Part Two of presentation given to students of CIT Crawford College of Art's HETAC module, Arts, Participation and Development, weekend on Models and Case Studies of Creative Engagement. Eimear McNally, www.makehandstands.com
Art & design in context The situationist internationalDeleuze78
The Situationist International was a Marxist group formed in 1957 that criticized post-WWII consumer society and media spectacles. Led by Guy Debord, they advocated "situations" where people actively participate in life instead of passively consuming media representations. Key concepts included détournement (repurposing media to critique society), dérive (drifting through cities without following maps), and psychogeography (studying how environments influence emotions and behavior). Members used these tactics and created alternative maps to subvert urban spaces and mainstream culture. For a class project, students were tasked with using these Situationist concepts and techniques to create maps that reimagined their own neighborhoods.
This document discusses collaboration in art and provides several examples. It notes that artists have long collaborated in various ways, such as with studios, other artists, technicians, and the public. Collaboration can take hidden or visible forms and be acknowledged or unacknowledged. The document then provides examples of collaborative artworks and collectives, including works by Damien Hirst, WochenKlausur, Fluxus, CoLab, Tim Rollins + K.O.S., and many artist duos and groups. It discusses strategies for collaboration, such as using instructions or gradually blending approaches. Collaboration is presented as a way to gain critical feedback and broaden skills.
- The Letterist International was a Paris-based collective of radical artists and theorists active between 1952-1957 that was a precursor to the Situationist International.
- Key concepts developed by the Situationists included the dérive (drifting through urban areas), psychogeography (how places impact emotions/behaviors), and détournement (subverting preexisting works).
- Guy Debord's film On the Passage of a Few Persons Through a Rather Brief Moment in Time (1959) was an early example of détournement, incorporating appropriated elements into a pseudo-documentary of the SI.
Cultural activism seeks to take back control of how meaning, values, art, and literature are created and spread through society. It questions dominant worldviews and presents alternative perspectives. Cultural activism uses creativity, imagination, and play to campaign for social change and show that a better world is possible through webs of interconnected cultural works and actions that can have big impacts through small changes.
The document provides an overview of compensation and hiring trends across different professional fields in Hong Kong for 2012. In financial services, accounting and finance salaries are expected to remain stable but bonuses will be 25% lower than 2010-2011 levels. Demand remains for specialists in risk management, compliance, and actuarial fields. Commerce and industry salaries increased 7% in 2011, with higher increases in sales, accounting, and IT security. Hiring slowed in late 2011 due to global financial uncertainty impacting various industries.
The document provides an overview of hiring trends and salary ranges across various financial services sectors in Hong Kong for 2012.
Within financial services, hiring is expected to be slow in Q1 2012 but pick up later in the year, focused on replacement rather than growth roles. Salaries are predicted to remain stable overall but bonuses will be significantly lower. In asset management, hiring will be cautious due to market uncertainty. Hedge funds and private equity firms will also take a conservative approach to hiring and salary increases.
Art & design in context The situationist internationalDeleuze78
The Situationist International was a Marxist group formed in 1957 that criticized post-WWII consumer society and media spectacles. Led by Guy Debord, they advocated "situations" where people actively participate in life instead of passively consuming media representations. Key concepts included détournement (repurposing media to critique society), dérive (drifting through cities without following maps), and psychogeography (studying how environments influence emotions and behavior). Members used these tactics and created alternative maps to subvert urban spaces and mainstream culture. For a class project, students were tasked with using these Situationist concepts and techniques to create maps that reimagined their own neighborhoods.
This document discusses collaboration in art and provides several examples. It notes that artists have long collaborated in various ways, such as with studios, other artists, technicians, and the public. Collaboration can take hidden or visible forms and be acknowledged or unacknowledged. The document then provides examples of collaborative artworks and collectives, including works by Damien Hirst, WochenKlausur, Fluxus, CoLab, Tim Rollins + K.O.S., and many artist duos and groups. It discusses strategies for collaboration, such as using instructions or gradually blending approaches. Collaboration is presented as a way to gain critical feedback and broaden skills.
- The Letterist International was a Paris-based collective of radical artists and theorists active between 1952-1957 that was a precursor to the Situationist International.
- Key concepts developed by the Situationists included the dérive (drifting through urban areas), psychogeography (how places impact emotions/behaviors), and détournement (subverting preexisting works).
- Guy Debord's film On the Passage of a Few Persons Through a Rather Brief Moment in Time (1959) was an early example of détournement, incorporating appropriated elements into a pseudo-documentary of the SI.
Cultural activism seeks to take back control of how meaning, values, art, and literature are created and spread through society. It questions dominant worldviews and presents alternative perspectives. Cultural activism uses creativity, imagination, and play to campaign for social change and show that a better world is possible through webs of interconnected cultural works and actions that can have big impacts through small changes.
The document provides an overview of compensation and hiring trends across different professional fields in Hong Kong for 2012. In financial services, accounting and finance salaries are expected to remain stable but bonuses will be 25% lower than 2010-2011 levels. Demand remains for specialists in risk management, compliance, and actuarial fields. Commerce and industry salaries increased 7% in 2011, with higher increases in sales, accounting, and IT security. Hiring slowed in late 2011 due to global financial uncertainty impacting various industries.
The document provides an overview of hiring trends and salary ranges across various financial services sectors in Hong Kong for 2012.
Within financial services, hiring is expected to be slow in Q1 2012 but pick up later in the year, focused on replacement rather than growth roles. Salaries are predicted to remain stable overall but bonuses will be significantly lower. In asset management, hiring will be cautious due to market uncertainty. Hedge funds and private equity firms will also take a conservative approach to hiring and salary increases.
In this paper the author provides a brief history of “Atelier Populaire” or Popular workshop and the situationist political movement responsible for its creation. The workshop was established to design and produce art to inspire and support situationist objectives during the Paris political protests and uprising of May 1968. The protests, resultant strikes and insurrection caused the temporary breakdown of functioning government in France.
These events came to influence many of those who were to be involved in the establishment of the “punk” movement emerging in London during the mid 1970’s including Malcolm McLaren and Jamie Ried. McLaren, allegedly, a participant in the riots and the artist Jamie Reid were aligned politically and openly sympathetic to situationist objectives and both cited the movement as being critically influential on them and the future visual aesthetic of punk.
The author suggests the influence of the work of Atelier Populair extends beyond that of 1968 and the punk aesthetic of the 1970’s evident in the posters and record sleeves designed by Reid for McLaren and the Sex Pistols, the fashion and Vivienne Westwood’s designs sold through Seditionaries and the emergent “fanzine art” reproduced in publications such as “Sniffin glue”.
Atelier Populaire, or more accurately, the artists themselves have, in a strictly anti-capitalist stance, continually resisted approaches to exhibit or reproduce their work. In contrast, Never Mind the Paradox, the artefacts of the punk continue to be commodified and exploited for commercial gain and influence politics, art, fashion and culture today.
The document discusses the emergence of "everyday art" in Britain in the 1990s. Artists during this period sought to engage directly with popular culture and the experiences of everyday life, rejecting the intellectual detachment of earlier postmodern art. Their work incorporated elements seen as lowbrow, vulgar or abject. This represented a critique of social structures and capitalist relations through a celebration of the ordinary and mundane. The work was also seen by some critics as "dumbing down" or being anti-intellectual through its embrace of popular culture.
Social realism emerged as an art movement in the Philippines in the 1970s-80s as a reaction to the authoritarian Marcos regime. The Kaisahan group coined the term "social realism" to describe their works depicting everyday struggles and promoting social change. They aimed to raise social consciousness through pieces addressing issues like injustice, oppression, and foreign domination. Popular forms included paintings, prints, comics, and portable murals used at protests. Themes centered on agrarian problems, exploitation, and the vision of a new social order.
Getting It Down and Out: Strategies for Museum WritingWest Muse
Stressed about writing? Does the thought of having to produce text send you into a panic? Relax! Our panel of experts makes the process of getting it down and out much easier. Bring your most vexing writing problems to this session, and we will help you find solutions. Writing well is key to any successful career, but for the museum professional, communicating clearly is essential for fulfilling your institution’s mission of informing the public.
Moderator: Susan Spero, Professor of Museum Studies, John F. Kennedy University
Presenters:
Katherine Whitney, Principle, Katherine Whitney & Associates
Lauren Valone, Program Coordinator, Western Museums Association
Chris Keledjian, Exhibitions Editor, Getty Museum
View the corresponding notes to this presentation here: http://www.westmuse.org/getting-it-down-and-out-strategies-museum-writing
Social realism emerged as an art movement in the Philippines in the 1970s during the Marcos dictatorship as artists sought to promote social change through their depictions of everyday life and political issues. Kaisahan, a collective of 13 young artists, coined the term "social realism" and used various media like paintings, prints, comics and murals to portray the struggles of the working class and expose human rights abuses. Their goal was to raise social consciousness and inspire the masses to work for justice, freedom and peace. The social realists addressed themes of oppression, militarization, labor issues and more, drawing from folk traditions as well as Marxist and nationalist ideologies.
This document discusses the history and concept of institutional critique in art. It begins by defining what institutions are and discussing Michel Foucault's concept of heterotopias and critique. Institutional critique emerged in the early 1970s as artists questioned and confronted institutions of art like museums and galleries. Some key events and works that critiqued institutions from the 1960s are discussed, like Futurist calls to flood museums and Black Emergency Cultural Coalition protests. The document then covers the development of institutional critique and debates around an inside vs. outside. It analyzes Andrea Fraser's view that the institution is inside artists themselves and there is no true outside. Overall, the document provides context around the emergence and goals of institutional critique as a practice
The Art of Resilience, propedeuse 2012 Academie voor PopcultuurAlbert van der Kooij
The document discusses the changing nature of society, art, education, and business. Some key points:
- Society, the world, economics, art, and education are constantly changing and those within must adapt and be flexible.
- Past social movements like the hippies called for peace and change, but current times require practical action and cooperation between various groups.
- The internet has provided new ways for democracy, transparency, and networking among people with common interests. However, business interests have also come to dominate online.
- Education must focus on interdisciplinarity, entrepreneurship, and preparing students to solve tomorrow's problems. The Academy of Pop Culture discussed here focuses on students' ambitions within a learning
The document discusses urban intervention and tactical media art. It provides examples of artists who use public spaces and media to raise awareness of social and political issues. These include the Red Ball Project, which placed giant red balls in cities, and The Yes Men, who create fake news stories to draw attention to important topics. The document also discusses influential groups like the Situationists who created experimental art experiences in public settings and the rise of tactical media in the 1990s which allowed users to more easily spread messages through mainstream outlets.
This document discusses the evolution of public history over the past 25 years through examining 5 key questions: who, what, when, where, and why. It explores how perspectives have shifted from experts dictating public taste to embracing more diverse audiences and viewpoints. Museums are transforming from authorities of static content to platforms for generative sharing and social interaction where visitors can become users. The field has broadened its focus from the past alone to engaging relevant communities and stories for today.
A Visual History of the Visual Arts - Part 3: "The Age of Globalization"piero scaruffi
A Visual History of the Visual Arts - Part 3 The Age of Globalization - A free supplement to "A Brief History of Knowledge" (Amazon ebook) - The slideshare version is not downloadable. The downloadable chapters are here: http://www.scaruffi.com/art/history/index.html
The document discusses postmodernism in art, specifically focusing on pop art and its relationship to consumer culture. It introduces Andy Warhol's Brillo Box from 1969 and discusses how pop art challenged previous definitions of art by appropriating images and objects from popular culture and mass media. The emergence of pop art coincided with the increasing commercialization of the art world. Theorists like Arthur Danto and Jean Baudrillard explored how pop art blurred the lines between art and everyday objects through the use of symbols and simulations.
This document discusses dystopias in real life and in works of art and literature. It analyzes several dystopian novels and movies like The Giver, Divergent, Animal Farm, and 1984, connecting themes in them like lack of individuality and totalitarian governments to real historical events like those under Hitler, Stalin, and in the Soviet Union. The document also discusses dystopian elements in the real-life Kowloon Walled City and environmental degradation captured in the artwork "The Prophecy." It concludes that dystopian futures depicted by various artists and authors reflect dystopian tendencies observable in the current world.
Minimalism emerged in the 1960s as both an extension of and reaction against modernist art. It embraced industrial materials and serial production techniques, rejecting a focus on individual craft. Minimalist works displayed no signs of the artist's touch, instead prioritizing the viewer's experience of the physical object in space over visual expression. While some saw it as replicating an alienating capitalist aesthetic, minimalism shifted the role of the viewer in important ways. Conceptual art further developed these ideas by emphasizing ideas and language over finished objects, challenging notions of what constitutes a work of art. Both movements reflected broader social and political critiques of the postwar era.
The document discusses how society, the economy, and arts are constantly changing. It advocates for an interdisciplinary and student-centered approach to education to help students solve tomorrow's problems. The Academy of Pop Culture's approach focuses on personal, professional and artistic development through practice-based learning tailored to each student. Its goals are to contribute to society and business in a socially and economically sustainable way through grassroots, international collaboration at the intersection of music, design and their environments.
Alice was bored sitting by her sister and not having anything to do. She peeked at her sister's book but found it uninteresting without pictures or conversations. The document then discusses various debates around conceptual art including whether art should engage socially or focus on its own rules and forms. It provides summaries of key features and artists of conceptual art as well as criticisms and reactions against it. The summary discusses the return of painting and focus on aesthetics in reaction to dominant conceptual trends.
The document discusses the history and development of performance art from the 1960s onwards. It explores how performance art moved the body out of the frame and into physical space, challenging passive spectatorship and notions of disembodied viewing. Many early performance artists used the body to confront issues like gender, sexuality, and political power through provocative and sometimes shocking acts.
The Museum of Arts and Design is welcoming an educator group to visit the exhibition "Second Lives: Remixing the Ordinary". The exhibition features works by 40 artists from 17 countries that transform everyday discarded objects into art. Students will get a tour from an educator and do a hands-on art project. To enhance the experience, educators are encouraged to use the provided packet with classroom activities before and after the visit. The packet includes topics, writing prompts, and art projects related to exhibition themes of identity, power/politics, repurposing, and function. The museum staff looks forward to the students' visit and hopes it will inspire thought about how artists can transform objects.
This document provides guidance on how to curate digital art. It discusses using tools like semiotics, neo-Marxism, and psychoanalysis to analyze artworks. Examples of digital art are provided, like the 2007 work "Victory Gardens, Future Farmers" and the 2010 work "Unlogo." The document suggests workshops where students determine cultural memes in works, curate small exhibitions around those memes by finding related artworks, and present their exhibits. Helpful background information and links on digital art databases, the work "Unlogo," and utopian theory are also referenced.
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
In this paper the author provides a brief history of “Atelier Populaire” or Popular workshop and the situationist political movement responsible for its creation. The workshop was established to design and produce art to inspire and support situationist objectives during the Paris political protests and uprising of May 1968. The protests, resultant strikes and insurrection caused the temporary breakdown of functioning government in France.
These events came to influence many of those who were to be involved in the establishment of the “punk” movement emerging in London during the mid 1970’s including Malcolm McLaren and Jamie Ried. McLaren, allegedly, a participant in the riots and the artist Jamie Reid were aligned politically and openly sympathetic to situationist objectives and both cited the movement as being critically influential on them and the future visual aesthetic of punk.
The author suggests the influence of the work of Atelier Populair extends beyond that of 1968 and the punk aesthetic of the 1970’s evident in the posters and record sleeves designed by Reid for McLaren and the Sex Pistols, the fashion and Vivienne Westwood’s designs sold through Seditionaries and the emergent “fanzine art” reproduced in publications such as “Sniffin glue”.
Atelier Populaire, or more accurately, the artists themselves have, in a strictly anti-capitalist stance, continually resisted approaches to exhibit or reproduce their work. In contrast, Never Mind the Paradox, the artefacts of the punk continue to be commodified and exploited for commercial gain and influence politics, art, fashion and culture today.
The document discusses the emergence of "everyday art" in Britain in the 1990s. Artists during this period sought to engage directly with popular culture and the experiences of everyday life, rejecting the intellectual detachment of earlier postmodern art. Their work incorporated elements seen as lowbrow, vulgar or abject. This represented a critique of social structures and capitalist relations through a celebration of the ordinary and mundane. The work was also seen by some critics as "dumbing down" or being anti-intellectual through its embrace of popular culture.
Social realism emerged as an art movement in the Philippines in the 1970s-80s as a reaction to the authoritarian Marcos regime. The Kaisahan group coined the term "social realism" to describe their works depicting everyday struggles and promoting social change. They aimed to raise social consciousness through pieces addressing issues like injustice, oppression, and foreign domination. Popular forms included paintings, prints, comics, and portable murals used at protests. Themes centered on agrarian problems, exploitation, and the vision of a new social order.
Getting It Down and Out: Strategies for Museum WritingWest Muse
Stressed about writing? Does the thought of having to produce text send you into a panic? Relax! Our panel of experts makes the process of getting it down and out much easier. Bring your most vexing writing problems to this session, and we will help you find solutions. Writing well is key to any successful career, but for the museum professional, communicating clearly is essential for fulfilling your institution’s mission of informing the public.
Moderator: Susan Spero, Professor of Museum Studies, John F. Kennedy University
Presenters:
Katherine Whitney, Principle, Katherine Whitney & Associates
Lauren Valone, Program Coordinator, Western Museums Association
Chris Keledjian, Exhibitions Editor, Getty Museum
View the corresponding notes to this presentation here: http://www.westmuse.org/getting-it-down-and-out-strategies-museum-writing
Social realism emerged as an art movement in the Philippines in the 1970s during the Marcos dictatorship as artists sought to promote social change through their depictions of everyday life and political issues. Kaisahan, a collective of 13 young artists, coined the term "social realism" and used various media like paintings, prints, comics and murals to portray the struggles of the working class and expose human rights abuses. Their goal was to raise social consciousness and inspire the masses to work for justice, freedom and peace. The social realists addressed themes of oppression, militarization, labor issues and more, drawing from folk traditions as well as Marxist and nationalist ideologies.
This document discusses the history and concept of institutional critique in art. It begins by defining what institutions are and discussing Michel Foucault's concept of heterotopias and critique. Institutional critique emerged in the early 1970s as artists questioned and confronted institutions of art like museums and galleries. Some key events and works that critiqued institutions from the 1960s are discussed, like Futurist calls to flood museums and Black Emergency Cultural Coalition protests. The document then covers the development of institutional critique and debates around an inside vs. outside. It analyzes Andrea Fraser's view that the institution is inside artists themselves and there is no true outside. Overall, the document provides context around the emergence and goals of institutional critique as a practice
The Art of Resilience, propedeuse 2012 Academie voor PopcultuurAlbert van der Kooij
The document discusses the changing nature of society, art, education, and business. Some key points:
- Society, the world, economics, art, and education are constantly changing and those within must adapt and be flexible.
- Past social movements like the hippies called for peace and change, but current times require practical action and cooperation between various groups.
- The internet has provided new ways for democracy, transparency, and networking among people with common interests. However, business interests have also come to dominate online.
- Education must focus on interdisciplinarity, entrepreneurship, and preparing students to solve tomorrow's problems. The Academy of Pop Culture discussed here focuses on students' ambitions within a learning
The document discusses urban intervention and tactical media art. It provides examples of artists who use public spaces and media to raise awareness of social and political issues. These include the Red Ball Project, which placed giant red balls in cities, and The Yes Men, who create fake news stories to draw attention to important topics. The document also discusses influential groups like the Situationists who created experimental art experiences in public settings and the rise of tactical media in the 1990s which allowed users to more easily spread messages through mainstream outlets.
This document discusses the evolution of public history over the past 25 years through examining 5 key questions: who, what, when, where, and why. It explores how perspectives have shifted from experts dictating public taste to embracing more diverse audiences and viewpoints. Museums are transforming from authorities of static content to platforms for generative sharing and social interaction where visitors can become users. The field has broadened its focus from the past alone to engaging relevant communities and stories for today.
A Visual History of the Visual Arts - Part 3: "The Age of Globalization"piero scaruffi
A Visual History of the Visual Arts - Part 3 The Age of Globalization - A free supplement to "A Brief History of Knowledge" (Amazon ebook) - The slideshare version is not downloadable. The downloadable chapters are here: http://www.scaruffi.com/art/history/index.html
The document discusses postmodernism in art, specifically focusing on pop art and its relationship to consumer culture. It introduces Andy Warhol's Brillo Box from 1969 and discusses how pop art challenged previous definitions of art by appropriating images and objects from popular culture and mass media. The emergence of pop art coincided with the increasing commercialization of the art world. