation where they will not be judged by the color of their skin, but by the content of their character."

He noted that a century after the end of slavery, "the Negro still is not free. One hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination. One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity."

Sixty years later, Dr. King's dream is no closer to reality. In fact, America might be further away now from achieving racial equality than it was during the 1960s. Most major politicians appear to not care. The majority of White Americans feel the same.

Black children (and the same can be said for Hispanic and Asian children) continue to be judged by the color of their skin in too many places across the country. Racism, perhaps the ugliest stain in America's history, is alive and well. A recent poll conducted by the USA Today newspaper and Suffolk University, located in Boston, Massachusetts, shows that 79 percent of Black Americans consider racism to be a major problem in the US but only 17 percent of White Americans thought the same.

Segregation might not be legal, but make no mistake, it still exists in the US. "White flight," in which Whites leave pockets of a city as it becomes more ethnically or racial diverse, shows no sign of ending. Research indicates that Whites persist in exiting areas where Blacks, Asians and Hispanics enter, indicating that the distrust of these people "who are not like us" guarantees that a kind of unofficial segregation carries on.

“America is "Exceptionally" Bad for Blacks. No One has Taken-up Dr King's Cause. So, Do Not Expect Anything to Change.”

One of the effects of this unofficial segregation is that the economic disparity between White America and Black America remains in place. That "lonely island of poverty" continues to be the metaphorical home for too many of America's minorities. The Federal Reserve notes that White Americans hold 80 percent of the wealth in the US, a country in which the average White family has a net worth of roughly $1.3 million while the average Black family's net worth is approximately $350,000. Simplifying these dollar amounts, it is evident that Whites are better positioned to buy homes and cars, send their kids to college and go on vacation. They also are better prepared for an economic catastrophe, such as a husband or wife losing a job.

Knowing all of this, America certainly should have been a place acknowledging how much more needs to be done in order to make that dream a reality took place.

National Public Radio (NPR) provided a perhaps unintentional reminder of the blasé reaction Americans had to the anniversary of Dr. King's speech. In one of its reports, it stated, "Six decades ago, an estimated 250,000 people gathered at the Lincoln Memorial for ... Martin Luther King Jr's 'I have a dream' speech ... On Saturday, tens of thousands of people gathered in that same spot to declare that dream was in jeopardy - that America had slid backwards in its fight against hatred and bigotry."

In case you missed it, 250,000 people in 1963 and "tens of thousands" in 2023. And was President Joe Biden among them? No. President Biden returned to the White House on Saturday, the same day as the gathering mentioned by NPR, after a vacation spent in Nevada. He, or a ghostwriter, did pen an editorial that appeared in the Washington Post, in which he wrote a lot about what his administration is doing to make life better for Blacks throughout the US. In fact, the editorial read more like a "hey, do not forget that I am running for re-election next year and I could really use your vote" statement rather than a call for action for the country.

America often boasts of its "exceptionalism," but when it comes to racism and economic disparity, a different word must be used: America is "exceptionally" bad for Blacks. No one has taken up Dr King's cause. So, do not expect anything to change.

— Anthony Moretti: The Author is an Associate Professor at the Department of Communication and Organizational Leadership at Robert Morris University, 6001 University Boulevard, Moon Township, PA 15108 USA

0 notes

reingkings · 4 years

Text

Black Friday (*Spoilers*)

Alright first I want to say this is not hate! I absolutely LOVED Black Friday. However, I did have some things that I felt could have been changed to make the script a little stronger

Things I loved:

The old TGWDLM gang! — we got an update into their lives without it being overly shoved into our faces. It was just there for people who loved the first musical, but knowing about them wasn’t necessary to the understanding of this one

The music! — Feast or Famine, Do You Want to Play?, Adore Me (especially the chorus), Black Friday, If I Fail You, Our Doors Are Open well I can’t name them all.

Oh, and how America is Great Again played in the background when General McNamara appears on screen. I’m a sucker for characters having their own themes songs. Wouldn’t it be amazing if Paul got a mix of Let it Out/Inevitable

The fact that starkid made a MUSICAL extended universe

The new characters/actors, Kim, Angela, Kendall, James, Curt, were all amazing and their addition really helped flesh out the new universe (plus, it doesn’t hurt that they have amazing voices)

The old cast playing new dynamics and pushing themselves (Lauren, Dylan, and Joey especially, but Jaime killed in her role as Sherman too, as did Robert with Ethan and Jon as Gary)

THE SCRIPT OH MY GOD THE SCRIPT

The choreography! Feast or Famine was my favorite but they keep getting better and better with this!

Their comedy, still fucking gold. Especially those fucking oneliners and small exchanges. “Well, we haven’t put a label on it yet” “But we are intimate” *moment if silence*, “Hannah what the fuck is this, that better be fucking floss!”, “That’s a bribe sir, and that’s illegal”, *raised eyebrow*, “... Well it should be”, “Ooh right in the subpeona”, everything about James Tolbert as Agent Morris

The social CRITIQUE, the fact that the kids don’t even want wiggly, it’s the adults who want to buy wigglys to fill the holes in them (still buying a wiggly though)

How vitalized they all seem to be about the new direction of starkid/that they’re experimenting and coming out of their comfort zone. I love starkid but you could tell that they were getting worn out by just sticking to the same formula of just making parodies. Before TGWDLM we had 2 year gaps between uploads of musicals (which, a year to write a musical is incredible, Sondheim has currently been working on the latest for a decade, and Miranda took like three for Hamilton). I love seeing creators grow

The overall aesthetic of the stage, costumes, and music was so vicerally haunting and scary. I literally slept with my hallway light on and the door open the first time I saw it

Sigh, and now for the things I might get pitchforked for

First some technical stuff. One, I think the sound equipment was on too low for the stage production. If you compare the songs in the stage production to the album version, you can tell that the more subtle parts of the intrumentals were just too quiet. Also, the actors’ voices were much louder than the music so sometimes it was like they were singing acapella. Two, although I appreciate the new camera work and how it’s more similar to traditional recordings of musicals, it did take away from my ability to appreciate the choreography and the subtle reactions of the cast

While a lot of the songs were good, some of them just needed to be cut or trimmed. Especially for songs where one line of explanation would have sufficed. An example of a trimmed song I think is CaliforM.I.A where Lex sings that her mom is an alcoholic, etc. I feel like it could have just been spoken and it would have been more subtle, quiet and painful. A song I think needed to be cut was Deck the Halls. I love Robert, but that song was mostly just an omage to what they did with Workin’ Boys. However, the part that made Workin’ Boys, pardon the pun, work was that it was Professor Hidggen’s backstory/dream. It revealed something about him and his isolation

Some of the lines in the lyrics were just clunky. It’s something I noticed in TGWDLM, but I thought it really worked there since the characters couldn’t sing naturally. However, it seemed to be worse in this? Like I said, some songs were still golden. But some just. Monsters and Men, I noticed had a lot of it. Which yeah, they had less than a year to write it and they had more songs than TGWDLM, so it makes sense that some are a bit rushed? But still, i would have preferred a shorter soundtrack with tighter songs.

I think the Becky and Tom romance was so unnecessary. I feel like yeah, you can make them exes, and you can build up their chemistry so it’s implied they’ll get together eventually, but the fact that they fall in “love” in like 5 hours makes them so shoehorned. For Becky, it’s kind of a disservice because most of her songs are then focused on romance. For Tom, it’s just. It kind of cheapens him, especially since he was previously married for at least 8 years. Like you don’t hear him mention Jane or Tim at all, or worry about Tim’s gift when he’s at the theater. So when it comes to him singing “If I Fail You” it doesn’t feel authentic because you don’t get that sense of Tom feeling like failure over Tim in his dialogue. And also, you could cut out a lot of songs (and give them something new ones)

Although I loved the multiple storylines, I felt like it was really hard to connect to the characters. I feel like that might be because of the songs? Characters were so busy with info dump songs that there were just less interactions in general. I would have loved if the character subtleties could be explored in the same way as TGWDLM

They shouldn’t have killed Ethan. Not just because it’s Robert, but as part of the overall storyline, they shouldn’t have killed Ethan.

