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Pancreatic cancer | Guidance and guidelines | NICE
This quality standard covers diagnosis of pancreatic cancer and management of pancreatic ductal adenocarcinoma in adults aged over 18. This quality standard describes high-quality care in priority areas for improvement. It does not cover national initiatives, such as cancer screening or audit.
healthcare  cancer  pancreas  NICE  multidisciplinary  standard 
january 2019 by PieroRivizzigno
Predictability in an unpredictable world | LinkedIn
There is deep value in how both sides approach problems (qualitative versus quantitative), but the real magic is in what we can accomplish when we work together. Designers embrace ambiguity, approach problems without ready-made answers, and use their imagination and creative chops to come up with solutions that will make people’s lives better or easier. Strategy consultants apply analytical skills, deep industry expertise and an unparalleled understanding of how organizations work to help make those human insights and ideas real. This diverse mix of expertise is underpinned by powerful data analysis, creating real currency for change. 
Olof  fjord  service-design  multidisciplinary  teams  strategy 
november 2018 by apolaine
elisehunchuck [Elise Misao Hunchuck]
[via: https://twitter.com/lowlowtide/status/1052233654074654720

"what a rare pleasure, listening 2 @elisehunchuck presenting her research on an incomplete atlas of stones: ‘Trangressions & Regressions’ @tudelft #ULWeek2018

“stones help us understand how the earth moves”—@elisehunchuck"]

"Elise Hunchuck (b. Toronto) is a Berlin based researcher and designer with degrees in landscape architecture, philosophy, and geography whose work focuses on bringing together fieldwork and design through collaborative practices of observation, care, and coordination. Facilitating multidisciplinary exchanges between teaching and representational methods as a way to further develop landscape-oriented research methodologies at multiple scales, her research develops cartographic, photographic, and text-based practices to explore and communicate the agency of disasters through the continual configuring and reconfiguring of infrastructures of risk, including memorials, monuments, and coastal defense structures.

A University Olmsted Scholar, Elise was recently a finalist for the 2017 Maeder-York Landscape Fellowship at the Isabella Stewart Gardner Museum (Cambridge, US) and a research fellow with the Landscape Architecture Foundation (Washington DC, US). Her writing has appeared in The Funambulist and her research has been featured on BLDGBLOG. She has taught representational history and methods in the graduate architecture, landscape, and urban design departments at the Daniels Faculty of Architecture, Landscape, and Design, University of Toronto (Toronto, CA) and has been an invited critic in the undergraduate and graduate programs at the architecture, landscape, and urban design departments at the Daniels Faculty and the School of Architecture at Waterloo.

Elise is also a member of the editorial board of Scapegoat Journal: Architecture / Landscape / Political Economy.

For general enquiries, commissions, or collaborations, please contact directly via email at elisehunchuck [at] gmail [dot] com."

[See also:

"An Incomplete Atlas of Stones"
https://elisehunchuck.com/2015-2017-An-Incomplete-Atlas-of-Stones
https://cargocollective.com/elisehunchuck/An-Incomplete-Atlas-of-Stones-1
https://www.daniels.utoronto.ca/news/2018/02/21/elise-hunchuck-mla-2016-presents-incomplete-atlas-stones-aa-london
https://thefunambulist.net/articles/incomplete-atlas-stones-cartography-tsunami-stones-japanese-shoreline-elise-misao-hunchuck
https://thefunambulist.net/contributors/elise-hunchuck

"Warnings Along the Inundation Line"
http://www.bldgblog.com/2017/06/warnings-along-the-inundation-line/

"Century Old Warnings Against Tsunamis Dot Japan's Coastline"
https://www.smithsonianmag.com/smart-news/century-old-warnings-against-tsunamis-dot-japans-coastline-180956448/

