ArsRSS Calls and Opportunities http://net18reaching.org/artrss/ Current Term Specific News Feed en-us Sat, 01 Nov 2014 00:00:05 -0500 240 <![CDATA[El Paso Biennial 2015 - El Paso, TX and Ciudad Juarez, Chihuahua, MX]]> Found: deadline, awards, award
Solo exhibition and purchase awards. Deadline: February 1, 2015

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<![CDATA[The Nor'Easter: 45th Annual Juried Members Exhibition - New Britain, Connecticut]]> Found: deadline, awards, award
$1,750 in awards. Deadline: November 14, 2014

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<![CDATA[East Lansing Art Festival - East Lansing, Michigan]]> Found: deadline, awards, award
$10,000 in awards. Deadline: January 31, 2015

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<![CDATA[Delray Beach Plein Air Competition - Delray Beach, Florida]]> Found: deadline, awards, award
$2,000 in awards. Deadline: January 30, 2015

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<![CDATA[Louisiana Watercolor Society 45th International Exhibition - New Orleans, Louisiana]]> Found: deadline
Over $8,000 in cash prizes. Deadline: January 20, 2015

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<![CDATA[Lakefront Festival of Art - Milwaukee, Wisconsin]]> Found: deadline, awards, award
$10,500 in awards. Deadline: November 25, 2014

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<![CDATA[International Call for Entry, Black and White 2014 - New York, NY]]> Found: deadline, awards, award
$3,000 total awards. Deadline: November 23, 2014

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<![CDATA[Sculpture Entries: Art in Public Places - Knoxville, Tennessee]]> Found: deadline, awards, award
$8,000 in awards, plus stipend. Deadline: January 28, 2015

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<![CDATA[Idaho Falls 7th Annual National Juried Exhibition - Idaho Falls, Idaho]]> Found: deadline, awards, award
$1,500 in cash awards plus a Purchase Award (up to $1,000). Deadline: January 23, 2015

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<![CDATA[Artlink's 35th Annual National Print Exhibition - Fort Wayne, Indiana]]> Found: deadline, awards, award
$2,500 in awards, plus purchase awards. Deadline: January 23, 2015

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<![CDATA[Rainbow Plane 002: Kiev]]> Found: opportunity

For the Future Generation Art Prize in Kiev, Ukraine, I installed a new version of the Rainbow Plane: a 1:1 outline of an aircraft, as seen by a satellite.

The “rainbow plane” effect, which I first came across some years ago, and spoke about in 2011, is caused by the pan-sharpening technique of satellite imagery. Rather than taking a photograph, satellite sensors record electromagnetic radiation in the red, blue, green, and high-resolution panchromatic (black-and-white) bands (as well as several not visible to the human eye, as this Mapbox post helpfully explains). When these bands are combined to produce a visible image, fast-moving objects – like planes in flight – don’t quite match up, producing the rainbow effect.

Rainbow Plane (Google Maps)

The previous Rainbow Plane was an experimental supersonic jet which never flew; this one is very real. It’s a Gulfstream V, one of a class of numerous private jets produced by the General Dynamics-owned aerospace company. (General Dynamics also built the F-16 Fighting Falcon, and founded General Atomics, which produces Predator and Reaper drones).

The Gulfstream V is one of the most popular business jets on the market, used by private individuals including Russian oligarchs and Google founders, corporations, and governments. Military variants include Israel’s fleet of G550 SEMA surveillance planes. One Gulfstream V also became notorious as the “Guantanamo Bay Express”, one of the most frequently used planes in the CIA rendition programme.

Gulfstream

For me, the Rainbow Plane stands for the moment when we see how technology sees the world, and thus how technology both obscures and reproduces political intent. Just as private aviation is used by power to exceed and evade national and legal jurisdictions, and satellite networks are deployed to measure and surveil the globe, analogous technologies can be used to invert and render visible these relationships.

Like the appearance of secret flights on civilian radar websites, the rainbow plane is a window into the workings of private networks of transit, rendition, surveillance and governance. The rainbow plane is a true “glitch”, where we see not an error, but a glimpse of how systems really function, allowing us to better understand and act within them. An aesthetic which reveals not the surface, but the depth of things.

Rainbow Plane 002 - 1

Rainbow Plane 002 - 2

Rainbow Plane 002 - 3

Rainbow Plane 002 - 4

The Rainbow Plane is installed in the City Arena centre adjacent to the PinchukArtCentre in Kiev until 4 January 2015. More photographs of the installation are available at Flickr.

I’m very grateful to the PinchukArtCentre staff and everyone at the Future Generation Art Prize for the assistance and opportunity to realise this work.

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29 October 2014, 9:21 am bc33dd935f26271a2204fbb891dc6cfe
<![CDATA[Received by Post: Printed Web, TBD, and the Moving Museum]]> Found: call, submit

Three items have recently arrived by post, three publications, collaborations, and projects:

Printed-Web

The Library of the Printed Web is a project by Paul Soulellis, “a collection of works by artists who use screen capture, image grab, site scrape and search query to create printed matter from content found on the web”. The first issue launched at Printed Matter’s LA Art Book Fair in January 2014, while this, the second edition, launched at Printed Matter’s NY Art Book Fair at MoMA PS1 in September, featuring work by Constant Dullaart, Daniel Temkin, John Zissovici, Cheryl Sourkes, Brian Droitcour, Tan Lin, Angela Genusa, Webdriver Torso, Rafaël Rozendaal, Olia Lialina, Cory Arcangel – and me.

For the book, I submitted three spreads of Landsat images, based on my Laaaaaaandsat tumblr, a continuously updated record of imagery released into the public domain by the Landsat program, the longest running enterprise for acquisition of satellite imagery of Earth. One thing I love about Landsat, out of many, is its continual partial rotation of the photographic frame, caused by the alignment of every image to north – a north which has no real meaning once you’re out in space – which results in a tipsy quavering of the images on the page and screen. It is also, in part, an homage to the archive view, and the endless scroll which so perfectly reproduces the experience of the web itself.

TBD

Back in October of 2012, I participated in a three-day workshop in Detroit organised by the Near Future Laboratory, called To Be Designed. The ultimate aim of this gathering was to produce a catalogue of design fictions: provocations from the near future. As Julian Bleecker, who did all of the heavy lifting, described it: “The products in the catalog serve as stand-ins and props that are representative of the everyday drama implicit in their existence”. The final result arrived last week, and is very lovely indeed: the TBD Catalog.

You can purchase a copy from the Near Future Laboratory, and read more about the project on their blog.

Moving-Museum-LP

As part of the Moving Museum show in London at the end of last year – for which I made the Occupy the Cloud public banner installation – the Vinyl Factory commissioned sound works and cover images from nine of the participating artists and created a handsome limited edition box set of LPs.

BEGIN PGP PUBLIC KEY BLOCK (Alice and Bob worked for the NSA all along), my contribution to the set, is a recording of my PGP Key – specifically my Public Key, which is what I send to people so that I can share encrypted emails with them. The format is based on that of number stations, those cryptic Cold War shortwave broadcasts commonly attributed to espionage. In particular, it uses the call sign of the Lincolnshire Poacher. Watch and listen below, or on Vimeo.

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14 October 2014, 7:59 am c9e871d4bf20f965d45706b41b47aa0a
<![CDATA[AQD: Remembrancer]]> Found: calls, call

The Remembrancer

A Quiet Disposition, my weak AI for gathering information about drones, is now open to the public online, and anyone can review it. AQD scours the public internet for information about UAVs of all forms, and analyses it, extracting names, companies, locations, and anything else it can make sense of. Running since January 2013, the database contains 25,644 people, 33252 documents, and 76414 terms – all linked by semantic analysis, bearing the signature of the drone.

I’ve previously shown AQD as a set of books, and a related visualisation, combing through the database to find pairs of names, linked by incriminating terms. The development of AQD has been assisted by the Open Data Institute’s Data as Culture programme, and for the Victoria & Albert Museum’s Digital Design Weekend, AQD has taken the form of a free newspaper, called The Remembrancer. 3000 of them are stacked up in the sculpture galleries, to be distributed over the course of the weekend. The editorial written for the back page of this publication can be found below.

The Remembrancer

In a series of articles in the Washington Post in October 2012, reporter Greg Miller revealed the existence of the Obama administration’s strategic database for pursuing terrorists, a “next-generation targeting list” called the “disposition matrix.” This database contains the names of suspected terrorists, together with “an accounting of the resources being marshalled to track them down, including sealed indictments and clandestine operations.”

The purpose of the disposition matrix is to determine the targets for the US covert drone programme, an ongoing programme of assassinations in Pakistan, Yemen, Somalia and possibly elsewhere. Previous to the announcement of the disposition matrix, the administration had repeatedly denied the existence of the so-called “kill lists”, but the killing continued. Between June 2004 and the end of 2013, these attacks killed an estimated 3105 people in Pakistan alone, including 535 known civilians and 175 children. (Sources: The Bureau of Investigative Journalism, New America Foundation.)

Drones—unmanned aerial vehicles—are a secretive technology, by nature and by design. Intended to operate in distant and hostile environments, they remain largely invisible both to their intended targets, and to the democracies which consent to their use. They also freight this secrecy to other areas of operation. Named spokespeople do not discuss the drones, they are the domain of the “unnamed official”. Even the London Metropolitan Police, in response to a series of Freedom of Information requests, have asserted the exception of the drone, and refused to discuss its use in civilian contexts. This secrecy extends to the information gathered on its behalf, the reams of data, and the means by which it is analysed and processed. In 2010, the New York Times reported that this deluge of data gathered by drones was overwhelming military analysts, who were looking to ‘big data’ solutions from the television and news industries to understand what they were seeing. The disposition matrix, too, is likely to consist of such automated, algorithmic systems to analyse and interpret the data fed into it. How much of its analysis is performed by humans, and how much by machines, we are unlikely to be told.

Occasionally, we are given glimpses into the ways the disposition matrix makes decisions, how it decides who will be killed. In February 2014, the Intercept revealed that the Joint Special Operations Command, which controls drone strikes in Yemen, Somalia, Afghanistan and elsewhere, often based its attacks on automated analysis of cell phone data: a cell phone signal detected at a known meeting of suspicious individuals and later detected travelling down a desert road in a remote part of the country could be enough to incriminate the person carrying it. A former JSOC High Value Targeting Team member stated that: “People get hung up that there’s a targeted list of people. It’s really like we’re targeting a cell phone. We’re not going after people – we’re going after their phones, in the hopes that the person on the other end of that missile is the bad guy.” These attacks are called “signature strikes”, undertaken on the basis not of a name, but on the signature, the appearance, of information itself.

This information is known as “metadata”. It consists not of the data itself—what people talk about, what they are planning—but the associations between them, networks of relationships which purport to reveal something about their intentions. NSA General Counsel Stewart Baker has stated that “metadata absolutely tells you everything about somebody’s life. If you have enough metadata, you don’t really need content.” During a debate at John Hopkins University in April 2014, Michael Hayden, a former Director of both the NSA and the CIA, confirmed that position, and went further: “We kill people based on metadata.”

A Quiet Disposition is an automated intelligence-gathering system which lives on the civilian network—the internet. It scours the web for information about drones, collected from news stories, blog posts and company reports. Using an open-source semantic analysis programme called Calais, developed by Thomson Reuters, it analyses the content of these texts to harvest their metadata: the names of people and places, of companies and organisations. From this information it builds a map of associations, its own network of inference and intention. Through their association, however distant, with the drone programme, these people and companies are implicated in the wider uses and abuses of the technology. A Quiet Disposition is a weak artificial intelligence: collecting information, drawing connections, building a picture. Since its inception in January 2013, the database has expanded to include some 25,000 people, 32,000 documents, and almost 75,000 “terms”—locations, technologies, titles and industries.

The City Remembrancer is an officer of the City of London, the financial and semi-independent centre of the nation’s capital, whose role is to communicate the desires of the City to parliament. Writing in the Guardian, George Monbiot described the Remembrancer thusly: “The City of London is the only part of Britain over which parliament has no authority. In one respect at least the Corporation acts as the superior body: it imposes on the House of Commons a figure called the remembrancer: an official lobbyist who sits behind the Speaker’s chair and ensures that, whatever our elected representatives might think, the City’s rights and privileges are protected.”

The City of London is also home to the FTSE 350 index, a list the largest 350 companies by capitalisation which have their primary listing on the London Stock Exchange. Of these 350 companies, 46 are known to A Quiet Disposition, identified in its long trawl through the deep web. Some of these companies are directly associated with the drone programme, such as BAE Systems and Qinetiq which design and build automated systems, to less obvious suspects, such as British Telecom, which constructed the dedicated fibre-optic link from RAF Croughton in Northamptonshire to Camp Lemonnier in Djibouti used by the US Air Force to operate drone strikes. Other companies may seem even more distant, but in their dealings the system has, somehow, detected the signature of the drone. They are implicated by association.

The Remembrancer, this newspaper, is one form of the information held in the database—but it’s barely readable. Or at least, its readable, but its near incomprehensible. The stories it tells are generated from the information it has gathered, in the same way that spam emails are generated: text from real sources, garbled by the machine as it attempts to make sense of them, and tell them back to us. Terms which are significant to the system are highlighted, weighted with meaning, but the meaning assigned to them by an algorithm, a non-human near-intelligence. The information it has gathered is too vast to be comprehended in its totality by us, but we must try to make sense of it. Lives depend upon it.

“Big Data”, the slippery term for the overwhelming flood of information unleashed by our increasingly surveilled and analysed world, is both promise and menace. It plays into our universal desire to know more about the world, and thus to operate in it more efficiently, but downplays the extent to which the world is shaped by the data that we choose to gather, the technology that gathers it, and the politics of those who design that technology. Increasingly, we inhabit a world where decisions are made by unknowable machines; not a dystopian future, but a banal recreation of the present, constructed from the traces of phone calls, credit card transactions, voting records. In this world, we must take responsibility not only for our own actions, but the actions of the vast non-human assemblages we have built around us—from corporations to complex software systems—and acknowledge the moral and physical limits of our technologies, and ourselves.

The Remembrancer

View the whole newspaper at Flickr.

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20 September 2014, 4:01 am aeb3736aeb0da04af8ab523b54c609e5
<![CDATA[Spectacular Sports Visualisations]]> Found: calls, call, award

The 2014 World Cup in Brazil marks the first time that goal-line technology has been used for FIFA’s international tournament and with that in mind National Football Museum commissioned me to give an overview of where these systems are coming from, and where they might be going. This essay was originally published at The Commentary Project.

When Google unveiled its long-awaited wearable computer, Glass, in June of 2012, it did so through what might be called a lifestyle montage, a series of extreme sports events performed by “some of the world’s top athletes”. The Glass-wearers first skydived out of an aeroplane, then took to mountain bikes to manoeuvre through the conference centre onto the event stage. Throughout, what was streamed to viewers in the auditorium and watching online was not footage of the athletes undertaking the events, but what the athletes themselves were seeing, their point of view. What is spectacular about Glass, despite its real power as a connected, networked object, and what almost all discussion of it concentrates on, is its camera, the ability to see from another’s viewpoint, and everything this reveals.

While miniature high-definition cameras such as the GoPro Hero – particularly popular with the extreme sports community, bracketed to helmets, handlebars and snowboards – have made POV shots possible for a while, there’s something about Glass’ head-mounted position which appeals, as if it were not a camera, but the eye itself. Basketball teams have been early adopters of Glass. The Sacramento Kings, Indiana Pacers and Orlando Magic have all used Glass to enhance the “fan experience” by sharing headsets between announcers, resting players, support staff and coaches, and relaying the feed to giant screens above the action – but the NBA has yet to permit the use of Glass on court during play itself.

Another function of these cameras, aside from both the focus on, and the freedom from, a human-centred viewpoint, is that they transform our idea not only of vision, but also of memory. Many wearable cameras are marketed as such, like ‘Memoto’ (now rebranded as ‘Narrative’) and ‘Autographer’, small wearable digital cameras clipped to the chest or hung round the neck which photograph the owner’s viewpoint almost continually, building a continuous stream of images and data called a ‘lifelog’. The promise of such devices is total recall (“we can remember it for you wholesale”) – a promise, of course, which is always illusory.

A more rugged version of Glass, Broadcast Sports Inc’s head-mounted Ref Cam, has been deployed by Major League Soccer in the US. While it looks like a massive pain to wear, its wide-angle lens, bobbing with the referee’s pace, seems to open up a correspondingly wide field of view from the centre of the field, which feels liberating after the surveillance-like gaze of stand-mounted cameras. This is in stark contrast to Sky Sports’ version in the UK, whose chest-mounted ref cam was derided by former England hooker Brian Moore, writing in the Telegraph that “apart from nausea nothing was added to the viewing experience and the only previously unseen footage was that of the sky or the top of the scrum.” Moore’s real point, however, was that there was a fundamental flaw in the idea that such cameras could capture more of the “truth” of the game unfolding in front of them: “What is seen on camera is not a true rendering of what is actually perceived in a stressful moment.” Moore even cited a 2010 science paper on the use of wearable cameras by the Hillsboro, Oregon, Police Department, which found that even when every moment of a police investigation was recorded digitally, this evidence still had the potential to mislead officers, the judiciary and juries because of “the lack of understanding of important factors like the field of view, focus of attention and interpretation” – which sounds, too, like the advice of a particularly astute sports coach.

Indeed, much debate which happens in sports commentary around technologies of vision and adjudication would not sound out of place in academic journals of both the sciences and the humanities. Sporting fields have become the testing grounds for these technologies, providing as they do enclosed, hermetic fields of view, and strictly managed rules of movement and engagement – the kind of laboratory only dreamt of by scientists developing surveillance and monitoring platforms for military and urban situations, their most common applications.

When the English and Australian cricket teams faced each other in the Ashes series of the Summer of 2013, much of the commentary-box discussion focussed on the use of the new Umpire Decision Review System (DRS), a suite of technologies which assist – or rather, overrule – the umpire adjudicating some of sports greatest unknowables, the LBW, and the snick. Of course, these technologies, intended to increase accuracy, only inflamed controversy as their own accuracy was questioned as much as the human umpires. LBW is, after all, an epistemological problem – the question of whether a ball which strikes the batsman would have struck the wicket were the batsman not there is a question for Plato, not for machines. Nevertheless, cameras and sensors descended from military targetting systems are trained on the wicket in order to determine the best possible answer, and the algorithms which make up this situation determine the outcome of games – much to the frustration of many players and spectators. As Test Match Special commentator Jonathan Agnew, echoing Moore, noted: “The problem with the introduction of technology is the expectation of 100% accuracy” – a simple observation, but one which cuts to the heart of applying such supposedly rigorous approaches to sport, a fundamentally human endeavour which thrives on close calls, points of view, and, ultimately, chance.

Digital cameras are always more than cameras: they do not just make images, they ‘see’ and process them. Every connected digital-imaging system is also a computer, observing and making decisions about what it sees. This distinction is particularly well illustrated by “freeD” technology, which stands for Free Dimensional Video, a proprietary imaging system which debuted at Yankee Stadium in the 2013 Baseball season. Video feeds from multiple 12-megapixel cameras around the ground are combined within a dedicated server to produce a three-dimensional “scene”, through which the director can manoeuvre a virtual camera to produce unlimited, even “impossible” points of view. The entirety of the game world is simultaneously captured and re-viewed as a simulation. As with Eadweard Muybridge’s development of high-speed photography, which first allowed us to perceive a galloping racehorse with all four feet off the ground, the augmentation of the eye with technological systems allows us to see sport in new ways.

This total release of the visible “point of view” from any “human” viewpoint corresponds to the perceived freeing of decision-making from human error. This summer, the Football World Cup will for the first time utilise goal-line technology to determine whether the ball has crossed the line. Several different systems competed for selection, including the version of Hawk Eye used in Premier League, but the one which was chosen is a German surveillance system called GoalControl 4D. A total of fourteen cameras mounted on the stadium roof capture the three-dimensional position of the ball to within a few millimetres, enabling not only accurate decisions about goal-line crossings to be immediately relayed to referees via wrist-mounted “smart watches”, but also stored, replayed, and endlessly reanalysed. As in Cricket, the deployment of such decision systems has been much debated and often opposed, most volubly by FIFA president Sepp Blatter who has stated that “Other sports regularly change the laws of the game to react to the new technology. … We don’t do it and this makes the fascination and the popularity of football”. In this too we hear the deeply felt but ultimately fruitless appeal to the idea of sport as a fundamentally human endeavour, not at risk from, but essentially composed of, human frailty and fallibility.

Fruitless, of course, because we apparently find ourselves incapable of resisting the technological promise of an ever greater, ever more incremental, approach to some impossible “truth”, a Zeno’s arrow fired by a linesman towards the centre of the field. In sport, this truth-of-outcome is inextricably linked to the truth-of-performance, wherein one competitor, one side, ‘deserves’ to win because they are better prepared, better trained, better deployed, better equipped with what, in military circles, is referred to as “battlefield awareness”, leading to “full spectrum dominance of the battlespace”. As such, the same technologies of surveillance and appraisal are applied not just to decision-making during play, but also to data-gathering for post-game analysis by commentators and coaches alike.

From the beginning of the 2011-12 season, the NBA started installing STATS LLC SportVU cameras in basketball arenas, a technology expected to be mandated by the end of 2014 (again, like the application of surveillance systems in civilian environments, what begin as experiments in technology are ultimately and almost always codified in law). The SportVU system consists, like GoalControl, of a network of cameras around the arena connected to a data-processing system which tracks not only the ball in play, but individually identifiable players as well. The system’s sophisticated algorithms are capable of determining not only positioning, but through situational analysis, the events produced by and at these locations, such as dribbles, passes, touches and shots. The data is used to produce official NBA stats for every game, but also – for teams which pay a subscription of around $100,000 per year – to analyse and determine optimal strategy for the players themselves.

In March 2013, the Grantland blog revealed that the Toronto Raptors were using the data to – among many other things – “build computerized “ghost defenders” that reacted in optimal ways to every offensive action. The team could then overlay camera recordings of actual game play to see how closely Toronto’s real players mirrored the actions of their ghosts.” Once again, the real-world action on the court is filtered and replayed through simulations in order to re-direct the action back in meatspace. This is what is really driving the adoption of seeing systems in sport: truth-of-outcome not only produced by truth-of-performance, but, through technological feedback, fine tuning that performance as well.

To see where such systems might go in the future, we need only look to their current limitations – and the parallels of and responses to those limitations in other, surveillance-saturated spheres. Cairos Systems was another German-based bidder for the World Cup goal-line job, using a system called GLT which embedded magnetic sensors into the frame of the goal, and into the ball itself (of course, Cairos also has a system, called VIS.TRACK, which tracks player performance data through a network of cameras). On their website, Cairos writes – unusually explicitly for a technology company, that “In football, there are many decisions and scenes that may be discussed controversially. In the end the truth often lies in the eye of the beholder. Penalty or not? Red card or a dive? Active or passive offside?” It goes on to state that whether or not the goal line is crossed is one decision which “is clearly defined by the rules and does not leave space for interpretation. The question whether or not a goal has been scored can be decided without any doubts due to the rules.” As such, this particular decision is particularly amenable to technological intervention.