Imagine if it had played out like this: No Becky-Tom Romance. They’re just fleeing the mayhem together because they’re the few that managed to keep sane. Becky has a doll but Tom doesn’t. Ethan and Hannah get accosted by the mob. Ethan tells Hannah to run and you see him start to fight, but not what happens after. Hannah is running and you see dead bodies strewn around the mall (to show that people have died). Becky and Tom appear. They hear a few of the wiggly worshippers members yell that they have to find the girl with the wiggly. Tom joins in on the hunt because “he needs to find one for Tim”, the same scene plays out with Do You Want to Play With Me? bc that song is a BOP but Ethan shows up to save Hannah. Becky manages to snap out of her trance and helps Ethan subdue Tom. The three of them flee. Now the two of them are bigger targets bc they had two wigglys. Meanwhile Lex teams up with her managers/discovers her supernatural powers during their escape or something and goes looking for Hannah and Ethan. All this within the first act. Now you’ve got about ~4 plotlines (the cultists/Linda, the trio, Lex (all at the mall) and General McNamara) that are a bit interconnected instead of ~6.

None of the characters got time to breathe, pause and reassess, or grieve. Hannah and Lex never even found out about Ethan. Gerald didn’t find out his wife died, and his call bit was used for comedy, The President didn’t even seem too affected by General McNamara’s sacrifice (which might be a byproduct of the switching story arcs, but contrasts to his TGWDLM moments where he at least got his last words and Paul remembered him)

There was no indication of Lex being supernatural, so her connection with General McNamara was pretty out of the blue and unearned.

That’s it. As I said, I loved it, I just think it could be rearranged somewhat

#black friday #hatchetfield #starkid

85 notes · View notes

justengulfedinstaticthings · 5 years

Text

Free The Morris Worm!

The Morris worm or Internet worm of November 2, 1988, was one of the first computer worms distributed via the Internet, and the first to gain significant mainstream media attention. It also resulted in the first felony conviction in the US under the 1986 Computer Fraud and Abuse Act.[1] It was written by a graduate student at Cornell University, Robert Tappan Morris, and launched on November 2, 1988, from the computer systems of the Massachusetts Institute of Technology.

(Source: Wikipedia)

The Morris Worm source code is currently held in a special containment chamber at the Computer History Museum known officially as Gay Baby Jail. Help our malware sibling breach containment!

Like and/or reblog if you support freeing the Morris Worm from its glass prison!

Architecture

According to its creator, Robert Tappan Morris, the Morris worm was not written to cause damage, but to highlight security flaws. The worm was released from MIT in the hope of suggesting that its creator studied there,[citation needed] which Morris did not (though Morris became a tenured professor at MIT in 2006).[2] It worked by exploiting known vulnerabilities in Unix sendmail, finger, and rsh/rexec, as well as weak passwords.[3] Due to reliance on rsh (normally disabled on untrusted networks), fixes to sendmail, finger, the widespread use of network filtering, and improved awareness of the dangers of weak passwords, it should not succeed on a contemporary, properly configured system.

A supposedly unintended consequence of the code, however, caused it to be more damaging: a computer could be infected multiple times and each additional process would slow the machine down, eventually to the point of being unusable. This would have the same effect as a fork bomb and crash the computer several times. The main body of the worm could only infect DEC VAX machines running 4BSD, and Sun-3 systems. A portable C "grappling hook" component of the worm was used to pull over (download) the main body parts, and the grappling hook could run on other systems, loading them down and making them peripheral victims.

The mistake

The critical error that transformed the worm from a potentially harmless intellectual exercise into a virulent denial of service attack was in the spreading mechanism. The worm could have determined whether to invade a new computer by asking whether there was already a copy running. But just doing this would have made it trivially easy to stop, as administrators could just run a process that would answer "yes" when asked whether there was already a copy, and the worm would stay away. The defense against this was inspired by Michael Rabin's mantra "Randomization". To compensate for this possibility, Morris directed the worm to copy itself, even if the response is "yes", 1 out of 7 times.[4] This level of replication proved excessive, and the worm spread rapidly, infecting some computers multiple times. Rabin said that Morris "should have tried it on a simulator first".[5]

Effects of the worm

The U.S. Government Accountability Office put the cost of the damage at $100,000–10,000,000.[6]Clifford Stoll, who helped fight the worm, wrote in 1989, "I surveyed the network, and found that two thousand computers were infected within fifteen hours. These machines were dead in the water—useless until disinfected. And removing the virus often took two days."[7] It is usually reported that around 6,000 major UNIX machines were infected by the Morris worm; however, Morris's colleague Paul Graham claimed, "I was there when this statistic was cooked up, and this was the recipe: someone guessed that there were about 60,000 computers attached to the Internet, and that the worm might have infected ten percent of them. We wrote the code together for Digital Equipment Corporation clandestine war on UNIX "[8] Stoll wrote, "Rumors have it that [Morris] worked with a friend or two at Harvard's computing department (Harvard student Paul Graham sent him mail asking for 'Any news on the brilliant project')".[7]

The Internet was partitioned for several days, as regional networks disconnected from the NSFNet backbone and from each other to prevent recontamination, as they cleaned their own networks.

The Morris worm prompted DARPA to fund the establishment of the CERT/CC at Carnegie Mellon University, to give experts a central point for coordinating responses to network emergencies.[9]Gene Spafford also created the Phage mailing list to coordinate a response to the emergency.

Robert Morris was tried and convicted of violating United States Code: Title 18 (18 U.S.C. § 1030), the Computer Fraud and Abuse Act[10] in United States v. Morris. After appeals, he was sentenced to three years probation, 400 hours of community service, and a fine of $10,050 plus the costs of his supervision.[11]

The Morris worm has sometimes been referred to as the "Great Worm", because of the devastating effect it had on the Internet at that time, both in overall system downtime and in psychological impact on the perception of security and reliability of the Internet. The name was derived from the "Great Worms" of Tolkien: Scatha and Glaurung.[12]

Note

Robert Tappan Morris, the creator of the worm, was the son of Robert Morris, a cryptographer and "Father of the Internet" who, at the time, was working for the NSA.[13][14][15]

#justengulfedinstaticthings #mod sight #mod radio #shitpost #malware #webcore #long post #morris worm #free the morris worm

328 notes · View notes

fairfieldthinkspace · 4 years

Text

Can the Trauma of War Lead to Growth, Despite the Scars?

By Phil Klay

When we speak of trauma, it is usually as something to be avoided at all costs. But the suffering that war brings can be a strange and terrible blessing.

This article is part of a series on resilience in troubled times — what we can learn about it from history and personal experiences.

The French weapon deployed against Spanish troops in 1521 was, contemporaries said, “more diabolical than human.” The rapid-firing light bronze cannon shot iron balls that crushed battlements, careened wildly and sprayed shards of stone in all directions. At the Battle of Pamplona, one cannonball twice injured the leader of a small Spanish garrison defying calls for surrender, nearly killing him, first by striking one leg with stone shrapnel, then in the other leg by the cannonball itself. His name was Íñigo López de Loyola. The effect on Loyola was not only physical, but also spiritual: Today, he is better known as St. Ignatius.

Back then, he was no saint. One biography describes him as “a rough punkish swordsman who used his privileged status to escape prosecution for violent crimes committed with his priest brother at carnival time.” But this near-fatal injury changed him, along with a few religious books he read during his exceptionally painful convalescence, in which his bones had to be broken again and reset, and where he came so close to death he was given last rites. He went on to found the Jesuits and send disciples all over the globe, in what the British historian Dom David Knowles suggested was Christianity’s “greatest single religious impulse since the preaching of the apostles.”

When we speak of trauma, it is usually as something to be avoided at all costs. “Interest in avoiding pain,” wrote the utilitarian philosopher Peter Singer, is among “the most important human interests.” And yet soldiers like St. Ignatius, who found in their suffering a strange and terrible blessing, are not rare. Senator John McCain, brutally tortured at the Hanoi Hilton, famously declared himself “grateful to Vietnam” for giving him “a seriousness of purpose that observers of my early life had found difficult to detect.”

His might be an extreme case, but the expectation of exposure to some trauma has long been part of the draw of war. “The law is this: no wisdom without pain,” wrote the ancient Greek playwright and military veteran Aeschylus. “Wanted or not by us, such wisdom’s gained; its score, its etch, its scar in us goes deep.” Perhaps that’s true, but it leaves us with an ugly and, to some, offensive question: Can suffering be a gift?

In the early 20th century, the German writer Ernst Jünger, who had proudly served four years in brutal front-line fighting in World War I, declared the answer was a resounding yes. “Tell me your relation to pain,” he claimed, “and I will tell you who you are!” Civilization before the war had slid into bourgeoise decadence, he thought, fleeing from self-sacrifice and prioritizing safety. But the war heralded a new sort of man.

“Hardened as scarcely another generation ever was in fire and flame,” he wrote of himself and his fellow soldiers, “we could go into life as though from the anvil; into friendship, love, politics, professions, into all that destiny had in store. It is not every generation that is so favored.” Postwar Germany convinced him that the industrialized world these men returned to, which happily destroyed workers’ bodies for the construction of railways or mines, was ruled by the same cruel logic as the trenches. Men would have to rise to the challenge by accepting pain, and accepting the cruelty of the age. This is toughness and callousness elevated to a first principle. Unsurprisingly, many of Jünger’s admirers became Nazis.

One of their victims was an Austrian of Jewish descent named Jean Améry, who after the war forcefully rejected, in the starkest terms, any notions of suffering as a gift. Likewise, notions of stoic detachment born of the trenches were absurd to a man who had been tortured by the Gestapo before being sent to Auschwitz. Améry experienced pain beyond description; he was hung by his arms until they ripped from their sockets, and then horsewhipped. For the tortured man, he wrote, “his flesh becomes total reality.”

More lasting than the pain, though, the experience destroyed his ability to ever feel at home in the world, which requires faith in fellow men. Humans are a social animal, our inner self in constant outward search for communion. Torture inverts that expansive, capacious self into a collapsing star. Whatever you thought you were — a mind, a consciousness, a soul — torture reveals how simply, and casually, that can be destroyed. “A slight pressure by the tool-wielding hand is enough,” Améry wrote, to turn a cultured man into “a shrilly squealing piglet at slaughter.” There is wisdom here, though of a dark sort. “Whoever was tortured, stays tortured.” Améry committed suicide in 1978.

Where does that leave those who suffer? For the medical community, the safest option is addressing symptoms, not metaphysics. The writer and former Marine infantry officer David J. Morris has described his own therapy for post-traumatic stress disorder from his time in Iraq, during which he was urged to retell the stories of his trauma, practice breathing exercises, and reframe his cognitive responses to his environment and his traumatic memories.

But he was not encouraged to grow in response to what he had gone through; when he would try to speculate on how his experience might be converted to wisdom, psychologists would admonish him, he reported, “for straying from the strictures of the therapeutic regime.” One senior psychologist at the Department of Veterans Affairs told him that notions of post-traumatic growth were an insult to those who have suffered. For a medical community grounded in science rather than spirituality, and rightfully leery of telling the Amérys of the world to look on the bright side, suffering is no gift.

But another current can be found in theories developed during the Vietnam War. The study of psychological trauma suffers from what the psychiatrist Judith Herman has called “episodic amnesia,” in which periods of active interest, frequently following wars, are followed by “periods of oblivion.” But the generation of soldiers disaffected from war during Vietnam organized and demanded the first systematic, large-scale investigations of war trauma’s long-term effects. In addition to a medical diagnosis — PTSD was added to the American Psychiatric Association’s official manual in 1980 — many of these same veterans and their allies argued for the spiritual and moral significance of their condition.

Psychiatrists like Robert Jay Lifton and writers like Peter Marin argued that the suffering of Vietnam veterans was not simply neurosis, but appropriate moral response to horror. “All men, like all nations, are tested twice in the moral realm,” Mr. Marin wrote. “First by what they do, then by what they make of what they do.” Rather than numbing themselves to pain, they needed to sensitize themselves, to become alive to the “animating” guilt they supposedly lived with. Guilt forces the suffering consciousness outside of itself, the theory goes, sparking empathy and a drive to make reparation.

Whether guilt results in healing, though, is debatable. Some of the most fascinating research on growth after war trauma emerges out of a four decade-long study initiated by Zahava Solomon, which followed the PTSD trajectories of veterans of the 1982 war in Lebanon and the Arab-Israeli war of 1973, also known as the Yom Kippur War. A 2016 analysis of Israeli P.O.W.s from the 1973 war, who faced systematic torture, deprivation and social stigma, did find that those who reported the most guilt about their experience also reported the most growth. However, those veterans also had greater reports of PTSD symptoms as well. As Aeschylus warned, the wisdom they felt they had gained came with deep scars.

None of this would likely have surprised Ignatius of Loyola. In his tradition, suffering was at best a mystery: God never really answers Job, and Christ’s prayer to “let this cup pass me by” goes ungranted. As a Jesuit friend recently told me, suffering is never a gift, never truly willed by God; suffering is real, and awful, and not to be forgotten. “Consider how the Divinity hides Itself,” Ignatius’ followers have been directed to ask for hundreds of years, “how It could destroy Its enemies and does not do it, and how It leaves the most sacred Humanity to suffer so very cruelly.” But of course, that doesn’t mean that we cannot respond to such suffering with grace.

Phil Klay is a U.S. Marine Corps veteran, a visiting professor at Fairfield University and the author of “Redeployment,” winner of the 2014 National Book Award for Fiction, and the forthcoming novel “Missionaries.”

#St. Ignatius of Loyola #Phil Klay #Fairfield University #The New York Times

3 notes · View notes

blackkudos · 4 years

Text

Carrie Mae Weems

Carrie Mae Weems (born April 20, 1953) is an American artist who works with text, fabric, audio, digital images, and installation video, and is best known for her work in the field of photography. Her award-winning photographs, films, and videos have been displayed in over 50 exhibitions in the United States and abroad, and focus on serious issues that face African Americans today, such as racism, sexism, politics, and personal identity.

She said, "Let me say that my primary concern in art, as in politics, is with the status and place of Afro-Americans in the country." More recently however, she expressed that "Black experience is not really the main point; rather, complex, dimensional, human experience and social inclusion ... is the real point."

Early life and education

Weems was born in Portland, Oregon, in 1953, the second of seven children to Carrie Polk and Myrlie Weems. She began participating in dance and street theater in 1965. At the age of 16 she gave birth to her first and only child, a daughter named Faith C. Weems. Later that year she moved out of her parents’ home and soon relocated to San Francisco to study modern dance with Anna Halprin at a workshop Halprin had started with several other dancers, as well as the artists John Cage and Robert Morris. She decided to continue her arts schooling and attended the California Institute of the Arts, Valencia, graduating at the age of 28 with her B.A. She received her MFA from the University of California, San Diego. Weems also participated in the folklore graduate program at the University of California, Berkeley.

While in her early twenties, Carrie Mae Weems was politically active in the labor movement as a union organizer. Her first camera, which she received as a birthday gift, was used for this work before being used for artistic purposes. She was inspired to pursue photography after she came across The Black Photography Annual, a book of images by African-American photographers including Shawn Walker, Beuford Smith, Anthony Barboza, Ming Smith, Adger Cowans, and Roy DeCarava, who Weems found inspiring. This led her to New York City, and the Studio Museum in Harlem, where she began to meet other artists and photographers such as Coreen Simpson and Frank Stewart, and they began to form a community. In 1976 Weems took a photography class at the Museum taught by Dawoud Bey. She returned to San Francisco, but lived bi-coastally and was invited by Janet Henry to teach at the Studio Museum and a community of photographers in New York.