"How Century Old Tsunami Stones Saved Lives in the Tohoku Earthquake of 2011"
https://www.forbes.com/sites/davidbressan/2018/03/11/how-century-old-tsunami-stones-saved-lives-in-the-tohoku-earthquake-of-2011/#18355a8244fd

https://www.daniels.utoronto.ca/news/2017/06/28/bldgblog-features-incomplete-atlas-stones-elise-hunchuck-mla-2016

https://issuu.com/danielsfacultyuoft/docs/2016.04.11_-_2016_winter_thesis_rev ]
elisehunchuck  landscape  multispecies  morethanhuman  japan  iceland  tsunamis  design  fieldwork  srg  multidisciplinary  teaching  place  time  memory  disasters  risk  memorials  monuments  coasts  oceans  maps  mapping  photography  canon  scale  observation  care  caring  coordination  markers 
october 2018 by robertogreco
Disciplinarities: intra, cross, multi, inter, trans – Alexander Refsum Jensenius
"For some papers I am currently working on, I have taken up my interest in definitions of different types of disciplinarities (see blog post from a couple of years ago). Since that time I think the talking about the need for working interdisciplinary has only increased, but still there seem to be no real incentives for actually making it possible to work truly interdisciplinary. This holds true when working within an academic setting, and it is even more difficult when trying to bridge academic and artistic disciplines.

In the middle of all of this, I hear the word transdisciplinarity more and more frequently. Trying to find a proper definition of what this actually means, I came across Marilyn Stember’s 1990 paper Advancing the social sciences through the interdisciplinary enterprise, in which she offers the following overview of different levels of disciplinarity (my summary of her points):

• Intradisciplinary: working within a single discipline.

• Crossdisciplinary: viewing one discipline from the perspective of another.

• Multidisciplinary: people from different disciplines working together, each drawing on their disciplinary knowledge.

• Interdisciplinary: integrating knowledge and methods from different disciplines, using a real synthesis of approaches.

• Transdisciplinary: creating a unity of intellectual frameworks beyond the disciplinary perspectives.

Based on this, I have added two elements (inter and trans) to my former sketch of the different disciplinarities (originally based on Zeigler (1990)):

[image]

I am still not entirely sure that I understand the difference between interdisciplinary and transdisciplinary, but I guess that the latter is one more step towards full integration. That is why I have drawn the centre circles so that they almost overlap, but not entirely. I would imagine that when/if full integration of disciplines actually occurs, you are back to a single discipline again, so I have added that to the figure as well.

In her paper Stember argues that many people believe they work interdisciplinary, while in fact it is more common to work multidisciplinary.

For myself, I think I work on the edge between multidisciplinarity and interdisciplinarity. I do most certainly integrate knowledge and methods from different disciplines (mainly music, informatics, psychology, movement science), and try to create a holistic perspective based on this. However, I often feel that I have to choose approach when presenting my work for different (disciplinary) groups. Then I feel like a music researcher when talking to technologists, and as a technologist when talking to music people. This could mean that I have not been able to develop my ideas into a truly interdisciplinary approach, yet. I am not sure I will ever get to transdisciplinarity, and I am not even sure that that would be an interesting goal to work for either. After all, many of the interesting things I come across are based on the “friction” I encounter when working between the different disciplines."
interdisciplinary  crossdisciplinary  multidisciplinary  transdisciplinary  alexanderrefsumjensenius  2018  intradisciplinary  marilynstember 
september 2018 by robertogreco
Magnum Nominee Sim Chi Yin • Magnum Photos
"I think we’re in the era of blending, bleeding, though of course each discipline and genre has its peculiarities and ethics. The terminology — researcher, photographer, artist — I have difficulty with. I’m just making and doing, thinking, growing!"



"Also, I’ve been thinking about the difference between reach and impact. It’s great to reach millions of people through being on the front page of the New York Times, but having impact on a smaller number of people in a different form is just as valid — if not more so, in our crowded and noisy world."

[via: https://twitter.com/jsamlarose/status/1036581998129815552 ]
via:jslr  simchiyin  photography  blending  bleeding  interdisciplinary  multidisciplinary  crossdisciplinary  transdisciplinary  crosspollination  art  making  doing  growth  reach  impact  2018 
september 2018 by robertogreco
Cecilia Vicuña: About to Happen | BAMPFA
"This first survey exhibition of the work of Chilean-born artist Cecilia Vicuña traces her career to stage a conversation about discarded and displaced people, places, and things in a time of global climate change. The exhibition includes key installations, sculptures, texts, and videos from a multidisciplinary practice that has encompassed performance, sculpture, drawing, video, poetry, and site-specific installations over the course of the past forty years.

Working within the overlapping discourses of Conceptual art, land art, poetry, and feminist art practices, Vicuña has long refused categorical distinctions, operating fluidly between concept and craft, text and textile. Her practice weaves together disparate artistic disciplines as well as cultural and social communities—with shared relationships to land and sea, and to the economic and environmental disparities of the twenty-first century.

The exhibition presents a large selection of Vicuña's precario (precarious) sculptures produced over the last four decades that feature found objects in lyrical juxtaposition, as well as a monumental hanging structure created out of materials scavenged from the ever-diminishing Louisiana coast. Reframing dematerialization as both a formal consequence of 1960s Conceptualism and radical climate change, Cecilia Vicuña: About to Happen examines a process that shapes public memory and responsibility."

[See also: https://bampfa.org/event/reading-cecilia-vicu%C3%B1a
https://bampfa.org/event/cecilia-vicu%C3%B1a-performance ]

[via: https://www.instagram.com/p/Bk37axFFoPk/ ]
ceciliavicuña  togo  tosee  glvo  chile  art  bampfa  2018  displacement  multidisciplinary  artists  video  poetry  sculpture  climatechange  memory  responsibility 
july 2018 by robertogreco
LOKI
"LOKI is a multidisciplinary design and communications studio working at the intersection of graphic design and social change. Our practice is rooted in social justice principles, focusing on collaboration and community building, cultural production and publishing, activist research and political mobilization. LOKI creates images, objects, and experiences that engage, empower, and oppose.

The studio is based in Montreal / Tiohtià:ke and was founded in 2014 by graphic designer, educator and community organizer Kevin Yuen Kit Lo. LOKI’s work has been widely published, exhibited and awarded, and Kevin regularly presents on design theory and grassroots activism.



LOKI est un studio de design et de communication multidisciplinaire travaillant à l’intersection du design graphique et du changement social. Notre pratique est ancrée dans les principes de justice sociale et met l’accent sur la collaboration et le développement communautaire, la production culturelle et l'édition, la recherche militante et la mobilisation politique. LOKI crée des images, des objets et des expériences engageantes, encourageantes et contestatrices.

Le studio est situé à Montréal / Tiohtià:ke et a été fondé en 2014 par Kevin Yuen Kit Lo, designer graphique, éducateur et organisateur communautaire. Le travail de LOKI a été largement publié, exposé et récompensé et Kevin se prononce régulièrement sur la théorie du design et l’activisme populaire."



"Team

Kevin Yuen Kit Lo (Principal & Creative Director) has been working in graphic design since 2001. His experience bridges art direction, graphic and interactive design at leading agencies, to creating campaigns and visuals for front-line social justice movements and grassroots community organizing work. He is a member of Memefest, Artivistic, and Howl Arts, co-initiated the Imaging Apartheid poster project, and has previously been a member of the boards of ARCMTL and Articule. Between 2004 – 2014, he published the experimental literary arts zine Four Minutes to Midnight. Kevin holds an MA in Graphic Design from the London College of Printing, and a Graduate Certificate Degree and BFA from Concordia University, where he currently teaches in the Design and Computation Arts department.

Marie-Noëlle Hébert (Graphic Designer) is specialized in print design and typography. Her personal research practice explores the dialogic function of aesthetic practices and aims to uncover how the language of graphic design can be used to stimulate disciplinary and socio-cultural discourse. In addition to her position at LOKI, she acts as communications coordinator at the Cinema Politica Network, a non-profit committed to exhibiting and supporting independent political documentary across the globe. Marie-Noëlle holds a Master of Design from York University, a BFA in Design Art from Concordia University, as well as a CÉGEP degree in photography.

Lolo Sirois (Outreach Coordinator, Illustration) has been working in art/design and education since 2006. Their practice includes illustration in wet and dry media, silkscreening, lino-cut, hand lettering, sign painting, stencil-making and graphic design for both grassroots groups and questionable food production companies. They strive to make resources in art and design more accessible to affect social change through collective projects such as the Sidetracks Screenprinting Collective, and Sounding Out! 2SLGBTQ+ Youth workshops in Sci Fi Podcasting. Lolo holds a BFA in Design Art from Concordia University and is a member of the Solidarity Across Borders Network.

Thy Anne Chu Quang (Operations & Admin) works in project management where she currently supports the development of community infrastructure and works to improve social housing in a Northern Indigenous community in Quebec. She enjoys making maps to advance First Nations' priorities in governmental negotiations. Thy Anne also serves as the Head of Operations of Atelier Céladon, a nonprofit art organization prioritizing creators who are underrepresented by mainstream media production. She holds a BA in Political Science from McGill University.

