robertogreco + ucsd   84

CommPlayground
“A machine for thinking and imagining otherwise

The CommPlayground is a space of intellectual exchange and conversation. The idea behind it is to move beyond conventional academic formats of knowledge production (e.g. the seminar, the reading group, the paper presentation) to create a space of intellectual and pedagogic experimentation where it is possible to think and imagine otherwise.

The COMM Playground is organized around 5 simple (& nonnegotiable) rules

THE COMM PLAYGROUND Rules of Engagement

1.- The playground is a space of **play** not of competition
Egos should be left at home or will be confiscated at the entrance

2.- The playground is **flat**
Nobody owns the playground; although it can be temporally appropriated by anyone proposing a game

3.- The playground is a space of **games**
The playground only comes alive through games Games should be fun to play

4.- The playground is a space of **honesty and sincerity**
Bullies are not allowed in the playground

5.- The playground is a **creative machine**
The aim of the playground is to generate ideas, controversies and discussion“
commplayground  ucsd  pedagogy  seminars  conversation  exchange  via:javierarbona  academia  knowledgeproduction  readinggroups  presentations  experimentation  altedu  competition  play  flatness  horizontality  games  honesty  sincerity  creativity  ideas  classideas  lcproject  openstudioproject  rules  egos  playgrounds  fun  bullies  bullying 
26 days ago by robertogreco
‘San Diego 2049’ offers a glimpse of possible futures - San Diego CityBeat
"AI presidents and VR border workers are envisioned at the yearlong UC San Diego program"



"A local needs to get to their job taking care of a wealthy La Jolla socialite who plans to “go under” for a lengthy stay in virtual reality. But they can’t get to that job because the dedicated scooter lane on Interstate 5 has been compromised due to flooding. To make matters worse, the collective AI who was just elected the U.S. president hasn’t yet announced his (her? its?) infrastructure-funding plan.

Welcome to San Diego in 2049, as imagined by students and affiliates of UC San Diego. The yearlong program, known simply as “San Diego 2049,” is an exercise in “speculative design for policy making,” according to organizers. It is sponsored by the UCSD’s Center for Human Imagination and just wrapped up with its culminating event: A competition between three teams of graduate students tasked “to design a vision for the San Diego border region in 2049 and create an intervention into that future.”

If the submissions to the competition are any indication, the future of the San Diego region is inextricably linked to the future of the rest of the planet. Noted the event’s keynote speaker and best-selling science fiction author, Kim Stanley Robinson, “You can’t talk about the fate of San Diego 30 years from now without talking about the fate of the rest of the planet 30 years from now. It’s a global fate and there’s no such thing as a pocket utopia.”

Robinson, a UC San Diego alumnus, should know. He’s the winner of the trifecta of literary science fiction prizes (the Hugo, Nebula and Locus awards) and an expert at world-building, one of the three criteria for the student competition. The other two criteria are “rhetorical strength of the intervention” and “successful realization of the intervention within its given medium” (it is academia, after all).

The results of this theoretical exercise in world-building could be summed up by what Robinson described as an “attenuated peninsula.”

“We’re going to fall one way or another,” he added. “We can either fall into a mass extinction event caused by human action, or we can rally our resources and our expertise and our community and grow together a quite prosperous and glorious future.”

Somewhere in between lies the student submission known as “Fronteras”, a choose-your-own-adventure-style game created for the online platform Twine by a team of UCSD graduate students in varying departments. The game imagines the San Diego border region as a technological playground, an amalgam of “the tourism, caregiving and transportation industries changing immigration policy driven in part by climate change,” said Literature Ph.D. student Jeanelle Horcasitas.

In the game, people called “transfronterizas” are able to cross the U.S.-Mexico border, but only if they are VR workers who take care of the bodily needs of “patrons” while they’re immersed in idyllic virtual reality worlds. Meanwhile, ContraVR radicals have begun meeting at the putrid beaches of Baja California, wearing Aztec-style masks to protect themselves from toxins. The radicals are planning to infiltrate SeAR, a virtual reality version of Sea World.

Whether there will even be beaches and sea ports in San Diego 30 years from now is still up for debate. Robinson noted that even with a five-centimeter sea-level rise, “the beaches will be in deep trouble, and with a one-meter rise, they’ll be gone.” As research for one of his novels, Robinson said he consulted with geoengineers to determine if excess water could be pumped back onto sea ice using oil industry pumping technology (an irony that tickles him, he admitted).

And it can be done, he said. There’s just one catch.

“It would take 10 million windmills and use seven percent of all electricity generated worldwide,” Robinson said.

“This is one way of saying this is a fantasy,” he added. “It’s not going to happen, and that’s true of many geoengineering ideas.”

One solution, according to Robinson’s geoengineering sources, might be to drill through the remaining ice and pump the water out until the glaciers bottom out on rock and slow down again, preventing their slide into the ocean. He proposed that the U.S. Navy (a major employer in San Diego) and all the world’s militaries should “shift their wars on nation states to helping people” instead.

But that requires leadership. Intelligent leadership. So what’s more intelligent than artificial intelligence?

That’s the conceit behind “The Intelligent Governance Network”, a second student project (and the winner of the San Diego 2049 competition). It begins from the premise that a massively crowd-sourced artificial intelligence becomes President of the United States 30 years from now. Among the website’s elements is an excerpt from a televised debate between human and AI presidential candidates in 2049.

“We are able to use the wisdom of the crowd in the best way imaginable and grow together as one,” claims the fictional IGN candidate (which looks a little like a fire hydrant with a brain). “The idea of strong leaders is an idea that has led to countless wars and an endless amount of suffering… The time has come for humans to fully trust in the altruistic infrastructure that the Intelligent Governance Network was built on.”

But will San Diegans be motivated to trust in leadership and make the changes necessary to protect the world as we know it? The students behind the third project, Goose and Gander, seem to have their doubts. Inspired by satirical and absurdist approaches to speculative design, students James Bruce and Joaquin Reyna wrote a work of short fiction that imagines a world where people are motivated to address pressing social concerns in order to protect their most cherished belonging: A goose. In their world, waterways are protected to provide habitats for geese, and transportation is improved because it’s better for the planet, and therefore better for the geese.

“We wanted to make a really annoying satire,” admitted student James Bruce, “and the premise is that a lot of policy is based on the stupidest reasons.” Noting the move toward wide-scale implementation of self-driving cars, for example, Bruce pointed out that among the touted benefits of a self-driving car is that it “lets you not have to worry about driving and talking to the person next to you.”

“Yeah, we have that already,” he pointed out. “It’s called a bus.”

One thing everyone at the San Diego 2049 seemed to agree on was, in Robinson’s words, “we’re in the fight of our lives” when it comes to addressing the challenges of San Diego 30 years from now.

“California is in a good position to lead the way,” he added. “It has the political will to do the right things. I see such an amazing number of skillful creative collaborative people working together, and UC San Diego is one of the greatest intellectual centers on this planet. When I come here, I see this place and I think it could happen.”

And, as Robinson pointed out, it’s important to remember that “at every moment in history what humans were facing was unprecedented.”

“Maybe that doesn’t make us particularly unusual. What I can say is what we’re facing is more unprecedented than ever before.”"
sandiego  ucsd  specialization  designfiction  speculativedesign  2049  border  borders  us  mexico  2019 
june 2019 by robertogreco
Lorna Simpson, America’s Most Defiant Conceptual Artist, Makes A Radical Change—To Painting - Vogue
"Lorna graduated early from SVA and was doing graphic-design work for a travel company when she met Carrie Mae Weems, a graduate art student at the University of California, San Diego. Weems suggested she come out to graduate school in California. “It was a rainy, icy New York evening, and that sounded really good to me,” Simpson says. “I had no idea what I was getting myself into.” She knew she’d had enough of documentary street photography. Conceptual art ruled at UCSD, and in her two years there, from 1983 to 1985, Lorna found her signature voice, combining photographs and text to address issues that confront African American women. “I loved writing poetry and stories, but at school, that was a separate activity from photography,” she says. “I thought, Why not merge those two things?”"
lornasimpson  2018  art  artists  adjaye  painting  photography  multimedia  ucsd  conceptualart  davidhammons  jean-michelbasquiat  basquiat  zoracasabere  combinations  breakingform  cross-media  race  gender  sex  identity  video  videoart  form 
february 2018 by robertogreco
Cul-de-sac : Open Space
"San Diego’s always been easy to malign; but the endlessly unfurling line of sunny boosterism endemic to San Diego’s civic self-image is all wrong also. When it comes to considering “America’s Finest City”, the national imagination sways between two poles: paradisiacal invention of temperate waves, fresh-fish tacos, and soft sand; or, cultureless void, psychologies sun-dulled into a blank embrace of his-n-hers wax-n-tan salons, stucco sprawl, and the artisanal F/A-18 Hornet."



This cross-national fact pervades all aspects of life in “San Diego.” Not just a border town; a border county. (A border country?)

And yet, San Diego’s often referred to as a geographical cul-de-sac, where the high mountains to the east and the border to the south create a physical and psychological lock-in-place. Cul-de-sac: a dead end, a deadlock, literally, the bottom of the bag. Says who?

When I stay in San Diego, I stay with my partner in Golden Hill, on an actual hill above downtown, whose slopes and inclines afford views of the bay to the west and south. Once the home of socialites and philanthropists, then in long decline as haven for junkies, dealers, and of course, artists, Golden Hill is now about one-third of the way through its “urban-revitalization.” It is bordered on one side by largely Latinx Sherman Heights/Barrio Logan, home to Chicano Park, and on the other by picaresque South Park, quiet, expensive, pretty, and pretty white. Bay Area residents would feel at home wandering Golden Hill’s blocks of Victorian mansions, Craftsman bungalows, and multi-decade representations of apartment complexes in various stages of upkeep or decay. The current fashion in building, though, is for high-priced, small-scale condos (“Starting in the low $500s!!”).

I’ve located myself, I know “where I am,” but it feels sensationally, essentially, placeless.

Street names, all called after other places: Arizona, Mississippi, Texas, Alabama, Georgia, Florida, Maryland, Pennsylvania. Uninventively named Ocean Beach nests beaches within beaches: avenues called by the names of other beaches. Newport, Narragansett, Saratoga, Santa Monica, Santa Cruz, Pescadero, Bermuda. Infinite displacement. Signs point elsewhere, the same as nowhere.

Like LA, San Diego’s hot, it sprawls. But not as hot, and the sprawl is uneager, tepidly accepting of, even pleased with, itself. To the west, the sparkling sea, and to the east, waves of expensive tract housing punctuated with low-slung shopping plazas crowded with corporate chains. Post-place USA? Along the coast, each in a string of seaside villages — first increasing and then decreasing in wealth concentration from south to north — has its own distinct flavor of blowsy undercurrent.

This “city of villages” is a net or concatenation of communities built on mesas, regularly separated by canyons, crevasses, the occasional waterway or stream — and often, freeways — and these light divisions create personality and economic boundaries between them. Hillcrest, North Park, East Village (in the city), or El Cajon, Del Mar, Santee (around the county). Traveling between them, or braked for a minute at the top of a hill, I’m always sensing myself on an edge — of something. Shore, skyline, precipice, border, cliff. Of understanding? The views are often grand or sweeping, but they don’t seem to send back “possibility.” The sky in San Diego is just the sky."



"Retirees and invalids, margarita- or beer-drenched drifters, yogis and transcendental meditation addicts, real estate agents, biotech execs, personal trainers, sailors, and a multiplicity of immigrants both international and domestic — and still somehow not a city of dreams. Or, a “city of broken dreams” (Mike Davis). A city of dreamless sleep, with sunny days spent ambulating dream-slow through the enervating heat."



"San Diego has no cover, no face, or is simultaneously all face. Which?

Pulitzer Prize-winning poet and native San Diegan Rae Armantrout famously, unpopularly, wrote that San Diego has no charisma, is blank. That’s put unkindly perhaps, but it’s not all wrong. She also points to the odd quiet, the deep silence beneath whatever aggressive hum. Let’s call it the somnolent subconscious / the deeply sedimented unconscious — the veneer is thin here; you can feel it.

In fact, one isn’t any one here. One’s an atom, roasting in the sun.

“Perhaps living in San Diego prepares you to become a Buddhist,” writes Rae.

Diffuse, fuzzy around the edges, thick. My mind feels like that too, sometimes — it takes longer to shake itself awake. Is it the heat, the sun-glaze, is it in the water?"



"In 2016, 34.9 million tourists visited San Diego, spending 10.4 billion dollars.

San Diego is the most biologically rich county in the continental US. And the most threatened, with nearly 200 at-risk animals and plants.

Western snowy plover, coastal cactus wren, California gnatcatcher, least Bell’s vireo, arroyo southwestern toad, Stephens’ kangaroo rat, San Diego fairy shrimp, Quino checkerspot butterfly, San Diego thornmint, Dehesa beargrass, coastal sage scrub, Engelmann oak woodlands…

Seventy-four percent of ex-offenders return to prison within two years of release, in San Diego. The state average is sixty-five.

Autobiography of a Yogi, “the book that changed the lives of millions,” was penned by Paramahansa Yogananda at his Self‑Realization Fellowship ashram and retreat center in Encinitas, in North San Diego County. Ashtanga Yoga, the practice that changed the lives of millions, also had its US nativity scene in Encinitas, when K. Pattabhi Jois arrived here in 1975.