The counter-examples given here – penalties, red cards, offside – are instructive, because they fit far better what Brian Moore called the “focus of attention and interpretation”, the contentious, context-is-everything moments of sporting contact. Once again, we are in the domain not of observation, but of inference. The claim is now being made, however, that many automated, intelligent surveillance systems cannot only determine what happened, they can infer intent; they not only look back, but forward.

A study by the universities of Bradford and Aberystwyth in conjunction with the UK Border Agency in 2011 used video cameras and high-definition thermal imagery – essentially the same technology used to detect the “hot spot” in cricket – alongside yet more algorithms to determine whether study participants were lying. Telling signals such as eye movement, dilated pupils and nose wrinkling are visible to the human/video eye, but thermal imagery also reveals subconscious swelling of the blood vessels around the eye, a sign of distress or fear which signals that untruths may be in play. The UKBA stressed, as they prepared to install such systems at UK airports in the summer of 2012, that the technology is only useful when paired with an experienced human judge – and by that logic, why should it not be deployed alongside positioning cameras in the stands of the World Cup, to assist referees in determining which of two participants in a contested foul is telling the truth?

Why, after all, should we wait for fouls and other offences, such as offside, to be committed? It should be just as easy to award penalties and free kicks on the basis of players’ intent, and would be much safer and fairer for all involved. Recently, the US Department of Homeland Security’s “Project Hostile Intent”, for example, secured funding for a host of technologies claiming to predict crime based on “suspicious” behaviour. One of them, another camera-server assemblage produced by BRS Labs, uses “a range of in-built parameters of what is ‘normal’, [and] can track up to 150 people at a time to build up a “memory” of suspicious behaviour to begin determining what is inappropriate.” They are currently being installed in more than 300 locations in San Francisco, with strong expressions of interest from other global cities – although, as yet, none from FIFA. But if such systems can be trusted to protect our lives and livelihoods from the threat of terrorist attack, then surely they can be trusted to prevent another Hand of God?

Blatter, Moore, and Agnew, are all, surprisingly or not, for better or worse, at the forefront of a debate which extends far beyond the playing field. When we see sport through the eyes of the machines, we fundamentally change the nature of sport – and reveal, too, the extent to which the rest of society is reformed by our drive to visualise and reframe it with these technologies. As in so many ways, sport itself becomes the lens through which we understand ourselves.

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29 June 2014, 4:36 am f03acc6964c1ddc19e1bffbf2547e41c
<![CDATA[#Rorschcam NYC]]> Found: call, residency

I just arrived in New York for a three-month residency at Eyebeam. I had a rough first week, but on Monday fellow resident Ingrid Burrington showed me the Department of Transport’s online traffic cameras for New York City. I’d wanted to do a new rorsch-thing for a while (see, previously, Rorschmap and Rorschmap: Street View Edition) – and, as the streetview version was a little love letter to London, I thought I could redeem myself with this city by making it something nice: so I did.

rorschcam1

#Rorschcam NYC takes hundreds of live New York traffic cameras, from all five boroughs, and makes what I call rorsches out of them; simple, reflected auto-images – or the network dreaming the city.

They look pretty great at night too (see this Flickr set for more screen captures – but they’re better live):

rorschcam2

Like the city itself, it’s a little grimmer, a little darker than London. And then you start to see the stories. Have fun exploring.

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11 March 2014, 10:35 am 9d893baf571b3918983210bdf10ccc4a
<![CDATA[Planespotting]]> Found: call

Today is International Migrants Day. Last week, I wrote about the failed deportation of Isa Muaza. Yesterday, Unity Centre Glasgow announced that another appeal by Muaza’s legal team had failed, and he was rescheduled for deportation, alongside a large number of others, on Tuesday night.

Blog_01

I heard at about 7pm that several detainees had been loaded onto vans at Harmondsworth Detention Centre and were on the move. I didn’t know where they were headed, but I knew that many previous flights had left from the private aviation area at Stansted Airport, a largely un-signposted collection of car parks and hangars on the western side of the airport. I arrived there at 8, just in time to see the first of several coaches and security vans, together with a police escort, arrive at the Inflite Jet Centre, a private customs and handling facility mostly used by private jets.

The coaches, five in all and probably from several different detention centres, arrived between 8 and 9, and were accompanied by silver vans bearing the logo of security company Tascor, formerly Reliance, who took over the role of deportation escorts from G4S in 2011 following the death of Jimmy Mubenga. Tascor has a page on its website called Our Values, where it boasts: “We steer clear of politics”. Most of the coaches were from WH Tours in Crawley, although one bore the bright yellow sun and jaunty typography of Just Go!

Blog_05

It is profoundly uncomfortable watching anonymous people of colour being loaded on and off vans and planes in the middle of the night under tight security. When you know a little of the background of the detainees, when you read their claims of torture and violence, their long battles to secure asylum, the institutional racism and homophobia, it’s terrible. But even without knowing these things, the manner in which it is done should tell you everything you need to know. The British Human Rights lawyer Gareth Peirce writes in Dispatches from the Dark Side, on UK complicity in torture, that “what is in fact the law precisely mirrors instinctive moral revulsion” but that “in this country, the government hardly needs such acceptance, since here the additional and crucial factor is that the public is unlikely to be given sufficient information to trigger revulsion.” Hence the night, the private terminals, charter flights, the hired coaches. All of this is deliberate: it is a policy of not being seen.

The detainees were kept on the coaches for some time, and there appeared to be some confusion about when they were going to depart. It’s standard practice in this situation to bring extra “reserve” deportees to the airport without warning, a practice condemned as inhumane by some MPs and the Inspector of Prisons. Before deportation, each detainee is issued with a plane ticket which gives the flight time – 22:20hrs in this case – and a flight number. As the flights are chartered, the flight number – here PVT091 – is internal, so it’s impossible to find out more details about it, except by going to the airport. The Home Office has been running deportation charter flights for some time, under as much secrecy as they can get away with, and refuses to disclose the companies involved in case it damages their commercial relationships. The ongoing deportation of Nigerians on charter flights is called “Operation Majestic”, but there are regular flights to many other countries, including “popular destinations” such as Pakistan and Afghanistan. Corporate Watch published a comprehensive report on what they call collective expulsion last month.

Blog_02

On the tarmac by the jet centre sat a Titan Airways 767. Titan Airways is based at Stansted, and describes itself as “the UK’s most prestigious charter airline.” Its fleet ranges from small business aircraft to widebodied airliners:

Since it’s foundation in 1988, Titan Airways has grown into the UK’s most prestigious charter airline, specialising in bespoke air charter, tour operator programmes and high end / corporate air travel as well as airline sub charter and aircraft leasing. It brings the very best standards of care and comfort to all its passengers. Once safely aboard, they can relax and enjoy our superb in-flight service and a wide choice of cuisine and fine wines to complete the experience. Titan’s modern, reliable aircraft can operate from all major international and regional airports day and night, 365 days a year.

It’s cold, and wet, and dark, and some of the deportees have been sitting on board coaches for hours, while Tascor guards mill about, smoke and chat. As it approached midnight, there was more activity around the plane, and it appeared that all the deportees were on board as the coaches left the terminal compound empty and parked up outside. (The next day, Unity tells me that two people were taken off the flight at the last minute, but those people estimated that around 80 Nigerians and Ghanaians were on board, including Isa Muaza, who was taken straight to hospital on arrival in Lagos, and a woman who married a British citizen two years ago, and was not expected to be deported).

Blog_04

You can watch flights taking off from the far side of the airport, from a muddy lane alongside the north end of the runway. On the way over to it, I was stopped by the Police, who had been told I had been seen around the private aviation area. They were happy that I was a ‘spotter’ looking for planes – and advised me to join Essex Police’s Plane Watch scheme – but also warned me that the private aviation section was a restricted area, and I shouldn’t go there.

At 00:27, the Titan Airways 767 roared down the Stansted runway and into the night. Moments before, its call-sign appeared on Flightradar: AWC48A. And from there, an aircraft registration number: G-POWD.

We can see G-POWD on approach to Lagos a little after 6am. Two hours later, it’s on the move again, making the hop westwards from Lagos to Accra, the capital of Ghana, where it makes another stop. And then at 11am it appears to lift off back in the direction of London – at time of writing, it is probably somewhere over North Africa.

Flight_000

Flight_001

Flight_002

Flight_03

When I got back to my car around 1, I had a flat battery, and had to wait for a repair man. When he arrived, and I explained what I was doing in this godforsaken place, he told me he’d been at the Inflite Terminal recently too, to jump-start a brand-new Tascor transporter van, whose driver told him these flights happen all the time, and nobody knows about it, not even most of the people who work at the airport. “Makes you think,” he said. “Makes you think.”

*

Photos are available at Flickr

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18 December 2013, 11:19 am e89e215eac93545ed6af598bc198fd46
<![CDATA[Recent Work, November 2013: Render Ghosts, GPS, Landsat.]]> Found: call

render-desert

For some time, I have been threatening to write about the Render Ghosts. I was asked to contribute something to Electronic Voice Phenomena, an online literature and art project by Mercy and Penned in the Margins, and so I wrote about my recent trip to New Mexico, in search of the Render Ghosts:

I first noticed the Render Ghosts on the hoardings surrounding a new development near Finsbury Square. On the balconies of some vast, virtual tower, two pixelated figures looked out over a darkened London, a perfect red-pink gradient sunset behind them. He had short dark hair and stubble, wore a black jacket and blue jeans. She had a cropped red bob, white jacket, and a purple knee-length skirt. I didn’t know who they were, but I started seeing them everywhere.

Read the full piece over at EVP.

I also have a short essay and illustrations in the wonderful new Visual Editions‘ book of writing and maps, Where You Are, which also includes contributions from Joe Dunthorne, Geoff Dyer, Olafur Eliasson, Sheila Heti, and more.

VE5_WhereYouAre_LR10

To ask “Where You Are” invites a series of responses: cartographic, historical, social, spiritual, situational; discursive or prescriptive. The GPS system is a monumental network that provides a permanent “You Are Here” sign hanging in the sky, its signal a constant, synchronised timecode. It suggests the possibility that one may never need be lost again; that future generations will grow up not knowing what it means to be truly lost.

The book is available to order now, but you can read the essay, and see the illustrations (much beautified by the designers at Bibliothèque), alongside all the other contributions on the Where You Are website.

The astute among you might notice a strong similarity between the diagrams in Where You Are and the piece I made for Container some months back:

gps-container

This 3D-printed object is the same thing under discussion in Where You Are:

This is a model of the Global Positioning System (GPS), a constellation of 24 satellites, in six orbital groups of four satellites, each orbital plane at 55 degrees inclination, and 60 degrees right ascension to its neighbour, 20,200 kilometres above the surface of the earth; a machine we are all living inside.

I’d had the original model sitting on my desk for some time before Tim asked me for a contribution to Container. In trying to draw and understand the GPS system as an abstract machine, I’d modelled the constellation in Sketchup – it was a natural step to flip-flop this nest of intersecting cones of influence back into the physical realm again, so that I could roll it between my fingers, as Einar and I did with airfix models of the drones, before the shadows (Einar’s own thinking about GPS, with Timo and Jørn, led to the Satellite Lamps project.) I call this the “Close Encounters” method.

landsat

A while back, I started the Laaaaaaandsat tumblr, which automatically posts, several times a day, every image released by the USGS Landsat observation programme – an ongoing, comprehensive survey of the planet by another satellite, 700km above the earth’s surface.

The endless stream of off-kilter images – reoriented so North is ‘up’ – remains a endless source of pleasure. So when Aperture magazine asked for 200 words on “What Matters Now” in photography, I thought of this little robot cameraman in the sky. 200 words is not enough, but it’s in the new issue.

NASA’s Landsat is the longest-running program dedicated to photographing the Earth from space, and has created millions of images since its inception in 1969. The first satellite, Landsat 1, was launched on July 23, 1972, atop a Delta 900 rocket from Vandenberg Air Force Base in California. Its mission was to photograph the whole Earth using three cameras which see both visible light and the near-infrared, and a four-channel multispectral scanner. The scanner was the project’s greatest innovation as it reveals hidden details about the planet’s surface, producing data and imagery used for everything from disaster relief, to agriculture, to studying climate change.

In February of this year, the program continued with the launch of Landsat 8. This incarnation features a more powerful scanner which sees in the ultraviolet; the panchromatic; the shortwave, near-, and thermal-infrared; revealing the presence of dust and smoke, of chlorophyll, of sub-surface rock formations, and the shape of clouds. The satellite captures four hundred images every day, creating a complete picture of the planet every sixteen days. Every one of these images is in the public domain, allowing every one of us to use, benefit from, and marvel at this ever-growing, ever-changing automated portrait of our planet.

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15 November 2013, 7:55 am 8b6908130db927b884e2c503ebf340d0
<![CDATA[The Truth podcast: Eat Cake]]> Found: calls, call
Can coconut cake + random phone calls = love? Find out in our alternative Valentine's Day radio drama from US producer Jonathan Mitchell
Francesca Panetta

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14 February 2011, 9:22 am 196e56db861cfa8df85f0beefe71e779
<![CDATA[The Heckle 02: Mistaken identities]]> Found: awards, award
In the Guardian's daily podcast from Edinburgh, Lucy Porter and Brian Logan mull over mistaken identities with Phill Jupitus and Andre Vincent and comedy bigwigs report on this year's if.comedy awards, plus Phil Nichol.

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7 August 2007, 5:35 am c98463d1678f7b9315b468b8d649985e
<![CDATA[Joar Nango]]> Found: residency, residence

Norwegian-Sámi artist and architect Joar Nango presents a new body of work that responds to Vancouver’s changing urban landscape. Informed by his ongoing research into the creative DIY building techniques found in Sámi architecture, Nango’s practice highlights the role of local knowledge in creating livable communities: championing indigenous approaches to design and alternative models for social space.

Joar Nango (b. 1979, Alta, Norway) lives and works in Romssa, Norway. Inhabiting the frontier between architecture, design and art, Nango’s practice explores issues of native identity through contradictions in contemporary architecture and the built environment. In particular, he is interested in the creative simplicity and sustainable knowledge that exists within informal building environments of the north. In 2010 Nango co-founded the architectural collective FFB specializing in temporary structures and interventions in urban contexts. FFB was nominated for Norsk Form’s prize for young architects in 2012. Joar Nango has exhibited internationally, including recently as part of 43SNA, Medellin, Colombia (2013), the Norwegian Sculpture Biennale at Vigelandsmuseet, Oslo, Norway (2013), and Archizines at the Storefront for Art and Architecture, NYC, USA (2012). Recent solo exhibitions by Nango have been presented at Gallery SAW, Ottawa, Canada (2013), Knipsu, Bergen, Norway (2012), and SDG in Karasjok, Norway (2011). Currently he is artist-in-residence at the Office for Contemporary Art Norway’s residency program in Beijing, China.

 

Produced with the generous support of the Office for Contemporary Art Norway.

 

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27 October 2014, 12:55 pm ad163270ad2a2d5e5d2b4529b8424439
<![CDATA[Neo Nativism versus New Music]]> Found: call, residence, awarded, awards, award

Advance $15 / $10   BUY TICKETS

Door $20 / $12

 

In 1989, a group of young Aboriginal artists took the floor at the Western Front for an influential multi-media performance entitled Neo Nativism, an expression of traditional Aboriginal culture through new technology. Fall 2014 marks its 25th anniversary and to celebrate Russell Wallace, one of Neo Nativism’s founding members, curates a night of New Music revisiting it’s original aim to connect tradition with modernity. The evening features contemporary Aboriginal performances by Leonard Fisher, new music co-composed by Russell Wallace and Remy Siu; Pat Ernst and Lan Tung; Michael Park and Warren Arcand, and arrangements of traditional and contemporary Aboriginal music by Tony Wilson for the Salt Chuck City Ensemble, a large ensemble of new music, jazz and Aboriginal artists.

The week leading up to this performance, artist Russell Wallace will explore playback transformation of ancient found reel-to-reel audio tape which he will cut and weave into a neo Coast Salish cape. You can follow it online at “Echoic Chamber.

_____

POST-CONCERT TALK BACK SESSION

Third in the series, this post concert talk back session features composers and originators of Neo Nativism.

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Biographies

Russell Wallace is a composer, producer and is a traditional Lil’wat singer. Russell’s music has been part of a number of soundtracks (film, video, television) and theatre/dance productions. He was the composer in residence for the Chinook Winds Aboriginal Dance program from 1996-2003 at the Banff Centre for the Arts. He has produced CDs that have been nominated for awards at the Junos, Canadian Aboriginal Music Awards, and at the Native American Music Awards in the USA. Currently Russell works and teaches at the NEC Native Education College. Russell was commissioned by the Nunavut Government to compose music for the Formation of the Nunavut Territories inaugural Gala in April 1999, by the University of Toronto for Aboriginal Music Days in 2000, and by the Westcoast Sacred Arts Society in Vancouver to compose a new choral work with Hussein Janmohamed for the Dalai Lama’s visit to Vancouver in 2004.

Remy Siu ( 蕭逸南 ) is an emerging composer based in Vancouver, BC. He studied at SFU Contemporary Arts with David MacIntyre, Owen Underhill, Janet Danielson, Jeffrey Ryan, Arne Eigenfeldt, and Barry Truax. His work has been performed by the Vancouver Symphony Orchestra, the Victoria Symphony, the Turning Point Ensemble, the Erato Ensemble, Musica Intima, and Quatuor Bozzini. He also composes and performs with Dissonant Disco (a Vancouver music collective) and Hong Kong Exile (an interdisciplinary art collective). Currently, he works on the staff of “Sound of Dragon Society,” a non-profit focused on asian music while “preserving heritage, [and] seeking innovation.” He has worked with Henry Daniel, Steven Hill, Rob Kitsos, and MACHiNENOiSY, among others in the Vancouver arts community. In 2012, he was artist-in-residence at the New Westminster River Market. He has produced two sold-out shows: ASCENSION (string quintet + dance) and Attacca 2012. He was featured in the Georgia Straight 2012 Fall Arts Preview. The Vancouver Sun described his music as “characterized by vibrant, driving rhythms and brash sonorities.”

Pat Ernst has been playing the violin for 20+ years. He grew up in Whitehorse, Yukon where he studied the Suzuki violin method as well as celtic and bluegrass fiddle. He has since completed a diploma in classical music as well as a diploma in jazz studies from Capilano University. He is a local violin teacher teaching at Capilano University in North Vancouver as well as in Squamish and Vancouver.

Playing a dynamic role in the Canadian music scene, Lan Tung is an erhu performer, composer, producer, and administrator. Originally from Taiwan, she incorporates Chinese music with contemporary expressions in her works. At the same time, an intensive interest in music outside her tradition has been a major drive in her artistic explorations. Lan is the leader of the JUNO nominated Orchid Ensemble, and she performs with Birds of Paradox, Tandava, Vancouver Inter-Cultural Orchestra, Mozaico Flamenco Dance Theatre, among many other projects. She has toured extensively in North America, working with composers, musicians, dancers, visual and media artists of various cultural backgrounds. Since moving to Canada in 1994, Lan has premiered numerous contemporary compositions, including chamber, solo, orchestral and electro-acoustic works, by Canadian composers John Oliver, Hope Lee, Moshe Denburg, Mark Armanini, Jin Zhang, Janet Danielson, Barry Truax, Neil Weisensel, Paul Plimley, Yawen V. Wang, Farshid Samandari, Michael Vincent, and Grace Lee.

Michael Park is a composer and pianist with a keen interest in speech, humour, and collaboration. His music aims to give audiences an experience beyond the realm of traditional concert-going. Heralded for his innovative projects, his Ted Talk Experiencing Disease Through Music has been described as moving, haunting, and an amazing translation of Alzheimer’s. Awarded the Gold Medal and BMO Advocacy Award, his opera, Diagnosis: Diabetes will be premiered during the Boston Metro Opera’s 2014-15 season. Michael’s compositions have been performed in Vancouver at the Sonic Boom Music Festival and the Songfire Festival of Song, as well as concerts presented by Music on Main, the Erato Ensemble, and pianist, Corey Hamm. His music has been presented in Winnipeg by Flipside Opera and the Contemporary Opera Lab, and in New York by Opera On Tap. Currently a DMA Candidate at The University of British Columbia, Michael previously completed graduate studies at The University of Western Ontario (2009), and undergraduate studies at the University of Manitoba (2007). His principal composition teachers include Dorothy Chang, Omar Daniel, Peter Paul Koprowski, Gordon Fitzell, and Orjan Sandred.

Warren Arcand currently resides on Galiano Island, BC. He’s primarily known for his work in performance art. The bulk of his work has been presented in Vancouver, with occasional forays to Victoria, Toronto, and Saskatchewan communities. His family comes from Muskeg Lake and Big River First Nations in Saskatchewan. His current interests include making images, text-based work and short film and video. He’s the past artistic director for the Centre of Indigenous Theatre, Toronto. An important formative influence on his life and work has been and continues to be his association with the artistic communities surrounding the Western Front and grunt Gallery.

Tony Wilson is “unquestionably one of the most original guitar stylists on the Canadian scene.” He has studied with many acclaimed jazz musicians including Oliver Gannon, Dave Holland, John Abercrombie, Kevin Eubanks and Steve Coleman. Tony’s compositions have been played by artists as diverse as the NOW Orchestra, The Hard Rubber Orchestra, Myra Melford, Kokoro Dance, Marilyn Crispel, Francois Houle and Zubot and Dawson. His five main active groups are the Tony Wilson Sextet, the powerhouse Albert Ayler tribute band called Flowers for Albert, the Irish-influenced group Celtic Works, the Pugs and Crows, and the John Zorn inspired Bugs Inside.

      

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25 October 2014, 12:55 pm 3d30137f703b20a2a4b782dbc878c64f
<![CDATA[Colum McCann - October 10 2014]]> Found: award
Author Colum McCann on receiving the 2014 Royden B. Davis, S.J. Distinguished Author Award from the Univ. of Scranton's Friends of the Weinberg Memorial Library Oct. 18. Reception is @ 5 p.m. Dinner & award presentation in the DeNaples Center follows. Book signing 4-5 p.m. Reservations required for award ceremony. kym.fetsko@scranton.edu or 570-941-7816

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9 October 2014, 11:00 pm 03e41166c6896800d7e7e15066651a13
<![CDATA[Collective Works: Questions and Answers]]> Found: residence, award

FREE

In conjunction with their performance of LIQUID TRUST, international video installation artists Susanne Clausen and Pavlo Keresty of Szuper Gallery, and musician-in-residence and curator of Music and Movement Mondays Ben Brown introduce their approaches to collaboration, mixed media, and contemporary practices.