KNGFU (Interactive Production partner) is a multi-platform content producer that LOKI collaborates with on interactive projects of scale. All their projects share common values: a social message, a blend of cultures, and a singular approach to story and treatment. Since its foundation in 2005, the company's work has been dedicated to meaningful new forms of storytelling, partnering locally and internationally with broadcasting platforms, social and cultural institutions, and fellow content producers who are passionate about exploring new narrative spaces and approaches."

[via: https://are.na/block/2273195 ]
design  lcproject  multidisciplinary  graphicdesign  socialchange  montreal  studios  kevinyuenkitlo  marie-noëllehébert  lolosirois  thyannechuquang  kngfu  criticaldesign  collaboration  community  activism  grassroots  publishing  openstudioproject  print 
july 2018 by robertogreco
A more reliable alarm clock, a hugging machine, and other innovative life hacks | Hub
Students from Johns Hopkins, MICA team up for multidisciplinary design challenge
jhu  mica  multidisciplinary  design  challange 
may 2018 by gdw
Duskin Drum » School of advanced studies
"BIO:
At the School of Advanced Studies, duskin drum is a founding professor and researcher in the Material Relations research group. He is an interdisciplinary scholar, artist, performer, and woodsman. In 2017, he completed a doctorate in Performance Studies with designated emphases in Native American Studies, and Science and Technology Studies at University of California, Davis. In 2005, he earned a Bachelors of Arts studying interdisciplinary theatre and performance at Evergreen State College . For 15 years, duskin has been making art and performance in Asia, Europe and the Americas.

RESEARCH INTERESTS:
The Material Relations research group is an interdisciplinary collaboration devising a new theory of love for studying ecologically substantiating human-nonhuman relations including technological relations. duskin is particular interested in nonhumans loving humans, or where people understand and feel themselves to be loved by non-human entities or materials. How does accepting speculation of universal sentience and vitality of nonhumans change the study of material relations?

From his dissertation study of petroleum performances and professional art career, Duskin brings a broad theoretical engagement with material relations at the intersections of indigenous studies, social cultural anthropology, science and technology studies, and ecological art production.

Duskin is considering practices of love in substantive more-than-human human relationships such as petroleum, salmon, and server farms. He also wants to critique how love figures scientific research and language. He is deeply interested ethical and deontic regulations enacted by material entanglements with substantiating nonhuman and more-than-human arrangements.

Duskin’s interests in both the petroleum complex and indigenous legal systems emerge from analyzing and speculating about human-nonhuman ecological relations.

Duskin researches using methods from art practices, cultural anthropology, science and technology studies, ecological criticism, and indigenous studies. Duskin has been developing an innovative performance method. He devises participatory performances that submerge the participants in the crucial questions of his research.

He is also interested in comparative studies of knowledge production by contributing methods like creative practice-as-research, innovations from theatre and performance, and indigenous knowledge practices.

Duskin is also interested in anime, manga and other graphic storytelling.

Additional information is available at duskin’s academia.edu page and his personal website.

TEACHING INTERESTS AND APPROACHES
Duskin’s educational background is interdisciplinary, seminar-style and project-driven learning. Even in large lecture classes, he break students into small groups for discussion and activities. He combines reading, writing and experiential learning using techniques from digital media, theatre, performance, and participatory art. Somatic exercises, improvisations, meditation, collaborative writing exercises and performances expose students to and activate different modes of attention and learning.

In his electives, Duskin supports students making final projects in mediums other than the textual essay or report. He encourages students to produce all kinds of media or performance projects instead of traditional essays, and teaches them to develop critical skills appropriate to each medium. In these kinds of practices-as-research projects students keep a reflective production journal that is submitted along with their project, and write a short critical essay reflecting on their creative processes and outcomes of their project. Self-reflection is practical and theoretical. Reflection about personal work becomes a means by which critical ideas, frameworks and interpretations can move from creative practice into other skills and work/study situations."

[See also:
https://utmn.academia.edu/duskindrum
http://forestmongrel.undeveloping.info/
http://forestmongrel.undeveloping.info/?p=221
https://sas.utmn.ru/en/material-relations-en/

"UT SAS Project Session: Duskin Drum. "Teaching in Tyumen. Wow! Could I?"
https://www.youtube.com/watch?v=6cAfT4BXC-4
https://www.youtube.com/watch?v=bx__Ym4KUqs
https://www.youtube.com/watch?v=OtcSzSnyJYY ]
duskindrum  multispecies  morethanhuman  petroleum  art  artists  performance  interdisciplinary  transdisciplinary  crossdisciplinary  multidisciplinary  salmon  serverfarms  ecology  anthropology  culturalanthropology  srg  science  technology  indigenous 
january 2018 by robertogreco
Feral Studio
"Feral Studio is a Community Interest Company based in South West UK that initiates creative collaborations and partnerships in rural communities.

We align artists, designers and other creative practitioners with land stakeholders, educational establishments, rural agencies, small businesses and wider community members to produce innovative strategies that tackle challenges, build capacity and push boundaries."



"
During the past few decades, we have witnessed a rural narrative that has been characterised by on going crisis, decline and loss of identity. Once thriving communities have been severely impacted by multiple traumas in agriculture, austerity in public finances, limited infrastructure provision, migration of ambitious youth, constrained housing availability and the older generation lacking opportunity to transfer hard-earned knowledge. Impacts from energy insecurity, climate change and environmental degradation are being felt first hand.

Yet there has been a response.

There’s been a motivated, imaginative and committed response. Rural communities are now seeing a surging land-worker movement dedicated to sustainable agriculture. Alternative economies and resilience building are now commonplace. Innovation is flourishing and a recognition of the countryside from a cultural perspective is well underway. We are committed to embracing this momentum.

Established in 2014, Feral Studio is Community Interest Company (08936225). We work locally, regionally, online and beyond to commission short-term initiatives and long-term engagements that support sustainable, self-sufficient and locally distinctive economies and cultures.

Our approach values the importance of multi-disciplinary partnership working to explore and interpret the opportunities and threats that exist in the rural context. As such, we collaborate with a dynamic group of practitioners whose skills and knowledge base include (but not limited to) design, food production, architecture, research, filmmaking, policy, horticulture, education programming, contemporary art curating and ecology.

We undertake a range of socially engaged activities, research and commission projects that are appropriate, collaborative and leave an enduring legacy. These include residencies, workshops, events, installations, publications and internships.

While our programme is shaped by local priorities, we also recognise that a great deal of thinking, practice and policy influencing rural issues emanates from beyond its geography so we participate in dialogue and exchange ideas, techniques and practice with urban and international peers and networks as well as being supported by specialist advisors."

[See also: https://twitter.com/feralstudio ]
design  art  rural  education  architecture  local  feral  multidisciplinary  resilience  alternative  economics  alternativeeconomies  uk  lcproject  openstudioproject 
january 2018 by robertogreco
Crit — Manifesto
"What is Crit?
Verb: to evaluate in a detailed and analytical way. Noun: a thorough assessment of a thing, especially a literary, philosophical, or artistic theory.


We are a group of multidisciplinary artists, writers and designers who support one another in pursuing our creative goals, individually and collectively.


We gather bi-weekly to present works in progress, to give and receive constructive feedback, and to witness and encourage the growth of everyone’s artistic practice.


We value inspiration and insight from artists working in different media from our own. Artists working in any medium are welcome.

↘︎
We celebrate the creative process, and above all, we respect one another.


Above all, we are a diverse community of artists committed to creating a constructive space for sharing work, thoughts and ideas."
crit  criticism  assessment  multidisciplinary  process  art  artists  design 
january 2018 by robertogreco
Stuart Hall and the Rise of Cultural Studies | The New Yorker
"Culture, he argued, does not consist of what the educated élites happen to fancy, such as classical music or the fine arts. It is, simply, “experience lived, experience interpreted, experience defined.” And it can tell us things about the world, he believed, that more traditional studies of politics or economics alone could not."



"Broadly speaking, cultural studies is not one arm of the humanities so much as an attempt to use all of those arms at once. It emerged in England, in the nineteen-fifties and sixties, when scholars from working-class backgrounds, such as Richard Hoggart and Raymond Williams, began thinking about the distance between canonical cultural touchstones—the music or books that were supposed to teach you how to be civil and well-mannered—and their own upbringings. These scholars believed that the rise of mass communications and popular forms were permanently changing our relationship to power and authority, and to one another. There was no longer consensus. Hall was interested in the experience of being alive during such disruptive times. What is culture, he proposed, but an attempt to grasp at these changes, to wrap one’s head around what is newly possible?

Hall retained faith that culture was a site of “negotiation,” as he put it, a space of give and take where intended meanings could be short-circuited. “Popular culture is one of the sites where this struggle for and against a culture of the powerful is engaged: it is also the stake to be won or lost in that struggle,” he argues. “It is the arena of consent and resistance.” In a free society, culture does not answer to central, governmental dictates, but it nonetheless embodies an unconscious sense of the values we share, of what it means to be right or wrong. Over his career, Hall became fascinated with theories of “reception”—how we decode the different messages that culture is telling us, how culture helps us choose our own identities. He wasn’t merely interested in interpreting new forms, such as film or television, using the tools that scholars had previously brought to bear on literature. He was interested in understanding the various political, economic, or social forces that converged in these media. It wasn’t merely the content or the language of the nightly news, or middlebrow magazines, that told us what to think; it was also how they were structured, packaged, and distributed.

According to Slack and Lawrence Grossberg, the editors of “Cultural Studies 1983,” Hall was reluctant to publish these lectures because he feared they would be read as an all-purpose critical toolkit rather than a series of carefully situated historical conversations. Hall himself was ambivalent about what he perceived to be the American fetish for theory, a belief that intellectual work was merely, in Slack and Grossberg’s words, a “search for the right theory which, once found, would unlock the secrets of any social reality.” It wasn’t this simple. (I have found myself wondering what Hall would make of how cultural criticism of a sort that can read like ideological pattern-recognition has proliferated in the age of social media.)

Over the course of his lectures, Hall carefully wrestles with forebears, including the British scholar F. R. Leavis and also Williams and Hoggart (the latter founded Birmingham University’s influential Center for Contemporary Cultural Studies, which Hall directed in the seventies). Gradually, the lectures cluster around questions of how we give our lives meaning, how we recognize and understand “the culture we never see, the culture we don’t think of as cultivated.” These lectures aren’t instructions for “doing” cultural studies—until the very end, they barely touch on emerging cultural forms that intrigued Hall, such as reggae and punk rock. Instead, they try to show how far back these questions reach."



"Hall found ready disciples in American universities, though it might be argued that the spirit which animated cultural studies in England had existed in the U.S. since the fifties and sixties, in underground magazines and the alternative press. The American fantasy of its supposedly “classless” society has always given “culture” a slightly different meaning than it has in England, where social trajectories were more rigidly defined. What scholars like Hall were actually reckoning with was the “American phase” of British life. After the Second World War, England was no longer the “paradigm case” of Western industrial society. America, that grand experiment, where mass media and consumer culture proliferated freely, became the harbinger for what was to come. In a land where rags-to-riches mobility is—or so we tend to imagine—just one hit away, culture is about what you want to project into the world, whether you are fronting as a member of the élite or as an everyman, offering your interpretation of Shakespeare or of “The Matrix.” When culture is about self-fashioning, there’s even space to be a down-to-earth billionaire."
2017  stuarthall  culture  culturalstudies  huahsu  arts  crossdisciplinary  multidisciplinary  interdisciplinary  transdisciplinary  popularculture  richardhoggart  raymondwilliams  humanities  resistance  consent  jenniferdarylslack  lawrencegrossberg  frleavis  society  canon  marxism 
december 2017 by robertogreco
Interview: Mati Diop (Simon Killer) on Vimeo
"Interview with actress Mati Diop star of Simon Killer - 2012 Sundance Film Festival. Written and directed by Antonio Campos. Cinematographer: Joe Anderson. Editor: Antonio Campos, Babak Jalali, Zac Stuart Pontier. Producer: Sean Durkin, Josh Mond, Matt Palmieri. Co- producer: Melody Roscher. Also starring: Brady Corbet, Michael Abiteboul, Solo, Constance Rousseau, Lila Salet. Interview conducted by Eric Lavallee. IONCINEMA.com"
matidiop  film  filmmaking  2012  interdisciplinary  multidisciplinary  crossdisciplinary  transdisciplinary  music  dance  imagery  photography 
november 2017 by robertogreco

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