If my thesis is that the city is ungraspable, neither the sum of its parts or possible to glimpse in prism, this not-place-ness must be the prize/prison of manifest destiny become the end of history.

Jim Miller, in Under the Perfect Sun: The San Diego Tourists Never See: “cul-de-sac also means, finally and most poignantly, a situation in which further progress is impossible.”

On the other hand, says who? At the lift, box, and cycle gym I go to when I’m here, people chat, they say hi. I’m on the floor doing crunches while the Counting Crows song “Mr. Jones” is blasting over the deck. Suddenly I’m experiencing liberation — from every high-urban fantasy I ever had for or of myself.

Near the crest of a hill, up the block from a café I frequent, there’s a large pink stucco apartment building in a vaguely Spanish-modern style, trimmed in white. Someone’s installed a red-letter electronic ticker on the side of this building at its highest point, and programs it to spit out philosophic citations from Lao Tzu, Sophocles, “Anonymous”… From their perch on the hill the flickering banners appear to headline the city. For example: Our greatest glory is not in never falling, but in rising every time we fall — Confucius, spelled out one letter at a time.

I puzzle a long time over this enigmatic line, dropped out of context and attributed to G.K. Chesterton, poet, theologian, philosopher, overt anti-Semite, and father of the Father Brown mysteries: Do not try to bend, any more than the trees try to bend… Try to grow straight, and life will bend you.

Red-letter warnings, invitations to unsubtle visions, and confusing mandates to the individual overcasting her gaze on the sparkling bay, the seventeen construction cranes hovering over downtown, and the freeways, distantly humming, palm trees swaying in the too-bright light, hand on forehead shielding eyes. Blink, blink, blink."
suzannestein  sandiego  gkchesterson  2017  lajolla  ucsd  undertheperfectsun  jimmiller  isolation  meaning  border  borders  mexico  us  place  srg 
november 2017 by robertogreco
how to do nothing – Jenny Odell – Medium
[video: https://vimeo.com/232544904 ]

"What I would do there is nothing. I’d just sit there. And although I felt a bit guilty about how incongruous it seemed — beautiful garden versus terrifying world — it really did feel necessary, like a survival tactic. I found this necessity of doing nothing so perfectly articulated in a passage from Gilles Deleuze in Negotiations:
…we’re riddled with pointless talk, insane quantities of words and images. Stupidity’s never blind or mute. So it’s not a problem of getting people to express themselves but of providing little gaps of solitude and silence in which they might eventually find something to say. Repressive forces don’t stop people expressing themselves but rather force them to express themselves; what a relief to have nothing to say, the right to say nothing, because only then is there a chance of framing the rare, and ever rarer, thing that might be worth saying. (emphasis mine)

He wrote that in 1985, but the sentiment is something I think we can all identify with right now, almost to a degree that’s painful. The function of nothing here, of saying nothing, is that it’s a precursor to something, to having something to say. “Nothing” is neither a luxury nor a waste of time, but rather a necessary part of meaningful thought and speech."



"In The Bureau of Suspended Objects, a project I did while in residence at Recology SF (otherwise known as the dump), I spent three months photographing, cataloguing and researching the origins of 200 objects. I presented them as browsable archive in which people could scan the objects’ tags and learn about the manufacturing, material, and corporate histories of the objects.

One woman at the Recology opening was very confused and said, “Wait… so did you actually make anything? Or did you just put things on shelves?” (Yes, I just put things on shelves.)"



"That’s an intellectual reason for making nothing, but I think that in my cases, it’s something simpler than that. Yes, the BYTE images speak in interesting and inadvertent ways about some of the more sinister aspects of technology, but I also just really love them.

This love of one’s subject is something I’m provisionally calling the observational eros. The observational eros is an emotional fascination with one’s subject that is so strong it overpowers the desire to make anything new. It’s pretty well summed up in the introduction of Steinbeck’s Cannery Row, where he describes the patience and care involved in close observation of one’s specimens:
When you collect marine animals there are certain flat worms so delicate that they are almost impossible to capture whole, for they break and tatter under the touch. You must let them ooze and crawl of their own will onto a knife blade and then lift them gently into your bottle of sea water. And perhaps that might be the way to write this book — to open the page and let the stories crawl in by themselves.

The subject of observation is so precious and fragile that it risks breaking under even the weight of observation. As an artist, I fear the breaking and tattering of my specimens under my touch, and so with everything I’ve ever “made,” without even thinking about it, I’ve tried to keep a very light touch.

It may not surprise you to know, then, that my favorite movies tend to be documentaries, and that one of my favorite public art pieces was done by the documentary filmmaker, Eleanor Coppola. In 1973, she carried out a public art project called Windows, which materially speaking consisted only of a map with a list of locations in San Francisco.

The map reads, “Eleanor Coppola has designated a number of windows in all parts of San Francisco as visual landmarks. Her purpose in this project is to bring to the attention of the whole community, art that exists in its own context, where it is found, without being altered or removed to a gallery situation.” I like to consider this piece in contrast with how we normally experience public art, which is some giant steel thing that looks like it landed in a corporate plaza from outer space.

Coppola instead casts a subtle frame over the whole of the city itself as a work of art, a light but meaningful touch that recognizes art that exists where it already is."



"What amazed me about birdwatching was the way it changed the granularity of my perception, which was pretty “low res” to begin with. At first, I just noticed birdsong more. Of course it had been there all along, but now that I was paying attention to it, I realized that it was almost everywhere, all day, all the time. In particular I can’t imagine how I went most of my life so far without noticing scrub jays, which are incredibly loud and sound like this:

[video]

And then, one by one, I started learning other songs and being able to associate each of them with a bird, so that now when I walk into the the rose garden, I inadvertently acknowledge them in my head as though they were people: hi raven, robin, song sparrow, chickadee, goldfinch, towhee, hawk, nuthatch, and so on. The diversification (in my attention) of what was previously “bird sounds” into discrete sounds that carry meaning is something I can only compare to the moment that I realized that my mom spoke three languages, not two.

My mom has only ever spoken English to me, and for a very long time, I assumed that whenever my mom was speaking to another Filipino person, that she was speaking Tagalog. I didn’t really have a good reason for thinking this other than that I knew she did speak Tagalog and it sort of all sounded like Tagalog to me. But my mom was actually only sometimes speaking Tagalog, and other times speaking Ilonggo, which is a completely different language that is specific to where she’s from in the Philippines.

The languages are not the same, i.e. one is not simply a dialect of the other; in fact, the Philippines is full of language groups that, according to my mom, have so little in common that speakers would not be able to understand each other, and Tagalog is only one.

This type of embarrassing discovery, in which something you thought was one thing is actually two things, and each of those two things is actually ten things, seems not only naturally cumulative but also a simple function of the duration and quality of one’s attention. With effort, we can become attuned to things, able to pick up and then hopefully differentiate finer and finer frequencies each time.

What these moments of stopping to listen have in common with those labyrinthine spaces is that they all initially enact some kind of removal from the sphere of familiarity. Even if brief or momentary, they are retreats, and like longer retreats, they affect the way we see everyday life when we do come back to it."



"Even the labyrinths I mentioned, by their very shape, collect our attention into these small circular spaces. When Rebecca Solnit, in her book Wanderlust, wrote about walking in the labyrinth inside the Grace Cathedral in San Francisco, she said, “The circuit was so absorbing I lost sight of the people nearby and hardly heard the sound of the traffic and the bells for six o’clock.”

In the case of Deep Listening, although in theory it can be practiced anywhere at any time, it’s telling that there have also been Deep Listening retreats. And Turrell’s Sky Pesher not only removes the context from around the sky, but removes you from your surroundings (and in some ways, from the context of your life — given its underground, tomblike quality)."



"My dad said that leaving the confined context of a job made him understand himself not in relation to that world, but just to the world, and forever after that, things that happened at work only seemed like one small part of something much larger. It reminds me of how John Muir described himself not as a naturalist but as a “poetico-trampo-geologist-botanist and ornithologist-naturalist etc. etc.”, or of how Pauline Oliveros described herself in 1974: “Pauline Oliveros is a two legged human being, female, lesbian, musician, and composer among other things which contribute to her identity. She is herself and lives with her partner, along with assorted poultry, dogs, cats, rabbits and tropical hermit crabs.” Incidentally, this has encouraged me to maybe change my bio to: “Jenny Odell is an artist, professor, thinker, walker, sleeper, eater, and amateur birdnoticer.”

3. the precarity of nothing

There’s an obvious critique of all of this, and that’s that it comes from a place of privilege. I can go to the rose garden, or stare into trees all day, because I have a teaching job that only requires me to be somewhere two days a week, not to mention a whole set of other privileges. Part of the reason my dad could take that time off was that on some level, he had enough reason to think he could get another job. It’s possible to understand the practice of doing nothing solely as a self-indulgent luxury, the equivalent of taking a mental health day if you’re lucky enough to work at a place that has those.

But here I come back to Deleuze’s “right to say nothing,” and although we can definitely say that this right is variously accessible or even inaccessible for some, I believe that it is indeed a right. For example, the push for an 8-hour workday in 1886 called for “8 hours of work, 8 hours of rest, and 8 hours of what we will.” I’m struck by the quality of things that associated with the category “What we Will”: rest, thought, flowers, sunshine.

These are bodily, human things, and this bodily-ness is something I will come back to. When Samuel Gompers, who led the labor group that organized this particular iteration of the 8-hour movement, was asked, “What does labor want?” he responded, “It wants the earth and the fullness thereof.” And to me it seems significant that it’s not 8 hours of, say, “leisure” or “… [more]
jennyodell  idleness  nothing  art  eyeo2017  photoshop  specimens  care  richardprince  gillesdeleuze  recology  internetarchive  sanfrancisco  eleanorcoppola  2017  1973  maps  mapping  scottpolach  jamesturrell  architecture  design  structure  labyrinths  oakland  juliamorgan  chapelofthechimes  paulineoliveros  ucsd  1970s  deeplisening  listening  birds  birdwatching  birding  noticing  classideas  observation  perception  time  gracecathedral  deeplistening  johncage  gordonhempton  silence  maintenance  conviviality  technology  bodies  landscape  ordinary  everyday  cyclicality  cycles  1969  mierleladermanukeles  sensitivity  senses  multispecies  canon  productivity  presence  connectivity  conversation  audrelorde  gabriellemoss  fomo  nomo  nosmo  davidabram  becominganimal  animals  nature  ravens  corvids  crows  bluejays  pets  human-animalrelations  human-animalelationships  herons  dissent  rowe  caliressler  jodythompson  francoberardi  fiverr  popos  publicspace  blackmirror  anthonyantonellis  facebook  socialmedia  email  wpa  history  bayarea  crowdcontrol  mikedavis  cityofquartz  er 
july 2017 by robertogreco
InternetBoard v1.0: "Solidarity" A UCSD Professor On Why He Will Strike 9/24 Source Mike Davis
""Solidarity" A UCSD Professor On Why He Will Strike On September 24

The UC strike com. asked me this morning to write a short piece on 'solidarity'*

Mike Davis
1331 33rd St
San Diego CA 92102
mdavis@ucr.edu

Many years ago in the faded Art Nouveaux splendor of a Gorbals (Glasgow) pub,
I met a man who told me an extraordinary story about his grandfather, a
coalminer who had been killed in a pit disaster before the First World War. A
methane explosion, followed by a roof collapse, had trapped his grandfather
and his mates deep in the mine, where they were eventually asphyxiated. When
rescuers reached their tomb days later, they found a final, defiant message
chiseled into the coalface: 'God save our union.'

The spirit of these doomed Scots miners isn't easily replicated in rational choice
models of social action. Nor can simple economic calculation explain the fervor
with which Lancashire cotton workers, whose wages depended upon Southern
cotton and the British domination of India, supported Lincoln and later Gandhi.
Likewise, from the 1934 San Francisco General Strike to Justice for Janitors in
the 1980s and 1990s, California working people have repeatedly translated their
passion for justice and dignity into the slogan 'an injury to one, is an injury to all.'

The labor and civil rights movements, to be sure, aren't fairy tales, and the
heroic moments are often counterbalanced by the petrification of militancy into
leaden bureaucracy and the selfish calibration of seniority. Solidarity is too
often an orphan. In our case, there are disheartening examples of the tenured
strata ignoring the recent picket-lines of catering workers, secretaries,
lecturers, and students.

UC faculty, indeed, are much like the residents of Jonathan Swift's city of Laputa:
distracted by their departmental micropolitics and the distribution of FTEs while
they float on a cloud above the existential distress of K-12 and community
education. The Senate faculty also must share responsibility with the Regents
for the system's transformation into a vast machine for the transformation of
public research into corporate profit. Most UC campuses now more resemble
gated communities than public temples of learning.

A lot of us have complained about this situation for years, but our discomfort
has seldom moved us to action. But the challenge is now epic-historic: equity
and justice are endangered at every level of the Master plan for Education.
Obscene wealth still sprawls across the coastal hills, but flat-land inner cities
and blue-collar interior valleys face the death of the California dream. Their
children - let's not beat around the bush - are being pushed out of higher
education. Their future is being cut off at its knees.

The September 24 strike movement, in my opinion, is most important because it
defends non-tenured employees and demands public disclosure of the Regents'
secret diplomacy. It is an elementary reflex of a progressive, humane
consciousness: an antidote to the staggering selfishness and elitism of Andrew
Scull and his Gang of 23.

A strike, by matching actions to words,, is also the highest form of teach-in.
This seed of resistance, of course, will only grow to maturity through cultivation
by unionized employees and students. They are the real constant gardeners,
and hopefully branches of a unified fight-back will quickly intertwine with the
parallel struggles of CSU, community college, K-12 and adult-education
workers.

The strike also provides a bully pulpit to counter the still widespread belief that
the UC system has a unique dispensation and can once again negotiate its own
special deal in Sacramento. Many of our colleagues are simply in denial. This
time around, the first-class passengers are in the same frigid water with the
kindergarten teachers and community college janitors.

The 24th is the beginning of learning how to shout in unison. And whatever the
outcome, it at allows us write our beliefs on the coalface.

* UPTE/CWA has voted to strike U.C. on September 24"
mikedavis  sandiego  ucsd  2010 
january 2017 by robertogreco
Three Popular Films by Jean-Pierre Gorin - From the Current - The Criterion Collection
"Jean-Pierre Gorin’s three Southern California movies are so militantly unclassifiable that terms like documentary or essay film seem as hopelessly out of sync with the recalcitrant and frequently exhilarating works themselves as a Marxist harangue in a Burger King. Movie criticism is ill equipped to deal with these ecstatic operations, which get high on their own cunning strategies.

How on earth did this Sorbonne-educated son of Jewish Trotskyites, onetime student of Althusser, Lacan, and Foucault, pre-1968 Marxist firebrand and partner in crime of Jean-Luc Godard wind up in Greater San Diego making these peculiarly all-American movies? Let’s just say that he followed his desire. “Many political people have self-conscious and proclaimed interests that they call revolutionary,” he explained to Danish filmmaker and critic Christian Braad Thomsen in a 1974 Jump Cut interview. “But they also have unconscious interests that can be completely reactionary, even if they are linked to the revolutionary interests. There comes the point when I say: ‘Man, blow your mind, try to dig into your own unconscious, try to find where your investment and your interest is.’” During their misunderstood Dziga Vertov Group period, Godard and Gorin were struggling to find a new, living definition of the political: over the years, Godard went increasingly macro, enlarging his sense of his own consciousness to the point where it covered the entire expanse of Western civilization; Gorin went micro, allowing his films and the people and places and contradictions that nourished them to speak in their own idiosyncratic voices. Poto and Cabengo (1980), Routine Pleasures (1986), and My Crasy Life (1992) are, on one level, vastly different experiences, each with its own peculiar frame of reference and line of aesthetic attack. Taken together, they represent an unofficial “language” trilogy, in which varying styles and modes of American speech ravish and are ravished in turn.

Gorin was invited to Southern California by painter, film critic, and teacher Manny Farber, when Farber was in the process of building a visual arts department at the University of California, San Diego. As Gorin put it to writer Lynne Tillman in 1988, “The meeting with Farber was a determining one. As determining, in a sense, as my encounter with Godard years ago. The reading of his film criticism gave me a very different key to American cinema than the one I used in France, a way to ground it in the culture and its language, to pry it away from its own mythology. But more importantly, it’s from reflecting on his painting, his main activity for years by the time I met him, that I learned the most.”

While he was scrutinizing a new landscape through new eyes, Gorin found the story of Grace and Virginia Kennedy, a pair of twins from nearby Point Loma who, according to the press, spoke in their own private language. “The Loch Ness monster had been nowhere in sight that year, and I suspect the journalists felt the twins would be a good substitute,” Gorin told Tillman. “They built up a case which reeked of Wild Child mystique.” Gorin realized instantly that there was no private language but rather “a patchwork of southern lingo spoken by their father and of the deformations imposed on the English language by their German-born mother.” His newfound American friend the producer–star programmer–California gentleman Tom Luddy suggested filmmaker Les Blank as a cameraman, and Gorin began his inquiry into something that “had been so completely misconstrued. It seemed like an eminently dramatic premise: two kids who moved and sounded like hummingbirds, who for years had been privately deciphering the world for each other, who did not know why they had suddenly become the object of so much attention.” Poto and Cabengo (the names by which the twins sometimes called each other) is not a “portrait” of Ginny and Grace and their family, or a “probing look at the strange phenomenon of idioglossia,” but a rhapsodic layering of elements and relations, filmed by Blank in singingly lyrical motion and color. The film can be examined from multiple angles, each as valid, not to mention exciting, as the next.

“Does anyone else use sound as a totally filmic weapon?” wrote Farber of Godard. The same could be said of Gorin’s fix on the spoken word in Poto and Cabengo, and throughout the trilogy, a matter of tireless ethnographic curiosity, slaphappy connoisseurship, and an immigrant intellectual’s ironically tinged boosterism of his new culture—in fact, the title of one of Godard’s finest and least-known works nicely sums up this side of Gorin’s cinematic enterprise: Puissance de la parole. In Poto and Cabengo, you can practically taste the filmmaker’s joy as he circles around the katzenjammerian speech patterns of Chris Kennedy, the raunchy vulgarity of her Hispanic neighbors, and Tom Kennedy’s depressed Georgia drawl, and then contrasts those voices with the squeaky-clean cadences of the speech therapists and linguists, perfectly enunciating every syllable of their expert opinions.

All three films are conversations—conversations between people and between those people and the unlikely landscapes in which they dwell, between cliché and reality, inside and outside, difference and repetition, sound and image, filmmaker and subject, body language and verbal language, and, supremely, between Gorin and himself as he continually revises his own position relative to both the movie and his adopted country. They are explorations and self-explorations, pinpointing and opening up all the inconvenient details and exceptions that short-circuit any final judgments. At first glance, we sophisticates may feel like we have the Kennedy household, Routine Pleasures’ Pacific Beach & Western railway crew, and My Crasy Life’s West Side S.O.S., Sons of Samoa, 32nd Street gangbangers all figured out. We are disabused of such notions almost instantaneously. Every rhetorical move is either jarred or knocked out of place by a countermove, and we are left with a cinematic organism in which nothing is frozen and everything is in ceaseless motion. I honestly can’t think of another movie that keeps tunneling through its own foundation as relentlessly as these three do, each stopping just short of a complete cave-in.

In Poto and Cabengo (and Routine Pleasures as well), the filmmaker’s voice-over squeezes some comedy out of the spectacle of an “ex-Marxist” immigrant fretting over the degree to which he is still French or already American. It’s easy, and slightly misleading, to become fixated on Gorin’s deadpan delivery of his stylized and allusive commentary, in which he borrows Farber’s wisecracking deflations and turns them on the film in general and himself in particular. In his writing, Farber found a language that was scintillating, thrillingly dense with metaphors, and utterly precise, disarming both the reader and any conventionally authoritative voices, be they academic, moralistic, corporate, or political. Gorin adapts Farber’s strategy to his own purposes in order to maintain a one-to-one relationship with his subjects and his audience. While the voice-over scores a few comic points here and there and maintains a nice surface tension, its principal purpose is utilitarian: to steer the film up, down, and sideways, and finally guide us to the more unsettling seriocomic state of affairs deep within the material. The gap between Tom and Chris Kennedy’s vision of their economic situation and the gruesome reality is terrifyingly wide, a real-life version of early movie comedy’s fixation on the gulf between aspiration and achievement. The only reasonable response to the strange sight of this “close-knit” family sitting around their cardboard hearth is to laugh, as they might just do were they to wander into a theater and get a load of themselves. This is not the comedy of cruelty but of extreme identification.

Gorin’s American movies are handmade productions that now speak to us in two tenses. Three decades and a “digital revolution” later, they are among the most provocative artifacts of the last moment when movies really were made by hand, and when, for a precious few (Gorin, Godard, Glauber Rocha, Jean-Marie Straub and Danièle Huillet, Robert Frank, Yvonne Rainer, Chantal Akerman), process was on an equal footing with product. As immediate, present-tense experiences, they are endlessly self-revealing, an array of clear aesthetic choices, made from a limited set of cinematic elements, combined, layered, pulled apart and put back together in different configurations to build a rich, winningly active surface texture in the mind of the viewer. They are rude and lovably inelegant movies, resisting any drift into sophistication or severity, and resembling nothing so much as the earliest sound productions of Walsh or Wellman as reimagined by a political firebrand who has just escaped from the prison house of his own theories.

But above all else, these are “popular” films, in the French sense of the term—populaire, or “of the people.” In other words, they begin and end at ground level, where life is lived out from instant to instant. Gorin wrote, “My Crasy Life has at its core a commitment, radical in its simplicity: to respect the voice of its ‘subjects’”—the voice and, by extension, the worldview and experiential horizon line. This can be said of all three movies.

In the cinema of Jean-Pierre Gorin, there is no such thing as a case study or a type. Just us, all in the same boat, whether we care to know it or not."
jean-pierregorin  film  potoandcabengo  2012  kentjones  sandiego  california  mannyfarber  jean-lucgodard  filmmaking  srg  mycrasylife  routinepleasures  1986  1992  1980  lacan  foucault  louisalthusser  michelfoucault  althusser  lesblank  tomluddy  lynnetillman  longbeach  ucsd  glauberrocha  jean-mariestraub  danièlehuillet  robertfrank  yvonnerainer  chantalakerman  babettemangolte  raymonddurgnat  sonsofsomoa  ethnography  samoa  gangs  margaretmead  losangeles 
november 2015 by robertogreco
Why Dogs Look Like Their Owners | Co.Design | business + design
"The similarity is—well, pick whatever description you're most comfortable with, but it's certainly evident. And it's evidence-backed, too. In several studies over the past decade, behavioral scientists have found that some people look so much like their pets that outside observers can match them based on pictures alone. The above image, for instance, comes from a 2005 study in which test participants identified owner-pet pairs at a success rate far greater than what you'd get with random guessing. The effect has held in the United States, South America, and Japan, suggesting it just might be universal.

So the resemblance truly exists, according to science. The question then becomes why. Humans do occasionally keep their young ones on leashes, but they don't actually give birth to pets—or the Internet would surely know about it—so it's safe to say the similarities aren't genetic. It's possible that people and pets somehow grow to look like one another over time, though how exactly that would occur is a bit of a mystery—short of a person telling a barber to give them the Bichon Frise.

Far more likely is that some people, either intentionally or subconsciously, choose a dog that resembles them, says social psychologist Nicholas Christenfeld of the University of California-San Diego. "I've certainly heard stories of people coming to resemble their pets," he tells Co.Design. "It's not really clear what the mechanism for that would be. I guess you could both exercise together—both catch Frisbees in your mouth, or something. But really coming to look like your dog would pretty much have to be you changing your appearance to resemble the dog, rather than the other way around. So it's not entirely crazy. But picking a dog that looks like you seems more plausible.""



"Christenfeld suspects evolution might have something to do with it. The impulse to care for a child is enormously adaptive in the eyes of natural selection, and one way a child might trigger this caretaking desire—aside from the whole emerging from the womb thing—is by looking like a parent. So when a person sees a "little, helpless, non-verbal creature that looks like them" in the form of a pet, Christenfeld says, some of those same basic nurturing instincts could spring into action.

"The feeling people have about their children is often very similar to the feeling people have about their pets," he says. "Lots of couples will use pets as a sort of practice trial for kids. And when kids go away to college, they're often replaced by pets. They come back for spring break and it's, 'Sorry, you have to sleep in the garage. Fluffy has your room now.'""
animals  pets  dogs  multispecies  ucsd  human-animalrelations  human-animalrelationships  nicholaschristenfeld  michaelroy  2015 
june 2015 by robertogreco
tricia the wolf en Instagram: “#triciaaftergradschool - One thing that I learned over the last 8 years is that I now know the difference between commitment and co-dependence. In the process of being committed to finishing #gradschool, I became #codepend
"#triciaaftergradschool - One thing that I learned over the last 8 years is that I now know the difference between commitment and co-dependence.

In the process of being committed to finishing #gradschool, I became #codependent on finishing. Co-dependence is when you allow your emotional state to be triggered by another entity. For me, this entity morphed from student drama to fieldwork to waiting for a grant to finishing a paper and in the end writing my dissertation #synthesisnow. I used to think that it was great that I couldn’t fall asleep due to a fast beating heart because then I had the adrenaline to write more. I used to feel good about being woken up with heart palpitations because it gave me energy to process more fieldnotes. The list goes on. In the process, I stopped asking why. Why am I doing this? What is my purpose here? Why do I have to write this grant? Why do I have to panic over this paper?

In all these unnoticeable ways, I had absorbed the temporal logic of #gradschool EVEN THOUGH I didn’t even want to get an academic job! Isn’t that crazy!?!?! I allowed my own identity to become so tied to what I was doing that I stopped asking why.

But now that I’ve been done for a year and in rehabilitation to join society again, I found out that I experience insomnia, anxiety, breathing issues, writers block, and guilt when relaxing. So I’ve been working on all of that over the last year and it feels GREAT to become human again.

So now that I’m mindful of co-dependent behavior, I am also more aware of what commitment feels like. To me, commitment is a mindful decision to do something on terms that make sense for you and the parties involved. I always want to make sure wellbeing, joy, trust, and presence are the axis in which I align myself with whatever I commit to. I never want my identity to be so wrapped up in something that I can’t see the difference. I want to do this with every relationship I have whether it is with a person, job, or movement. Good bye co-dependence, hello commitment.

#triciainsandiego #sociology"

[Also here: http://blog.triciawang.com/post/119633986686/triciaaftergradschool-one-thing-that-i-learned

related posts:

https://instagram.com/p/3AGuI8t8F_/ + http://blog.triciawang.com/post/119634222266/

"#triciaaftergradschool - I am now wondering why I never spoke to the dpt about the cruel and stifling #microaggression directed towards me and other students during #gradschool. I mean wasn’t the only one who struggled - 50% of my cohort dropped out the first year.
It was hard to even recognize the pattern because these things happened over a period of several years.

But ultimately, I didn’t think it was easy to talk to the dpt because they never explicitly encouraged or condoned any of this petty behavior. But I am realizing now that they have created and participated in a measurement obsessed structure that allows such terrible behavior to flourish.

Ultimately, sociology #gradschool as it is set up now, can model corrupt regime behavior - it’s a party of a few people creating and enforcing policies that justify their existence. This justification is done through measurement & ranking in the name of “professionalization” of #sociology. This professionalization pressure is on top of existing departmental and institutional budget cuts that decreased research funding, a broken tenure system (that no one talks about openly), and the department’s failure to help graduates get good teaching positions. In addition, the majority of cohorts are made up of young students who lack real life experience. So all of this creates a competitive anxious group of homogenous students who will engage in selfish behavior and gang up on others if they feel threatened. The people who suffer the most in this system are the few students of color or working-class backgrounds who are allowed into the program.

So while my dpt has never condoned cruelty amongst students, their policies and values foster it. It’s similar to how no US city approve of police brutality, but it happens because the system creates conditions that allow it to flourish. The macro enables the micro - that is sociology 101.

#triciainsandiego (at UC San Diego Social Sciences)"

https://instagram.com/p/3AHPVPN8G-/ + http://blog.triciawang.com/post/119634502396/

"#triciaaftergradschool - Walking into the graduate lounge is triggering memories of so much petty shit that I witnessed and was subjected to during #gradschool. Here are just a few things that come to my mind:

1. Students made fun of me for wearing high heels and reading gossip magazines.

2. Students reported to faculty that I was texting with another student in class, disrupting seminars.

3. I was repeatedly told that I wasn’t theoretical enough or fit to be a sociologist. In #sociology speak, this means you don’t belong cuz you’re too stupid to be in this program.

4. I was told by students to keep it a secret that I didn’t have plans to go into academia because the dpt will not give me grants & professors won’t engage with me. I didn’t keep it a secret. My research was never funded.

5. I was told to never publish #livefieldnotes or any blog posts about my research or else I’d never find a job.

6. Faculty reminded me several times that studying cellphones and the internet was “not sociological enough.”

7. Professors would say the dumbest shit that students would repeat & accept as truth! For example, a few faculty told us when we get tenured positions we will be more free than people who have jobs because we can do whatever we want and we’re smarter than people without Phds.

8. I dealt with sexual harassment from students and a professors.

9. A group of students told the grad director that I was creating problems amongst the grad students because I didn’t invite the to the parties that I was hosting at my house. Seriously high school shit.

#triciainsandiego #sociology (at UC San Diego Social Sciences)"

https://instagram.com/p/3AIs5Nt8Jg/ + http://blog.triciawang.com/post/119635295101/

"#triciaaftergradschool - Having just visited the Stasi Museum in Berlin (above) and UCSD #socialscience building (below) for #gradschool reflections, it’s interesting to note the similarities between totalizing institutions.

By NO way am I conflating #sociology #gradschool with East Germany/GDR under the Eastern Bloc. However, I think think the line between micro individual agency & macro structural forces are so thin that my personal processing of how the Sociology dpt created a cruel environment amongst grad students is helping me understand how people can turn on each other under institutional forces.

Totalizing institutions creep into people’s lives in benign ways. A few seemingly logical policies to measure & organize people into categories can create such terrible behavior.
These policies are always created by privileged elites who use it to justify their own existence & actions. And then a few sane ones start to question their own sanity, & perhaps to survive they go along with some of the policies.

I saw this happening in my #sociology department on a very small & benign scale. It happened even to me. The professionalization of sociology is treating people as ranked numbers to be slotted into categories that deem intelligence. Individual well-being is cast aside for the sake of the institution’s mission. If a student doesn’t perform like a normative #sociologist, then you’re marked as abnormal.

During my time, I eventually performed “sociology”. I wrote in the 3rd voice to appear more objective. I generated undecipherable intellectual garble papers. I formulated causal models, hypothesizing all sorts of variable isolation. I excelled in theory classes & became successful at obtaining funding from scientific instit. But I was miserable.

Eventually my mentors helped me realize that I had lost my voice as a writer. I wrote like a boring sociologist removed from society. That scared the shit out of me. Doing ethnographic work saved me, by observing humans I became human again.

All totalizing institutions become experts at removing the human experience, because once they do that, they can program people to do anything."

https://instagram.com/p/3AJO0Gt8KP/ + http://blog.triciawang.com/post/119635578466/

"#triciaaftergradschool - Today, I voluntarily came to UCSD #socialscience #sociology building for the first time post #gradschool. Lots of memories are coming back. When I first started grad school, I so badly wanted to enjoy it. I had this vision that I would weave a fun life between working in NYC and reading sociology books on #sandiego beaches.
Man was I wrong. I was so miserable in the program but I didn’t realize how terrible it was until this trip. I don’t think I ever truly allowed myself to acknowledge or even admit how traumatic it was on me while I was in the program. Why do so many experience #gradshcool as isolating, dark, and depressive? Why does it have to be this way when getting any degree, much less a PhD, is such an act of privilege and luck. Brilliant people around the world don’t even get the chance to read books much less step inside a university just because they were born into failed systems. I think I felt this weight of privilege on me, so I didn’t want to even allow myself to come off as unappreciative of this fabulous life I have as a Westerner. But that’s my reason, is there a larger reasons that cuts across all programs?

#triciainsandiego #gradschool #sociology

(at UC San Diego Social Sciences)"

https://instagram.com/p/3AJ6efN8LO/ + http://blog.triciawang.com/post/119635943301/

"#triciaaftergradschool - I am a fucking doctor. That’s right, I have a fucking phd. I am so proud of myself for getting this credential.

Although I think it’s important to remember that credentials do not reflect the quality of a person’s skillsets or intelligence. It makes me sick that #gradschool promotes intellectual superiority within our degree obsessed society.

… [more]
triciaang  2015  ucsd  gradschool  education  commitment  co-dependence  sociology  academia  richardmadsen  thewhy  purpose  triciawang  capitalism  highereducation  highered  2014  socialsciences  measurement  ranking  funding  research  behavior  groupdynamics  professionalization  control  dehumanization  elitism  privilege  isolation  objectivity  self-justification  bullying  systemicracism  institutions  institutionalizedracism  abuse  institutionalizedabuse  classism  class 
may 2015 by robertogreco
Controversy at UC San Diego over nudity in visual arts class - LA Times
"Over the last 11 years, professor Ricardo Dominguez has taught a course at UC San Diego titled Visual Arts 104A: Performing the Self.

As part of an assignment, students are asked to make a nude “gesture” in front of the class in a darkened room.

Such a gesture can be to disrobe, or to remain fully clothed and say something revealing about yourself that makes you feel vulnerable. Dominguez says he will be nude as well.

The class, which is not required, is popular with students, as is Dominguez, a tenured associate professor.

But a controversy has erupted after the mother of a UCSD student complained to a local television station that her daughter was required to be naked or risk failing the course.

“It bothers me; I'm not sending her to school for this,” the anonymous woman told KGTV. “It makes me sick to my stomach.”

As media requests began to swamp the university, the chairman of the visual arts department issued a statement supporting the class and the professor and noting that there has been misinformation about what 104A entails.

“The ambiguity around the question of ‘nudity’ and ‘nakedness’ is intentional,” Jordan Crandall, professor and department chairman, said in an email Tuesday. “It is intended to be provocative, to raise issues.”

This is not the first time Dominguez has been described as provocative.

Using a software program that continuously reloaded on the website of the UC president, Dominguez encouraged an act of “electronic civil disobedience” over the university's policy on the rights of immigrants. Hundreds of students flooded the comment section of the homepage.

Dominguez said he wanted to blur the line between political advocacy and performance art.

“I'm interested in how different forms of power respond to this,” Dominguez told The Times in 2010. “Our work has always been to bring to the foreground what artists can do using available low-end technologies that can have a wider encounter with society than just the limited landscape of the museum, the gallery and the scholarly paper.”

Dominguez, 56, is co-founder of the Electronic Disturbance Theater, which has developed “virtual sit-in technologies” in support of indigenous communities in Mexico’s Chiapas state.

Among his projects has been development of a GPS cellphone app to help people crossing the U.S.-Mexico border at remote desert locations find where activists have placed water for them.

Students are advised at the beginning of 104A about the “nude/naked self” aspect. Some opt not to take the course.

“There are many ways to perform nudity or nakedness,” Dominguez said Tuesday, “summoning art history conventions of the nude or laying bare of one’s ‘traumatic’ or most tragic and vulnerable self. One can ‘be’ nude while being covered.”

The class allows students to learn about performance art “as practitioners … in a direct way,” Dominguez said. “It is not just a matter of reading about it or viewing slides.”

On an informal website where students are allowed to “grade” their professors, Dominguez rated an A.

“There is something liberating about an art form that does not limit you to canvas or paper, and I wanted my own work to continue in that trajectory,” senior Lisa Korpos said by email. “It has made me feel more courageous and confident in my aesthetic choices. I also feel more connected to my fellow artists. … My classmates and I support professor Dominguez fully.”"
ricadodominguez  ucsd  art  2015  pedagogy  education  highered  highereducation  sandiego 
may 2015 by robertogreco
Taking Space: A Documentary
"Taking Space is a documentary that aims to highlight the different ways in which collectively operated spaces function, especially during times of intense struggle and pressure.

The film focuses on three spaces located across Southern California: The Ché Café, Bridgetown DIY and Blood Orange Infoshop. In making this documentary, we hope to not only shed light on the music, art and culture that these spaces help to create for their communities, but also to expose the processes, conflicts and compromises that are involved with building and working in spaces that rely on non-hierarchical organizing models.

Much of the film centers on the decades long conflict between The Ché Café and the University of Southern California San Diego - a conflict that continues to this day.

We are working dilligently towards finishing this documentary project and hope to have it out by April 2015."

[direct link to trailer: https://vimeo.com/122128443 ]
checafe  sandiego  california  documentary  ucsd  bloodorangeinfoshop  danieltorresmiandareilly  cameronhughes  collectives  openstudioproject  lcproject  socal  losangeles  riverside  bridgetowndiy 
march 2015 by robertogreco
FIELD | A Journal of Socially-Engaged Art Criticism
"FIELD: A Journal of Socially-Engaged Art Criticism

We are living through a singular cultural moment in which the conventional relationship between art and the social world, and between artist and viewer, is being questioned and renegotiated. FIELD responds to the remarkable proliferation of new artistic practices devoted to forms of political, social and cultural transformation. Frequently collaborative in nature, this work is being produced by artists and art collectives throughout North, South and Central America, Europe, Africa and Asia. While otherwise quite diverse, it is driven by a common desire to establish new relationships between artistic practice and other fields of knowledge production, from urbanism to environmentalism, from experimental education to participatory design. In many cases it has been inspired by, or affiliated with, new movements for social and economic justice around the globe. Throughout this field of practice we see a persistent engagement with sites of resistance and activism, and a desire to move beyond existing definitions of both art and the political. The title of this journal reflects two main concerns. First, it indicates our interest in a body of artistic production that engages the broadest possible range of social forces, actors, discursive systems and physical conditions operating at a given site. And second, it signals a concern with the questions that these projects raise about the “proper” field of art itself, as it engages with other disciplines and other modes of cultural production.

How do these practices redefine our understanding of aesthetic experience? And how do they challenge preconceived notions of the “work” of art? For many in the mainstream art world this opening out is evidence of a dangerous promiscuity, which threatens to subsume the unique identity of art. As a result this work has been largely ignored by the most visible journals and publications in the field. At the same time, an often-problematic concept of “social engagement” has become increasingly fashionable among many museums and foundations in Europe and the United States. There is clearly a need for a more intelligent and nuanced analysis of this new tendency. However, it has become increasingly clear that the normative theoretical conventions and research methodologies governing contemporary art criticism are ill-equipped to address the questions raised by this work. FIELD is based on the belief that informed analysis of this practice requires the cultivation of new forms of interdisciplinary knowledge, and a willingness to challenge the received wisdom of contemporary art criticism and theory. We seek to open a dialogue among and between artists, activists, historians, curators, and critics, as well as researchers in fields such as philosophy, performance studies, urbanism, ethnography, sociology, political science, and education. To that end the journal’s editorial board will include a diverse range of scholars, artists, historians, curators, activists and researchers. It is our belief that it is only at the intersections of these disciplines that can we develop a deeper understanding of the cultural transformations unfolding around us.

–Grant Kester, founder and editor, FIELD


FIELD Editorial Board

Tania Bruguera is an artist and the founder of Immigrant Movement International. Her most recent project is The Museum of Arte Útil.
Teddy Cruz is Professor of Public Culture and Urbanism in the Visual Arts department at the University of California San Diego, and Director of the UCSD Center for Urban Ecologies.
Tom Finkelpearl is the Commissioner of Cultural Affairs for New York City and the editor of What We Made: Conversations on Art and Social Cooperation (Duke University Press, 2013).
Fonna Forman is Associate Professor of Political Science, founding co-director of the UCSD Center on Global Justice and author of Adam Smith and the Circles of Sympathy: Cosmopolitanism and Moral Theory (Cambridge University Press, 2009).
Dee Hibbert-Jones is Associate Professor of Art and Founder and Co-Director of the Social Practice Research Center at UC Santa Cruz.
Shannon Jackson is the Richard and Rhoda Goldman Chair in the Arts and Humanities at UC Berkeley and author of Social Works: Performing Art, Supporting Publics (Routledge 2011).
Michael Kelly is professor of philosophy at the University of North Carolina, Charlotte, author of A Hunger for Aesthetics: Enacting the Demands of Art (Columbia University Press, 2012) and editor of the Oxford Encyclopedia of Aesthetics.
Grant Kester, Field editor and founder, is professor of art history at UCSD and author of The One and the Many: Contemporary Collaborative Art in a Global Context (Duke University Press, 2011).
Rick Lowe is an artist, founder of Project Row Houses in Houston, and member of the National Council on the Arts.
George Marcus is the Director of the Center for Ethnography and Chancellor’s Professor and chair of the department of anthropology at UC Irvine, and author of Ethnography Through Thick and Thin (Princeton University Press, 1998).
Paul O’Neill is the Director of the Graduate Program, Center for Curatorial Studies, Hessel Museum of Art, Bard College, New York.
Raúl Cárdenas Osuna is an artist, theorist, and the founder of Torolab collective and the Transborder Farmlab in Tijuana, Mexico.
Francesca Polletta is Professor of Sociology at UC Irvine and author of It Was Like a Fever: Storytelling in Protest and Politics (University of Chicago Press, 2006).
Greg Sholette is an activist, artist and professor in the Social Practice Queens program at Queens College and the author of Dark Matter: Art and Politics in the Age of Enterprise Culture (Pluto Press, 2011).
Nato Thompson is Chief Curator, Creative Time, New York City and editor of Living as Form: Socially Engaged Art from 1991-2011 (MIT Press, 2012).

FIELD Editorial Collective

Paloma Checa-Gismero
Alex Kershaw
Noni Brynjolson
Stephanie Sherman
Julia Fernandez
Michael Ano

Thanks

FIELD would like to acknowledge the generous support of the University of California Institute for Research in the Arts (UCIRA), the UCSD Division of Arts and Humanities, and the UCSD Visual Arts department."
ucsd  art  criticism  artcriticism  grantkester  taniabruguera  teddycruz  tomfinkelpearl  fonnaforman  deehibbert-jones  shannonjackson  michaelkelly  ricklowe  georgemarcus  paulo'neill  raúlcárdenasosuna  francescapolletta  gregsholette  natothompson  palomacheca-gismero  alexkershaw  nonibrynjolson  stephaniesherman  juliafernandez  michaelano  ucira  socialpracticeart  knowledgeproduction  urbanism  environmentalism  2015  education  alterative  experimental  participatorydesign  design  participatory  glvo  via:javierarbona  politics  arts  culturalproduction  aesthetics  socialengagement  museums  interdisciplinary  ethnography  sociology  philosophy 
march 2015 by robertogreco
Ingenious, Imaginative World: Dr. Seuss' San Diego Life | San Diego | Artbound | KCET
"Within each of his book's illustrations, you can see pieces of the place he made his home. Characters with wild, palm tree-like manes, vibrant birds, trees that resemble San Diego's native acacia trees and bright landscapes fill the pages of his famed children's books. Any San Diegan can easily recognize their city within those pages."



"The exhibition offers a glimpse into Theodor Geisel as a person and artist. His humor is evident in many of the pieces. One, for example, features a bird woman lying in a coffin as she is talking on a telephone. The caption reads, "I'd love to go to the party but I'm absolutely dead."

"The imagery we see in these paintings stretches beyond all pre-conceived notions of Dr. Seuss," says Dreyer. "In some cases it's a little risqué and has a bit of an adult humor and wit to it."

That same haughty bird woman serves as a vehicle for social commentary in a number of other pieces by Geisel. Dreyer explains that the bird woman mocks the arrogant upper class female socialites Geisel often encountered in La Jolla. The delightfully good natured ribbing was classic Geisel. The character is seen in 11 of Geisel's paintings, six of them are on display at "Ingenious!"

He also pays homage to San Diego in other pieces of art. Geisel's home studio had a 180-degree view of the Pacific Ocean. Three of his midnight paintings appear to feature that view: "Firebird," "Freebird" and "I Dreamed I was a Doorman at the Hotel Del Coronado."

"You get the sense that his artworks were inspired by his view," says Dreyer, who included a photo of Geisel in front of his window in the exhibition to make the connection. "They have that San Diego look and feel. A lot of his imagery and landscapes have a San Diego feeling."

With this exhibition, fans of Dr. Seuss are given the privilege to meet Theodor Geisel and the city he made his home in a way that feels personal and intimate. His personality shines through, and you'll be sure to walk away with a greater understanding of Geisel as a wholly unique visual artist. "Ingenious!" is on view through the end of 2015."
drseuss  sandiego  theodorgeisel  2014  ucsd  alexzaragoza  libraries  lajolla 
january 2015 by robertogreco
National Institute for Play
"The National Institute for Play is a 501c(3) non-profit public benefit corporation committed to bringing the unrealized knowledge, practices and benefits of play into public life. It is gathering research from diverse play scientists and practitioners, initiating projects to expand the clinical scientific knowledge of human play and translating this emerging body of knowledge into programs and resources which deliver the transformative power of play to all segments of society.

Our Organization

The National Institute for Play is led by the founder, Dr. Stuart Brown. The Board of Directors includes those with long experience in the business, academic, professional sports and non-profit sectors. The Institute has also established a Council of Advisors consisting of distinguished scientists from many science disciplines as well as play practitioners.

Our Founder, Dr. Stuart Brown

Trained in general and internal medicine, psychiatry and clinical research, he first discovered the importance of play by discerning its absence in a carefully studied group of homicidal young males, beginning with the University of Texas Tower mass murderer, Charles Whitman. He later became founding Clinical Director and Chief of Psychiatry at Mercy Hospital and Medical Center and an Associate Professor at UCSD in San Diego, California. Over the course of his clinical career, he interviewed thousands of people to capture their play profiles. His cataloging of their profiles demonstrated the active presence of play in the accomplishments of the very successful and also identified negative consequences that inevitably accumulate in a play-deprived life.

As he ended his clinical career, he believed that play could be the key to discovering the giftedness that is in everyone, but he realized that identifying the importance of play hadn’t really fully revealed what play is. So, in 1989 upon leaving clinical medicine, he decided to pursue play in greater depth.

He was surprised that much of the play-related research he reviewed was fragmented and lacked quantitative confirmation of factors readily observed clinically. A science and evidence-based way of understanding and suggesting how to improve play hygiene was and still is lacking. He turned to animal play research to gain insights into human play.

With the support of the National Geographic Society and Jane Goodall, he observed animal play in the wild. He became acquainted with the premier animal play experts in the world, and began to see play as a long evolved behavior important for the well being and survival of animals. He subsequently came to understand that humans are uniquely designed by nature to enjoy and participate in play throughout life."

[See also: http://www.centerforchildhoodcreativity.org/about/advisors/dr-stuart-brown/
http://www.ted.com/talks/stuart_brown_says_play_is_more_than_fun_it_s_vital ]
learning  play  design  anthropology  research  stuartbrown  wellness  health  sandiego  ucsd  nonprofit  nonprofits 
september 2014 by robertogreco
The Persistence of the Old Regime
"This afternoon I ended up reading this Vox story about an effort to rank US Universities and Colleges carried out in 1911 by a man named Kendric Charles Babcock. On Twitter, Robert Kelchen remarks that the report was “squashed by Taft” (an unpleasant fate), and he links to the report itself, which is terrific. "



"University reputations are extremely sticky, the conventional wisdom goes. I was interested to see whether Babcock’s report bore that out. I grabbed the US News and World Report National University Rankings and National Liberal Arts College Rankings and made a quick pass through them, coding their 1911 Babcock Class. The question is whether Mr Babcock, should he return to us from the grave, would be satisfied with how his rankings had held up—more than a century of massive educational expansion and alleged disruption notwithstanding.

It turns out that he would be quite pleased with himself."



"As you can see, for private universities, especially, the 1911 Babcock Classification tracks prestige in 2014 very well indeed. The top fifteen or so USNWR Universities that were around in 1911 were regarded as Class 1 by Babcock. Class 2 Privates and a few Class 1 stragglers make up the next chunk of the list. The only serious outliers are the Stevens Institute of Technology and the Catholic University of America.

The situation for public universities is also interesting. The Babcock Class 1 Public Schools have not done as well as their private peers. Berkeley (or “The University of California” as was) is the highest-ranked Class I public in 2014, with UVa and Michigan close behind. Babcock sniffily rated UNC a Class II school. I have no comment about that, other than to say he was obviously right. Other great state flagships like Madison, Urbana, Washington, Ohio State, Austin, Minnesota, Purdue, Indiana, Kansas, and Iowa are much lower-ranked today than their Class I designation by Babcock in 1911 would have led you to believe. Conversely, one or two Class 4 publics—notably Georgia Tech—are much higher ranked today than Babcock would have guessed. So rankings are sticky, but only as long as you’re not public.

I also did the same figure for Liberal Arts Colleges, almost all of which are private, so this time there’s just the one panel:"



"The UC System is an astonishing achievement, when you look at it, as it propelled five of its campuses into the upper third of the table to join Berkeley."
rankings  colleges  universities  2014  1911  uc  universityofcalifornia  ucsb  ucla  ucsd  uci  ucd  ucr  ucberkeley  riceuniversity  duke  highereducation  highered  kieranhealey  kendriccharlesbabcock  via:audrewatters  usnewsandworldreport 
august 2014 by robertogreco
Mary Beebe at Voice of San Diego's Meeting of the Minds - YouTube
"Mary Beebe, who runs the Stuart Collection for UC San Diego, takes us behind the scenes of some of the pieces she's commissioned over the years in a presentation at Voice of San Diego's "Meeting of the Minds" on March 19, 2014."
maybeebe  nancyrubin  timhawkinson  2014  stuartcollection  ucsd  art  publicart  sandiego  lajolla  dohosuh  murals 
march 2014 by robertogreco
When Adjunct Faculty are the Tenure-Track's Untouchables ~ Remaking the University
"I strongly agree with Tarkawi's conclusion that faculty are far more complicit in the sacking of public higher education than we are prepared to acknowledge. One of the best indexes of this is the arrogance that ladder-rank faculty display towards adjunct/part-time faculty/"lecturers" in our own departments. As with the caste system, there are so many categories for them, all of which serve the purpose of the Brahmins in the Academic Senate.

We--and here am I tempted to specifically include you [on the list] alongside myself in this condemnation, but won't because there's always a small chance that some of you/us are exempt from these generalizations--in fact appear to take some pride in treating adjuncts as an inferior caste. It is the norm for adjuncts to be excluded from faculty meetings and to be deprived of any say in the management of departments. Instead of resisting the "adjunctification" of the professoriat by incorporating these colleagues--because they are colleagues--into the university and our respective departments, we tolerate them as useful proof of our Brahmin status. They are our untouchables.

And we treat them accordingly."

[Related: “The neoliberal assault on academia” http://www.aljazeera.com/indepth/opinion/2013/04/20134238284530760.html
and (via) “When Tenure-Track Faculty Take On the Problem of Adjunctification” http://www.socialsciencespace.com/2013/07/when-tenure-track-faculty-take-on-the-problem-of-adjunctification/
tarakbarkawi  ivanevans  academia  highered  highereducation  power  hierarchy  tenure  adjuncts  adjunctification  2013  ucsd  uc  arrogance  class  untouchables  labor  economics  politics  policy  universityofcalifornia 
august 2013 by robertogreco
αντιρατσισμός και πανεπιστημιακή πολιτική στις ΗΠΑ | Dialogos-DEP
""Stop whining and welcome UC's new Iron Lady.

To all my friends who think Napolitano is a poor choice for czarina of the UC system: get a life (preferably outside these borders). For years you've smugly believed that nuclear weapons (let's close our eyes) alone would pay our salaries. That's so old school. In case you haven't read the paper, the UC-managed Lawrence Livermore National Ignition Facility has already spent $2 billion dollars simulating H-bomb explosions and updating the US nuclear arsenal. It's future budget is uncertain. Did you really think that we could grow our future out of a hydrogen fusion monoculture? Of course not. If we want to keep our bear golden and our tenured salaries in six figures, we need to think about our nation's true needs.

Thank god, the visionaries at UCSD have made their Jacobs School of Engineering the single most important hub of surveillance and intelligence technology in the country. Down here in the Torrey Pines, UC engineers and scientists have spun-off dozens of new defense intelligence spinoffs, leveraged the growth of SAI and General Atomics, and justified the foresight of locating the Border Patrol's research division in San Diego. Diversity, this is the way to go: Dr. Strangelove in the north, Orwell and Big Brother in the South.