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Biographies

Szuper Gallery (London, UK and Munich, Germany) is a co-operation between Susanne Clausen and Pavlo Keresty that presents filmed and live performances, video installations, interventions, and curatorial projects that incorporate multi-media installations and crash choreography. Szuper Gallery has exhibited at various international venues including the Institute of Contemporary Arts (London), Kuntshalle Wien (Vienna), Whitechapel Art Gallery (London), Lenbachhaus Museum (Munich), Kunsthalle Helsinki (Helsinki), Western Front (Vancouver), Shedhalle (Zurich), and Zeh Gallery (Kiev).

Ben Brown is a Vancouver-based musician, composer, and member of the Juno award-winning group Pugs and Crows. He has collaborated with contemporary and ballet dancers including Justine Chambers, Heidi Bunting, Lee Su-Feh, Kenny Pearl, Edmond Kilpatrick, and Megan Walker Straight. He is a mainstay in Vancouver’s creative music scene, performing with Jill Barber, Michael Bates Quartet, The Unsupervised, The Crackling, and the C.R. Avery Band. He is the founder of a new weekly collaborative series between live musicians and dancers entitled Music and Movement Mondays. He has recently returned from a Canadian tour with Tony Wilson and the Pugs and Crows and his duo with Vancouver vocalist/pianist Alicia Hansen is set to release their new album entitled “Companion” in the fall, 2014.

 

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20 July 2014, 12:38 pm 16d9d1a59fd9e3fc29174843b45879dc
<![CDATA[Krista Belle Stewart]]> Found: residency

Vancouver-based artist Krista Belle Stewart will be producing a new media work along with research during her two-month residency. Her work engages the complexities of intention and interpretation made possible by archival material. The work approaches mediation and storytelling to unfold the interplay between personal and institutional history. Stewart has exhibited in numerous group exhibitions, most recently as part of Fiction/Non-fiction at the Esker Foundation (2013), Where Does it Hurt? at Artspeak (2014), and the Western Front production Music from the New Wilderness (2014). She is a member of the Upper Nicola Band of the Okanagan Nation.

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15 July 2014, 12:47 pm 77be7b811db753f0eb3fb3c904149d3e
<![CDATA[Oscar Tusquets Blanca – The Gaulino Chair]]> Found: award
Oscar T. Blanca, designer (Spanish, b. 1941), B.D. Barcelona Designs, manufacturer Gaulino Armchair, 1987 Indianapolis Museum of Art, Robertine Daniels Art Fund in Memory of Her Late Husband, Richard Monroe Fairbanks Sr., and Her Late Son, Michael Fairbanks, 2013.4

Oscar T. Blanca, designer (Spanish, b. 1941), B.D. Barcelona Designs, manufacturer
Gaulino Armchair, 1987
Indianapolis Museum of Art, Robertine Daniels Art Fund in Memory of Her Late Husband, Richard Monroe Fairbanks Sr., and Her Late Son, Michael Fairbanks, 2013.4

Oscar Tusquets Blanca (who prefers we use both surnames) was born in 1941. The Barcelona native trained as an architect and began working as a designer of furniture and objects in 1972 with BD (Barcelona Design). Since then he has won several award,s including the Spanish National Design Award. Tusquets Blanca designed the Gaulino chair in 1987 and it is a prime example of Spanish design and functional art. Every angle of the Gaulino chair has beautiful complex lines bringing joy to your eyes as you follow along its subtle, sculptural curves. This is the result of his friendship with Salvador Dali and his interests in painting and writing. It seems clear he was also inspired by Antoni Gaudi and Carlo Mollino for which he named the chair.

The Gaulino chair, winner of the 1989 Industrial Design Prize, has a handmade appearance yet it was his first industrial project in wood. Its structure is made of solid ash and is available in a natural varnish, oak stain or black stain. The oak seat can be upholstered in black, natural, or honey leather. It can be stacked, but what a crime that would be! This is a gorgeous piece that I want to sit in, touch, and be close to in order to study every detail. The anamorphic shapes speak to me and fascinate me. I am not surprised to learn that Tusquets Blanca considers this chair one of his best works. The Gaulino chair is now a part of the Design Arts permanent collection at the IMA.

— Marika Klemm, ASID, Marika Designs, LLC

Tusquets Blanca’s Gaulino chair is an inspired mix of masculine and feminine lines. It may be a dining chair but I prefer to see it as a stand-alone chair that exudes an international design ethos of beauty and functionality. At first glance, the Gaulino chair has a masculine stance on the floor that dares you to have a seat. Yet its machismo belies the feminine, almost sensual, lines of the seat and arms which draw you in and seal the deal. Some will use the Gaulino with the matching table. Others will place it in any room as a side chair to add a sophisticated, sublime and lean design element for the occasional aperitif, but I would use it as the ultimate desk chair, in black, at a small writing desk.

— Michael Lubarsky, DAS Member

 

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16 August 2013, 2:21 pm 7caa5db64db9e341c31482c07a46aba4
<![CDATA[Straw Bale Gardening: A How-To Guide]]> Found: jury

1. Start with a bale of Straw.

Bale1

2. Saturate it with water for about 3 days.

Watering a straw bale

3. Sprinkle the top of the bale with 1/2 cup granular nitrogen fertilizer and continue watering, adding 1/2 cup fertilizer for the next 3 days. Then for the next 3 days only add 1/4 cup fertilizer and water.

4. On day 10, begin digging 3 holes in the the top of the bale, a little larger than the plant pot diameter. Then fill the holes with potting soil or compost, or a combination, and water gently.

A straw bale with holes in it

A straw bale with dirt filled in the holes

Be sure to dig your holes slightly larger than the plant pot diameter

5. When the soil is no longer hot to the touch, plant and water gently. Clean gallon milk jugs with their bottoms removed make a good cloche if the temperature drops suddenly!

A planted straw bale with a watering pale

6. Continue watering gently and occasionally add dilute fertilizer or compost tea about once per week. The continued watering will leach the fertilizer out.

A straw bale with plants in it

Advantages to Straw Bale Gardening

  • Easier (raised) for folks with limited mobility
  • Useful if your garden soil is poor
  • Useful if you have little or no soil in which to garden
  • Virtually no weeding (Don’t use hay bales!)
  • Don’t have to rotate crops, use a fresh bale each year
  • At season’s end, provides great compost for rest of garden

Possible Disadvantages to Straw Bale Gardening

  • May look a little messy as the bale decomposes
  • Bales dry out quickly, so ultimately may use too much water…jury is still out on this one

 

 

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5 June 2013, 8:00 am b7dfbe038892baee8e89a874f91645ef
<![CDATA[Join us for the Aimia | AGO Photography Prize winner announcement]]> Found: awarded, award
The crowd at last year's Aimia | AGO Photography Prize winner announcement, Nov. 7, 2013.

The crowd at last year’s Aimia | AGO Photography Prize winner announcement, Nov. 7, 2013.

This Wednesday, October 29, join the AGO, Aimia, the Walrus Foundation and host Garvia Bailey for the Aimia | AGO Photography Prize winner announcement. The public voting period, which began in August, ends at 11:59 p.m. tonight, and one of the Prize’s four shortlisted artists will be awarded $50,000 at the private event. Watch the livestream starting at 7 p.m. watch the livestream on the Aimia | Photography Prize homepage or The Walrus‘s website.

And, if you haven’t yet, cast your vote!


Image via Twitter.

Image via Twitter.


About Garvia Bailey
Garvia Bailey has been a broadcast journalist for more than 10 years and currently hosts Good Morning Toronto on JAZZ.FM91. She spent 10 years with the Canadian Broadcasting Corporation. She got her start in the world of independent film with the start up production company Channel Zero – telling stories of social unrest around the world and with the CBC, she served as the host of Canada Live and Radio 2 Top 20 on CBC Radio 2, Backstage Pass on CBC-TV, Big City Small World and was a contributor at cbcmusic.ca. Throughout her career in broadcasting she has turned the spotlight on emerging talent from across the GTA and has interviewed many celebrated international artists including Jimmy Cliff, Maestro Fresh Wes, Russell Peters, Melanie Fiona and M.I.A.

Follow Garvia on Twitter

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27 October 2014, 9:35 am 866969ccf22cc0d3f79093049755abb3
<![CDATA[Art on wheels: Meet the Aimia | AGO Photography Prize Art Truck]]> Found: opportunity, residency, award

For the first time, the Aimia | AGO Photography Prize is bringing its talented finalists to the streets. The travelling Aimia | AGO Photography Prize Art Truck will feature video footage of the four shortlisted artists discussing their practices, offering a glimpse into their artwork and allowing visitors an opportunity to vote for who should win the $50,000 prize. Track the location of the Art Truck using the hashtag #ArtIsMoving or follow the Prize on Twitter @AimiaAGOPrize.

The Art Truck arrives in Toronto on Sept. 27, 2014, making its first stop at the Sony Centre for the Performing Arts on Front Street East and continues onto a number of locations across the city.

The Art Truck was created to break the Prize out of gallery walls and making it accessible by all who walk by. Voters will have the opportunity to win an expenses-paid trip to Toronto, a private tour with an AGO curator, dinner for two at the AGO’s FRANK restaurant, tickets to the exclusive winner announcement and 15,000 Aeroplan® Miles.

Making appearances at several key locations and festivals across Toronto, the Art Truck can be found at:

The Prize, co-presented by Aimia and the AGO, will award each of the four artists a six-week artist residency in Canada and will feature their work in an AGO exhibition, on now through Jan. 4, 2015. The winner will be chosen by public vote via the Prize’s website and Facebook page until Oct. 27, 2014 at 11:59 p.m. The winner will be announced on Oct. 29, 2014, at the AGO, and the Art Truck offers a unique way of voting by using iPads, so that all visitors to the truck can have their say.

The 2014 finalists are:

  • David Hartt (Canada);
  • Elad Lassry (Israel/USA);
  • Nandipha Mntambo (South Africa); and
  • Lisa Oppenheim (USA).

Search for #ArtIsMoving on Twitter to follow the Art Truck around town. For updates on the Prize, further details on the shortlisted artists and additional information, please visit AimiaAGOPhotographyPrize.com and follow @AimiaAGOPrize on Twitter.

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25 September 2014, 1:26 pm d049e5cb5621d28a52c6e96f88d3c2db
<![CDATA[Meet the artists of the 2014 Aimia | AGO Photography Prize shortlist]]> Found: calls, call

Together with our partners at Aimia, we were excited to announce the 2014 Aimia | AGO Photography Prize shortlist on Aug. 13. Below, learn about the four artists from around the world who were our jurors’ top picks, then head to the Prize website to see more of their work and choose your favourite.


David Hartt

Image courtesy of the artist.

Image courtesy of the artist.

“Our understanding of ourselves is deeply rooted in the spaces we occupy.”

David Hartt was born in Montreal and currently lives and works in Chicago. In his installations, which include photographs, videos, and sculptures, he explores how physical spaces reflect the ideas and beliefs of a particular time and place. By investigating the materials, symbols and histories that shape our surroundings, Hartt calls attention to the ways our built environments exist and evolve. After extensive research and site visits, he distils this material into complex and elegant installations.

Artist’s web page

On David’s work:
David Hartt by Aimee Walleston for Art in America
David Hartt: Stray Light at the Studio Museum in Harlem by Andrew Russeth for Gallerist


Elad Lassry

Image courtesy of the artist.

Image courtesy of the artist.

“The questions for me are about this very mysterious unit that is the picture. It brings on a set of assumptions and built-in ways of looking with which I am in constant battle.”

At the centre of Israel-born, Los Angeles-based artist Elad Lassry’s work is the question: “What is a picture?” His practice suggests that the photograph is an elusive “unit.” Lassry uses multiple aesthetic modes and technologies to create analog images, digital interventions, moving pictures, design applications and applied arts that seem utilitarian but produce complex visual sensations. His ongoing investigation leads him to refer back to and experiment with a variety of visual sources – textbooks, manuals, film stills, marketing materials and science texts – which at turns contradict and play off one another in his work. Lassry uses this dynamic to pinpoint what he calls a “contemporary condition” in which the photograph is a flexible entity, seductively powerful and yet untrustworthy. “Once the photograph is not what it appears to be,” Lassry asks, “what else is at stake?”

Artist’s web page

On Elad’s work:
Elad Lassry by Gillian Young for Art in America
Elad Lassry at David Kordansky via Contemporary Art Daily


Nandipha Mntambo

Image courtesy of the artist.

Image courtesy of the artist.

“I’m interested in uncovering that binary – that in-between space that you can’t always pinpoint or articulate.”

Nandipha Mntambo was born in Swaziland and lives in Johannesburg. She originally trained as a sculptor and then expanded her practice to include photography, performance, and video. Her work investigates such dualities as male and female, attraction and repulsion, animal and human, European and African. Mntambo makes sculptures from cowhide, using her own body to mould the forms. In many of her videos and photographs, she appears wearing her sculptures, suggesting our capacity as individuals to shape the world around us, while also highlighting the forces that form us, including notions of race, gender and history.

Artist’s web page

On Nandipha’s work:
Nandipha Mntambo: Hide & Seek by Kudi Maradzika for AkAthemag
Visiting Artist Profiles – Nandipha Mntambo by Matthew Harrison Tedford for ArtPractical


Lisa Oppenheim

Image courtesy of the artist.

Image courtesy of the artist.

“I want the viewer to ask, ‘What am I looking at? How is it made?’ Somehow, that provides a way of critically reading how images come to all of us through our daily lives.”

Lisa Oppenheim, who lives and works in New York, creates photographs and videos that connect historical imagery and techniques with the present moment. Her process often begins with online research, to source images that she reinterprets using old and new technologies. Oppenheim also employs unusual materials as negatives – fabric, lace, slices of wood – directly recording the objects’ specific textures to create near-abstract compositions. Through her experiments with analog darkroom and digital methods, Oppenheim gives photographic images new forms and new contexts, inviting us to question and to wonder.

Artist’s website

On Lisa’s work:
Lisa Oppenheim by Shama Khanna for Frieze
Lisa Oppenheim: Elemental Process by Brian Sholis for Aperture

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15 August 2014, 10:19 am 822f14b9c0563690f281c6f80964a2e0
<![CDATA[TTTOW - A unique film festival]]> Found: opportunity, submissions, submission, deadline
TTTOW or Taxi Takes on The World is a unique film festival where anyone across the world can participate. All you need is a camcorder (a smartphone will do!), a taxi ride and the ensuing conversation with the taxi driver - recorded and sent to the organizers. 




Yes, its as simple as that. But what exactly is this film festival about? 

The Taxi Takes on the World is a crowd sourced interactive documentary about conversations between drivers and passengers from inside taxis all around the globe. This user generated project aims to harness honest grassroots interactions and present the world’s ‘video takes’ on matters that affect us all. 


“Talks inside taxis are usually between people of diverse backgrounds and so offer a variety of perspectives. These ‘takes’ have the power to blur boundaries and bridge cultures. The Taxi Takes on the World will showcase crowd sourced video stories that mainstream media ignores about times when people find common ground and break stereotypes about the ‘other’. Mobile technology allows a democratization of media which aligns with my work’s vision for how new media will shape our future. This film festival will be part of a traveling film festival and offers a great opportunity to showcase citizens’ stories of brotherhood” - Vandana Sood - Giddings, Creator, Founder, Executive Director.

Date & Venues


The film festival will be held from The 21ST of September 2013 to the 2nd of October 2013 in Jammu and Kashmir, New Delhi, Punjab and Manipur. Kashmir and Manipur are both conflict states of India. 

This film festival is a partnership between The Taxi Takes on the World project and Standing Together to Enable Peace, Trust (STEP) a non-profit organization established in New Delhi in 2009.

Themes


The film festival will focus on certain broad themes:

  • Religious and ethnic conflict
  • War and terror
  • Race
  • Gender
  • Class
  • Culture

Each of these broad global topics has regional nuances that the mainstream media often overlooks. Through the prism of the taxi, where every day people from often widely disparate backgrounds meet, this film festival will tell a story about how, given the right space, we all can understand each other and speak a common language.

Where & How to

Need guidance on how to go about it? Check out this short prezi that suggests the kind of questions you can ask to begin a conversation and start your take. Find the application procedure, rules & regulations all on the TTOW submissions page.

Hurry, the submissions deadline is September 10, 2013!

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22 August 2013, 1:40 pm d0adb23994c64fad4eae2c21551a7229
<![CDATA[How Apple's new computers impact filmmaking]]> Found: calling, call

The new Macbook Pro and iMac announced by Apple on October 24 heralds a major shift in the way PCs will be designed and have a cumulative impact on digital filmmaking.



Below are some of the major upgrades that affect the digital filmmaking process:

1.    No Optical Drive: Both the new Macbook Pro with retina display and the new iMac have done away with the DVD drive, with Apple calling it  obsolete in the age of blazing broadband speeds when movies and television can be easily streamed online or downloaded. The new iMac does have 2 Thunderbolt ports and 4 USB 3.0 ports to allow connection of external hard drives and other devices. Seeing that Apple is usually the trendsetter in computer design, we can expect competitors like HP and Dell to follow suit. This could spell the death knell for the DVD industry, and moviemakers will now be looking to go completely digital. Of course, home theatre systems and bluray players will ensure that the home video market doesn’t completely evaporate in the near future, but the transition to a more 'online' movie watching experience is surely on its way.  

2.    Much better screen resolutions: The new iMac has a full HD display (1,920 × 1,080 pixels) for the 21.5” version and 2,560 × 1,440 pixel for the 27” version. It certainly translates into a better film/video watching experience and the computer being used for watching movies and gaming more than ever. The Macbook Pro with Retina display boats of a tantalizing 2,560 x 1,600 at 227 pixels per inch. This one has four times the screen resolution of the previous 13-inch version of the MacBook Pro.

3.    Super powerful processors: The new 21.5” iMac starts with a config of Intel Core i5 Quad Core 2.7 Ghz Processor with 8GB RAM , 1GB dedicated NVIDIA graphics and 1TB hard disk. Even the Macbook Pro with Retina display is all about performance, speed and graphics. It boasts of an Intel dual-core i5 Ivy Bridge processor clock at 2.5 Ghz (minimum) For graphics it has the Intel HD 4,000 graphics support. The RAM is 8 GB and its all-flash storage has three configurations available: 256 GB, 512 GB, or 768 GB. Such top-end configurations in the base models bode well for popular film editing applications like Final Cut Pro.  Apple will be looking to release an even more powerful version of its flagship video editing app to utilize the full potential of its new line of computer devices.

The rise of smartphones and tablets coupled with faster broadband speeds have already given a fillip to the various kinds of digital filmmaking, both in terms of production and post production.  Apple’s new line of smart computers will be prove to be another turning point, particularly because the optical drive has been dropped across its iMac and Macbook Pro ranges.

What do you think of Apple’s new devices, and their potential impact on filmmaking?

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26 October 2012, 12:04 pm 011880692e3f5039023c6a19fbf277a8
<![CDATA[George Clooney honoured at Palm Springs Film Festival]]> Found: awards, award

George Clooney will receive the Chairman's Award for his acting work in The Descendants and his directing of The Ides of March at the 2012 Palm Springs International Film Festival.

The award will be presented on January 7 at PSIFF's annual Awards Gala, a black-tie event that always hands out an array of awards to luminaries who figure to be in the Oscar race.

Like the awards given at the Santa Barbara International Film Festival in late January, the Palm Springs event has become a valuable stop on the Oscar campaign trail. Previous recipients of the Chairman's Award include Dustin Hoffman, Nicole Kidman and Ben Affleck.

Oscar-nominated actress Michelle Williams will also be rewarded for her portrayal of Marilyn Monroe in “My Week With Marilyn,” which is already generating Oscar buzz.

Williams, 31, will receive the Desert Palm Achievement Actress Award at the Palm Springs International Film Festival awards gala at the Palm Springs Convention Center. Previous recipients include Academy Award winners Natalie Portman, Marion Cotillard, Charlize Theron and Kate Winslet.

“My Week With Marilyn,” which opens Wednesday in limited distribution, premiered Oct. 9 at the New York International Film Festival. Directed by Simon Curtis, the film was presented Nov. 6 as part of the AFI Fest at Grauman's Chinese Theatre in Hollywood, where Monroe put her hand and footprints in cement in 1952.

The Palm Springs International Film Festival runs Jan. 5-16 2012 at various venues in Palm Springs

Sources: mydesert.com & Reuters

Technorati Tags: ,

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23 November 2011, 8:20 am ac83454604d81558e40a5489757995b8
<![CDATA[Final Cut Pro X released]]> Found: calls, call
Apple has released Final Cut Pro X, the latest version of its professional video-editing software and one of the most popular programs for digital filmmaking.
Its actually been two days since FCP X was launched, and of course there’s been a strong buzz about it in the market. Video professionals were not only impressed with the new features, but with the new price too. Final Cut Pro X is available in the Mac App Store for $299.99. Compare that to 2009, when the fully loaded Final Cut Studio retailed for $999.99.

Final Cut Pro X is a big update for the powerful editing suite, in no small part because it is now (finally) built with 64-bit support. That means that the app will be able to take advantage of the additional memory space in Mac OS X Snow Leopard and the upcoming Mac OS X Lion.

Installing Final Cut Pro X
Since the only way to get Final Cut Pro X is through the Mac App Store, installation is easy: You just click "Buy" in the store, and the app's icon appears in your Finder, ready to run. You'll be able to install it on five Macs, and you receive updates automatically. The program requires at least a Core 2 Duo-based Mac running Snow Leopard, a decent video processor, 2.4GB of disk space, and 2GB RAM (4GB recommended).


The big new feature is called the Magnetic Timeline, which takes a trackless approach to editing. Like Adobe, Apple has also put a lot of effort into what it calls Content Auto-Analysis, which is another way of saying that the software uses meta-tags to better organize and import content, based on shot type, media format and other information.

Check out this video Apple released to show off the new features in Final Cut Pro X:



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24 June 2011, 10:11 am 828ed496d384fb6fa2923179133ff492
<![CDATA[Shortie Awards Youth Film Festival]]> Found: submit, awards, award, entries


Hollyn Randolph just mailed me in about the forthcoming Shortie Awards film festival.

The Shortie Awards film festival will be held June 5, 2011 in Arlington, VA a suburb of Washington D.C. The Shortie Awards recognizes original short film productions created by student filmmakers, ages 7-18, and their teachers.

This year we have entries from 26 states and 14 countries and India has 36 entries which is the largest number from outside of the US.
Apparently the last date for submitting the entries was April 1, 2011. But we can look forward to the screenings and the winners. Those who live around Arlingtom and Washington DC should attend the event!

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6 May 2011, 4:28 am eaf309efd7724c81c4b80892e456a4ca
<![CDATA[Short Film: Damn Your Eyes]]> Found: awards, award

David Guglielmo, an alumni of School of Visual Arts, New York emailed me his short film titled Damn Your Eyes.
damn your eyes

Damn Your Eyes a Spaghetti Western-influenced revenge film shot on the Sony EX1 digital camera in the NY Metropolitan area for $5,000. It has been successful at film festivals and recently won two awards.