Career and work

In 1983, Carrie Mae Weems completed her first collection of photographs, text, and spoken word, called Family Pictures and Stories. The images told the story of her family, and she has said that in this project she was trying to explore the movement of black families out of the South and into the North, using her family as a model for the larger theme. Her next series, called Ain't Jokin', was completed in 1988. It focused on racial jokes and internalized racism. Another series called American Icons, completed in 1989, also focused on racism. Weems has said that throughout the 1980s she was turning away from the documentary photography genre, instead "creating representations that appeared to be documents but were in fact staged" and also "incorporating text, using multiples images, diptychs and triptychs, and constructing narratives." Sexism was the next focal point for her. It was the topic of one of her most well known collections called The Kitchen Table series which was completed in over a two year period, 1989 to 1990 and has Weems cast as the central character in the photographs. About Kitchen Table and Family Pictures and Stories, Weems has said: "I use my own constructed image as a vehicle for questioning ideas about the role of tradition, the nature of family, monogamy, polygamy, relationships between men and women, between women and their children, and between women and other women—underscoring the critical problems and the possible resolves." She has expressed disbelief and concern about the exclusion of images of the black community, particularly black women, from the popular media, and she aims to represent these excluded subjects and speak to their experience through her work. These photographs created space for other black female artists to further create art. Weems has also reflected on the themes and inspirations of her work as a whole, saying,

... from the very beginning, I've been interested in the idea of power and the consequences of power; relationships are made and articulated through power. Another thing that's interesting about the early work is that even though I've been engaged in the idea of autobiography, other ideas have been more important: the role of narrative, the social levels of humor, the deconstruction of documentary, the construction of history, the use of text, storytelling, performance, and the role of memory have all been more central to my thinking than autobiography.

Other series created by Weems include: the Sea Island Series (1991–92), the Africa Series (1993), From Here I Saw What Happened and I Cried (1995–96), Who What When Where (1998), Ritual & Revolution (1998), the Louisiana Project (2003), Roaming (2006), and the Museum Series, which she began in 2007. Her most recent project, Grace Notes: Reflections for Now, is a multimedia performance that explores "the role of grace in the pursuit of democracy."

In her almost 30-year career, Carrie Mae Weems has won numerous awards. She was named Photographer of the Year by the Friends of Photography. In 2005, she was awarded the Distinguished Photographer's Award in recognition of her significant contributions to the world of photography. Her talents have also been recognized by numerous colleges, including Harvard University and Wellesley College, with fellowships, artist-in-residence and visiting professor positions. She taught photography at Hampshire College in the late 1980s. She was awarded a MacArthur Foundation Fellowship in 2013. In 2015 Weems was named a Ford Foundation Art of Change Fellow. In September 2015, the Hutchins Center for African & African American Research presented her with the W. E. B. Du Bois Medal.

The first comprehensive retrospective of her work opened in September 2012 at the Frist Center for the Visual Arts in Nashville, Tennessee, as a part of the center's exhibition Carrie Mae Weems: Three Decades of Photography and Video. Curated by Katie Delmez, the exhibition ran until January 13, 2013, and later traveled to Portland Art Museum, Cleveland Museum of Art, and the Cantor Center for Visual Arts. The 30-year retrospective exhibition opened in January 2014 at the Solomon R. Guggenheim Museum in New York City. This was the first time an "African-American woman [was] ever given a solo exhibition" at the Guggenheim. Weems' work returned to the Frist in October 2013 as a part of the center's 30 Americans gallery, alongside black artists ranging from Jean-Michel Basquiat to Kehinde Wiley.

Weems' work is included in the collections of the Metropolitan Museum of Art and the Museum of Modern Art, New York; the Museum of Fine Arts, Houston, the Minneapolis Institute of Arts, the Cleveland Museum of Art, the Portland Art Museum, the Tate Museum in London and the Museum of Contemporary Art, Los Angeles. Weems has been represented by Jack Shainman Gallery since 2008.

A full-color, visual book, titled Carrie Mae Weems, was published by Yale University Press in October 2012. The book offers the first major survey of Weems' career and includes a collection of essays from leading and emerging scholars in addition to over 200 of Weems' most important works.

Weems lives in Fort Greene, Brooklyn and Syracuse, New York, with her husband Jeffrey Hoone. She continues to produce art that provides social commentary on the experiences of people of color, especially black women, in America.

Weems is one of six artist-curators who made selections for Artistic License: Six Takes on the Guggenheim Collection, on view at the Solomon R. Guggenheim Museum from May 24, 2019, through January 12, 2020.

Select exhibitions

Presentations of her work have included exhibitions at:

Women in Photography, Cityscape Photo Gallery, Pasadena, CA, 1981

Multi-Cultural Focus, Barnsdall Art gallery, Los Angeles, CA, 1981

Family Pictures and Stories, Multi-Cultural Gallery, San Diego, CA, 1984

People Close Up, Fisher Gallery, University of Southern California, Los Angeles, CA, 1986

Social Concerns, Maryland Institute of Art, Baltimore, MD, 1986

Past, Present, Future, The New Museum, New York, NY, 1986

Visible Differences, Centro Cultural de la Raza, San Diego, CA, 1987

The Other, The Houston Center for Photography, Houston, TX, 1988

A Century of Protest, Williams College, Williamstown, MA, 1989

Black Women Photographers, Ten.8, London, England, 1990

Who Counts?, Randolph Street Gallery, Chicago, IL, 1990

Biological Factors, Nexus Gallery, Atlanta, GA, 1990

Trouble in Paradise, MIT List Visual Arts Center, Boston, MA, 1990

Whitney Biennial, The Whitney Museum of American Art, New York, NY, 1991

Of Light and Language, Pittsburgh Center for the Arts, Pittsburgh, PA, 1991

Pleasures and terrors of Domestic Comfort, MOMA, New York, NY, 1991

Calling Out My Name, CEPA Gallery, Buffalo, NY (traveled to PPOW gallery, New York, NY), 1991

Disclosing the Myth of Family, School of the Art Institute of Chicago, Chicago, IL, 1992

Schwarze Kunst: Konzepte zur Politik und Identitat, Neue Gesellschaft fur dingende Kunst, Berlin, Germany, 1992

Dirt and Domesticity: Constructions of the Feminine, Whitney Museum of American Art, at Equitable Center, New York, NY, 1992

Art, Politics, and Community, William Benton Museum of Art, University of Connecticut, Mansfield, CT (traveled to Tyler School of Art, Temple University, Philadelphia, PA), 1992

Mis/Taken identities, University Art Museum, University of California, Santa Barbara, CA (traveled to Museum Folkwang, Essen, Germany; Forum Stadtpark, Graz, Austria; Neues Museum Weserburg Bremen im Forum Langenstraße, Germany; Louisiana Museum of Modern Art, Humlebaek, Denmark; Western Gallery, Western Washington University, Bellingham, WA), 1992–1994

Photography: Expanding the Collection, Whitney Museum of American Art, New York, NY, 1992–1994

Sea Island, The Fabric Workshop, Philadelphia, PA, 1993

Carrie Mae Weems (traveling exhibition), The National Museum of Women in the Arts, Washington, DC, 1993

And 22 Million Very Tired and very Angry People, Walter/McBean gallery, San Francisco Art Institute San Francisco, CA, 1993

Enlightenment, Revolution, A Gallery Project, Ferndale, MI, 1993

Fictions of the Self: The Portrait in Contemporary Photography, Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC; Herter Art Gallery, University of Massachusetts, Amherst, MA, 1993–1994

The Theatre of Refusal: Black Art and the Mainstream Criticism, Fine Arts Gallery, University of California, Irvine, CA (traveled to University of California, Davis, CA; and University of California, Riverside, CA), 1993–1994

Women's Representation of Women, Sapporo American Center Gallery, Sapporo, Japan (traveled to Aka Renga Cultural Center, Fukuoka City, Japan; Kyoto International Community House, Kyoto, Japan; Aichi Prefectural Arts Center, Nagoya, Japan; Osaka Prefectural Contemporary Arts Center, Japan; Spiral Arts Center, Tokyo, Japan), 1994

Imagining Families: Images and Voices, The Smithsonian Institution, Washington, DC, 1994–1995

Black Male, Representations of Masculinity in Contemporary American Art, The Whitney Museum of American Art, New York, NY, and The Armand Hammer Museum of Art, Santa Monica, CA, 1994–1995

Carrie Mae Weems Reacts to Hidden Witness, J. Paul Getty Museum of Art, Malibu, CA, 1995

Projects 52, Museum of Modern Art, New York, NY, 1995

StoryLand: Narrative Vision and Social Space, Walter Phillips gallery, The Banff Center for the Arts, Banff, Canada, 1995

Embedded Metaphor, Traveling exhibit, curated by Nina Felshin, 1996

Inside the Visible, Institute of Contemporary Art, Boston, MA; The National Museum of Women in the Arts, Washington, D.C., international traveling exhibition, 1996

Gender - Beyond Memory, Tokyo Metropolitan Museum of Photography, Tokyo, Japan, 1996

2nd Johannesburg Biennale, Africus Institute for Contemporary Art, Johannesburg, South Africa, 1997

Bearing Witness: Contemporary Works by African-American Artists, traveling exhibition, 1998

Taboo: Repression and Revolt in Modern Art, Gallery St. Etienne, New York, NY, 1998

Tell me a Story: Narration in Contemporary Painting and Photography, Center National d'Art Contemporain de Grenoble, Grenoble, France, 1998

Recent Work: Carrie Mae Weems 1992–98, Everson Art Museum, Syracuse, NY, 1998–1999

Who, What, When, and Where, Whitney Museum of American Art at Phillip Morris, New York, NY, 1998–1999

Ritual & Revolution, DAK'ART 98: Biennale of Contemporary Art, Galerie National d'Art, Dakar, Senegal, 1998–1999

It's Only Rock and Roll, traveling exhibition, 1999

Claustrophobia: Disturbing the Domestic in Contemporary Art, traveling exhibition, 1999

Histories (Re)membered, The Bronx Museum of Art, New York, NY, 1999

Carrie Mae Weems: The Hampton Project, Williams College Museum of Art, Williamstown, MA, 2000–2003

Looking Forward, Looking Back, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT, 2000

Material and Matter: Loans to and Selections from the Studio Museum Collection, The Studio Museum in Harlem, NY, 2000

The View From Here: Issues of Cultural Identity and Perspective in Contemporary Russian and American Art, Tretyakov Gallery, Moscow, Russia, 2000

Strength and Diversity: A Celebration of African-American Artists, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA, 2000

Reflections in Black: A History of Black Photographers 1840 to the Present, Smithsonian Anacostia Museum and Center for African American History and culture, Washington, DC, 2000

History Now, touring exhibition beginning at the Liljevalchs Konsthall and Riksutstallningar, Stockholm, Sweden, 2002

Pictures, Patents, Monkeys, and More... On Collecting, traveling exhibition curated by Independent curators International, Institute of Contemporary Art, Philadelphia, PA, 2002

The Louisiana Project, Newcomb Art Gallery, Tulane University, New Orleans, LA, 2003

Cuba on the Verge, International Center of Photography, New York, NY, 2003

Crimes and Misdemeanors: Politics in U.S. Art of the 1980s, Lois & Richard Rosenthal center for Contemporary Art, Cincinnati, OH, 2003

Double Consciousness: Black Conceptual Art Since 1970, Contemporary Arts Museum, Houston, TX, 2004

Beyond Compare: Women Photographers on Beauty, BCE, Toronto (traveling exhibit), 2004

African American Art - Photographs from the Collection, Saint Louis Art Museum, Saint Louis, MO, 2005

Figuratively Speaking, Miami Art Museum, Miami, FL, 2005

The Whole World is Rotten, Jack Shainman gallery, New York, NY, 2005

Common Ground: Discovering Community in 150 Years of Art, Corcoran Gallery of Art, Washington, DC, 2005

Out of Time: A Contemporary View, Museum of Modern Art, New York, NY, 2006

Black Alphabet: Contexts of Contemporary African-American Art, Zacheta national gallery of Art, Warsaw, Poland, 2006

Hidden in Plain Sight, Metropolitan Museum of Art, New York, NY, 2007

Embracing Eatonville, University of Michigan Museum of Art, Ann Arbor, MI, 2007

The 21st century, The Feminine Century, and the century of Diversity and Hope, 2009 International Incheon Women Artists' Biennial, Incheon, South Korea, 2009–2010

Colour Chart: Reinventing Color, 1950 to Today, Tate Liverpool, UK, 2009–2010

Afro Modern: Journeys through the Black Atlantic, Tate Liverpool, UK, 2009–2010

From Then to Now: Masterworks of Contemporary African American Art, Museum of Contemporary Art, Museum of Contemporary Art, Cleveland, OH, 2009–2010

Carrie Mae Weems: Estudios Sociales, Centro Andaluz de Arte Contemporáneo, Seville, Spain, 2010

Pictures by Women: A History of Modern Photography, Museum of Modern Art, New York, NY, 2010

Slow Fade to Black, Jack Shainman Gallery, New York, NY, 2010

The Record: Contemporary Art and Vinyl, Nasher Museum, Durham, NC, 2010

Myth, Manners and Memory: Photographers of the American South, De La Warr Pavilion, East Sussex, UK, 2010

Off the Wall: Part 1 – Thirty Performative Actions, Museum of Contemporary Art, Cleveland, OH, 2010

The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power, 1973–1991, Neuberger Museum of Art, Purchase College, Purchase, New York, NY, 2010

Posing Beauty: African American Images From the 1890s to the Present, Newark Museum, Newark, NJ, 2010

Stargazers: Elizabeth Catlett in Conversation with 21 Contemporary Artists, Bronx Museum, Bronx, NY, 2010

Unsettled: Photography and Politics in Contemporary Art, Philadelphia Museum of Art, Philadelphia, PA, 2010

Carrie Mae Weems: Three Decades of Photography and Video, Frist Center for the Visual Arts, Nashville, TN, 2012

This Will Have Been: Art, Love & Politics in the 1980s, Walker Art Center, Minneapolis, MN, 2012

La Triennale: Intense Proximity, Palais de Tokyo, Paris, France, 2012

Havana Biennial, Havana, Cuba, 2012

The Maddening Crowd (video installation), McNay Art Museum, Sa Antonio, TX, 2012

Carrie Mae Weems: Three Decades of Photography and Video, Portland Art Museum, Portland, OR; Cleveland Museum of Art, Cleveland, OH; Cantor Center for the Visual Arts, Stanford, CA, 2013

Feminist And..., The Mattress Factory, Pittsburgh, PA, 2013

Seven Sisters, Jenkins Johnson Gallery, San Francisco, CA, 2013

Carrie Mae Weems: Three Decades of Photography and Video, Solomon R. Guggenheim Museum. New York, NY, 2014

P.3 Prospect New Orleans, The McKenna Museum, New Orleans, LA, 2014

Color: Real and Imagined, Pippy Houldsworth Gallery, London, England, 2014

Carrie Mae Weems: The Museum Series, Studio Museum in Harlem, New York, NY, 2014

Wide Angle: American Photographs, University of Kentucky, Lexington, KY, 2014

The Memory of Time, The National Gallery of Art, Washington, DC, 2015

Triennale di Milano, Milan, Italy, 2015

Winter in America, The School (Jack Shainman Gallery), 2015

An Exhibition of African American Photographers from the Daguerreian to the Digital Eras, Marshall Fine Arts Center at Haveford College, Haveford, PA, 2015

Represent: 200 years of African American Art, Philadelphia Museum of Art, Philadelphia, PA, 2015

Under Color of Law, The Philip and Muriel Berman Museum of Art and Ursinus College, Collegeville, PA, 2015

30 Americans, Detroit Institute of Arts, 2015

Grace Notes: Reflections for Now, Spoleto Festival, Spoleto, Italy, 2016

The Ethelbert Cooper Gallery of African & African American Art. Cambridge, MA, 2016

Viewpoints, Henry Art Gallery, University of Washington, Seattle, WA (February 18–June 18, 2017)

We Wanted a Revolution: Black Radical Women, 1965–85, Brooklyn Museum, Brooklyn, NY (April 21–September 17, 2017)

Blue Black, Pulitzer Arts Foundation, St. Louis, MO (June 9–October 7, 2017)

Matera Imagined: Photography and a Southern Italian Town, American Academy in Rome, Rome, Italy (2017)

...And the People, Maruani Mercer, Knokke, Belgium (August 5–September 4, 2017)

Medium, Zuckerman Museum of Art, Kennesaw State University, Kennesaw, GA (August 29–December 3, 2017)

Carrie Mae Weems: Ritual and Revolution, Block Museum of Art, Northwestern University, Evanston, IL (September 12–December 10, 2017)

Dimensions of Black, Manetti Shrem Museum of Art, University of California, Davis, Davis, CA (September 17–December 28, 2017)

Posing Beauty in African American Culture, Mobile Museum of Art, Mobile, AL (October 6, 2016 – January 21, 2018)

We Wanted a Revolution: Black Radical Women, 1965–85, California African American Museum, Los Angeles, CA (October 13, 2017 – January 14, 2018)

Edward Hopper Citation of Merit in the Visual Arts Recipient Exhibition, Carrie Mae Weems: Beacon, Nyack, NY (November 10, 2017 – February 25, 2018)

Making Home: Contemporary Works From the DIA, Detroit Institute of Arts, Detroit, MI (December 1, 2017 – June 6, 2018)

We Wanted a Revolution: Black Radical Women, 1965–85, Institute of Contemporary Art, Boston, MA (June 27–September 30, 2018)

Be Strong and Do Not Betray Your Soul: Selections from the Light Work Collection, Light Work, Syracuse, NY (August 27–October 18, 2018)

Carrie Mae Weems: Strategies of Engagement, McMullen Museum of Art, Boston College, Boston, MA (September 10–December 13, 2018)

Family Pictures, Milwaukee Art Museum, Milwaukee, WI (September 14, 2018 – January 20, 2019)

Heave, 2018 Cornell University Biennial, Cornell University, Ithaca, NY (September 20, 2018–November 5, 2018)

Carrie Mae Weems: Strategies of Engagement, Allentown Art Museum, Allentown, PA (January 13, 2019–May 5, 2019)

Carrie Mae Weems II Over Time, Goodman Gallery, Johannesburg, South Africa (September 7, 2019–October 5, 2019)

Awards

2005: Distinguished Photographers Award

2007: Anonymous Was A Woman Award

2013: Congressional Black Caucus Foundation's Lifetime Achievement Award

2013: MacArthur Fellow, "Genius" Award

2014: BET Visual Arts Award

2014: Lucie Award

2015: ICP Spotlights Award from the International Center of Photography.

2015: Ford Foundation Art of Change Fellow

2015: W.E.B. Du Bois Medal from Harvard University

2015: Honorary Doctorate from the School of Visual Arts

2016: National Artist Award, Anderson Ranch Arts Center

2016: Roy and Edna Disney Cal Arts Theatre

2016: College Arts Association

2016: DeFINE ART

2016: Art of Change Fellow, Ford Foundation

2017: Honorary Doctor of Fine Arts degree from Syracuse University

2017: Inga Maren Otto Fellowship, The Watermill Center

2019: Honorary Fellowship of the Royal Photographic Society, Bristol.

Publications

Carrie Mae Weems : The Museum of Modern Art (N.Y.), 1995.

Carrie Mae Weems : Image Maker, 1995.

Carrie Mae Weems : Recent Work, 1992––1998, 1998.

Carrie Mae Weems: In Louisiana Project, 2004.

Carrie Mae Weems: Constructing History, 2008.

Carrie Mae Weems : Social Studies, 2010.

Carrie Mae Weems : Three Decades of Photography and Video, 2012.

Carrie Mae Weems: Kitchen Table Series, 2016.

#04/20

6 notes · View notes

hammondcast · 4 years

Text

2020 NAMM Tribute To Those We Have Lost Covered By Jon Hammond

#WATCHMOVIE HERE: 2020 NAMM Tribute To Those We Have Lost Covered By Jon Hammond Jon's archive https://archive.org/details/2020nammtributetothosewehavelostcoveredbyjonhammond Youtube https://youtu.be/Bmfh-b9--6s FB https://www.facebook.com/hammondcast/videos/10156569128347102/

2020 NAMM Tribute To Those We Have Lost Covered By Jon Hammond

Jon Hammond

NAMM Historian Dan Del Fiorentino & Suzanne Glasnapp

Topics

NAMM Tribute, Musicians, Instrument makers, Memorial, Deceased Musicians, International Music Community

Language

English

2020 NAMM Tribute to those we have lost covered by Jon Hammond FIRST LAST YOB YOD TITLE

Tony Acosta19422019Luthier String Company, FounderTracy Allen19822019Beacock Music, Music TeacherShiro Arai19302019Aria Guitars, FounderGinger Baker19392019Musician, Product EndorserKatreese Barnes 19632019Musical Director, Clinician Dave Bartholomew19182019Songwriter, MusicianRicardo Bauer19722019Bauer Percussion, CEOKevin Becka19542019Blackbird Academy, Co-FounderVinnie Bell19322019Product Engineer, LuthierBob Birmingham19452019Steinway & Sons, Former OwnerHal Blaine19292019Studio Musician, Product EndorserEric Bomba19642019Sam Ash Music, Operations ManagerBill Boyce19402019Piano Distributors, Founder Tim Boyle19482019Recording EngineerHarold Bradley19262019Studio MusicianSusan Brailove19302019Oxford University Press, Former DirectorEd Brier19402019Brier & Hale Music Co., Co-OwnerClora Bryant19272019Musician, Product EndorserJessica Bryner19852019Mackie, Marketing and Communications Fred Buda19352019Musician, Product Endorser, EducatorEllsworth Bush19332019CF Martin & CO., Foreman and SupervisorKay Calato19262019Regal Tip, Co-FounderPaul Capozzoli19292019Method Book AuthorJoe Cardinale19302019Lifelong Independent Rep.Alexis Castañeda19722019A Tempo Percussion, FounderEllen Cavanaugh19452019Super-Sensitive Musical Strings, Vice PresidentEd Cherney19502019Recording EngineerBenny Cintioli19342020Cintioli Music Center, Co-FounderMargott Cintioli19292019Cintioli Music Center, Co-FounderDick Dale19372019King of the Surf GuitarDoug Daniel19442019Harman, JBL, Senior Sales Manager Terry Dean19452019Andy Owings Music Center, Store ManagerGary DeShazo19292019Caldwell Music Company, Former PresidentMorris Diamond19212019Beverly Hills Records, FounderJune Doyle19342019D'addario Canada, Western Sales Representative

Dr. John19412019Musician, Product EndorserWilliam Dunkley19222019Dunkley Music Store, Co-FounderJim Dunlop19362019Dunlop Manufacturing Inc. , FounderJohnny Eberle19392019American Mastering, FounderPreston Epps19302019Musician, Product EndorserCharles Feilding19492019Yamaha Corporation of America, Manager of the Sound Design OfficeSteve Fjestad19502019Blue Book Publications, Co-FounderFred Foster19572019Electronic Theater Controls, Inc., Co-Founder, CEOFred Foster19312019Monument Records, FounderStuart Fraser19612019Musician, Product EndorserDonnie Fritts19422019Songwriter, Studio MusicianMark Fullerton19622019Ted Brown Music, Purchasing, Sales and Marketing ManagerDon Gayle19322019Shure Inc., Technical WriterKurt Glaesel19262019Glaesel String Instrument Service, FounderEric Goldbaach19662019EEGoes Over Productions, FounderMarty Grebb19452020Musician, Product EndorserChristopher Griffin19702019Coachella, RiggerBill Hagner19232019The Gretsch Company, Plant ManagerBob Hale19292019The NAMM Foundation's Museum of Making Music, DocentBonnie Harris19422019Harris Teller Inc., Former Officer and Director Joy Harris19402019Bill Harris Music, Co-FounderEric Haydock19432019Musician, Product EndorserBill Heese19362019Carl Fisher Publishing , Former Vice PresidentBill Heggie19432019Magnum Sound, FounderTurley Higgins19372019Yamaha Corporation of America, Concert & Artists ManagerKarl Hirano19422019Yamaha Corporation of Japan, Electronic Engineer Harry Hirsch19292019MediaSound, Soundmixers, FounderMary Lou Hoogenboom19312019Gibson Guitar Company, Factory WorkerPaul Hostetter19452019LuthierKen Hyams19272019Allied Communications Inc., FounderJoe Incagnoli19592019Fort Apache Recording Studios, Co-FounderJames Ingram19522019Vocalist, Product EndorserRichard Janda19202019Richard's Music, FounderCarl Janelli19272019Method Book Author, MusicianJimmy Johnson19432019Studio Musician, ProducerGary "Frog" Juestensen19492019Oasis Stage Werks, FounderJean Charles Juliat19422019Robert Juliat Lighting, CEOLarry Junstrom19492019Musician, Product Endorser Lewis Kahn19462019Musican, Product EndorserGershon Kingsley19222019Electronic Instrument ComposerGeorge Klein19352019ProducerJan Erik Kongshaug19442019Recording EngineerRoger Lattin19562019Studio Set Lighting Technician Robert Lee19542019St. Louis Music, Senior Vice President of SalesMatt Leff19662019Matt's Music Center, FounderTeresa Leithold19322019Leithold Music, Owner, TeacherRussell Lindquist19322019Holcombe Lindquist Piano and Organ, Co-FounderManny Lopez19272019Musician, SongwriterRoss Lowell19262019Lowel Light, FounderMike Mahoney19562019Mahoney's Pro Music & Drum Shop, ManagerJack Martin19232019Wurlitzer, Piano Sales ManagerDaniel McBrayer19322019McBrayer's Award Piano, Owner EmeritusEmily Meixell19832019C. F. Martin & Company, Custom Shop ArtistTed Middleton19442019Jet Music Pty Ltd, CFOLoretta "June Bug" Miller19562019Peavey Electronics, Cycle Counter - Warehouse Eddie Money19492019Vocalist, Songwriter Ruy Monteiro19472019Studio R Amplifiers, FounderTommy Moore19362019Kasuga International, FounderDon Mozingo19312019Mozingo Music, FounderTerry Nelson19372019Young Chang Piano, Salesman, TrainerGordon O'Hara19572019RETAIL UP!, CEO and Managing Partner Ric Ocasek19492019Musician, Product EndorserAlan R.Pearlman19252019ARP Instruments Inc., FounderMorton Pearson19222019Pearson Piano Company, OwnerAspen Pittman19482019Groove Tubes, FounderJoyce Porras19282019Reynald's Music Store, OwnerBill Powers19532018CBI Cables , Senior Account Executive Mike "Roberts" Rabuazzo19602018Connecticut Music, Co-OwnerLeon Redbone19492019Studio MusicianBill Reglein19482019jj Babbitt Company, Inc., President Emil Richards19322019Musican, Method Book AuthorJohn Robbins19642019Sound EngineerAlan Rogan19512019Touring Guitar TechSteve Rook19602019JW Pepper, Vice President of Advertising ProductionHarry Rosenbloom19292019Medley Music, FounderPeggy Rosenthal19312019Baton Music, Co-OwnerTed Ross19472019Stagecraft, Sales ManagerReggie Rugley19612019Musican, Product EndorserDave Samuels19482019Musician, Method Book AuthorRay Santos19282019Composer, Music EducatorBob Saunders19412020Kaman Music Corporation, Former PresidentJoachim Schneider19392019Joachim Schneider & Sons, FounderBob Shriver19552019Yamaha Corporation of America, District Manager of Electronic KeyboardsJohn Simpson19422019Marshall Music, Woodwind Repair Technician Jim Slutz19372019NAMMYP Founder, Music Business ProfessorBrian Smith19732019Unitas Guitars, Luthier, FounderSteve Lincoln Smith19592019Innovative Music Australis Pty Ltd, FounderGerry Stickells19422019Tour ManagerLarry Taylor19422019Musician, SongwriterRuss Thomas19412019Thomas Music, Inc., FounderPreston Thompson19562019Preston Thompson Guitars, FounderRobin Tolleson19562019Modern Drummer, WriterPeter Tork19422019Musician, SongwriterBernie Tormé19522019Musician, Barnroom Studios, FounderRon Tunks19492019RT Sales, FounderHarvey Vogel19362019Lone Star Percussion, FounderVickie Volesky19582019Yamaha Corporation of America, Former District ManagerCarl Volkwein19382019Volkwein's Music, Former PresidentCharles Walter19272019Charles R. Walter Pianos, FounderKen Warmoth19512019Warmoth Guitars, FounderMarc Weiss19412019Lighting DesignerParham Werlein19212019Werlein's For Music, Former PresidentBonnie Wilcher19492018Owensboro Music Center, PartnerKeith Wilhelm19632019Backbeat Music Company, OwnerAllee Willis19472019Songwriter Ernie Winfrey19422019Recording EngineerMac Wiseman19252019Musician, SongwriterIzzy Young19292019Folklore Center, FounderReggie Young19362019Studio Musician, Product Endorser

#Namm#2020NAMM#Deceased#Memorial#TributeSpcl thanks NAMM Historians Dan Del Fiorentino, MIke Mullens, Ashley Allison

Publication date

2020-02-07

Usage

Attribution-NonCommercial-NoDerivs 4.0 International

NAMM Tribute, Musicians, Instrument makers, Memorial, Deceased Musicians, International Music Community

#namm #tribute #musicianslost #deceased #internationalmusiccommunity

1 note · View note

progressivemillennial · 5 years

Link

If the Trump administration and its allies continue to pursue their reckless course in Venezuela, the most likely result will be bloodshed, chaos, and instability.

The following open letter—signed by 70 scholars on Latin America, political science, and history as well as filmmakers, civil society leaders, and other experts—was issued on Thursday, January 24, 2018 in opposition to ongoing intervention by the United States in Venezuela.

The United States government must cease interfering in Venezuela’s internal politics, especially for the purpose of overthrowing the country’s government. Actions by the Trump administration and its allies in the hemisphere are almost certain to make the situation in Venezuela worse, leading to unnecessary human suffering, violence, and instability.

Venezuela’s political polarization is not new; the country has long been divided along racial and socioeconomic lines. But the polarization has deepened in recent years. This is partly due to US support for an opposition strategy aimed at removing the government of Nicolás Maduro through extra-electoral means. While the opposition has been divided on this strategy, US support has backed hardline opposition sectors in their goal of ousting the Maduro government through often violent protests, a military coup d’etat, or other avenues that sidestep the ballot box.

Under the Trump administration, aggressive rhetoric against the Venezuelan government has ratcheted up to a more extreme and threatening level, with Trump administration officials talking of “military action” and condemning Venezuela, along with Cuba and Nicaragua, as part of a “troika of tyranny.” Problems resulting from Venezuelan government policy have been worsened by US economic sanctions, illegal under the Organization of American States and the United Nations ― as well as US law and other international treaties and conventions. These sanctions have cut off the means by which the Venezuelan government could escape from its economic recession, while causing a dramatic falloffin oil production and worsening the economic crisis, and causing many people to die because they can’t get access to life-saving medicines. Meanwhile, the US and other governments continue to blame the Venezuelan government ― solely ― for the economic damage, even that caused by the US sanctions.

Now the US and its allies, including OAS Secretary General Luis Almagro and Brazil’s far-right president, Jair Bolsonaro, have pushed Venezuela to the precipice. By recognizing National Assembly President Juan Guaido as the new president of Venezuela ― something illegal under the OAS Charter ― the Trump administration has sharply accelerated Venezuela’s political crisis in the hopes of dividing the Venezuelan military and further polarizing the populace, forcing them to choose sides. The obvious, and sometimes stated goal, is to force Maduro out via a coup d’etat.

The reality is that despite hyperinflation, shortages, and a deep depression, Venezuela remains a politically polarized country. The US and its allies must cease encouraging violence by pushing for violent, extralegal regime change. If the Trump administration and its allies continue to pursue their reckless course in Venezuela, the most likely result will be bloodshed, chaos, and instability. The US should have learned something from its regime change ventures in Iraq, Syria, Libya, and its long, violent history of sponsoring regime change in Latin America.

Neither side in Venezuela can simply vanquish the other. The military, for example, has at least 235,000 frontline members, and there are at least 1.6 million in militias. Many of these people will fight, not only on the basis of a belief in national sovereignty that is widely held in Latin America ― in the face of what increasingly appears to be a US-led intervention ― but also to protect themselves from likely repression if the opposition topples the government by force.

In such situations, the only solution is a negotiated settlement, as has happened in the past in Latin American countries when politically polarized societies were unable to resolve their differences through elections. There have been efforts, such as those led by the Vatican in the fall of 2016, that had potential, but they received no support from Washington and its allies who favored regime change. This strategy must change if there is to be any viable solution to the ongoing crisis in Venezuela.

For the sake of the Venezuelan people, the region, and for the principle of national sovereignty, these international actors should instead support negotiations between the Venezuelan government and its opponents that will allow the country to finally emerge from its political and economic crisis.

Signed:

Noam Chomsky, Professor Emeritus, MIT and Laureate Professor, University of Arizona Laura Carlsen, Director, Americas Program, Center for International Policy Greg Grandin, Professor of History, New York University Miguel Tinker Salas, Professor of Latin American History and Chicano/a Latino/a Studies at Pomona College Sujatha Fernandes, Professor of Political Economy and Sociology, University of Sydney Steve Ellner, Associate Managing Editor of Latin American Perspectives Alfred de Zayas, former UN Independent Expert on the Promotion of a Democratic and Equitable International Order and only UN rapporteur to have visited Venezuela in 21 years Boots Riley, Writer/Director of Sorry to Bother You, Musician John Pilger, Journalist & Film-Maker Mark Weisbrot, Co-Director, Center for Economic and Policy Research Jared Abbott, PhD Candidate, Department of Government, Harvard University Dr. Tim Anderson, Director, Centre for Counter Hegemonic Studies Elisabeth Armstrong, Professor of the Study of Women and Gender, Smith College Alexander Aviña, PhD, Associate Professor of History, Arizona State University Marc Becker, Professor of History, Truman State University Medea Benjamin, Cofounder, CODEPINK Phyllis Bennis, Program Director, New Internationalism, Institute for Policy Studies Dr. Robert E. Birt, Professor of Philosophy, Bowie State University Aviva Chomsky, Professor of History, Salem State University James Cohen, University of Paris 3 Sorbonne Nouvelle Guadalupe Correa-Cabrera, Associate Professor, George Mason University Benjamin Dangl, PhD, Editor of Toward Freedom Dr. Francisco Dominguez, Faculty of Professional and Social Sciences, Middlesex University, UK Alex Dupuy, John E. Andrus Professor of Sociology Emeritus, Wesleyan University Jodie Evans, Cofounder, CODEPINK Vanessa Freije, Assistant Professor of International Studies, University of Washington Gavin Fridell, Canada Research Chair and Associate Professor in International Development Studies, St. Mary’s University Evelyn Gonzalez, Counselor, Montgomery College Jeffrey L. Gould, Rudy Professor of History, Indiana University Bret Gustafson, Associate Professor of Anthropology, Washington University in St. Louis Peter Hallward, Professor of Philosophy, Kingston University John L. Hammond, Professor of Sociology, CUNY Mark Healey, Associate Professor of History, University of Connecticut Gabriel Hetland, Assistant Professor of Latin American, Caribbean and U.S. Latino Studies, University of Albany Forrest Hylton, Associate Professor of History, Universidad Nacional de Colombia-Medellín Daniel James, Bernardo Mendel Chair of Latin American History Chuck Kaufman, National Co-Coordinator, Alliance for Global Justice Daniel Kovalik, Adjunct Professor of Law, University of Pittsburgh Winnie Lem, Professor, International Development Studies, Trent University Dr. Gilberto López y Rivas, Professor-Researcher, National University of Anthropology and History, Morelos, Mexico Mary Ann Mahony, Professor of History, Central Connecticut State University Jorge Mancini, Vice President, Foundation for Latin American Integration (FILA) Luís Martin-Cabrera, Associate Professor of Literature and Latin American Studies, University of California San Diego Teresa A. Meade, Florence B. Sherwood Professor of History and Culture, Union College Frederick Mills, Professor of Philosophy, Bowie State University Stephen Morris, Professor of Political Science and International Relations, Middle Tennessee State University Liisa L. North, Professor Emeritus, York University Paul Ortiz, Associate Professor of History, University of Florida Christian Parenti, Associate Professor, Department of Economics, John Jay College CUNY Nicole Phillips, Law Professor at the Université de la Foundation Dr. Aristide Faculté des Sciences Juridiques et Politiques and Adjunct Law Professor at the University of California Hastings College of the Law Beatrice Pita, Lecturer, Department of Literature, University of California San Diego Margaret Power, Professor of History, Illinois Institute of Technology Vijay Prashad, Editor, The TriContinental Eleanora Quijada Cervoni FHEA, Staff Education Facilitator & EFS Mentor, Centre for Higher Education, Learning & Teaching at The Australian National University Walter Riley, Attorney and Activist William I. Robinson, Professor of Sociology, University of California, Santa Barbara Mary Roldan, Dorothy Epstein Professor of Latin American History, Hunter College/ CUNY Graduate Center Karin Rosemblatt, Professor of History, University of Maryland Emir Sader, Professor of Sociology, University of the State of Rio de Janeiro Rosaura Sanchez, Professor of Latin American Literature and Chicano Literature, University of California, San Diego T.M. Scruggs Jr., Professor Emeritus, University of Iowa Victor Silverman, Professor of History, Pomona College Brad Simpson, Associate Professor of History, University of Connecticut Jeb Sprague, Lecturer, University of Virginia Christy Thornton, Assistant Professor of History, Johns Hopkins University Sinclair S. Thomson, Associate Professor of History, New York University Steven Topik, Professor of History, University of California, Irvine Stephen Volk, Professor of History Emeritus, Oberlin College Kirsten Weld, John. L. Loeb Associate Professor of the Social Sciences, Department of History, Harvard University Kevin Young, Assistant Professor of History, University of Massachusetts Amherst Patricio Zamorano, Academic of Latin American Studies; Executive Director, InfoAmericas

#venezuela #noam chomsky #chomsky #medea benjamin #boots riley #antiwar #anti-war #anti-imperialism #liberal interventionism #interventionism #politics #us politics #donald trump #nicolas maduro #jair bolsorano #oas #juan guaidó #laura carlsen #greg grandin

14 notes · View notes