Now it's time for the rest of us to step to the bat. UCR, I realize, doesn't have an equal endowment of Nobel laureates and military contractors, but if we were truly committed to the new Master Plan for Higher Education and Homeland Security, I'm sure we could find our own niche. No campus, for example, is doing cutting-edge work on execution technology or pre-school incarceration: areas where the Inland Empire with all of its prisons and doomed kindergartners surely has a comparative advantage. In any event, stop bitching and start writing grant proposals to the NSA and CIA. At last we have the leadership we deserve."
ucsd  2013  janetnapolitano  mikedavis  surveillance  intelligencetechnology  homelandsecurity  universityofcalifornia  california  education  highered  highereducation  uc 
august 2013 by robertogreco
UCSD TURNS UP FOCUS ON MICRO SENSORS | UTSanDiego.com
"There’s a revolution going on in sensor technology. Call it the rise of the micromachines. Researchers at such places as the University of California San Diego are developing tiny machines and motors used to do everything from monitoring a person’s health to spotting when a hillside might collapse.

The field is called microelectromechanical systems, or MEMS, and UC San Diego has hired one of its stars. Albert Pisano is leaving UC Berkeley to become dean of the Jacobs School of Engineering, where he’ll continue his MEMS research."
ucsd  research  microsensors  albertpisano  2013  engineering 
july 2013 by robertogreco
Get Buzzed When You're Blissed Out | KPBS.org
"Stress is a part of life in our fast-paced culture. Health care experts tell us how bad it is, but it’s not easy to avoid in the midst of work deadlines and getting the kids to school on time.

A computer engineer at UCSD has created a device that could help. Dr. Ramesh Rao, director of UCSD's Calit2, now called the Qualcomm Institute, wants us to be reminded when we've achieved a relaxed state. He thinks people will then be more proactive about creating restful moments throughout their day."



"During the yoga class, it buzzed during a deep twisting stretch, when I settled into a wall pose, and when I laughed. I was actually proud of myself when it buzzed. "You can get hooked on the buzz without knowing that you’re doing it," explained Rao. "And so to the extent that we are associating it with healthful states, that’s a good entrainment. It teaches you.""



"The absence of the buzz can also be a training force. If you haven’t buzzed in a while, it might be time to go for a walk or listen to some calming music.

The absence of the buzz can also be a training force. If you haven’t buzzed in a while, it might be time to go for a walk or listen to some calming music.

Five years ago, Rao turned 50. He wasn’t exercising and his job was stressful. "I could sense that I was in this routine where at the end of the day I was exhausted and I was beginning to use food as a way to unwind," Rao said.

He started running and practicing yoga. Like a true engineer, Rao wanted to measure his progress by capturing data. "I have years worth of data of this kind. Every time I go running, I wear a heart rate monitor," said Rao, now rail thin."
calit2  ucsd  stress  relaxation  feedback  rameshrao  quantifiedself  blissbuzzer  biofeedback  2013 
june 2013 by robertogreco
UCSD: A Built History of Modernism | ArchDaily
"At just a little over 50 years old, the University of California San Diego is one of the younger college campuses in the United States, but despite this it is one of the most architecturally fascinating universities around. In the official UCSD campus guide, Dirk Sutro emphasizes that “UCSD does not have a single example of the historical-revival styles prevalent at other University of California campuses… and at San Diego’s two other major universities”. The history of UCSD architecture is one of ambition, which has made the campus a display case of modernism in all of its forms from the last half a century.

Thanks to photographer Darren Bradley, we can now share this history and a selection of the exciting structures it has produced."
ucsd  sandiego  lajolla  darrenbradley  photography  architecture  2013  dirksutro  modernism  modern 
may 2013 by robertogreco
System Energy Efficiency Lab
"Energy consumption is a critical constraint in the design of modern computer systems. Research in SEE lab addresses energy efficiency in systems of all sizes, from sensor nodes to processors to data centers. Portable systems, such as mobile embedded systems and wireless sensor networks, typically operate with a limited energy source such as batteries. The design process for these systems is characterized by a tradeoff between high performance and low power consumption, emphasizing the need to meet performance constraints while minimizing the power consumption. Decreasing the power consumption is also an important factor in lowering the packaging and the cooling costs of embedded systems. On the other end, stationary systems also require energy efficiency due the operating costs and environmental concerns related to desktops, servers and data centers. Current data centers are increasingly limited by power and thermal capacity. The annual energy cost of a large data center can be in the range of millions of dollars, and the cooling cost is about half of the total energy cost. Energy efficient and temperature aware approaches address these large scale systems at different levels, such as the whole data center, computing clusters, servers or components such as processors, disk drives, etc.

System energy efficiency lab is part of Embedded Systems and Software group at UCSD."

[Jug's page: http://cseweb.ucsd.edu/~jvenkate/ ]
ucsd  energy  efficiency  engineering  compsci  systems  embeddedsystems  jagannathanvenkatesh  friends  lajolla  sandiego 
may 2013 by robertogreco
Around the Counties: Mapping San Diego County Arts with Kinsee Morlan | San Diego | Artbound | KCET
"What makes San Diego County so attractive?

It's desert meets beaches. You can literally be out hiking in 100 degree temperatures, enjoy cacti and native scrub and later that day you'll be at the beach swimming in 60 degree water. I think that's unique to San Diego. San Diego is known as the "City of Villages." One complaint about San Diego is that there's no heart or soul of the city but really there's like 100 different little hearts and souls in San Diego. You've got South Park, Normal Heights, University Heights, Golden Hill. You'll definitely run into someone you know and it's like you're in a little town instead of this big ol' San Diego. I really like that about our city."

"Do you see any art trends in San Diego County?

• We've got these giant universities in San Diego. I think that's probably the biggest influence on our art scene here. UCSD is turning out these highly experimental conceptual artists. Point Loma Nazarene University (PLNU) also has this amazing art program and they're turning out some really interesting conceptual work. San Diego State University and Woodbury University, an architectural university, both are creating furniture designers. They make these pieces that I would categorize as art rather than design. So, in terms of trends we're seeing more experimental conceptual and then really high quality furniture art. We have a lot of active artists and it's hard to be a working and living artist but when you're in school you kind of have that time to dedicate to just doing your work.

• Tijuana, Mexico is right there so, I would say, you definitely see the Mexican influence on art in San Diego."
kinseemorlan  sandiego  art  tijuana  museums  galleries  vozalta  mcasd  sdsu  ucsd  quintgallery  thumbprintgallery  meyerfineart  jdcfineart  architecture  design  pointlomanazareneuniversity  periscopeproject  space4art 
march 2013 by robertogreco
UC San Diego's V.S. Ramachandran Named One of TIME 100
"Ramachandran takes as his models 19th-century giants of science Charles Darwin and Michael Faraday. He praises them for wide-ranging and capacious thinking, for being willing to investigate phenomena that others might consider trivial.

"Science has become too professionalized," he said: "It began as grand romantic enterprise" and is now too like an ordinary 9-5 job.

"The history of science and the history of ideas are not taught in universities now, except in philosophy courses," Ramachandran said. "Too much of the Victorian sense of adventure has been lost. I would like to reignite some of that passion in students.""
vsamachandran  ucsd  science  adventure  curiosity  work  labor  2011  via:anne  proffesionalization  passion  whywework  darwin  charlesdarwin 
february 2013 by robertogreco
What Twitter Can Learn From Weibo: Field Notes From Global Tech Ethnographer Tricia Wang | Fast Company
"I’ve never really thought of myself as having an actual job. I studied communication as an undergrad at UC San Diego, and after that I worked for several years in low-income communities in New York City as a community organizer, doing media and education-advocacy work. I had no aspirations to go into academia as a career--I was always very turned off by it, and especially the inaccessible style of most academic communication. danah boyd was the first scholar whose work seemed relevant outside academia, and her work and personality inspired me and gave me hope that I could be an academic and still be myself and make my work very accessible. I realized that I needed some additional research skills to make the kind of impact I wanted to, and went back to UCSD to work on my Ph.D. in sociology. …

The last real day job I had was as co-director of a media organization for youth in Manhattan. I did it for a year and I was miserable. I didn’t mind working; I just couldn’t work someplace where I had to be in at the same time everyday. So I promised myself that I would never be in that situation again--no more fluorescent lights! I also have a hard time imagining myself at just one company for now, at least. I still have so much to learn, and I think I’m a better researcher when I’m able to work in multiple places and for multiple clients. If I were only doing research for one company, one product, or one community, I don’t think I’d be as valuable. The quality of work decreases when you become institutionalized--you start thinking like an institution, you have to sort of conform to the institutional culture. I don’t fit in that kind of situation, nor do I want to. I want to continue bridging the gap between the tech worlds, the advocacy worlds, and the research worlds, even if there’s not an obvious job description or path to follow."
danahboyd  research  ethnography  schedules  time  freedom  employment  2012  ucsd  sociology  howwework  work  cv  triciawang  china  weibo  from delicious
july 2012 by robertogreco
Synesthesia's blended senses - latimes.com
"The study of synesthesia has helped shift the way scientists think about the brain. In the past, they have focused on matching different areas with specific functions; now, the entire organ is viewed as a tapestry of interwoven connections.

"The whole system is a giant network," Eagleman says. "It's no longer sufficient to think about single areas in isolation."

Like synesthesia, many neurological disorders — such as schizophrenia, autism,Alzheimer's disease, depression and epilepsy — have been linked to abnormal communication between brain regions. The hope is that as neuroscientists learn about how the connections in the synesthetic brain differ from those in normal brains, they will also gain insight into how these differences develop — and how they sometimes manifest as harmful disorders."
davideagleman  sensoryprocessingdysfunction  depression  epilepsy  alzheimers  schizophrenia  autism  music  sudio  sounds  smells  colors  numbers  ucsd  networks  senses  brain  neuroscience  2012  synesthesia  from delicious
february 2012 by robertogreco
There's No Place Like This Home - voiceofsandiego.org: Behind The Scene: The Art And Drama Of Making Art In San Diego
"If all goes well, the dream of artist Do Ho Suh will come true on Nov. 15 when the one-room cottage will be lowered into place by one of the biggest cranes in North America. The piece seems destined to become the most talked-about piece in UCSD's Stuart Collection of works of art designed to be permanent parts of the campus.

The roots of the project go back to Suh's earlier years, when he was "completely disoriented" by his move from South Korea to Rhode Island for graduate school, said the Stuart Collection's director, Mary Beebe. He's since become famous for art that explores issues of home and away-from-home, location and dislocation."
art  sandiego  ucsd  stuartcollection  2011  dohosuh  lajolla  tosee  from delicious
november 2011 by robertogreco
Fab Lab San Diego — A place where you can make almost anything
"In 2007, a collaboration between the MIT & the San Diego-based non-profit Heads On Fire allowed for the creation of an advanced digital design & fabrication laboratory where community members can utilize high-tech tools to actualize ideas through design & fabrication.

Today, in addition to localized learning, Fab Lab programs are available in a distributed format, bringing the opportunity to turn concepts into creations to as many community members as possible. Fab Lab programs offer experiences in design, science, engineering, electronics, computation, mathematics & the scientific method, through project-based learning, resulting in personal development & real-world skill attainment.

By promoting learning that addresses empirical education, innovation, production & creativity, we aim to provide accessible & applicable educational experiences for individual learners in order to support the development of more ingenious & resourceful communities."
diy  sandiego  fablab  education  fabbing  hackerspaces  headsonfire  macsd  ucsd  sdsu  steam  engineering  classideas  edg  srg  fieldtrips  from delicious
august 2011 by robertogreco
Software Studies: digital humanities, cultural analytics, software studies
"Cultural Analytics is the term we coined to describe computational analysis of massive cultural and social data sets and data flows. Over last 15-10 years, cultural analytics came to structure contemporary media universe, cultural production and consumption, and cultural memory. Search engines, spam detection, Netflix and Amazon recommendations, Last.fm, Flickr "interesting" photo rankings, movie success predictions, tools such as Google n-gram viewer, Trends, Insights for Search, content-based image search, and and numerous other applications and services all rely on cultural analytics. This work is carried out in media industries and in academia by researchers in data mining, social computing, media computing, music information retrieval, computational linguistics, and other areas of computer science."
datagriotism  datagriots  digitalhumanities  humanities  data  levmanovich  lastfm  netflix  amazon  ngram  ngramviewer  trends  media  culture  computing  computation  computationallinguistics  culturalanalytics  2011  ucsd  last.fm  from delicious
june 2011 by robertogreco
DESIGNING GEOPOLITICS · Jun 2+3 2011 · La Jolla, CA > D:GP The Center for Design and Geopolitics
"How does a digital Earth govern itself? Through what jurisdictions, what rights of the citizen-user, what capacities of enforcement, and in the name of what sovereign geographies? In fact we simply do not know. But in the face of fast-evolving cyberinfrastructures that outpace our inherited legal forms on the one hand, and a multigenerational arc of ecological chaos on the other, we need to find out quickly: we need to design that geopolitics."
via:robinsloan  geoffmanaugh  bldgblog  vernorvinge  caseyreas  levmanovich  mollywrightsteenson  teddycruz  ucsd  events  2011  togo  benjaminbratton  ricardodominguez  jamesfowler  hernándíaz-alonso  triciawang  peterkrapp  normanklein  sheldonbrown  joshuakauffman  metahaven  edkeller  elizabethlosh  kellygates  manueldelanda  renedaalder  jordancrandall  adambly  charliekennel  naomioreskes  larrysmarr  mckenziewark  joshuataron  danielrehn  tarazepel  calit2  geopolitics  design  architecture  computing  cyberinfrastructures  geography  emergentgovernance  governance  interdisciplinary  computationaljurisdictions  publicecologies  from delicious
may 2011 by robertogreco
The Political Equator ["PE III is a 2-day cross-border mobile conference and community forum held June 3rd and 4th 2011."]
While in the last years, the global city became primary site of economic consumption & cultural display, local neighborhoods in margins of such centers of economic power remained sites of cultural production…peripheral communities & neighborhoods where new economies are emerging & new social, cultural & environmental configurations are taking place as catalysts to produce alternative urban policies towards a more inclusive social sustainability…

…continues to engage pressing regional socio-economic, urban & environmental conditions across San Diego-Tijuana border. These meetings have been focusing on a critical analysis of local conflicts in order to re-evaluate meaning of shifting global dynamics, across geo-political boundaries, natural resources & marginal communities…will focus on Neighborhood as a Site of Production, investigating practices in arts, architecture, science & humanities that work w/ peripheral neighborhoods worldwide…"
sandiego  tijuana  borders  togo  urban  urbanism  brunolatour  teddycruz  ucsd  sergiofajardo  emilianogandolfi  events  conferences  local  community  communities  culturalproduction  culture  environmentalism  activism  neighborhoods  art  arts  architecture  science  humanities  economics  development  quilianriano  publicculture  politicalequator  politics  policy  from delicious
may 2011 by robertogreco
Amazon.com: University of California, San Diego: Campus Guides (The Campus Guide) (9781568988603): Dirk Sutro, David Hewitt, Anne Garrison: Books
"Founded during the space-age boom of the 1950s, the University of California, San Diego campus showcases some of California's finest postwar architecture. Perched dramatically above the Pacific Ocean, the campus architecture ranges from spare sixties concrete structures to light, open California modernists designs and, from the new millennium, buildings that reflect the latest ideas about connecting buildings with the student community. University of California, San Diego is both a history of campus planning and growth and a series of map-guided walking tours of its architectural landmarks, including visits to buildings by world-renowned architects, such as Antoine Predock, Michael Rotondi, and Moshe Safdie."
books  ucsd  sandiego  lajolla  antoinepredock  michaelrotondi  moshesafdie  design  history  architecture  from delicious
march 2011 by robertogreco
Escuela Moderna - Wikipedia
"La Escuela Moderna was a progressive school that existed briefly at the start of the 20th century in Catalonia.

Founded in 1901 in Barcelona by free-thinker Francesc Ferrer i Guàrdia, the school's stated goal was to "educate the working class in a rational, secular & non-coercive setting". In practice, high tuition fees restricted attendance at the school to wealthier middle class students. It was privately hoped that when the time was ripe for revolutionary action, these students would be motivated to lead the working classes.

It closed in 1906. Shortly after, Ferrer was executed for sedition.

Today, the only remaining archives from the school are held in the special collections department of the University of California, San Diego.

La Escuela Moderna, & Ferrer's ideas generally, formed the inspiration for a series of Modern Schools in the US, Cuba, South America & London. The first of these was started in NYC in 1911."

[See also http://struggle.ws/spain/ferrer.html AND http://www.flickr.com/photos/sheenachi/4351675600/ ]
education  anarchism  escuelamoderna  franciscoferrer  unschooling  deschooling  coercion  modernschools  ucsd  anarchy  schools  barcelona  catalonia  spain  españa  from delicious
february 2011 by robertogreco
UC San Diego : Twitter
"This feed consolidates tweets from UC San Diego accounts."
ucsd  sandiego  twitter  aggregator  news  from delicious
january 2011 by robertogreco
CRCA - Center for Research in Computing and the Arts
"an organized research unit of UCSD that facilitates the creation of vanguard culture via computer science research. Areas of current activity include: next generation digital media, multicore computing, experimental computer games, future cinema, networked multimedia, software studies, cultural visualization, science/art collaborations, virtual reality and computer-spatialized audio. CRCA is also the home of the UCSD branch of the NSF sponsored Center for Hybrid Multicore Productivity Research.

As the University of California’s oldest arts research center, CRCA pursues speculative cultural activities that draw upon humanistic analysis, engineering innovation and the insights of artistic expression. Faculty members devise new modes of artistic practice through their liaisons with international cultural institutions, technology industries, and interdisciplinary collaborations…"
research  technology  art  software  video  crca  ucsd  sandiego  from delicious
january 2011 by robertogreco
ICAM150/VIS159 | UCSD | winter 2009 [class schedule / readings / lecture notes]
"All readings for this class will be available online at no charge. The readings include articles and chapters from book drafts by the instructor and additional historical or theoretical texts by other authors. The students will be also asked to study the web sites describing particular cultural project, people, and art movements covered in lectures and sections…"

"In this class we will discuss the relationships between art, culture, and technology by focusing on two historical periods: beginning of the 20th century and the current period."

[Quotes from syllabus: http://manovich.net/icam150_winter2008/icam150_winter2011syl.html ]
levmanovich  media  history  art  ucsd  free  texts  technology  toread  from delicious
january 2011 by robertogreco
Tana Sprague | Lissom
"I am transfixed with micro details, and the elevation of consciousness that is obtained through attuned presence . With focus fluctuating between digital and organic, my work creates a space where one complements the other. Inspired by the elegant complexity of organic forms, I utilize various devices to synthesize a similar enveloping intricacy. My approach is primarily intuitive, but may also incorporate generative processes that either directly inform the structure, or become the perceptual data itself. My intention is to heighten and transform awareness of time, space, place and scale, by seeping through the senses." [found via: http://www.flickr.com/photos/tristandacunha/4844869500/ ]
tanasprague  lissom  art  glvo  artists  ucsd  sound  audio  sense  space  place  scale  perception  conciousness  from delicious
january 2011 by robertogreco
Stuart Collection - UCSD-TV - University of California Television - San Diego
"The Stuart Collection at the University of California, San Diego seeks to enrich the cultural, intellectual, and scholarly life of the UCSD campus and of the San Diego community by building and maintaining a unique collection of site-specific works by leading artists of our time. It has been inventive in both its curatorial point of view and its working processes."
art  sandiego  ucsd  stuartcollection  video  from delicious
october 2010 by robertogreco
UCSD by Design
"Beginning in fall of 2010 & continuing throughout UCSD's 50th anniversary year, the history & future development of UCSD's built environment will be explored & celebrated in UCSD by Design: Art, Architecture, & Urbanism in the Campus Context.

The UCSD Campus Guide by Dirk Sutro is latest addition to series of campus guides from Princeton Architectural Press…organized around 10 map-guided tours, & presents history of growth of campus & of its architectural landmarks…reveals stories behind architecture, landscapes, & sculptural works of UCSD’s contemporary built environment.

The centerpiece of UCSD by Design is a public lecture & moderated discussion series consisting of 5 events…At the moderated discussions, each keynote speaker will be joined, appropriate to the topic, by invited architects, architectural historians, landscape architects, art historians, Stuart Collection artists, urban planners, campus planners, and academics in related disciplines."

[See also: http://www.kpbs.org/news/2010/sep/22/mecca-modern-ucsd-art-and-architecture/ ]
sandiego  ucsd  mcasd  todo  togo  architecture  design  2010  lectures  campus  history  future  dirksutro  kurtforster  johnwalsh  robertstorr  jean-phillipevassal  gilleclément  charlesjencks  art  landscape  from delicious
september 2010 by robertogreco
Dream-​​fortresses all look the same > Robin Sloan
"Ooh, I love this. The Citadel from Nor­mal Heights looks like the Geisel Library at UCSD looks like… the snow fortress from Incep­tion!"

[points to: http://totallylookslike.com/2010/08/04/inception-snow-fortress-geisel-librar/ ]
inception  robinsloan  normalheights  ucsd  geisellibrary  tcsnmy7  tcsnmy  shelldrake  from delicious
august 2010 by robertogreco
UCIRA: State of the Arts Conference
"The University of California Institute for Research in the Arts is pleased to announce the fourth annual system-wide State of the Arts Conference, to be held November 18-21st at UC San Diego. The theme of the conference, Future Tense: Alternative Arts and Economies in the University, provides a broad umbrella under which to consider the encroaching privatization of public education and the complex mix of economic, cultural and social forces currently placing pressure on the status of the arts within the research university, as well as the notion of the university itself as haven for liberal arts education."
education  arts  pedagogy  california  ucsd  ucira  conferences  2010 
august 2010 by robertogreco
Students, Meet Your New Teacher, Mr. Robot - NYTimes.com
"Standing on a polka-dot carpet at a preschool on the campus of the University of California, San Diego, a robot named RUBI is teaching Finnish to a 3-year-old boy.

RUBI looks like a desktop computer come to life: its screen-torso, mounted on a pair of shoes, sprouts mechanical arms and a lunchbox-size head, fitted with video cameras, a microphone and voice capability. RUBI wears a bandanna around its neck and a fixed happy-face smile, below a pair of large, plastic eyes.

It picks up a white sneaker and says kenka, the Finnish word for shoe, before returning it to the floor. “Feel it; I’m a kenka.”

In a video of this exchange, the boy picks up the sneaker, says “kenka, kenka” — and holds up the shoe for the robot to see.

In person they are not remotely humanlike, most of today’s social robots. Some speak well, others not at all. Some move on two legs, others on wheels. Many look like escapees from the Island of Misfit Toys."
robots  robotics  education  autism  ai  schools  teaching  ucsd 
july 2010 by robertogreco
City Heights Free Skool
"You have reached this page because the City Heights Free Skool is being censored by UC Chancellor Mark Yudof. We stand in solidarity with the B.A.N.G. Lab for worldwide social revolution. Our site is having technical difficulties related to the UCSD administration's decision to cut off network access to the B.A.N.G. lab. We will be back soon." [9 April 2010]

[See also: http://www.myspace.com/cityheightsfreeskool ]
cityheights  community  education  sandiego  ucsd  banglab  freeschools  activism  censorship 
april 2010 by robertogreco
MySpace - City Heights Free Skool
"The Free Skool works to facilitate a learning exchange as an instrument for individuals who want to learn in an open environment. Students are encouraged to follow their own interests. Free Skool is designed to stimulate curiosity and encourage cooperation. We believe that the most meaningful learning occurs in an atmosphere allowing opportunities for students to be self-directed, self-motivated and self-disciplined. We are a resource that provides free alternative educational opportunities to people of all ages and backgrounds. The Free Skool also works for profound social change by serving as a model for education in the future." From the site that is down:

"You have reached this page because the City Heights Free Skool is being censored by UC Chancellor Mark Yudof.

We stand in solidarity with the BANG Lab for worldwide social revolution. Our site is having technical difficulties related to UCSD administration's decision to cut off network access to B.A.N.G. lab."

[Other site down: http://bang.calit2.net/freeskool/ ]
ucsd  sandiego  cityheights  freeschools  activism  bikes  computers 
april 2010 by robertogreco
b.a.n.g. lab » Bits.Atoms.Neurons.Genes
"Micro_Gestures at the Edge of Invisibility is an On/Off line space for artists in the Visual Arts Department at UCSD to explore and present works at the edge of invisibility, at the edge of the digital and biological, at the edge of micro-robotics and nano-art, from in-virtu to in-vivo works and back.

The b.a.n.g. lab is directed by Ricardo Dominguez.

Current projects include the Transborder Immigrant Tool.

Current lab members include Micha Cardenas and Christopher Head and Elle Mehrmand."
california  sandiego  ucsd  hacktivism  lab  biotech  bioart  artists  activism  art  education  community  technology  action  cartography  newmedia  mobile  blogs  politics  digital  ricardodominguez 
april 2010 by robertogreco
voiceofsandiego.org | Developer of Cell Phone Tool for Migrants Under Investigation by UCSD
"The investigations, Dominguez said, have slowed progress on the Transborder Immigrant Tool and raised questions within his department over the freedom of researchers at UCSD to conduct the work they were hired to do.

The irony in the university's investigation against him, Dominguez said, is that he is being scrutinized for the work that was cited in the decision to grant him tenure there less than a year ago.

...made his career researching what he calls "electronic civil disobedience," which recreates in virtual spaces like the internet the popular form of sit-in protests used by students and activists for decades...

The work earned him recognition in academic circles, Dominguez said, because of the way his work "created conversations that disturb the social field."

At UCSD, he established the b.a.n.g. lab, a research collaborative whose focuses include electronic civil disobedience and border disturbance technologies like the GPS tool."
ucsd  sandiego  borders  us  mexico  disobedience  civildisobedience  legal  law 
april 2010 by robertogreco
Trevor Paglen
"The city of San Diego is synonymous with the military. It is chock-full of defense contractors and military bases, and it’s sky is filled with so many F-18s and Blackhawk helicopters that it feels like an occupied country. In mid-January 2005, we undertook an expedition to view some of the more peculiar sites in this military city."

[via: http://shannonspanhake.vox.com/library/post/whats-in-a-name-smart-grid-and-spy-networks.html ]
politics  research  technology  sandiego  ucsd  military  tcsnmy  trevorpaglen 
march 2010 by robertogreco
Saving the Tijuana River Estuary
"As part of this project, Romo and his UCSD students have set their sights on improving life in Los Laureles canyon and the university has been providing technical assistance and funding for their efforts. One of their most ambitious projects aims to build 40 sustainable homes from the ground up in the canyon. So far, the project has raised enough funds for three dwellings. The homes will be made of bamboo, which UCSD students suggested as a construction material because it can grow locally, Romo said. A micro-sewage plant that will treat wastewater from the neighborhood also is in the works."
ucsd  sandiego  tijuana  loslaurelescanyon  borders  environment  sewage  oscarromo  wastewater  mexico  us  tijuanariver 
march 2010 by robertogreco
@UCSD: Borderline
"The environmentally friendly pavers let rainwater drain through and slowly percolate into the soil. The process prevents erosion and reduces flooding hazards, as well as providing water for nearby plant life, before finally ending up adding to the underground aquifers.

With support from the Mexican and U.S. governments, the students are helping canyon residents—mostly women—build and install 70,000 of these handmade pavers to prevent runoff from flowing into the Tijuana River Estuary and adjacent San Diego Bay. Armenta’s shop is providing the materials at a discounted price. The city of Tijuana has agreed to install a sewer system once the pavers are laid."
coloniasanbernardo  oscarromo  ucsd  perviouspavers  pervious  pavers  runoff  contamination  pollution  water  borders  us  mexico  tijuana  2008  rainwater 
march 2010 by robertogreco
Academics make statement with project - SignOnSanDiego.com
"Because the promise of disentangling the ideological from the ethical in this American dream-turned-nightmare shimmers like a mirage on the horizon, we of Electronic Disturbance Theater/b.a.n.g. lab (a UCSD and University of Michigan artist-based research group), have opted instead to create a poetic gesture and safety device, equipped to identify water caches on the U.S. side of the border.

Housed on a GPS-enabled cell phone platform, the Transborder Immigrant Tool (TBT) will be distributed by Mexican nongovernmental organizations and churches who daily deal with individuals contemplating the Mexico-U.S. border trek."
via:javierarbona  borders  us  mexico  tijuana  sandiego  bordercrossing  mobile  phones  gps  safety  ucsd  art  water  tbt  transborder  immigration  migration  ricardodominguez  bretstalbaum 
march 2010 by robertogreco
Ché Café Collective
"The Che Cafe is a community space, DIY venue, vegan cafe, resource center for radical grassroots activists, and a whole lot more. We put on all ages shows, serve tasty vegetarian food and host numerous political and social events. The Che Cafe is "owned" and run by a non-hierarchical worker's collective - no bosses! The Che is a great place to meet and hang out with other people who envision a better world.

The Ché Café Collective is committed to radical social change and equality. Our community works to create itself as an alternative while, at the same time, attempting to open a space for and support other grass-roots organizations."

[Now at: http://thechecafe.tumblr.com/ ]
sandiego  ucsd  activism  community  music  food  local  grassroots  collective 
december 2009 by robertogreco
The Brain Observatory - University of California, San Diego
"The Brain Observatory used several web cameras to invite the general public to participate in an extraordinary scientific endeavor. Researchers voyaged through the brain of the most famous medical patient in the history of science, Patient H.M., acquiring anatomical images and collecting 2401 paper-thin tissue sections during a 53-hour procedure.

The response from the public was astonishing. Over a three-day period more than 400,000 people tuned in to watch at least a portion of the experiment, enough to fill four NFL stadiums. 18,000 watched at one single point. 5,000 were with us when we reached the very tip of the occipital lobes, which marked the end of the cutting procedure."
ucsd  science  medicine  neuroscience  brain  health  research 
december 2009 by robertogreco
Better x Design: Teddy Cruz - Events - Dwell
""Designers are not creators of simple products, but translators of realities into new political frameworks and economic systems," he stated. Citing these "living rooms at the border," Teddy Cruz's fervent speech urged us to rethink the roles of certain players for affordable housing on the scale of the neighborhood. The neighborhood nonprofit: a thinktank, temporal city hall, micro-developer, and micro-policymaker. The single-unit land parcel: an economic engine, a mini-social-system, and a unifying neighborhood grassroots pedagogy. He pumped his fist and declared, "We should not be afraid to plug the word "Public" on everything. Housing cannot stand alone!""
teddycruz  ucsd  sandiego  tijuana  borders  design  architecture  reality  policy  politics  economics  nonprofit  nonprofits 
october 2009 by robertogreco
cityofsound: Benjamin H. Bratton (Postopolis! LA)
"now we have...no choice but to focus attention on the conception of the Pre-. We are now...Pre-other things & some of the things we do now will scale into epochal institutions... Stamen will make maps for Olympic committees but their real interest is in how informationally-enabled modes of a cognitive urbanism can make space more permanently adventurous not just more transparent. They are card carrying Situationists...Their project is a new city. Their mandate is of the Pre, not so much the Post...Because design was a symbol of the bubble it is also a symbol of the bubble’s collapse. ... many ways of doing things, of designing things, of consuming things, of consuming design are ... zombie ideas. ... the opportunity is potentially at hand to redesign many of the fundamental social, cultural, economic institutions that govern our lives, and not just design the content that would fill these forms ... design model to which we should pay more attention is not productive, but subtractive."
benjaminbratton  danhill  cityofsound  sustainability  postopolis  cities  urban  politics  architecture  design  urbanism  stamendesign  situationist  postarchitectural  crisis  2009  theory  oma  remkoolhaas  collapse  economics  gamechanging  ucsd  losangeles 
april 2009 by robertogreco
Benjamin H. Bratton
"Benjamin H. Bratton is Associate Professor of Visual Arts at the University of California, San Diego, and on the Cultural Studies faculty at SCI_Arc ... a social theorist working within and across multiple institutional contexts --academic, artistic, corporate, theoretical, projective, literary-- experimenting with their systems of production, and with how the means allowed by each can work in strong and weak relation to each other. His research, writing, and practical interests include contemporary social theory, the perils and potentials of pervasive computing, architectural theory and provocation, inverse brand theory, software studies, systems design and development, and the rhetorics of exceptional violence. ... Bratton is a theorist who intervenes within multiple institutional contexts: art, design, computer science, architecture, in order to, like those others to enact new connections between aesthetics and technology and how each works for the social."
benjaminbratton  design  internet  architecture  philosophy  ucsd  sandiego  sciarc  interface  media  newmedia  theory  sociology 
april 2009 by robertogreco
ArtPower
"ArtPower! at UC San Diego builds creative experiences in music, dance, film, exhibition and food for our collective pleasure and inspiration. We engage diverse audiences through vibrant, challenging, multi-disciplinary performances by emerging and renowned international artists. Through extensive partnerships, ArtPower! provides exciting opportunities for research, participation, and creation of new work, igniting powerful dialogue between artists, students, scholars and the community."
art  sandiego  glvo  performance  performingarts  dance  film  music  ucsd 
march 2009 by robertogreco
Center for U.S.-Mexican Studies, UCSD
"The mission of the Center for U.S.-Mexican Studies, UCSD is to be the premier institute for social science research and economic and social policy on Mexico and U.S.-Mexican relations. The Center supports research relevant to current policy issues in Mexico and to the binational relationship in close collaboration with social scientists at Mexican institutions. In addition, most of the Center's research involves comparative studies with a substantial Mexico component."

[via: http://sandiego.metblogs.com/2009/03/05/bestandbrightest/ ]
ucsd  sandiego  research  immigration  mexico  us  borders  education  tcsnmy  classideas 
march 2009 by robertogreco
Two Running Violet V Forms, 1983 , Robert Irwin, Stuart Collection, UCSD
"For his contribution to the Stuart Collection, Two Running Violet V Forms - his first permanent installation in California - Irwin was drawn to the eucalyptus groves east of the Mandeville Center and adjacent to the Faculty Club. The contradiction inherent in this man-made forest appealed to him; the geometric regularity of the grid of trees is balanced by the infinite variety of light and detail which the natural setting nevertheless provides. Irwin installed two fencelike structures in V-forms amidst the trees. The "fences" are blue-violet, plastic-coated, small gauge chain-link fencing supported by stainless steel poles which average twenty-five feet in height. The structure maintains a constant elevation as the hillside terrain drops gently beneath it. Purple flowering iceplant, echoing but not matching the color of the chain link, is planted under the fence."
robertirwin  ucsd  lajolla  sandiego  art  installation  1983 
september 2008 by robertogreco
MCASD/UCSD 2008 Russell Lecture: Robert Irwin
"The 2008 Russell Lecturer was renowned and influential artist Robert Irwin. This program was presented in conjunction with the MCASD exhibition 'Robert Irwin: Primaries and Secondaries,' a survey spanning over five decades of the artist's work. The artist has lectured and participated in symposia at over 200 universities and art institutes, where he placed an emphasis on spending time with students. He has taught at a range of institutions including Chouinard, the University of California, Los Angeles, and the University of California, Irvine. Irwin was the first artist to receive a MacArthur Fellowship ("genius") award in 1984.In addition to this lecture, Irwin had the chance to meet and interact with students in UCSD's Visual Arts Department, as part of the Russell Foundation program."
robertirwin  art  lectures  video  ucsd  macasd 
september 2008 by robertogreco
databeautiful » Blog Archive » Visualizing Cultural Patterns
"Digitization of media collections, the development of Web 2.0 and the rapid growth of social media have created unique opportunities to studying social and cultural processes in new ways."
culture  research  datavisualization  visualization  ucsd  innovation  media  via:cityofsound 
july 2008 by robertogreco
TSN : The Science Network: Brains R Us [videos available as well]
"highly interactive group of researchers, educators, policy makers, parents and students to discuss the state of the science of educating from synapse to schoolroom, from neurons to neighborhoods. Join us — and discover why timing is everything."
ucsd  salkinstitute  brain  research  events  sandiego  lajolla  learning  education  schools  video 
june 2008 by robertogreco
Temporal Dynamics of Learning Center
"aims to achieve an integrated understanding of the role of time and timing in learning, across multiple scales, brain systems, and social systems. The scientific goal of the center is therefore to understand the temporal dynamics of learning, and to appl
education  learning  research  ucsd  sandiego  lajolla  brain  science  teaching  schools 
june 2008 by robertogreco
TED | Speakers | Vilayanur Ramachandran
"Neurologist V.S. Ramachandran looks deep into the brain’s most basic mechanisms. By working with those who have very specific mental disabilities caused by brain injury or stroke, he can map functions of the mind to physical structures of the brain."

[see also video: http://www.ted.com/index.php/talks/view/id/184 ]
brain  neuroscience  philosophy  lajolla  sandiego  ucsd  salkinstitute  synesthesia  phantomlimbs  body  bodyimage  senses  creativity  vilayanurramachandran  bodies 
may 2008 by robertogreco
UCSD - VisArts - Mission Statement - "Artists at UCSD take advantage of large megalopolis stretching from LA across border to Tijuana."
"New efforts in Department address issues of trans-nationalism, border, globalization...on-going relationships with many divisions of university...Interdisciplinary Computing & Arts Major (ICAM) is fastest growing area of interest on campus"
sandiego  art  education  interdisciplinary  ucsd  lajolla  losangeles  tijuana  mexico  transnationalism  borders  globalization  nataliejeremijenko  colleges  universities  classideas 
may 2008 by robertogreco
CRCA - Center for Research in Computing and the Arts [Organized Research Unit of UCSD]
"mission is to facilitate invention of new art forms that arise out of developments of digital technologies. Current areas of interest include interactive networked multimedia, virtual reality, computer-spatialized audio, and live performance techniques f
art  newmedia  media  computers  computing  ucsd  sandiego  lajolla  education  learning  research  technology  psychology  events  multimedia  virtualreality  vr 
may 2008 by robertogreco
Social Movement Laboratory :: Anti-Normalizer
"Anti-Normalizer is a location-based mobile phone scavenger hunt for weird and deviant behavior. The game was created as a mechanism for stimulating social change by presenting alternative models for public social interaction."
mobile  phones  play  games  arg  behavior  social  interaction  public  ucsd  sandiego 
may 2008 by robertogreco
Calit2 : ActiveCampus project
"ActiveClass enables collaboration between students & professors by serving as visual moderator for classroom discussion...Explorer uses person's context to help engage them in campus life...provides suite of location-based services such as buddy presence
sandiego  ucsd  presence  location-based  locative  awareness  education  learning  schools  colleges  universities  teaching  calit2  mobile  phones  mobility 
may 2008 by robertogreco
Calit2 : California Institute for Telecommunications and Information Technology
"Calit2 represents a new mechanism to address large-scale societal issues by bringing together multidisciplinary teams of the best minds (both on and beyond UC campuses) in a way that had been impossible earlier."
sandiego  ucsd  lajolla  glvo  calit2  classideas  math  education  engineering  art  academia  research  science  telecom  mobile  phones  mobility  communication  interdisciplinary  collaboration  gradschool  telecommunications  multidisciplinary  innovation  prototyping  design 
may 2008 by robertogreco
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