WINNER: "Best Student Film" at Royal Flush Festival '09
WINNER: "Best More Than Horror Short" at Buffalo Screams Horror Festival '10


I liked the visual quality of the film: the lighting, the locations, set, framing, composition etc. The DoP used the Sony EXI camcorder given to him pretty well. Most of the actors did a really professional job and that took the movie experience a notch higher. The screenplay could have been written better. Some of the moments in the movie were clichéd and boring but on the whole it is a decent production. What do you think of the movie? Please watch and comment (feed subscribers will need to visit the blog to watch it).

David Guglielmo must be congratulated for doing his excellent direction. Considering he is relatively new to this profession, he has done a laudable job that commands appreciation.
 Digital filmmaking is indeed growing from strength to strength.

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26 April 2011, 4:52 am 776bfdbc7b6be1364d824c007ec92690
<![CDATA[Tribeca Film Festival Launches Online Version]]> Found: submit
I had recently blogged about Tribeca Film Festival's announcement of filmmaking grants for funding documentaries of social significance. Well now it has gone a step further further launched an online version of the increasingly popular movie fest.

According to Hollywood Reporter, the 2011 Tribeca Film Festival, which kicks off from April 20 and ends on May 1 in New York city, will have a new online component where audiences will be able to watch live streams of events and interact with other audience members.

Online audiences will also be allowed to submit questions to a host of festival executives and other notable guests and access detailed information on all of the online fest filmmakers. There will also be a Future of Film blog that will include posts from film and technology experts.

If you want to know about the screenings at Tribeca 2011, check out the Tribeca Film Festival 2011 film guide .

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23 March 2011, 6:50 pm 0c4b2e928c429528894ee3a1ebb2055c
<![CDATA[Emerging artists wanting to participate in the Splendid festival read on...(May 2011)]]> Found: calling, call
Calling creatives of all stripes who have an inquisitive mind, an innovative approach and a desire to collaborate to participate in the 2011 Splendid program.

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20 March 2011, 1:03 pm a0ec52e369c8df0b4b378ef64b241d2e
<![CDATA[Salon Films launches filmmaker training program]]> Found: opportunity
Salon Films will launch a cross-border training program for young Singapore and Hong Kong filmmakers, and a funding initiative in connection with the Hong Kong government subsidy for filmmakers.

The training program is organized with the Media Development Authority of Singapore to bring budding Singaporean filmmakers to work in Hong Kong and China.

The program began in Hong Kong, in partnership with the Academy of Film of the Hong Kong Baptist University, and continues in Beijing, Shanghai, Suzhou, in cooperation with the China Film Foundation and CCTV, and will conclude in the Hengdian studio, lasting three weeks in each city.

The film crew is shooting a documentary to commemorate the 20th anniversary the establishment of economic relations between China and Singapore.

"Asian culture shares common origins," Wang said, "The training program is aimed at providing an opportunity for young filmmakers across Asia to meet, exchange ideas, and make films that speak to our mutual cultural roots."

To capitalize on the current prevalence of Hong Kong-Chinese co-productions and the growing film industry in China, the program also intends for young filmmakers and film students to obtain hands-on practical experience in China.

Film students at the Academy of Film of the Baptist University will also join the Salon team in Beijing and Hengdian.

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10 January 2011, 9:02 am 2c1f2abad90e1b3a777f8cf10e1b2292
<![CDATA[Tribeca announces filmmaking grants]]> Found: submission, deadline, award
The Tribeca Film Institute announced Wednesday its submission period for grants is now open. TFI will award more than $500,000 in filmmaker support through 2011 and more than $100,000 through its new TFI Documentary Fund, presented by HBO.


The Gucci Tribeca Documentary Fund provides finishing grants totaling $100,000 to feature-length documentaries that highlight and humanize topics of social significance. The TFI Sloan Filmmaker Fund will award up to $140,000 to support compelling narrative filmmaking that explores scientific, mathematic and technological themes.

The Tribeca All Access Program will continue cultivating relationships between filmmakers from traditionally underrepresented communities and film industry executives, and provide each 2011 participant with $10,000. And, the TFI Latin America Media Arts Fund will support film and video artists working in narrative or documentary film and living in Mexico, Central and South America.


“We are excited to expand the reach and depth of our programming to support individual artists in the field,”
 said TFI artistic director Beth Janson.


The early submission deadline is Nov. 8; final deadline is Dec. 8. More info: tribecafilminstitute.org.

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17 September 2010, 1:08 pm 0d32c63914b979f28151b88278a36904
<![CDATA[Taiwan's Tsai Liang is Asian Filmmaker of the Year]]> Found: awards, award, jury
South Korea's most prestigious film festival said Wednesday it has chosen Taiwanese director Tsai Ming Liang as its Asian Filmmaker of the Year.


The Pusan International Film Festival praised Tsai's work over the past three decades for pioneering unexplored areas that overcome the limitations of the art film industry.

"His 30-year-long devotion to filmmaking has greatly influenced Asian cinema and made considerable contributions to enhance the global status of Asian cinema," it said in a statement.


"He is renowned for seeking fresh ways of communicating with his audience... We can find the root of his endless spirit of challenging himself and the borderlines of art in his earlier works in the 1990s."

Malaysian-born Tsai is best known for "Vive L'Amour" that won the Golden Lion (best picture) award at the Venice Film Festival in 1994, and "The River" that won the Silver Bear/Special Jury Prize at the 1997 Berlin International Film Festival.


The 52-year-old has also won numerous awards with other films.

He is considered a leading exponent of the "Second New Wave" -- a group of Taiwanese directors in the 1990s who produced films with realistic and sympathetic portrayals of life rather than melodramas or action pictures.


The festival, held in the southern port city of Busan since 1996, will be staged from October 7-15 this year.

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6 September 2010, 4:47 am 3096856fd18a45600538a63171daf7c9
<![CDATA[Jumpstart Your Film and Television Career: 5 powerful TIPS on how to land more tv film jobs than you can handle]]> Found: opportunity
This is a guest post by Ian Agard of ianagard.com. Ian is a Toronto based writer/director/film producer who loves to entertain and inspire people through his movies and his filmmaking blog.



As you probably know, one of the most desirable yet challenging industries to make a living from is in the film and television industry.

By far, the most commonly asked question I receive from people throughout my six years working as actor, screenwriter, director and film producer is...how do you get into the industry and make a living?

As a film producer; I have interviewed, hired and worked with several casts and crews while making my films. It becomes quite easy to notice the difference between individuals who struggle to find film/tv work and those who make a comfortable living.

Is it about luck?

Or

Who you know?

I would like to share with you 5 POWERFUL TIPS that will help you jumpstart your film/tv career and get you on the road towards landing more paying industry work than you can handle.


TIP Number One: Be Willing To Work For Free

I know, you probably didn’t want to hear that but it’s imperative that you are willing to either work for free or very low pay. It’s a sacrifice that many in the entertainment industry must do when starting out, however, you’ll have the opportunity to meet others in the business as well as learn on the job. Taking “free” jobs quickly leads to full time careers.


TIP Number Two: Attitude Is Everything

This is one of the most important tips regarding developing a successful film/tv industry career. More important than your talent, your experience or your education; your attitude will determine how far you will rise within your career.
It will determine if people will refer job opportunities to you or hire you again for future projects. You must be a flexible, professional, team oriented person who is committed to “serving” the story/project to the best of your ability.

Production sets are full of egos, there’s no need for one more.

TIP Number Three: Recognize and seizure opportunity

You’ve probably heard the old saying luck is when preparation meets opportunity. I like to believe in a slightly different statement, luck = opportunity + willingness.
A certain film/tv industry work opportunity might present itself to you; you’re prepared...but are you willing to maybe work for free, work for low pay, work 12 hour days, be team-oriented, be flexible and agreeable or go the extra mile to help the project succeed.

TIP Number Four: Network and be visible

The reality of the film/TV industry is that most production jobs are never advertised. Those positions are usually filled through word of mouth and pre-established relationships. That’s why it is extremely important for you to always be committed to meeting new like-minded people.
The best places to meet and connect with people who share your zeal and passion are:

1) Onset while shooting a movie or television show
2) Through industry specific classes
3) At film festivals

TIP Number Five: Always be learning

As humans, we are learning machines. We are most alive and functioning closest to our potential when we are learning, adapting, adjusting and finding new ways, approaches and techniques to improve our lives (and our careers)in some way.

No matter how many years working experience you might have within the film/TV industry it would be hugely important for you to maintain a beginner’s mindset. A beginner looks constantly for one new tibit, one or more ways to expand on their current expertise.

To learn more valuable tips and in-depth advice, listen to my MP3 60 minute audio interview with film and television expert and veteran Stephen Dranitsaris at: www.ianagard.com/tv-film-jobs

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23 April 2010, 5:57 pm 0f5b78331581dc53a92c92be85a8445a
<![CDATA[What happened when Glasgow School of Art went up in smoke?]]> Found: call

The call wasn't met with much concern. Over the years, at the Scottish Fire and Rescue Service's Johnstone command centre, there had been many call-outs to the famous Glasgow School of Art (GSA), always to a drill or false alarm. Nevertheless, dispatchers immediately radioed through to the three closest fire engines.

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24 October 2014, 6:00 pm ce181cdf96274390e896e93eefba0a32
<![CDATA[Denise De La Rue interview: How Picasso inspired my film A Cry for Peace]]> Found: call

When the mexican artist Denise De La Rue first saw Pablo Picasso’s 1937 anti-war masterpiece Guernica, as a 10-year-old girl visiting the Museo de Prado in Madrid in the early 1980s, it didn’t so much leave a lasting impression as ingrain in her a call to action.

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3 October 2014, 5:10 am 58ab3ce42104180cd2ce7ad5f0784add
<![CDATA[Kasimir Malevich's 'Black Square': What does it say to you?]]> Found: opportunity

The painting itself sits in a relatively darkened room at Tate Modern, where a major retrospective of the career of its creator, Kasimir Malevich from Kiev, opens today. Given that the painting is black from top to toe and hip to hip, and that it is often said to represent a pivotal moment in the history of abstraction and the art of the 20th century, this strikes the onlooker as an odd decision. Why not be given the opportunity to see it as clearly as possible?

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15 July 2014, 6:00 pm 952c9347a0546661a97d3effee8139fa
<![CDATA[Lowry Art Trickery?]]> Found: calls, call
Wigan Today reports that an art lover from Cheshire accused of tricking a dealer into buying a fake LS Lowry has told a court he thought the painting was genuine. Maurice Taylor - who calls himself Lord Taylor Windsor after buying the title on the internet for £1,000 - sold the Mill Street scene to businessman David Smith during a meeting in a Ritz hotel room in 2007. Mr Smith, managing director of Neptune Fine Arts, paid over £230,000 before discovering the work was bogus. Taylor, 60, who lives in a mansion near Congleton, had bought the snowy scene featuring matchstick-style figures three years earlier through friend and Lowry expert Ivan Aird. Mr Aird acted as an agent for the previous owner Martin Heaps who, the crown say, sold the picture for £7,500 with an invoice describing it as "After Lowry" because it was created by artist Arthur Delaney. Prosecuting at Chester Crown Court, Sion Ap Mihangel, said Taylor knew the picture was fake, invented history to boost its provenance, and doctored the invoice so it appeared he was sold a genuine work. Taylor admitted telling his buyer and auctioneers Bonhams he bought the painting several decades earlier from industrialist Eddie Rosenfeld. He said he did not know why he lied but claimed Mr Aird asked him not to say he bought the painting through him. He said Mr Aird told him the painting was genuine and said: "When he sold me that picture there was never a question in his mind. I didn't question him, he told me it was original." A team of experts from Bonhams later assessed the work and were taken in by it. They provided a £600,000 insurance valuation and laid on the red carpet treatment, hoping Taylor would sell it through them. Mr Mihangel said Taylor acquired the Bonhams valuation to strengthen his selling position and to ensure a private sale. Taylor denies denies six counts of fraud and one of forging an invoice. The trial continues. (For full source and full article click the Headline). Irish Art

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3 March 2009, 1:23 pm 742b0215e6c8dc96600e8ca9f935efd4
<![CDATA[Caged Art Recognised]]> Found: awarded, award
The New York Times reports that 1974 Tehching Hsieh, a young Taiwanese performance artist working as a seaman, walked down the gangplank of an oil tanker docked in the Delaware River and slipped into the United States. His destination: Manhattan, center of the art world. Once there, though, Mr. Hsieh found himself ensnared in the benumbing life of an illegal immigrant. With the downtown art scene vibrating around him, he eked out a living at Chinese restaurants and construction jobs, feeling alien, alienated and creatively barren until it came to him: He could turn his isolation into art. Inside an unfinished loft, he could build himself a beautiful cage, shave his head, stencil his name onto a uniform and lock himself away for a year. Thirty years later Mr. Hsieh’s “Cage Piece” is on display at the Museum of Modern Art as the inaugural installation in a series on performance art. But formal recognition of Mr. Hsieh (pronounced shay), who is now a 58-year-old American citizen with spiky salt-and-pepper hair, has been a long time coming. For decades he was almost an urban legend, his harrowing performances — the year he punched a time clock hourly, the year he lived on the streets, the year he spent tethered by a rope to a female artist — kept alive by talk. This winter, owing to renewed interest in performance art, new passion for contemporary Chinese art and the coinciding interests of several curators, Mr. Hsieh’s moment of recognition has arrived from many directions at once. The one-man show at MoMA runs through May 18. The Guggenheim is featuring his time-clock piece in “The Third Mind: American Artists Contemplate Asia, 1860-1989” through April 19. M.I.T. Press is about to release “Out of Now,” a large-format book devoted to his “lifeworks.” And United States Artists, an advocacy organization, has awarded Mr. Hsieh $50,000, his first grant. He is gratified by the exhibitions. But he judges the book, which is 384 pages and weighs almost six pounds, to be the definitive ode to his artistic career. “Because of this book I can die tomorrow,” said Mr.Hsieh. (For full source and full article click the Headline). Irish Art

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1 March 2009, 4:44 am fd7169cf5c1136b48458b08bac45ae05
<![CDATA["Nazi" Picasso's Stay In NY]]> Found: jury
Time/CNN reports that it may have been possible for Picasso's boy to lead that horse without a rein, but it appears that the Museum of Modern Art didn't have the famous painting on as tight a leash as you might have thought. For more than a year that 1906 picture, one of the high points of MoMA's art collection, has been the focus of a Holocaust restitution fight that also involved another Picasso, Le Moulin de la Galette, this one hanging at the Guggenheim. Yesterday both museums settled out of court with three plaintiffs seeking return of the paintings, which they claim had been relinquished under duress by their Jewish owner in the 1930s. As with most settlements the details of this one are sealed, so we may never know whether or how much money changed hands. And by itself the mere fact that the two art museums chose to settle doesn't mean they didn't have faith in their own arguments. (Or, for that matter, that the plaintiffs didn't have faith in their's.) But jury trials are a crapshoot and for the museums at least, the paintings were too important to lose. (For full source and full article click the Headline). Irish Art

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10 February 2009, 3:42 am bc8182e962bd4b6e9594ac931c5d7831
<![CDATA[Joe Boyle's Art at Waterfront Hall, Belfast]]> Found: call, opportunity
There is a small number of artists that savvy Irish Art collectors should carefully track in 2009 - and Joe Boyle (a previous Conor Prize Winner at the Royal Ulster Academy) - is one of them. This Belfast Waterfront exhibition fuses three themes. The first is Boyle's response to a trip to China investigating 17th century dry brush calligraphy combined with Chinese contemporary aspiration for a western iconography. The second is the notion that the fragment can intentionally signify the whole - as part of an ancient object may be considered a work of art - despite that not being the original artistic intention. In this exploration Boyle chooses the Eye as the part that signifies the whole in a meaningful manner - presenting an opportunity to explore different ways of seeing aspects of change in Irish Society. The final theme is a response to Landscape which employs notions of metaphor, edge and parameter to explore emotions which we experience and are challenged by what is often a familiar and sometimes threatening environment. Joe Boyle - Solo Gallery 2 Waterfront Hall 2 Lanyon Place, Belfast Tel: 028 9033 4400 Opens Tuesday 3rd February (7pm- 9pm) until 27th February 2009 Irish Art

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25 January 2009, 4:10 pm 4b446c25110586cb155c74a9f1c63bcf
<![CDATA[Irish Art Thieves Took Taxi]]> Found: residence
Bungling Irish art thieves led Gardai to their door last weekend when they brought their loot home in a taxicab. Two men were apprehended at a residence in Kilmore following the theft of three paintings. It is believed that the thieves were easily located after they hired a taxi to ferry them, and two of the paintings home following the robbery. According to Gardai a plate glass window in Greenacres was smashed and paintings removed from the display. Gardai this week said that while investigations into the matter are 'not yet complete', they are 'not looking for anyone else in connection with the matter'. (For full source and full article click the Headline). Irish Art

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9 November 2008, 11:43 pm 8b31fd7fd4d3a323e3af8af918d320de
<![CDATA[Fantasy Forest - Battle Creek, Michigan]]> Found: deadline, awards, award
$9,000 in awards. Deadline: November 1, 2014

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166bb618aa583c27035155918076bc45
<![CDATA[9th Arte Laguna Prize - international art contest - Venice, Italy]]> Found: deadline
Cash prizes of 7,000 euro each; 5 Artist Residencies; 4 Personal Exhibitions; and more. Deadline: November 6, 2014

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55c981630bb78402b5a0d8cf24569f3d
<![CDATA[8th GICBiennale 2015 International Competition - Gyeonggi-do, South Korea]]> Found: deadline
$48,100 Grand Prize with solo exhibition in 2017. Deadline: November 7, 2014

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e87a794202aa9643f3e70d218f35a762
<![CDATA[Au Naturel: the Nude in the 21st Century - Astoria, Oregon]]> Found: deadline, awards, award
$1000 in cash prizes; Up to $2000 in purchase awards. Deadline: November 7, 2014

]]>
93a7ddc3abe2fc8a3c43956414915097
<![CDATA[Rock N Roll Photography Exhibit - Minneapolis, Minnesota]]> Found: deadline, awards, award
$900 in cash awards. Deadline: November 8, 2014

]]>
08941e924197a531f70e7591eded0566
<![CDATA[Yosemite Renaissance XXX - Yosemite, California]]> Found: deadline, awards, award
$4,000 in awards. Deadline: November 15, 2014

]]>
353a8cfbbf026e1e2fe656b07a9e56da
<![CDATA[Colored Pencil Society of America's Explore This! 11 - Online exhibition]]> Found: deadline, awards, award
$2,000 cash award for Best of Show and other cash/product awards. Deadline: November 15, 2014

]]>
5b799d53e4f68a22d1ea52f92ffbd643
<![CDATA[35th Annual College and High School Photography Contest - Art publication]]> Found: deadline
$12,000 in grants and equipment. Deadline: November 18, 2014

]]>
744747340aa0b83dcd38267c7dc44ff1
<![CDATA[Lakefront Festival of Art - Milwaukee, Wisconsin]]> Found: deadline, awards, award
$10,500 in awards. Deadline: November 25, 2014

]]>
135b845e2e3a1f3f1040cfcb2581b93b
<![CDATA[Emerging Artists 2015 - Hudson, New York]]> Found: deadline, awards, award
Solo exhibition and $2400 in publication awards. Deadline: November 30, 2014

]]>
8d80c3149f4d6934fa0c0150778f8ef5
<![CDATA[International Call for Entry, Black and White 2014 - New York, NY]]> Found: deadline, awards, award
$3,000 total awards. Deadline: November 23, 2014

]]>
74954a3565f43253b1e565b1e562a39b
<![CDATA[NOAPS International Fall 2014 Online exhibition]]> Found: deadline, awards, award
$2400 in cash awards. Deadline: December 1, 2014

]]>
3893fa75eed273a1bad5e460fc611e52
<![CDATA[Dave Bown Projects 9th Semiannual Competition - Online exhibition]]> Found: deadline
$10,000 in cash prizes and purchases. Deadline: December 6, 2014

]]>
35867d21f80168fff18732f3e7a45dff
<![CDATA[The 3rd Zebra Awards International Monochrome Competition - Online exhibition]]> Found: deadline
US$2000 Grand Prize. Deadline: December 31, 2014

]]>
079680ea36e697d95cd356253889b06a
<![CDATA[International Drawing Annual 10 - Art publication]]> Found: deadline, awards, award
$2,000 in awards. Deadline: December 31, 2014

]]>
a50bfdaa9e3bf2bbda694956b2a26da5
<![CDATA[Embracing Our Differences - Sarasota and Bradenton, Florida]]> Found: deadline, awards, award
$3,000 in awards. Deadline: January 5, 2015

]]>
162b2beb738015a0eb9b1e879e420aaa
<![CDATA[Louisiana Watercolor Society 45th International Exhibition - New Orleans, Louisiana]]> Found: deadline
Over $8,000 in cash prizes. Deadline: January 20, 2015

]]>
bea13f99b1e78b19eeb7a0788eeed6f9
<![CDATA[El Paso Biennial 2015 - El Paso, TX and Ciudad Juarez, Chihuahua, MX]]> Found: deadline, awards, award
Solo exhibition and purchase awards. Deadline: February 1, 2015

]]>
7e5d67c0c93820757c10cdda5120b2a1
<![CDATA[The 2014 Guardian World Cities Day Challenge live]]> Found: call, opportunity

To celebrate World Cities Day, in conjunction with UN-Habitat, were putting 36 contestants in the hot seat to tell us their citys best idea and why other cities should adopt it. Cheer them on!

That sounds slightly rude. OK Paul tell us your idea in three minutes...

Hi Paul! Hi Guardian Cities!

Whats the idea in under 10 words? Restoring the central terminal.

Anna Minton and the UEL students ask: How would the school connect with each country and each area? How would areas be chosen?

Hi Anna, good question! First of all this programme needs to be recognised as formal learning by our academic institutions; later, UN Habitat and Unesco could assume global coordination of the program for testing pilots based on priorities in middle and low-income cities, eg slum upgrading, peri-urban management, regeneration of historic centres or environmental risk mitigation. Each city would get a school adapted to its needs and challenges.

Hi Usman, complex issue! I believe that a collaborative initiative between universities and public sector that seeks to respond to the citys challenges of low and middle income economies can only be based on the conviction that the results might be a profitable investment in the short-term. MOOCs (Massive Open Online Courses), though imperfect, prove that a free higher education is possible.

Tell us your idea in three minutes...

Hello! Salutacions des de Barcelona!

The idea in 10 words: An urban planning school in every city by 2030.

Dan Hill: Good to see. What was the breakthrough that unlocked the decision-making, as car-centric cities are full of drivers who tend to resist such moves?

The Cultural Trail is really due to Brian Payne, the president of the local community foundation who came up with the idea and carried it on his back for years to make it a reality. He basically expended every drop of political capital he had in the community - and more - to bring it home. He also raised the funds from donors to get it built.

The city has built extensions to the south (a low income community with a heavy Appalachian population) to Garfield Park and Pleasant Run, and is also creating a connected trail along Pogues Run on the very diverse and mostly low income East Side. These are only two connections/extensions. The trail itself is basically a hub or interconnector for a network of other trails, on street bikeways etc to serve the entire city and connect the neighbourhoods to and through downtown.

OK, you have three minutes to sell us on the Cultural Trail. Go!

Alexander Ralstons original plan for Indianapolis created a city with incredibly wide streets intended to befit a city being designed as a capital for the new state of Indiana. Like many sad cases in the late 20th century, these grand, originally public spaces had mostly been converted into one-way race tracks for automobiles, some six lanes wide.

Hey, Aaron! Hello from Indianapolis!

The idea in 10 words: The cultural trail taking lanes away from cars and giving them to people

I love it! But Im fatally biased by citizenship (and I dont get to vote anyway). So lets ask our impartial non-Canadian-born urban experts ...

Adam Greenfield asks: How are people protected from the respiratory hazards and long-­term health risks of intense exertion in the heavily­ polluted environment under a highway?

Underpass Park is beneath a Y-junction of merging ramps with less traffic than a highway. People live alongside this elevated route and regular environmental assessment reveals nothing out of the norm. The park is well ventilated naturally. Recreational space alongside highways is becoming a common feature of cities.

This short overpass multi-tasks, crossing a river, a railway and a few streets on its slope to meet the street, so removing it would be problematic. Toronto is debating tearing down a much more prominent aerial highway and Im all for that. I dont believe invigorating this space will affect that outcome.

Yeah, I laughed so hard at that I cried. Alone. In a toilet stall.

But lets focus on the positive in under three minutes, tell the world about your favourite Toronto idea.

Hows it goin, eh. Hello from Tawrana!

The idea in 10 words: A highway above. A playground below.

Ah, the cut and thrust of intellectual debate. Thats the oxygen we breathe here at Guardian Cities! The opium in our meerschaum pipes!

Next up my birthplace (but no favouritism, I swear, eh?) Toronto, Canada!

Dan Hill asks: Looks like a nifty tool for programme delivery but doesnt appear to radically change the nature of whats being delivered. How could such tools shape the content of the projects, not simply their delivery?

The Programme Delivery Dashboard has the potential to radically transform how we plan and deliver the schemes and influence all layers of development. For example, using this data we can predict traffic movements to each scheme up to five years in advance, enabling us to design and plan to mitigate the impact on the city centre. It has already enabled us to consider new ways to fund development. Making the Dashboard available to residents is one of a number of planned next steps.

Ouch! Glad we are recognised to be forward thinkers, but we are rather proud of this one, too. The visualisation technology used is relatively new, but is becoming increasingly recognised as a far more powerful and agile approach to understanding and managing programmes. Recent examples where Arup has developed and used similar technology include the London 2012 Olympics and HS2.

You now have three minutes to pitch your idea. And ... go.

Hello, Matthew! Hello!

The idea in 10 words: A programme delivery dashboard that visualises growth in the city.

Well, were over halfway through the Challenge now 22 contestants have pitched us what they DARE to suggest is their citys best. The most recent seven:

Brussels proposed inner-city beach cabins, Kumasi told us about improving sanitation through Clean Team Toilets, Mumbai discussed the Dharavi Biennale, Florence introduced their civic clean-up initiative, Berlin suggested a specific series of talks and workshops, Porto Alegre championed their bus-stop sticker programme Which Bus Stops Here, and Nottingham talked us through their model for a Fair Food City. Finally, London made a splash (yeah) with the Thames Baths Project.

Finally a great initiative to reintroduce swimming in the Thames. @ThamesBaths #BacktheBaths @guardiancities

@ThamesBaths @guardiancities All the very best From my PoV, you've the best idea and it's different, more imaginative #BacktheBaths

#BacktheBaths @guardiancities @ThamesBaths pic.twitter.com/Lh5o25FpoR

@guardiancities @ThamesBaths as long as it isn't slap bang in the middle of a boat race I can see this hitting off. already big in switz/ger

@guardiancities @ThamesBaths we've got a housing crisis and that's the best idea?? Not saying it isn't pleasant but we've got bigger probs

@guardiancities #citiesday #UELstudents - city cabins a question of culture - might work in Vienna/Oslo but not in London cos fear of crime

#citiesday 80% of public space in #brussels is now taken by cars. rearrange the public space firts, then put #mycabinbxl in it.

Cleam Team Ghana provides affordable in-house toilets. #dharavi, #mumbai and #india should take cue from this. #CitiesDay @guardiancities

Brilliant idea @guardiancities - an innovative, convenient and affordable in-house toilet #CitiesDay #urbanisation #Ghana

Great ideas on @guardiancities - so far our fave is Clean Team in Kumasi, Ghana - it tackles rapid increase in urban population #CitiesDay

On a practical level we support Ghana's latrines, also loving on a whimsical level Brussels beach hut & Seville @guardiancities #CitiesDay

Nice project from #Nottingham for a 'fair food city' entered into @guardiancities #CitiesDay Challenge http://t.co/30VsiwkdIA #futurecites

@guardiancities #UELstudents Florence's angels - type of initiative that happens in many places & works well but it's nothing new

Dan Hill asks: Lovely project. How will it be financed? What other uses are there? Could it stretch to cover the entire bank of the river?

The floating baths have been costed at £8m. We want Londoners to take ownership of these proposals and so we will crowdfund as much as possible. Special events or cultural activities are planned at night or out of season. The baths float and are not permitted to touch the riverbed. Locations need to have 2m of water at low tide. We met with the Port of London Authority they suggested a number of technical considerations that we are now working through.

The current proposals for floating baths consists of a steel pontoon surrounded by planted rock cages; within the pontoon are three filtered river water pools. The deck is 120cm above the river level to avoid contamination. Sadly, sewage still overflows into the river so its not possible to swim in Thames water, yet.

Oscar would know. OK Chris, youre in the hot seat three minutes to tell us why this is Londons best idea. Go!

Hello Chris! Ello me old china!

Tell us a fascinating fact about London. In 1840, Baron De Berenger of Chelsea instigated a six-day swimming Olympic Games. Races included naked gentry donning different coloured jockey caps and racing in the Thames.

The idea in 10 words: Re-introducing swimming in the River Thames.

Dan Hill asks: Really great. The networked approach enables it to grow while retaining necessary diversity but what does it need for that? Will it be able to genuinely challenge the supermarket sector?

We cluster our provision: social eating spaces, close to growing spaces in the heart of a neighbourhood. It is a low-cost model to set up without too much bureaucracy and lots of demonstrable added value, so our community/social-led actions are influencing policy. We provide for need not greed like supermarkets.

Most food banks cant accept donations of fresh produce. We distribute through routes such as social cafe networks, soup kitchens, hospice, womens refuges, homeless centres, church groups and schools. We are working with social housing providers and local politicians to increase access to local fresh food for food-poor tenant families.

Moving on ... lets hear about your city idea. You have three minutes. Go!

Hi, Penney! Ay up mi duck!

The idea in 10 words: Make a fair food city by wasting less and growing more.

Porto Alegres project seems to be popular!

Oh this is an awesome idea from Porto Alegre #CitiesDay #ShoottheShit

Anna Minton and the UEL students want to know: Why doesnt the council put bus numbers on bus stops?

Good question. I dont know. It doesnt make any sense. There are laws saying they must, but they dont. So we did it.

Instead of only exerting pressure by saying We want it, we are saying Hey, here is an idea, what do you think? It is really important to make things happen and show them that we are living now in an era of people power. If the government doesnt do it, people will, and thats OK, you know?

This isnt a problem for us. We checked a few times after pasting stickers, and all the information was right. People even write things like This bus doesnt pass on Sundays, or If you want to go to ____, take this other bus thats not too crowded. But if that problem happened elsewhere wed suggest pasting the sticker with all the bus lines already written.

OK, tell us about Which Bus Stops Here. You have three minutes ... go!

Hello, Gabriel! Olá de Porto Alegre!

The idea in 10 words: Blank bus stop stickers where people can write the bus routes that stop there.

Anna Minton and the UEL students ask: Can you give a couple of specific examples of your interventions so far?

Marco Clausens Prinzessin Garten is a community garden which has become one of the most successful urban gardens in Berlin. The founders worked with local communities and volunteers to turn a disused site into a working garden. It now also contains a cafe and learning space through which people can learn to grow their own food.

Although the work which is highlighted via Urban Knights might come from the edge, it does not always remain on the fringe. Often it is the most radical examples that lead to change in the policy or laws which govern a city. The projects cited also have changed ways of living on a more micro, local, community or street level.

Stop. My sides.

OK tell us about the Urban Knights programme! You have three minutes.

The idea in 10 words: A programme of events about practical approaches to urban change.

Florences angelic idea is already getting some love on Twitter ...

Great video, great idea @angelidelbello @guardiancities #CitiesDay

Dan Hill asks: Nothing to fault with this project. Although a preservation culture is partially what holds Italian cities back how could such movements address the 40% youth unemployment and 40% vacant spaces in Firenzes centre, giving the city a future rather than simply preserving its past?

To call the Angeli del Bello a culture of preservation sort of misses the point. We are a culture of respect for our environment and each other and are working to build a community that is worthy of Florences heritage. We do offer some employment: our director, restorers, consultants, and people completing their civil service with us are paid. But we also offer something unique: inspiration, hope and community. You cant put a price on that.

The Angeli del Bello are not chain gangs forced to work! We do collaborate (with very positive results) with community service agencies, but the bulk of our force comes from the private citizen sector. We are a mix of young and old, students, teachers anyone who wants to give some time to any of our numerous projects. Since we began in 2010, over 1,500 people have wanted to do that.

All right Marco, you have three minutes to tell us about the Angels. Vai!

Hello, Marco! Saluti da Firenze!

The idea in 10 words: Angeli del Bello volunteer angels who preserve Florences beauty through community.

Anna Minton and her UEL students have been discussing Dharavis Biennale. Heres some of their feedback:

Education is important but how much can another festival achieve? This doesnt seem to be offering anything new.

Dan Hill says: Excellent! How might such a festival contribute to ideas to change the citys physical infrastructure in order to improve sanitation?

The Biennale is the culmination of a series of workshops Artboxes in which Dharavi residents not only create artworks, but also discuss urban health, personal health and sanitation. One Artbox created an image of water and sanitation inequity through an architectural representation made of iron and pipe, in which a group of dwellings with one shared tap and a communal toilet is contrasted with a new block of flats with individual water supply.

Yes and no. Dharavi is one of the most well-known informal settlements in the world. After 15 years of working with communities to improve health, were sanguine about the potential for change, but we believe that we must walk down the road. Were not looking to affect major infrastructure, but we can give people space to talk about challenges, bounce ideas off each other and learn.

Im waiting for the other shoe to drop. (See what I did there?)

Sorry. I should leave the jokes to you guys. Yours was actually funny, too. OK Benita, youre in the hot seat, lets hear what makes the Dharavi Biennale so great! You have three minutes...go!

Hello Benita! !

The idea in 10 words: Dharavi Biennale an art-for-health festival in one of Asias largest informal settlements.

Usman Haque asks: Does this toilet require plumbing, or is it compostable?

Though we have trialled the compostable toilet, this is not yet approved by our internal management on a larger scale. So far we loan households an attractive, branded toilet and collect the waste 2-3 times per week. From our central processing facility, we transport the waste to the municipal treatment site. In time we plan to convert the waste into energy and organic fertiliser to sell to commercial farms.

Unilever facilitated the implementation of Clean Team Ghana, but it has no intention to use the service as a channel for commercial purposes. Clean Team Ghanas parent company is Water and Sanitation for the Urban Poor (WSUP), UK. It is run entirely by a highly qualified local team, headed by a Ghanaian CEO.

Eager to hear about this project. Please explain!

Kumasi is the second-largest city in Ghana with about 2 million residents. Many of these urban dwellers do not have access to safe and clean sanitation. About 38% of people in Kumasi use public toilets at a high cost, and 12% of the people use unhygienic bucket latrines. Clean Team Ghana is offering the best in-house toilet, and aims to make it affordable, too.

After the death of my husband, I was supposed to stay indoors for about 5 months before I could leave my house due to our cultural customs. This meant I could not use the public toilet anymore, which was not entirely clean anyway. I got a better option which is the Clean Team toilet; its clean and affordable and its an in-house toilet as well Hajai Fati

I used to visit the public toilet but its not clean or safe for me. At night, I couldnt visit the public toilet because it was not safe to walk alone as a woman at night. Having the Clean Team toilet provides me with dignity and safety a Clean Team user

The idea in 10 words: An innovative, affordable in-house toilet.

Back of my neck getting burned and pretty just thinking about it. What do you think of this city beach cabin idea? Here are some comments from Twitter ...

A beach cabin in the city! in the Park, a City Cabin #CitiesDay #brussels @guardian #loveit

#citiesday nice idea from Brussels but there's an imbalance in public space. We need to 'win back' large areas first #mycabinbxl

Dan Hill says: Nice idea, and common in some other cities (like Helsinki) where shared cabins store communal toys in playgrounds. But I like the diversity of the designs. How might you make the construction easier?

Wonderful to hear that Helsinki has a similar idea. We cant find it on the web, could you give us more details? We focus on a diversity of forms because we want to make the city cabin accessible for all people by providing a double use. Putting boxes next to boxes would only fill up public space, but using a bench or a table as a storage possibility at the same time is a win-win situation. The cabins are self-made and we work together with AYAY.

From brainstorming sessions with resident groups in the Tivoli zone in Brussells, weve learned that public gardening, sandpit and play area, rest points with hammocks and shared library, seating places facing the waterfront are among the most wanted.

You can make them, buy or rent them. The city council gives permission where a cabin can be placed. A city at the seaside gives the rent/buy-in concession, and turns it into a business. Now were negotiating with Brussels to extend these rules of cities at the seaside to rules in a normal city.

Brel. Mais oui.

Can you tell us your idea, in no more than three minutes?

Hi ladies! De goeiendag van Brussel! Bien le bonjour de Bruxelles!

The idea in 10 words: Share a beach cabin in the city

Eight more cities have just shown us how its done.Five extra points to Fiskars for being the smallest city of the World Cities Day posse.

Weve heard about Manila and the Escolta district preservation, Addis Ababas light railway, Hong Kongs sky bridges, Izmirsmodular floating docks, portable community centres for migrants in Beijing, Fiskars local education model, digital walking tours in Manchester and a cultural roof network in Seville.

@guardiancities Manila is seen by many as hopeless But with Escolta Revival + other efforts, we can bring back the Paris of Asia #CitiesDay

#CitiesDay Escolta, Manila - It's like walking down a museum featuring architectural wonders of a bygone era. We need to preserve it!

@guardiancities bizzare to see a pedway/sky sidewalks taking off (no pun intended) elsewhere when it's completely avoided in uk now.

#citiesday #UELstudents Izmir Docks project VG social experiment, playful, using unused water space. Gets our vote

@guardiancities #citiesday #UELstudents like general idea of Manchester city app but think it should be more spontaneous & for the people

@AnnaMinton @guardiancities thanks Anna. It's just a pilot project at the moment - we'll be looking to create nice new features over time

@OskariSundstrom @guardiancities of course! thought Beijing's container cubes for migrant communities are perfect for #mumbai as well.

Hong Kong's best idea is a democratic government.

Wy not whole #world have #PublicArtGallery in their #streets #neighbourhood #Bhubaneswar @guardiancities #CitiesDay ! pic.twitter.com/AOtGWYmDkF

@guardiancities We love Paris market idea!

Party at Jaimes rooftop! Guardian Cities takes no responsibility for damage.

Dr Clos of UN-Habitat has some thoughts on the presentations so far:

Great to see these ideas that balance long terms city planning with the everyday! Its so important that we make our cities accessible to all, more liveable and walkable, like Auckland is trying to do, or with light rails systems, like Addis. Having citizens participate in design and empowering local governments is something we are really passionate about at UN-Habitat. But at the same time, sometimes its the street level activities, like painting street walls in Bhubaneswar that can have an instant effect on peoples lives and they way they feel about their city.

Dan Hill asks: Nice. We should certainly use rooftops more than we do, but did you explore other uses energy production, or other community activities?

We are focusing on culture, but open to new uses (green rooftops, open WiFi, etc). We licensed the project on CC with the idea of sharing our knowledge to be reused in other projects. We are confident that those partnerships will help us to visualise all the new possibilities of using a rooftop.

Redetejas proposes a structure in which citizens use their own spaces to generate alternative culture in their cities. The project can be organised at any time of year and in any city around the world. We provide the tools and the knowledge. The rest is up to citizens.

What a legend. I love that theres still a market for handkerchiefs in this world.

Now, Jaime, please explain your idea to us, in no more than three minutes. Go!

Hello, Jaime! ¡Hola desde Sevilla!

The idea in 10 words: Redetejas a cultural rooftops network that is connected by app

Charlie on Twitter has another city idea for Manchester. Love the sound of those trams ...

@ramblingmoore @guardiancities how about a pedestrianised oxford road with energy producing treadmill pavements and trams serving real ale

Ivan Harbour wants to know: How is the content of the app kept up to the minute and by whom?

The app can use live and dynamic content if required it just depends on what kind of audio tour were creating. Ultimately, content can controlled in any way. A retailer might want to include live and dynamic offers around their products to people across the city. However, cultural and heritage based tours might have content that doesnt change much over time, and therefore require more of a fixed content approach. We hope that over time, more organisations choose to create audio tours with us and we can extend how we control and manage content to meet a multitude of needs.

We have created a flexible platform with just this kind of thing in mind. As a trusted resident of Manchester, what if I could add my own off the beaten track recommendations? And then make them available to a visitor of Manchester who has similar tastes and preferences? Personally, Id love to have that kind of information when I visit a new city.

And why should other cities adopt it? The Manchester Walking Tours app is an innovative way to discover your city, its culture (from football to music and galleries), the history and those hidden gems showcasing your city and its proudest moments. Every city has its secrets, and with the app you can find them all at your own pace.

Ha! So whats this idea all about? You have three minutes ...

Ey up, Tom! Ee are!

The idea in 10 words: A tour app that uses GPS to trigger audio-visual experiences.

Some very big ideas from a very small urban settlement. But I love the idea that Fiskars has something to teach New York or London. Megacities could spend a little less time gazing adoringly at their own navel. Maybe. Possibly. Just a thought.

On to northern England ...

Fiskars and their school model has a fan! (As well as everyone here at Guardian Cities HQ, of course)

Unschooling for the win! You do need an education - but you don't necessarily need a school to get it. #CitiesDay

@plyytinen Exactly! Pupils learn in other environments as well! #CitiesDay

Anna Minton and the UEL students ask: The workplace featured is a forge are more contemporary workplaces included or is it that children enjoy traditional crafts?

In Fiskars, we have nine different workshops: paper production, woodworks, art, knitting, ceramics, ironworks, glass blowing, pedagogical museum tours and exhibitions. But these workshops are fitted into the local environment; if done, for instance, in London, workshops could be radio broadcasting, architecture, programming, digital photography etc.

It is true that we have a strong community and a lot of specialised professionals, which makes this kind of model easier to build. Maybe thats the reason it was invented here. But the basic structures can be found in any community, small and large alike, so I think when this has been structured into a model, as it has here, it will be easier to adopt by others as well.

Why should cities adopt it? The Fiskars model makes learning more interesting for schoolchildren and bonds them with the local community and adults. The focus is on workshops where children leave the school and spend time on the premises of local professionals, such as forges or glass workshops, and learn by doing. It offers an alternative to reading a book in a classroom setting, and it gives the pupils an alternative route to gaining skills and knowledge.

I can relate. So tell us about this local schools model ...

Hi, Oskari! Terveisiä Fiskarsista!

The idea in 10 words: A local school model that takes learning into the community.

Incredible stuff, there, I think.

Now were taking it down a peg to a place thats a lot smaller, but a personal favourite here at Guardian Cities. We like to think of it as our adopted hometown. Focus your eyes on Finland ...

Dan Hill asks: A problem that really needs solving. But leaving aside that housing does little to address the root cause, what other materials and construction choices could be used without the inadvertent connection to human trafficking?

While we do not provide housing solutions, mobility is an obvious architectural theme for our community centres, and a link to human trafficking didnt seem to correlate with our intentions. We strive to renovate the containers to a high standard so that the space feels uplifting and not oppressive. Where shipping containers are a challenge to acquire, we are exploring prefabricated panel systems for migrant communities.

We primarily run early-childhood development, afterschool programmes, adult education and vocational skills training. The centres also act as information banks for the community. We feel our community centres should provide a safe, uplifting, dignified space for people to come learn, bond and grow stronger as a community.

This has been a challenge for us at INCLUDED over the years, though on many levels the government recognises the importance of internal migration for economic growth and modernisation. This can be seen through shifting policy happening in some second-tier cities. INCLUDED has always strived to balance working with the government and empowering the people we serve. Recent praise and support from local governments in China seem to reflect that this approach is working.

And why should other cities adopt it? When migrants enter our cities, they find exclusion and barriers to achieving their full potential. Our community centres help bridge the gap between migrants informal lives and the formal institutions of the city, helping them improve their lives, achieve success and ultimately better the cities in which they live.

Peking ... peeking ... I get it.

Lets talk container cubes. Tell us about them!

Hello, Matt! ! !

The idea in 10 words: Container cubes portable community centres to serve informal migrant settlements.

Those floating docks would look great on the Thames, wouldnt they?

Next up, China, with an idea I suspect may prove controversial ...

Dan Hill asks: Beautiful project. But popups are easy because they can also pop-down. How do you ensure a structure that is as enduring (materially, socially and financially) as the concrete shoreline it is trying to replace?

Materially: As long as the marine wood is taken care of, it lasts long. Since Izmir has many harbours and fishing villages, everything required for maintenance is already in place. Socially: The modular nature of the structure makes it shrinkable, expandable and variable, responding to changing needs of the city. And financially: The shoreline is the only open space left in overcrowded Turkish cities, so municipalities prefer making investments there.

We presented the structure as a boat, which does not leave any trace when it is removed and is for the public benefit. Since Izmir has been trying to take action regarding the design of the shoreline, everyone was very willing and accommodating. The permit process, to our surprise, was extremely easy.

Although the waving motion of the modules has been a great attraction, we are working on controlling it better. First, by designing the module width larger than the wave length of the sea. Second, by tying the modules together more loosely so they can move more naturally.

Heroism takes many forms. OK, sell us on these docks you have three minutes.

Hello, Can! zmirden Merhabalar!

The idea in 10 words: A modular, floating dock system that serves as public space.

An interesting idea indeeed. Personally, Ive been wondering how the skywalks have been used in the recent protests. Can anyone tell me?

In the meantime, its Turkey time ...

Another question here from Richard Rogers firm (of which judge Ivan Harbour is a partner):

@guardiancities #CitiesDay Hong Kong has a degree of separation between pedestrian and car, how do you imagine Hong Kong can reinvent this?

@RSHP_News @guardiancities ...our bridge systems reconnects the pedestrian to our traffic infrastructure

Judge Ivan Harbour asks: Hong Kong, with its density and topography, necessitates a degree of separation between pedestrian and car. In other cities this separation has not been very successful, as is dilutes street life and often leads to personal safety and security concerns. How can Hong Kongs experience reinvent this concept in a better way?

In Hong Kong, we are not just erecting bridges, we are in fact laying a web of elevated links to fit tightly on to our urban fabric. Our bridges are conceived not merely as independent, elevated structures, but more an organic, three-dimensional arterial system feeding up and down to connect street life on the ground with the various raised public levels of our buildings, infrastructures and green decks. The success of its transformative impact hinges mostly on the extent of its connectivity and integrated planning in the vertical developments of a city.

Our bridge-web in Hong Kong is composed of both publicly and privately owned spaces, with their boundaries blurred seamlessly, augmenting or even interchanging their original functions: footbridges become retail decks and commercial arcades double as raised streets.

Why should other cities adopt it? The web of skywalks will make cities vertically more walkable, more accessible, more adaptable, more sharable and more resilient. By elevating our urban capital and liveability, this floating urban realm could elevate every city in the world to a height of public life that is above and beyond the ground!

A very cool dude.

So tell us about these skywalks ...

Hello! Ha Lo (Chinglish) or Nei Ho (Cantonese)!

The idea in 10 words: Skywalks that connect districts without touching the ground.

The judges weigh in ...

Dan Hill asks: Compelling presentation! And clearly a good initiative. What can we learn from it to enable other African (and other) cities to replicate? What was the breakthrough?

Political will is the first, probably: Ethiopias government has a very strong development ethos and vision, and the wherewithal to implement it.

I think the city government wanted to take the opportunity to really redraw the map of the city. Its not only the rail project that is underway, but also roads and buildings. Addis is getting a complete makeover, rather than a few adjustments. Again, this sits well with a strong political will that is committed to bringing about change - and all the better if that change is very visible. So this is not only an utilitarian move, but also a symbolic one, that speaks to outsiders as well as to inhabitants themselves: look! this is where you live! and this will make your life better! But Addis Ababa is also the political capital of Africa, home to the African Union. So its part utilitarian, for the good of the citys inhabitants, but its also strongly symbolic.

Why should cities adopt it? Transport is a major challenge for the middle and low income inhabitants of the worlds emerging megacities. Its not just about affordability: road safety and pollution are other major concerns for the inhabitants of these centres of growth and innovation. Is Addis Ababas new light train network the solution? Is it replicable elsewhere?

Gotcha. Always difficult to have to explain a joke in another language: five extra points.

Now whats so great about this light rail? You have three minutes.

The idea in 10 words: A new light rail to ease the pain for Addis commuters

Smashing job, Kjerrimyr. Five extra points for what is sure to be todays greatest profile picture. Who the heck are those guys behind you? Do I want to know?

Anyway, over to Ethiopia ...

Some support for Manilas idea:

#CitiesDay #Escolta is a business district since 1594 & became a major commercial hub in Asia Pacific for many centuries. @guardiancities

@TheKejOfGlory -- BONIFACIO ROCKS! Hahahaha! #CitiesDay #MNL #MLA #Escolta

Dan Hill asks: Great to preserve carefully. Yet over and above preserving the fabric, how can you help citizens, businesses and other organisations collectively imagine futures for these important places?

All are rooted in resurrecting Manilas pre-war glory. Because of the internet and organizations like HCS-Y (Heritage Conservation Society-Youth), more people are involved with Escolta, and by extension, historical downtowns throughout the Philippines. Stronger campaigns to inform people about their history would make them value it more, and equate heritage preservation to progress.

It encourages government, organisations and citizens to improve services to a city otherwise seen as chaotic. In Escolta, ECAI (Escolta Commercial Association) has done major security revamping, and during special events government police have also helped make it safe. The same changes are now becoming a trend throughout Manilas other districts.

Why should other cities adopt it? Because of modernisation, many cities tend to replace old structures with new ones that have no historical and cultural value. The souls of these cities disappear; the government may not be able to reverse such actions. Escolta Revival Movement proves that citizens have the power to revive historic downtowns to boost tourism.

Zing! OK, sell us on this business district revival. You have three minutes.

Hello! Mabuhay! Mula sa Maynila!

The idea in 10 words: A citizen-led effort to revive the historic Escolta business district.

Weve just heard from six cities across four continents: Auckland, Bhubaneswar, Helsinki, Tallinn, Paris and Johannesburg. Five points to Helsinki for best photograph and to Bhubaneswar for biggest cheering section.

Auckland kicked it off with Living Streets - the transformation of roads into shared flexi-people spaces where pedestrians come first.

Good Luck #Bhubaneswar @guardiancities #CitiesDay let every other city make their wall as beautiful as the Heritage City #Bhubaneswar !

@guardiancities @UrbanFinBlog #CitiesDay #Helsinki great use of technology to engage people with the future city plans!

#Bhubaneswar streets have become amazingly cheerful and artsy thanks to the murals and paintings. Joy to drive down there :) #CitiesDay

Nice idea from Johannesburg: bridging the citys economic divide with pedestrian bridge RT@guardiancities http://t.co/a2vUqAvl3d #CitiesDay

All public walls should be painted with the local art to display local culture to make the cities beautiful. #Bhubaneswar #CitiesDay

Excellent presentation by #Bhubaneswar in the #CitiesDay Challenge ! Fingers crossed. May the best city win!

I feel about ziplines the way Christopher Walken feels about cowbells.

Great. But what do the judges think?

Dan Hill asks: Sounds sensible and long overdue. Is there a masterplan to scale similar structures across the rest of the city, or remodel the car-centric fabric?

The bridge development is part of a greater plan to upgrade non-motorised transport between Alex and Sandton and is part of mayor Parks Taus Corridors of Freedom legacy project, a series of targeted road infrastructure projects aimed at alleviating Joburgs spatial fragmentation, the legacy of apartheid urban planning. Bike lines are being systemically integrated, as well as policies for future roads to accommodate bike lanes protected either by parked cars or via small barricades.

Its embarrassing that people drive past in one-manned cars, and the dust of the cars settles on the stream of pedestrians making their way to work in the business district. The bridge may not be the cheapest option, but its the most uplifting: it is a motif that connects class and eradicates separation with grandeur. A zipline would be super fun though perhaps they can implement one on top of the bridge!

Fittys all about the rands.

Right you have three minutes to sell us this idea. Go.

Hello! Hallo, sawubona, hi!
Whos your hometown hero? Respected the world over as a lyrical master, Spoek Mathambo bussed across the country in an effort to capture some of South Africas unique musical culture, which might otherwise be lost.
Got a good joke about your city? Where does 50 Cent stay when he comes to Johannesburg? MIDRAND! (An area in Joburg and the currency is rands!)

The idea in 10 words: Bridging the citys economic divide with a short, elevated walkway.

Guardian Cities judges ask: Whos funding this?

The founders are an American film-maker and several Parisians already active in small purchasing cooperatives. They have raised 42,000 on the KissKissBankBank crowdfunding platform. Now they are launching a membership fundraising drive to raise a further 100,000, which would allow them to secure low-interest loans to launch the supermarket. The project, which has the backing of the local government for the 18th arrondissement and the City of Paris, is closely inspired by the Park Slope Food Cooperative in Brooklyn.

Why should other cities adopt it? La Louve (She-wolf), the co-operative store in La Goutte dOr neighbourhood, makes high-quality, organic products - normally the preserve of well-heeled Parisians - affordable to the areas low-income residents. Its members just have to volunteer three hours a month, in order to be able to shop there at prices well below those of supermarkets.

A classic. Right, youve got three minutes. Go!

Hello! Bonjour de Paris!

The idea in 10 words: A non-profit supermarket in a multicultural, working-class neighbourhood.

Im not voting, but if I were Id give five points for funniest video so far. Great stuff, Tallinn! Next up ... the City of Lights ...

Adam Greenfield asks: Everything this entry argues strikes me as being both indisputably true, and a very good idea. But talking to your neighbor kind of stretches the idea of an urban innovation to the breaking point, dont you think?

Talking to your neighbour is just the beginning. Whats important and innovative is the collaboration between different active neighbourhoods and drafting the agreement with the city government (the Good Collaboration Pact, drawn up by the 20+ associations with city officials). So our message is: even with an ignorant mayor and city government, dont give up, but propose the ways to collaborate in the name of a more citizen-friendly urban development. We are proposing a process of building trust.

Judge Anna Minton and the UEL students ask: How did you get all 20 neighbourhood associations round the table? Was there funding?

Yes, it was an initiative called Urban Idea (Linnaidee in Estonian), for which we got funding from the Open Society Foundation of Estonia. But the initial idea to start collaborating among neighbourhood associations came from neighbourhood enthusiasts themselves.

Why should other cities adopt it? If local residents care about a place, they should be cherished for that! Neighbourhood associations are good partners and an invaluable source of information and knowledge for the city government in urban development, since they unite the city inhabitants who care beyond their house walls or courtyard.

Ouch. OK, you have three minutes ... go!

Hello! Tere Tallinnast!

Tell us a fascinating fact about Tallinn: Chimney-sweeps in Tallinn continue to wear 19th-century uniforms. If you come across one, touch his brass buttons it brings good luck!

The idea in 10 words: Local residents associations theyre the best neighbourhood experts!

Lovely stuff, Timo! Beautiful singing voice. And now to Estonia ...

Helsinkis idea has a big fan!

My favourite city idea so far: crowdsourcing city planning #Helsinki RT @guardiancities #CitiesDay http://t.co/qbjFg5Erf4 @UrbanFinBlog

Anna Minton and the UEL students ask: How time-consuming is this process? Your film mentions mapping 5,000 residents views how long did this take?

It is a fairly light process for both respondents and planners. In this case, the average respondent needed about 10 minutes to map his or her ideas. Naturally, times vary between individuals and their mapping interests. It took about a month to collect over 30,000 mappings from roughly 5,000 respondents.

Judge Dan Hill asks: Great to see civic participation platforms include the City Planning department but its all in the execution. Ultimately, who decides, and how?

All planning decisions are made by Helsinkis city council following variegated development processes. But to prevent only the loudest voices getting heard, Helsinki applies tools like Maptionnaire to make civic engagement easier and more diverse. This project essentially served decision-making by bringing about important information for planners and decision-makers.

Why should other cities adopt it? Helsinkis example shows that residents can get excited about participatory planning, when done right. Place-based tools for e-participation and co-participation, like Maptionnaire, allow masses to convey ideas about future development online or through facilitated workshops. High participation levels mean valuable information for planners and resident commitment to growth patterns.

Three minutes. Hit it.

Ha! OK, whats your idea in 10 words? Crowdsourcing city planning with a map of experiences.

Hello! Terveisiä helsingistä!

Maptionnaire

OK, nice job India faintly disapproving take on graffiti, maybe, but hey, who wants their house tagged? (Well probably some people do ...)

Drum roll for the next challenger ...

Weve heard about some other great ideas from Bhubaneswar too:

Bhubaneswar neighborhood vending zone has successfully rehabilitated street hawkers in a win win partnership with the Bhubaneswar Municipal Authority

Sent via GuardianWitness

Bhubaneswar is going to be one of the few cities to be entirely WiFi enabled, and in India where internet penetration is at a miserly 19%, it;s a huge achievement.

Sent via GuardianWitness

Pink Auto service for women commuters in Bhubaneswar.First of its kind in the Country. @guardiancities @discoverbbsr pic.twitter.com/QCiZOmzm73

Usman Haque asks: Who decides what is good and bad graffiti, ie the difference between colourful street art and illegal graffiti?

There is no rule to define what is good or bad graffiti. The idea was to create a series of painting in walls that will stand as a public art gallery, for people who dont often go into art galleries or museums, along with ensuring that the public space remains for everyone, not just for the few who litter it.

Dan Hill asks: Good. But graffiti is partly about the citizens desire to make a mark who is producing the street arts, and how? How do you engage those who want to make a mark?

Well, graffiti is certainly partly about the citizens desire to make a mark on their environment. But sometimes graffiti is simply vandalism, and not acceptable. Here, after we began to paint street art on both public & private walls, some of the citys graffiti activists accepted an organised form of art rather than making the walls uglier. The public spaces were available initially for local school artists. But as the project gathered momentum it spread across other walls in the city, owned by the government or private owners. People started painting of their own volition.

Judge Anna Minton and the UEL students ask: How are the artists chosen?

Initially the artists were brought in from the local art schools and supported by various public and private sector organisations. But now the whole project has gathered momentum and everyone has become artist and owner of their own walls.

Why should other cities adopt it? Cities are searching for solutions to illegal graffiti, while emerging economies struggle to keep public space attractive for its citizens. So painting our street walls solves two problems: it fills walls with colourful street arts and makes these place attractive for tourists and businesses, too.

Youve got our attention. Three minutes go!

Fascinating indeed. So whats your citys best idea, in 10 words? Painting street walls to create a living, public art gallery.

Hello! Namaskar!

Public art galleries

Great start, Auckland. Its always difficult to go first. Five extra points for bravery.

Now, without further ado, to India ...

Heres what you think about Aucklands idea:

@AKLdesignchamp All the best Ludo. I'm sure you will be a star talking AKL's world #CitiesDay idea @guardiancities I will be cheering u on

#CitiesDay It feels great living and working in a design-led city #AKL #Auckland

@guardiancities @AKLdesignchamp #CitiesDay Shared Space means walking now feels like the purpose of the city - love it! #AKL #auckland

Adam Greenfield asks: I couldnt agree more. But theres nothing about this thats particularly novel, is there? Or unique to Auckland?

Surprising to many, but Auckland has for many years had the highest ownership of cars per capita it is sometimes called the city of cars. So Aucklands look, feel and function was designed around the car. This project has been more about a developing a new attitude or psyche for our city than merely a single project. It is about instilling a behaviour change and changing our views as to what we want from our city. People are finding a new love affair with their inner city in many respects, we are bringing back fond memories of a European-styled, human-scaled city; one with street cars, where going downtown was something you did as a treat.

Usman Haque asks: There are a lot of goals cited, but its not clear from the video what exactly is being proposed to achieve these goals, whether technical, regulatory or logistic. Please clarify how the proposals do actually meaningfully put people back into space.

The approach turns traditional traffic engineering approaches on their head. To traffic engineers, shared spaces are counterintuitive, so there has been a great effort made in terms of training and awareness raising. All the shared spaces are design-led; a collaborative team of urban designers, landscape architects and transport engineers typically form the design team. The principles of shared spaces have had to be clearly understood by all the team to ensure that pedestrians have the priority over all other users, signs are kept to a minimum and regulatory rules support the overall outcome.

Sounds great! But I like everything. Our panel of judges, on the other hand, are made of sterner stuff.

And here they come...

Auckland responds: Initially sceptical, most small businesses are now requesting that shared streets be rolled out further. The massive increase in pedestrian numbers, the decrease in accidents and the uplift in hospitality spending have been clinchers. Developers are now purchasing properties in areas that are earmarked for change, because they know that value uplift will occur.

Why should other cities adopt it? Imagine a space where love can be declared, shop tills clang with delight and people flock among cars to twitter and dance. Aucklands shared spaces provide a venue for all of lifes activities, 24/7. Auckland is crafting a liveable city by designing liveable streets.

Great. Youve got three minutes. Go!

THREE jokes! You kiwi maniacs.

OK, can you tell us your idea in 10 words? Shared streets not anti-car, but pro-pedestrian.

Hello! Kia ora!

Living streets

Weve got an esteemed panel of judges to grill the contestants. And for those of you who are still baffled as to what the Challenge is all about, heres a primer.

We kick off officially at 8:00am (GMT) and go till 4:00pm, shortly after which well announce the winner.

I have been deeply impressed by the ideas that have poured in from around the world for the Guardian and UN-Habitats World Cities Day Challenge. They clearly demonstrate the pioneering and innovative spirit of cities and citizens and remind us that all ideas - big or small - can make an impact. By continuing to share ideas such as these we can start to unlock the potential of urbanisation to improve life for people around the world.

Happy World Cities Day, world!

World Cities Day is expected to greatly promote the international communitys interest in global urbanization, push forward cooperation among countries in meeting opportunities and challenges in urbanization and contribute to sustainable urban development in cities and towns around the world. Continue reading...

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31 October 2014, 9:51 am 16eeb089bcecb94dab118ccccc3d2a62
<![CDATA[Mexico police questioned over murders of three Americans]]> Found: calling, call

In what could be third recent case of alleged abuses by security forces, Hercules unit is implicated in deaths of Erica Alvarado Rivera and her two brothers

Authorities are investigating a possible police connection to the killing of three US citizens visiting their father in Mexico who were found shot to death along with a Mexican friend more than two weeks after going missing.

Parents of the three siblings, whose bodies were identified Thursday, have said witnesses reported they were seized by men dressed in police gear calling themselves Hercules, a tactical security unit in the violent border city of Matamoros heavily racked by cartel infighting. Nine of the units 40 officers are being questioned, Tamaulipas state attorney general Ismael Quintanilla Acosta said. Continue reading...

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31 October 2014, 9:36 am b11d8edca49ef70b2d660fb7bc1cb732
<![CDATA[Cameron hosted Claudia Schiffer at Chequers and served lunch to Queen]]> Found: residence
Records detail gifts handed to the prime minister by official visitors as well as naming guests at his country residence

The model Claudia Schiffer and her film producer husband, Matthew Vaughn, dined with David Cameron at Chequers, his official country residence, according to official records released on Friday.

The information also details gifts handed to the prime minister by official guests. Cameron was sufficiently impressed by a watch gifted to him by Interpol to pay £150 to keep it, while a pair of shoes given by designer outfit Oliver Sweeney cost him £279. Continue reading...

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31 October 2014, 9:16 am b9ade65ee1e19de1606423a31079d119
<![CDATA[Prime minister backs Fiona Woolf to head child abuse inquiry]]> Found: calls, call
Despite concern over personal links to Lord Brittan, David Cameron says Woolf can do the job with impartiality

David Cameron wants Fiona Woolf to get on with it as the head of the governments child abuse inquiry despite calls from victims groups for her to step down over her personal links to Leon Brittan, the former home secretary.

Despite suggestions some survivors of child abuse could boycott the inquiry if Woolf remains in charge, the prime ministers official spokesman said Cameron is absolutely clear he thinks she can do this job with integrity and impartiality. Continue reading...

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31 October 2014, 8:25 am 418fb537de86c3ea2065a3e5fd3465b5
<![CDATA[Kristin Scott Thomas to star as the Queen in return of The Audience]]> Found: award
New version of Peter Morgans play to open in London as Helen Mirren, lauded for portrayal of Elizabeth II, stars in Broadway run

Kristin Scott Thomas will play the role of the Queen in a new version of Peter Morgans West End hit The Audience next year.

The role was originally played by Helen Mirren at the Gielgud Theatre in 2013 and won her an Olivier award for best actress. Scott Thomass version will open at the Apollo theatre on 5 May 2015, while Mirren stars in the role on Broadway. Continue reading...

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31 October 2014, 8:22 am 695554fd8f24f5b23626e8e93b7bb161
<![CDATA[Petition calls for Disney to create princess with Down's syndrome]]> Found: calls, calling, call

Campaign asking studio diversify its cast of animated characters has collected close to 60,000 signatures

A petition calling for Disney to create an animated hero with Downs syndrome has picked up more than 58,000 signatures online.

Animated films from Disney have featured various disabled characters, from 1937s Snow White and the Seven Dwarves to Frozen. They include Quasimodo from The Hunchback of Notre Dame and Gabriella, who is deaf and communicates through sign language, in The Little Mermaid. But the studio has yet to produce a film that centres on a character with Downs. Continue reading...

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31 October 2014, 6:36 am 8e3abccd72adfdcbb80aba84e264c54f
<![CDATA[Praise has its place in every classroom]]> Found: award
Whod be a teacher? The advice and reports come thick and fast the latest suggesting we should praise children less

Last March, I had the chance to nominate a former teacher of mine for a community award. Ms LC was my English teacher at secondary school, way back in the 90s, and she is the teacher who made the most impact on my life. I doubt she even remembers me. But I remember her, and there is no doubt in my mind that I would not have gone on to study journalism without her.

I am thinking about Ms LC today because of new research led by Prof Robert Coe of Durham University for education charity the Sutton Trust. The 57-page report, What Makes Great Teaching, says some schools are employing teaching strategies whose efficacy is not backed up by evidence. Among the unverified methods the ineffective practices as the report has them are when teachers group learners by ability, allow learners to discover key ideas for themselves, and my personal favourite, use praise lavishly. It adds: Children whose failure was responded to with sympathy were more likely to attribute their failure to lack of ability than those who were presented with anger. Continue reading...

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31 October 2014, 6:15 am 07b81f302f0fb115eadb252ac8937631
<![CDATA[Fina defends decision to award its highest honour to Vladimir Putin]]> Found: award
Our award was only related to the sport, says Fina executive
German MP says that giving Putin award is insensitive

Swimmings world governing body has defended a decision to award its highest honour to the Russian president, Vladimir Putin, saying it had nothing to do with politics.

Fina has been criticised over the timing of the decision with relations between Russia and the Nato alliance under strain, but the bodys executive director, Cornel Marculescu, said that the award was related only to sport. Our constitution is very clear, Marculescu said. [There is] no discrimination for the political region or anything like that. Our award was only related to the sport, not with the rest. Continue reading...

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31 October 2014, 5:41 am 459dcc66b831f3b1a1fa936683277dce
<![CDATA[Female sport stars should earn the same as their male counterparts]]> Found: award
There is no possible justification for the disparity in prize money. Why cant sport move into the 21st century?

Had I been born with testicles, Im pretty sure Id be spared much humiliation when discussing my finances during my sporting career. I remember picking up my first winners cheque of 500 at a small competition in Ireland and thinking I had made it. Until I realised that men in the 100m at the same event received 2,000. It was a rude awakening.

Although many sports have moved into the 21st century and award equal prize money at major competitions, 30% of sports, including football, cricket and squash, refuse to move forward, as was highlighted this week in a study by the BBC. Continue reading...

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31 October 2014, 2:00 am 76f1fcab8b164349891d3f4d003b1d77
<![CDATA[When it comes to Bob Lambert, the truth is stranger than fiction]]> Found: awarded, award
The saga of the undercover police officer may be hard to believe, but the Mets £400,000 payout is certainly real

Its been said that satire died the day Henry Kissinger was awarded the Nobel peace prize, but satirists fight a constant battle with the news. As Europe descended into war in the 1930s, one French caricaturist said hed given up on pen and ink and was using a camera instead. Whats true of satire also goes for thrillers about the secret state and its operatives and I know because Ive just written one. Recent headlines have been so unlikely that if one of them had popped into my head Id have dismissed it as too far-fetched.

Any newspaper reader following the continuing story of undercover cop Bob Lambert and the secret unit to which he belonged could be forgiven for wondering if theyve turned to the TV pages by mistake. And many writers would hesitate before trying to persuade viewers to take such a story seriously. Whos going to buy the idea that an environmentalist who had a child with a fellow activist was actually a police officer on a spying mission? Even so, the police have been forced to admit it. Theyve just paid more than £400,000 to the mother of Lamberts child. Continue reading...

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30 October 2014, 3:14 pm d8930ca23dbafdb745f70d4eec31a4eb
<![CDATA[V&A CultureCast: July 2006 (enhanced with images)]]> Found: residence
The July 2006 edition of CultureCast features design historian David Crowley discussing the image of Che Guevara within the context of 1960s culture and politics. It also has an extract from a tapestry gallery talk given by Sue Lawty, V& A artist in residence and an article about the cast of the Portico de la Gloria in the Cast Courts.

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10 July 2006, 4:00 am fcc19779ff82a9ae2204dc9125804c34
<![CDATA[V&A CultureCast: July 2006 (no images)]]> Found: residence
The July 2006 edition of CultureCast features design historian David Crowley discussing the image of Che Guevara within the context of 1960s culture and politics. It also has an extract from a tapestry gallery talk given by Sue Lawty, V& A artist in residence and an article about the cast of the Portico de la Gloria in the Cast Courts.

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10 July 2006, 4:00 am 7f45194f7191090b5a3e8a16ef4292f4
<![CDATA[The History of Medical Quarantines, and What That Could Mean For Americans Today]]> Found: award

Kaci Hickox, the Ebola health worker who was the first person forcibly quarantined under New Jersey Gov. Chris Christie’s controversial health order, was released on Monday, October 27. She returned home to Maine, and said that she would defy the the voluntary quarantine policy in Maine. Maine's Governor, Paul R. LePage, issued a statement Wednesday saying that his office is seeking “legal authority to enforce the quarantine” on Hickox. As states and the federal government conflict over how to regulate, police, and enforce quarantines, citizens get caught up in the middle.

On this week's Please Explain, we are talking about the history of and medical and legal guidelines for quarantines.We’re joined by Howard Markel, George E. Wantz Distinguished Professor of the History of Medicine and Director of the Center for the History of Medicine at the University of Michigan. Dr. Markel is the author, co-author, or co-editor of ten books including the award winning Quarantine!: East European Jewish Immigrants and the New York City Epidemics of 1892 and When Germs Travel: Six Major Epidemics That Have Invaded America Since 1900 and the Fears They Have Unleashed.

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31 October 2014, 10:22 am 7cf5e591a35816e128018c2a7ab3bb41
<![CDATA[Tribute: Galway Kinnell]]> Found: awarded, award

Galway Kinnell’s poems straddled the social and the spiritual, focusing on outsiders and the underside of life. He died Tuesday at the age of 87. Over his long career he was awarded a Pulitzer Prize, a National Book Award, and a MacArthur Fellowship, and he was Vermont’s poet laureate. His friend and fellow poet W. S. Merwin remembered Kinnell as “a very generous soul.” He was a guest on the Leonard Lopate show a number of times, and you can listen to three interviews below.

Galway Kinnell and James Ragan discuss participating in The Lyric Recovery Festival at Carnegie Hall

 

 

Galway Kinnell and Rebecca Presson Mosby, who edited the anthology Poetry Speaks, discuss listening to the great poets read their work

 

Editor-in-chief of Poetry Magazine Joseph Parisi and Galway Kinnell discuss the book Dear Editor: A History of Poetry in Letters: The First Fifty Years, 1912-1962

 

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30 October 2014, 2:52 pm b82dcd7b3062ca94a13e56693f411cf2
<![CDATA[Where ISIS Came from and How It Became So Brutally Powerful]]> Found: calls, call

Frontline producer and journalist Martin Smith talks about "The Rise of ISIS," an in-depth investigation of the brutal terrorist group’s ascent. Smith describes his interviews with Iraqi politicians, American policymakers and military leaders to explore and explain how ISIS developed into what one interviewee calls “the Al Qaeda that Osama bin Laden only dreamed of building.” "The Rise of ISIS" premiers October 28, at 10 p.m., on PBS.

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28 October 2014, 9:18 am 99f1aef01f383b4aca888f249939b0f1
<![CDATA[James Brown, Mr. Dynamite]]> Found: award

James Brown, known as the Godfather of Soul and the Hardest Working Man in Show Business, was an explosive performer and one of the most influential artists of the 20th century. Academy Award-winning director Alex Gibney talks about his new documentary, "Mr. Dynamite: The Rise of James Brown," along with Fred Wesley, trombonist and band leader of the JB’s, one of James Brown’s backing bands. “Mr Dynamite” debuts on HBO at 9 pm on October 27.

Trailer

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27 October 2014, 1:33 pm 0d149570745e5bbc7b154faef54c8e08
<![CDATA[Read Alice McDermott's Charming Billy with the Book Club]]> Found: award

Alice McDermott's 1998 novel Charming Billy won the National Book Award for fiction. It's about first love, buried secrets, and the life of an Irish American drinker in Queens. Family and friends gather to comfort Billy Lynch's widow and remember his life, trading tales and painting a portrait of Billy, who was a loyal friend, loving husband, enduring romantic, and an incurable alcoholic.

Leave your questions and comments for her to join in the conversation!

Charming Billy by Alice McDermott
Charming Billy by Alice McDermott
(Picador Modern Classics/Courtesy of the publisher)

 

 

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27 October 2014, 10:34 am b7fd8a3d4e5414b7f783c1c8e9adb5dc
<![CDATA[The Day Edward Snowden First Called Laura Poitras]]> Found: calling, call

Documentary filmmaker Laura Poitras tells the story of what happened when she began receiving encrypted emails by someone calling himself "citizen four." He turned out to be Edward Snowden, and Poitras and Glenn Greenwald flew to Hong Kong for the first of many meetings with the man who turned out to be Edward Snowden. Her documentary “Citizenfour” tells how Poitras and Greenwald first met with Snowden in Hong Kong where he gave them documents revealing the massive covert surveillance programs run by the NSA and other intelligence agencies. Poitras is a MacArthur Genius Fellow and co-recipient of the 2014 Pulitzer Prize for Public Service. “Citizenfour” opens October 24 at Lincoln Plaza Cinemas and IFC Center.

 

You can watch Laura Poitras's documentary "My Country, My Country" free here.

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24 October 2014, 3:08 pm 88d8d0392180bfaa8b3974e9ff69fd9e
<![CDATA[Mark Bittman Tells Us How to Cook Everything Fast]]> Found: calls, call

Mark Bittman provides a game plan for becoming a better, more intuitive cook. His new cookbook How to Cook Everything Fast: A Better Way to Cook Great Food  includes 2,000 recipes. Bittman explains how time management is an essential principle of fast cooking and he’s overhauled hundreds of classics, encouraging what he calls “naturally fast cooking,” with tips, advice, and illustrations. 

How to Cook Everything Fast by Mark Bittman
How to Cook Everything Fast by Mark Bittman
(Houghton Mifflin Harcourt/Courtesy of the publisher)

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23 October 2014, 1:41 pm d8f827a0508ed39779d9f57d1454818e
<![CDATA[Saving the Baldwin Film]]> Found: awards, award
October 2014 - Karen Thorsen and Douglas Dempsey. Karen Thorsen, director of James Baldwin: The Price of the Ticket, and cowriter Douglas Dempsey discuss the making of their award-winning documentary, the challenges of restoring the original 16 mm film elements, and the necessity of ensuring access to this powerful film during the digital age. Produced in association with Maysles Films and PBS/American Masters, The Price of the Ticket premiered in 1990 at Sundance and went on to win numerous awards at home and abroad. An emotional portrait, a social critique, and a passionate plea for human equality, its extensive vérité footage allows Baldwin to tell his own story: exploring what it means to be born black, impoverished, gay, and gifted in a world that has yet to understand that "all men are brothers." "On-camera witnesses" include the late Maya Angelou (she reads passages from the author's writings), Amiri Baraka, David Leeming, Bobby Short, and William Styron. Now considered a documentary film classic, The Price of the Ticket has been restored with the help of the Ford Foundation, Maysles Documentary Center, National Endowment for the Arts, and Stan and Joanne Marder. This conversation and the world premiere of the film's restoration took place on October 12, 2014, at the National Gallery of Art. This program was supported by Dr. Darryl Atwell and Dr. Renicha McCree to honor the 90th anniversary of the birth of James Baldwin (1924–1987), American essayist, novelist, playwright, poet, and activist.

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21 October 2014, 8:00 am 93b701510f7c2a1d0b978511751a4d5d
<![CDATA[Marilynne Robinson on Her New Novel, Lila]]> Found: award

Marilynne Robinson discusses her new novel Lila, which is a finalist for the National Book Award. Robinson returns to the town of Gilead, from an earlier novel, and tells the story of a girl on the fringes of society, homeless and alone after years of roaming the countryside. When she steps inside a small-town Iowa church to find shelter from the rain she meets the minister, John Ames. After they marry, she begins a new life and tries to make sense of her old one.

Lila, by Marilynne Robinson
Lila, by Marilynne Robinson
(Farrar, Straus and Giroux/Courtesy of the publisher)

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19 October 2014, 11:00 pm 01c4948d54f04a3b80c096e7a5064080
<![CDATA[Jeff Wall on His Work]]> Found: calls, call
September 2013 - Jeff Wall, artist. Canadian-born photographer Jeff Wall first became interested in photography in the mid-1960s. He was struck by the perfectionism that characterized the practice at that time—the idea that photographs should, and must, document the world as it is. Photography seemed to be strict reportage, instead of allowing for collaboration between the photographer and subject (as with cinematography). Films were composed of a series of still photographs, but the potential for collaboration within a single photograph had not yet been realized. In this lecture recorded at the National Gallery of Art on April 17, 1999, Wall discusses his work and his relation with what he calls cinematography. He works with performers and prepares the composition to create an image of something that he has actually seen. Through the large-scale photographs for which he is best known, Wall seeks to tell a fragment of a story and allow spectators to finish the story for themselves.

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3 September 2013, 8:00 am d721a9ec8ccc1bbfb462fe7e23015280
<![CDATA[Bronislava Nijinska: A Choreographer's Journey]]> Found: awarded, award
August 2013 - Lynn Garafola, professor of dance, Barnard College, Columbia University. Bronislava Nijinska, the sister of famed ballet dancer and choreographer Vaslav Nijinsky, was a pioneer of the modern tradition of ballet. In spring 2013, Lynn Garafola was awarded a Guggenheim Fellowship to support her research on Nijinska. In this lecture recorded on July 7, 2013, at the National Gallery of Art, Garafola shares her latest research and thoughts about how Nijinska's life and work not only illuminated modern ballet history, but 20th century culture as a whole. In 1913 Nijinska was evicted from her brother's production The Rite of Spring for getting married, an act that he perceived as a betrayal. Afterward, although she was no longer dancing for her brother, Nijinska still played a crucial role in the dissemination of modernism. The longevity of her career eclipsed that of her brother's, and her work influenced numerous dancers and choreographers. Held in conjunction with the exhibition Diaghilev and the Ballets Russes, 1909–1929: When Art Danced with Music, on view at the Gallery from May 12 to October 6, 2013, this lecture was supported in loving memory of Shirley Casstevens.

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20 August 2013, 8:00 am 5df47cc9e8e21a5bb8095e5e029c95e4
<![CDATA[Conversations with Collectors: Robert and Jane Meyerhoff]]> Found: residence
March 2013 - Robert and Jane Meyerhoff, collectors, in conversation with Irving Blum, collector and co-founder of the Ferus Gallery, Los Angeles. To celebrate the exhibition opening of The Robert and Jane Meyerhoff Collection: 1945-1995 at the National Gallery of Art on March 31, 1996, the Meyerhoffs joined Irving Blum to discuss the history and practice of their collecting. On view through July 21, 1996, the exhibition presented 194 works, almost their entire collection of post-World War II art. The Meyerhoffs' acquisitions have been based wholly on their belief in the quality of individual works and not on any preconceived theory or plan. If they were passionate about an artist, they collected his or her work in depth. Their private residence has a room dedicated to each of the following artists: Jasper Johns, Ellsworth Kelly, Roy Lichtenstein, Robert Rauschenberg, and Frank Stella. The collection is both a tribute to the extraordinarily high level of accomplishment by these artists and to the Meyerhoffs' intuition.

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5 March 2013, 7:00 am f0a4c93d5c20dbb46eab7a09cf4f7c65
<![CDATA[William H. Johnson]]> Found: awarded, award
February 2013 - Gwendolyn H. Everett, assistant professor, department of art, Howard University Gwendolyn H. Everett, scholar and author of the award-winning children's book Li'L Sis and Uncle Willie: A Story Based on the Life and Paintings of William H. Johnson, provides an overview of William Henry Johnson's (1901-1970) career as part of the Five African American Artists lecture series recorded on August 3, 2003. Everett traces Johnson's determination to become an artist, despite a humble upbringing in South Carolina, to his years at a segregated elementary school where art was not part of the formal curriculum. In 1918, during the first Great Migration, Johnson moved to New York to pursue artistic training unavailable in the South. While living in Harlem and working several jobs to support himself, he was accepted into the prestigious National Academy of Design. Noted watercolorist Charles Webster Hawthorne provided critical mentorship at the academy, hired Johnson to work at the Cape Cod School of Art, and sponsored his further training in Europe. Johnson supplemented this sponsorship with prizes awarded by the academy and funds earned working for Ashcan School painter George Luks. In 1920s Paris, Johnson lived in the former studio of James McNeill Whistler and became acquainted with Henry O. Tanner, an African American expatriate artist who had achieved international acclaim and who would become a pivotal figure in Johnson's rise to prominence. Follow along as Everett illustrates Johnson's journey—marked by determination, strengthened by hard work, and bolstered by the support of influential artists—that led him to become one of the greatest American artists of the 20th century.

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19 February 2013, 7:00 am 2321c0b603bb514a53c5b2125b31d6d6
<![CDATA[Artists in Residence: Henry O. Tanner in the Holy Land]]> Found: residence
February 2013 - Gwendolyn H. Everett, lecturer, National Gallery of Art. As part of the Artist in Residence lecture series, Gwendolyn H. Everett focused on Henry Ossawa Tanner's (1859-1937) visits to the Holy Land, and how this travel affected the later religious paintings for which he achieved international recognition. In this podcast recorded on August 9, 1987, Everett explains the formative influence of Tanner's upbringing in an educated, religious family in post-Civil War Philadelphia. Tanner's father was a minister and, later, a bishop in the African Methodist Episcopal Church, and his mother administered a Methodist school. Tanner enrolled in the Pennsylvania Academy of Fine Arts as the only African American student in 1879, graduating in 1885. His professor, the artist Thomas Eakins, encouraged a progressive method of study from live models instead of plaster casts, which profoundly affected Tanner. after 1891 Tanner resided primarily in France; by 1895 his paintings were mostly of biblical themes, and in 1897 he made his first trip to the Holy Land, where his firsthand experience led to mastery of religious subject matter. He visited the region several times to explore mosques and biblical sites, and to complete character studies of the local population, as he had learned from Eakins. Tanner invigorated religious painting with modernism and with his deeply rooted faith, achieving renown in the international art world.

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12 February 2013, 7:00 am 5ff28065373059eb12f69c3052526c1d
<![CDATA[Roy Lichtenstein's Kyoto Prize Lecture of 1995]]> Found: award
January 2013 - Harry Cooper, curator and head, department of modern art, National Gallery of Art, with original slides courtesy of the Roy Lichtenstein Foundation © Estate of Roy Lichtenstein. On November 11, 1995, Roy Lichtenstein was in Japan to receive the Kyoto Prize from the Inamori Foundation. In accepting the award, he delivered a lecture on the evolution of his work since his Pop breakthrough of 1961. Thanks to the generosity of the artist's estate and foundation, Harry Cooper, the National Gallery of Art's curator of modern art, presented this lecture at the Gallery, with the original slides, on January 9, 2013—in honor of Roy Lichtenstein: A Retrospective, the first major exhibition of the artist's work since his death in 1997. The exhibition was on view at the Gallery from October 14, 2012, to January 13, 2013.

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29 January 2013, 7:00 am 4baccc949c7ba076f8003aa2557ce3ce
<![CDATA[Architecture and Art: Creating Community]]> Found: call, award
June 2012 - David Adjaye, principal architect, Adjaye Associates; Elizabeth Diller, principal architect, Diller Scofidio + Renfro; Tom Finkelpearl, executive director, Queens Museum of Art; Sarah Lewis, art historian, author, and curator; and Robert Storr, chairman of FAPE's Professional Fine Arts Committee and dean of the Yale School of Art. In collaboration with the Foundation for Art and Preservation in Embassies (FAPE) and in the spirit of its Leonore and Walter Annenberg Award for Diplomacy through the Arts, the National Gallery of Art hosted this annual panel discussion on May 15, 2012. Featuring noted architects David Adjaye and Elizabeth Diller, and moderated by Robert Storr, the program focused on how architecture and art bring people together in public spaces. Adjaye currently serves as the lead designer for the Smithsonian National Museum of African American History and Culture, which is slated to open on the National Mall in 2015. Diller, along with Ricardo Scofidio and Charles Renfro, recently completed the Lincoln Center for the Performing Arts Redevelopment Project. Also participating were Tom Finkelpearl, executive director of the Queens Museum of Art, which broke ground last year on an expansion that will double its size; and Sarah Lewis, a PhD candidate at Yale University who is currently finishing RISE, a book that "explores the advantage of resilience and so-called failure in successful creative human endeavors."

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12 June 2012, 8:00 am caa2c9eb0c6710abdb7351b947b51a4c
<![CDATA[Solving the East/West Conundrum in Modern Chinese Art]]> Found: call
May 2012 - Martin J. Powers, Sally Michelson Davidson Professor of Chinese Arts and Cultures and former director, Center for Chinese Studies, University of Michigan. At the beginning of the 20th century, artists in China found themselves in a no-win situation: if they made use of Chinese brushwork, their art was considered "traditional," and if they adapted European or modernist methods, it was called "derivative." We may call this the East/West conundrum in modern Chinese art. Against the background of a long history of cultural competition in China, Martin J. Powers explores several ways in which Chinese artists managed to transcend the East/West conundrum in recent decades. Professor Powers delivered this lecture in both English and Mandarin on February 19, 2012, at the National Gallery of Art.

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1 May 2012, 8:00 am 3a4a845ef21b3ae449ff290350060e5e
<![CDATA[Conversations with Artists: Joel Shapiro, Thoughts on the Organization of Form in Modern Sculpture]]> Found: opportunity
March 2012 - Joel Shapiro, artist. Following the installation of Joel Shapiro's Untitled (1989) in the National Gallery of Art Sculpture Garden with other major post–World War II sculptures, the artist received an invitation to curate an exhibition of his work alongside the 19th-century sculpture of Jean-Baptiste Carpeaux. In this podcast recorded on March 9, 2003, Shapiro explains that the upcoming exhibition gave him on opportunity to focus on the continuity of thought in sculpture. Although certain ideas for form in sculpture seem radical and contemporary, their ideas have already been discovered and worked with in earlier times. Shapiro finds that the development of form seems to repeat itself, although it is ever-changing, more or less focused, and contextualized by the era in which it was created.

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13 March 2012, 8:00 am 897af458bedcf0ef2e084562c9199daf
<![CDATA[Conversations with Artists-Compositions and Collaborations: The Arts of Lou Stovall]]> Found: opportunity
February 2012 - Lou Stovall, artist, in conversation with Ruth Fine, curator of special projects in modern art, National Gallery of Art. As part of the National Gallery of Art summer lecture series Five African American Artists: Johnson-Tanner-Johnson-Stovall-Thomas, Lou Stovall participated in a Conversations with Artists program with Ruth Fine on August 3, 2003. "Compositions and Collaborations: The Arts of Lou Stovall" is a rare opportunity to hear Stovall discuss his own work and his collaborations with other artists, and to listen as he responds to questions from the audience. Stovall has been a major figure in the Washington, DC, arts community since the early 1960s, when he arrived at Howard University for his BFA program. In 1968 Stovall founded Workshop, Inc., a professional printmaking studio, where he has collaborated with more than 70 artists over the years. In addition to his own drawings and silkprints, and his collaborative printmaking projects, Stovall is a published essayist and poet.

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21 February 2012, 7:00 am dc89585113d3f4ba620b7d08ebcfc144
<![CDATA[Florence: Days of Destruction]]> Found: calling, call
December 2011 - Bryan Draper, Collections Conservator, University of Maryland Libraries; Norvell Jones, retired Chief of the Document Conservation Branch, National Archives; and Sheila Waters, calligrapher. Recalling the 45th anniversary of the catastrophic flood of Florence in 1966, the National Gallery of Art, in association with the University of Maryland Libraries presented a rare screening of Franco Zeffirelli's Florence: Days of Destruction (Per Firenze) on November 5, 2011. The famed Italian director's sole documentary is a heartfelt call to action containing the only known footage of the flood, accented by Richard Burton's voiceover commentary. The film is in the collection of the University of Maryland Libraries, College Park. Program speakers included Bryan Draper, Collections Conservator, University of Maryland Libraries; Norvell Jones, retired Chief of the Document Conservation Branch, National Archives; and Sheila Waters, calligrapher, who participated in the conservation efforts in post-flood Florence.

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13 December 2011, 7:00 am 55fdbbdb3b91564fd0607107315be7dc
<![CDATA[Morse at the Louvre]]> Found: award
November 2011 - A two-time Pulitzer Prize winning author and recipient of the National Book Award, David McCullough discusses his new book, The Greater Journey: Americans in Paris. In this podcast recorded on September 26, 2011, at the National Gallery of Art, McCullough tells the story of America's longstanding love affair with Paris through vivid portraits of dozens of significant characters. Notably, artist Samuel F. B. Morse is depicted as he worked on his masterpiece The Gallery of the Louvre. McCullough spoke at the Gallery in honor of the exhibition A New Look: Samuel F. B. Morse's "Gallery of the Louvre," on view from June 25, 2011, to July 8, 2012. The exhibition and program were coordinated with and supported by the Terra Foundation for American Art.

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15 November 2011, 7:00 am faae24724cfa6fcc69ed79e62dc15f12
<![CDATA[The Moment of Caravaggio: Part 6: Painting and Violence]]> Found: calls, call
August 2011 - Michael Fried, J. R. Herbert Boone Professor and director of the Humanities Center, The Johns Hopkins University In a series of six lectures, Michael Fried offers a compelling account of what he calls "the internal structure of the pictorial act" in the revolutionary art of Michelangelo Merisi da Caravaggio. The accompanying publication, The Moment of Caravaggio, is available for purchase from the Gallery Shops. In this audio podcast of the sixth lecture, originally delivered at the National Gallery of Art on May 19, 2002, Professor Michael Fried argues that Caravaggio's art should be understood not simply as a monument to a revolutionary style of pictorial realism, but also as an investigation into the psychic and physical dynamic that went into its making. Fried evokes this dynamic with concepts introduced in earlier lectures, including immersion and specularity, absorption and address, painting and mirroring, and optical and bodily modes of realism�what he calls "the internal structure of the pictorial act."

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30 August 2011, 8:00 am b5197218cd11ab04954958eaaa0238f6
<![CDATA[The Moment of Caravaggio: Part 5: Severed Representations]]> Found: calls, call
August 2011 - Michael Fried, J. R. Herbert Boone Professor and director of the Humanities Center, The Johns Hopkins University In a series of six lectures, Michael Fried offers a compelling account of what he calls "the internal structure of the pictorial act" in the revolutionary art of Michelangelo Merisi da Caravaggio. The accompanying publication, The Moment of Caravaggio, is available for purchase from the Gallery Shops. In this audio podcast of the fifth lecture, originally delivered at the National Gallery of Art on May 12, 2002, Professor Michael Fried discusses how the "violent" birth of the full-blown gallery picture (as seen in Judith and Holoferenes) is figured in Caravaggio's art as beheading or decapitation, an allegory for the act of painting.

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30 August 2011, 8:00 am 208bee2a69d85d49b78f340bed2b3b43
<![CDATA[The Moment of Caravaggio: Part 4: Absorption and Address]]> Found: calls, call
August 2011 - Michael Fried, J. R. Herbert Boone Professor and director of the Humanities Center, The Johns Hopkins University In a series of six lectures, Michael Fried offers a compelling account of what he calls "the internal structure of the pictorial act" in the revolutionary art of Michelangelo Merisi da Caravaggio. The accompanying publication, The Moment of Caravaggio, is available for purchase from the Gallery Shops. In this audio podcast of the fourth lecture, originally delivered at the National Gallery of Art on May 5, 2002, Professor Michael Fried explores how two polar entities in Caravaggio's art--absorption and address--lead to the emergence of the gallery picture.

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23 August 2011, 8:00 am f1bea4046aff5167520c8b61b34e737a
<![CDATA[The Moment of Caravaggio: Part 3: The Invention of Absorption]]> Found: calls, call
August 2011 - Michael Fried, J. R. Herbert Boone Professor and director of the Humanities Center, The Johns Hopkins University In a series of six lectures, Michael Fried offers a compelling account of what he calls "the internal structure of the pictorial act" in the revolutionary art of Michelangelo Merisi da Caravaggio. The accompanying publication, The Moment of Caravaggio, is available for purchase from the Gallery Shops. In this audio podcast of the third lecture, originally delivered at the National Gallery of Art on April 28, 2002, Professor Michael Fried argues that Caravaggio's depiction of his figures as so deeply engrossed in what they are doing, feeling, and thinking is revolutionary.

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16 August 2011, 8:00 am cd4ace497aa4170fb490a18d6de77f85
<![CDATA[The Moment of Caravaggio: Part 2: Immersion and Specularity]]> Found: calls, call
August 2011 - Michael Fried, J. R. Herbert Boone Professor and director of the Humanities Center, The Johns Hopkins University In a series of six lectures, Michael Fried offers a compelling account of what he calls "the internal structure of the pictorial act" in the revolutionary art of Michelangelo Merisi da Caravaggio. The accompanying publication, The Moment of Caravaggio, is available for purchase from the Gallery Shops. In this audio podcast of the second lecture, originally delivered at the National Gallery of Art on April 21, 2002, Professor Michael Fried addresses Caravaggio's engagement with the act of painting, and contrasts that with specular moments of detachment. Fried argues that this divided relationship lies at the heart of Caravaggio's most radical art.

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9 August 2011, 8:00 am 18d65c3b572afe708aed2e326ce3bd8e
<![CDATA[The Moment of Caravaggio: Part 1: A New Type of Self-Portrait]]> Found: calls, call
August 2011 - Michael Fried, J. R. Herbert Boone Professor and director of the Humanities Center, The Johns Hopkins University. In a series of six lectures, Michael Fried offers a compelling account of what he calls "the internal structure of the pictorial act" in the revolutionary art of Michelangelo Merisi da Caravaggio. The accompanying publication, The Moment of Caravaggio, is available for purchase from the Gallery Shops. In this audio podcast of the first lecture, originally delivered at the National Gallery of Art on April 14, 2002, Professor Michael Fried opens the lecture series with a discussion of Caravaggio's Boy Bitten by a Lizard. He argues for its significance as a disguised self-portrait of the artist in the act of painting.

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2 August 2011, 8:00 am 794cf03fc2b84c9a5b50476a47409eb4
<![CDATA[Elson Lecture 1998: I. M. Pei in conversation with Earl A. Powell III]]> Found: awarded, award
April 2011 - I. M. Pei, architect, in conversation with Earl A. Powell III, director, National Gallery of Art Legendary architect I. M. Pei appears in conversation with Gallery director Earl A. Powell III to commemorate the 20th anniversary of the opening of the East Building of the National Gallery of Art. In this podcast recorded on March 26, 1998, Pei discusses the evolution of the East Building�s design and construction from the time Pei was awarded the commission until the building was dedicated by President Jimmy Carter on June 1, 1978.

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12 April 2011, 8:00 am fb5219651d35827281a6a2a1345c2e2f
<![CDATA[Film Design: Translating Words into Images]]> Found: award
January 2011 - Patrizia von Brandenstein, Academy Award�winning production designer. Production designers define the appearance of a film, bringing to life written scripts by working with producers, directors, and their crews to achieve the desired look of a picture. Academy Award winner Patrizia von Brandenstein shared her practical knowledge of production design and used clips from several of her films, including Amadeus (1984), Six Degrees of Separation (1993), and The Last Station (2010), to illustrate the result of many years of research and visual interpretation.

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25 January 2011, 7:00 am 7013b1fdf9ab32517260ffbd49995951
<![CDATA[Martin Puryear: "Sculpture that Tries to Describe Itself to the World"]]> Found: opportunity
September 2010 - Ruth Fine, curator of special projects in modern art, National Gallery of Art. In this podcast recorded on June 22, 2008, for the Martin Puryear retrospective exhibition opening at the National Gallery of Art, curator Ruth Fine discusses the work of District of Columbia native Martin Puryear. The retrospective included 46 sculptures made between 1975 and 2007. The first exhibition in the Gallery's history to be installed in both the East and West Buildings, it provided a unique opportunity to view Puryear's sculpture in modern and classical settings. Fine discusses the installation process for Puryear's work at the Gallery, designed in collaboration with the artist, as well as the intentions behind the placement of sculptures.

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28 September 2010, 8:00 am 34d1a812d7c4996e580c69657338ea89
<![CDATA[Graft by Roxy Paine]]> Found: calls, call
December 2009, Behind the Scenes - Molly Donovan, associate curator, department of modern and contemporaryart, National Gallery of Art, Washington. In 2009 the National Gallery of Art commissioned American sculptor Roxy Paine to create a stainless steel Dendroid, as the artist calls his series of treelike sculptures, for the Sculpture Garden. In this podcast produced on the occasion of the completed work�the first contemporary sculpture installed in the Sculpture Garden in the nearly 10 years since it opened�associate curator Donovan talks to host Barbara Tempchin about Graft.

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8 December 2009, 7:00 am 0bf543506e49330314f518a1ea4791b6
<![CDATA[Telling the Edward Hopper Story]]> Found: award
September 2007, Backstory - Guest: Carroll Moore, film and video producer, National Gallery of Art. The iconic paintings and artistic impact of Edward Hopper are the subject of a new documentary film that accompanies the exhibition Edward Hopper on its Boston-Washington-Chicago tour. Award-winning producer Carroll Moore speaks with Tempchin about the making of this illuminating film.

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3 September 2007, 8:00 am b0e81bbdb22d778cef5c101b2de22f13
<![CDATA[Join us for the Aimia | AGO Photography Prize winner announcement]]> Found: awarded, award
The crowd at last year's Aimia | AGO Photography Prize winner announcement, Nov. 7, 2013.

The crowd at last year’s Aimia | AGO Photography Prize winner announcement, Nov. 7, 2013.

This Wednesday, October 29, join the AGO, Aimia, the Walrus Foundation and host Garvia Bailey for the Aimia | AGO Photography Prize winner announcement. The public voting period, which began in August, ends at 11:59 p.m. tonight, and one of the Prize’s four shortlisted artists will be awarded $50,000 at the private event. Watch the livestream starting at 7 p.m. watch the livestream on the Aimia | Photography Prize homepage or The Walrus‘s website.

And, if you haven’t yet, cast your vote!


Image via Twitter.

Image via Twitter.


About Garvia Bailey
Garvia Bailey has been a broadcast journalist for more than 10 years and currently hosts Good Morning Toronto on JAZZ.FM91. She spent 10 years with the Canadian Broadcasting Corporation. She got her start in the world of independent film with the start up production company Channel Zero – telling stories of social unrest around the world and with the CBC, she served as the host of Canada Live and Radio 2 Top 20 on CBC Radio 2, Backstage Pass on CBC-TV, Big City Small World and was a contributor at cbcmusic.ca. Throughout her career in broadcasting she has turned the spotlight on emerging talent from across the GTA and has interviewed many celebrated international artists including Jimmy Cliff, Maestro Fresh Wes, Russell Peters, Melanie Fiona and M.I.A.

Follow Garvia on Twitter

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27 October 2014, 9:35 am 866969ccf22cc0d3f79093049755abb3
<![CDATA[Join us for the Aimia | AGO Photography Prize winner announcement]]> Found: awarded, award
The crowd at last year's Aimia | AGO Photography Prize winner announcement, Nov. 7, 2013.

The crowd at last year’s Aimia | AGO Photography Prize winner announcement, Nov. 7, 2013.

This Wednesday, October 29, join the AGO, Aimia, the Walrus Foundation and host Garvia Bailey for the Aimia | AGO Photography Prize winner announcement. The public voting period, which began in August, ends at 11:59 p.m. tonight, and one of the Prize’s four shortlisted artists will be awarded $50,000 at the private event. Watch the livestream starting at 7 p.m. watch the livestream on the Aimia | Photography Prize homepage or The Walrus‘s website.

And, if you haven’t yet, cast your vote!


Image via Twitter.

Image via Twitter.


About Garvia Bailey
Garvia Bailey has been a broadcast journalist for more than 10 years and currently hosts Good Morning Toronto on JAZZ.FM91. She spent 10 years with the Canadian Broadcasting Corporation. She got her start in the world of independent film with the start up production company Channel Zero – telling stories of social unrest around the world and with the CBC, she served as the host of Canada Live and Radio 2 Top 20 on CBC Radio 2, Backstage Pass on CBC-TV, Big City Small World and was a contributor at cbcmusic.ca. Throughout her career in broadcasting she has turned the spotlight on emerging talent from across the GTA and has interviewed many celebrated international artists including Jimmy Cliff, Maestro Fresh Wes, Russell Peters, Melanie Fiona and M.I.A.

Follow Garvia on Twitter

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27 October 2014, 9:35 am 866969ccf22cc0d3f79093049755abb3
<![CDATA[Art on wheels: Meet the Aimia | AGO Photography Prize Art Truck]]> Found: opportunity, residency, award

For the first time, the Aimia | AGO Photography Prize is bringing its talented finalists to the streets. The travelling Aimia | AGO Photography Prize Art Truck will feature video footage of the four shortlisted artists discussing their practices, offering a glimpse into their artwork and allowing visitors an opportunity to vote for who should win the $50,000 prize. Track the location of the Art Truck using the hashtag #ArtIsMoving or follow the Prize on Twitter @AimiaAGOPrize.

The Art Truck arrives in Toronto on Sept. 27, 2014, making its first stop at the Sony Centre for the Performing Arts on Front Street East and continues onto a number of locations across the city.

The Art Truck was created to break the Prize out of gallery walls and making it accessible by all who walk by. Voters will have the opportunity to win an expenses-paid trip to Toronto, a private tour with an AGO curator, dinner for two at the AGO’s FRANK restaurant, tickets to the exclusive winner announcement and 15,000 Aeroplan® Miles.

Making appearances at several key locations and festivals across Toronto, the Art Truck can be found at:

The Prize, co-presented by Aimia and the AGO, will award each of the four artists a six-week artist residency in Canada and will feature their work in an AGO exhibition, on now through Jan. 4, 2015. The winner will be chosen by public vote via the Prize’s website and Facebook page until Oct. 27, 2014 at 11:59 p.m. The winner will be announced on Oct. 29, 2014, at the AGO, and the Art Truck offers a unique way of voting by using iPads, so that all visitors to the truck can have their say.

The 2014 finalists are:

  • David Hartt (Canada);
  • Elad Lassry (Israel/USA);
  • Nandipha Mntambo (South Africa); and
  • Lisa Oppenheim (USA).

Search for #ArtIsMoving on Twitter to follow the Art Truck around town. For updates on the Prize, further details on the shortlisted artists and additional information, please visit AimiaAGOPhotographyPrize.com and follow @AimiaAGOPrize on Twitter.

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25 September 2014, 1:26 pm d049e5cb5621d28a52c6e96f88d3c2db
<![CDATA[Art on wheels: Meet the Aimia | AGO Photography Prize Art Truck]]> Found: opportunity, residency, award

For the first time, the Aimia | AGO Photography Prize is bringing its talented finalists to the streets. The travelling Aimia | AGO Photography Prize Art Truck will feature video footage of the four shortlisted artists discussing their practices, offering a glimpse into their artwork and allowing visitors an opportunity to vote for who should win the $50,000 prize. Track the location of the Art Truck using the hashtag #ArtIsMoving or follow the Prize on Twitter @AimiaAGOPrize.

The Art Truck arrives in Toronto on Sept. 27, 2014, making its first stop at the Sony Centre for the Performing Arts on Front Street East and continues onto a number of locations across the city.

The Art Truck was created to break the Prize out of gallery walls and making it accessible by all who walk by. Voters will have the opportunity to win an expenses-paid trip to Toronto, a private tour with an AGO curator, dinner for two at the AGO’s FRANK restaurant, tickets to the exclusive winner announcement and 15,000 Aeroplan® Miles.

Making appearances at several key locations and festivals across Toronto, the Art Truck can be found at:

The Prize, co-presented by Aimia and the AGO, will award each of the four artists a six-week artist residency in Canada and will feature their work in an AGO exhibition, on now through Jan. 4, 2015. The winner will be chosen by public vote via the Prize’s website and Facebook page until Oct. 27, 2014 at 11:59 p.m. The winner will be announced on Oct. 29, 2014, at the AGO, and the Art Truck offers a unique way of voting by using iPads, so that all visitors to the truck can have their say.

The 2014 finalists are:

  • David Hartt (Canada);
  • Elad Lassry (Israel/USA);
  • Nandipha Mntambo (South Africa); and
  • Lisa Oppenheim (USA).

Search for #ArtIsMoving on Twitter to follow the Art Truck around town. For updates on the Prize, further details on the shortlisted artists and additional information, please visit AimiaAGOPhotographyPrize.com and follow @AimiaAGOPrize on Twitter.

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25 September 2014, 1:26 pm d049e5cb5621d28a52c6e96f88d3c2db
<![CDATA[Meet the artists of the 2014 Aimia | AGO Photography Prize shortlist]]> Found: calls, call

Together with our partners at Aimia, we were excited to announce the 2014 Aimia | AGO Photography Prize shortlist on Aug. 13. Below, learn about the four artists from around the world who were our jurors’ top picks, then head to the Prize website to see more of their work and choose your favourite.


David Hartt

Image courtesy of the artist.

Image courtesy of the artist.

“Our understanding of ourselves is deeply rooted in the spaces we occupy.”

David Hartt was born in Montreal and currently lives and works in Chicago. In his installations, which include photographs, videos, and sculptures, he explores how physical spaces reflect the ideas and beliefs of a particular time and place. By investigating the materials, symbols and histories that shape our surroundings, Hartt calls attention to the ways our built environments exist and evolve. After extensive research and site visits, he distils this material into complex and elegant installations.

Artist’s web page

On David’s work:
David Hartt by Aimee Walleston for Art in America
David Hartt: Stray Light at the Studio Museum in Harlem by Andrew Russeth for Gallerist


Elad Lassry

Image courtesy of the artist.

Image courtesy of the artist.

“The questions for me are about this very mysterious unit that is the picture. It brings on a set of assumptions and built-in ways of looking with which I am in constant battle.”

At the centre of Israel-born, Los Angeles-based artist Elad Lassry’s work is the question: “What is a picture?” His practice suggests that the photograph is an elusive “unit.” Lassry uses multiple aesthetic modes and technologies to create analog images, digital interventions, moving pictures, design applications and applied arts that seem utilitarian but produce complex visual sensations. His ongoing investigation leads him to refer back to and experiment with a variety of visual sources – textbooks, manuals, film stills, marketing materials and science texts – which at turns contradict and play off one another in his work. Lassry uses this dynamic to pinpoint what he calls a “contemporary condition” in which the photograph is a flexible entity, seductively powerful and yet untrustworthy. “Once the photograph is not what it appears to be,” Lassry asks, “what else is at stake?”

Artist’s web page

On Elad’s work:
Elad Lassry by Gillian Young for Art in America
Elad Lassry at David Kordansky via Contemporary Art Daily


Nandipha Mntambo

Image courtesy of the artist.

Image courtesy of the artist.

“I’m interested in uncovering that binary – that in-between space that you can’t always pinpoint or articulate.”

Nandipha Mntambo was born in Swaziland and lives in Johannesburg. She originally trained as a sculptor and then expanded her practice to include photography, performance, and video. Her work investigates such dualities as male and female, attraction and repulsion, animal and human, European and African. Mntambo makes sculptures from cowhide, using her own body to mould the forms. In many of her videos and photographs, she appears wearing her sculptures, suggesting our capacity as individuals to shape the world around us, while also highlighting the forces that form us, including notions of race, gender and history.

Artist’s web page

On Nandipha’s work:
Nandipha Mntambo: Hide & Seek by Kudi Maradzika for AkAthemag
Visiting Artist Profiles – Nandipha Mntambo by Matthew Harrison Tedford for ArtPractical


Lisa Oppenheim

Image courtesy of the artist.

Image courtesy of the artist.

“I want the viewer to ask, ‘What am I looking at? How is it made?’ Somehow, that provides a way of critically reading how images come to all of us through our daily lives.”

Lisa Oppenheim, who lives and works in New York, creates photographs and videos that connect historical imagery and techniques with the present moment. Her process often begins with online research, to source images that she reinterprets using old and new technologies. Oppenheim also employs unusual materials as negatives – fabric, lace, slices of wood – directly recording the objects’ specific textures to create near-abstract compositions. Through her experiments with analog darkroom and digital methods, Oppenheim gives photographic images new forms and new contexts, inviting us to question and to wonder.

Artist’s website

On Lisa’s work:
Lisa Oppenheim by Shama Khanna for Frieze
Lisa Oppenheim: Elemental Process by Brian Sholis for Aperture

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15 August 2014, 10:19 am 822f14b9c0563690f281c6f80964a2e0
<![CDATA[Meet the artists of the 2014 Aimia | AGO Photography Prize shortlist]]> Found: calls, call

Together with our partners at Aimia, we were excited to announce the 2014 Aimia | AGO Photography Prize shortlist on Aug. 13. Below, learn about the four artists from around the world who were our jurors’ top picks, then head to the Prize website to see more of their work and choose your favourite.


David Hartt

Image courtesy of the artist.

Image courtesy of the artist.

“Our understanding of ourselves is deeply rooted in the spaces we occupy.”

David Hartt was born in Montreal and currently lives and works in Chicago. In his installations, which include photographs, videos, and sculptures, he explores how physical spaces reflect the ideas and beliefs of a particular time and place. By investigating the materials, symbols and histories that shape our surroundings, Hartt calls attention to the ways our built environments exist and evolve. After extensive research and site visits, he distils this material into complex and elegant installations.

Artist’s web page

On David’s work:
David Hartt by Aimee Walleston for Art in America
David Hartt: Stray Light at the Studio Museum in Harlem by Andrew Russeth for Gallerist


Elad Lassry

Image courtesy of the artist.

Image courtesy of the artist.

“The questions for me are about this very mysterious unit that is the picture. It brings on a set of assumptions and built-in ways of looking with which I am in constant battle.”

At the centre of Israel-born, Los Angeles-based artist Elad Lassry’s work is the question: “What is a picture?” His practice suggests that the photograph is an elusive “unit.” Lassry uses multiple aesthetic modes and technologies to create analog images, digital interventions, moving pictures, design applications and applied arts that seem utilitarian but produce complex visual sensations. His ongoing investigation leads him to refer back to and experiment with a variety of visual sources – textbooks, manuals, film stills, marketing materials and science texts – which at turns contradict and play off one another in his work. Lassry uses this dynamic to pinpoint what he calls a “contemporary condition” in which the photograph is a flexible entity, seductively powerful and yet untrustworthy. “Once the photograph is not what it appears to be,” Lassry asks, “what else is at stake?”

Artist’s web page

On Elad’s work:
Elad Lassry by Gillian Young for Art in America
Elad Lassry at David Kordansky via Contemporary Art Daily


Nandipha Mntambo

Image courtesy of the artist.

Image courtesy of the artist.

“I’m interested in uncovering that binary – that in-between space that you can’t always pinpoint or articulate.”

Nandipha Mntambo was born in Swaziland and lives in Johannesburg. She originally trained as a sculptor and then expanded her practice to include photography, performance, and video. Her work investigates such dualities as male and female, attraction and repulsion, animal and human, European and African. Mntambo makes sculptures from cowhide, using her own body to mould the forms. In many of her videos and photographs, she appears wearing her sculptures, suggesting our capacity as individuals to shape the world around us, while also highlighting the forces that form us, including notions of race, gender and history.

Artist’s web page

On Nandipha’s work:
Nandipha Mntambo: Hide & Seek by Kudi Maradzika for AkAthemag
Visiting Artist Profiles – Nandipha Mntambo by Matthew Harrison Tedford for ArtPractical


Lisa Oppenheim

Image courtesy of the artist.

Image courtesy of the artist.

“I want the viewer to ask, ‘What am I looking at? How is it made?’ Somehow, that provides a way of critically reading how images come to all of us through our daily lives.”

Lisa Oppenheim, who lives and works in New York, creates photographs and videos that connect historical imagery and techniques with the present moment. Her process often begins with online research, to source images that she reinterprets using old and new technologies. Oppenheim also employs unusual materials as negatives – fabric, lace, slices of wood – directly recording the objects’ specific textures to create near-abstract compositions. Through her experiments with analog darkroom and digital methods, Oppenheim gives photographic images new forms and new contexts, inviting us to question and to wonder.

Artist’s website

On Lisa’s work:
Lisa Oppenheim by Shama Khanna for Frieze
Lisa Oppenheim: Elemental Process by Brian Sholis for Aperture

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15 August 2014, 10:19 am 822f14b9c0563690f281c6f80964a2e0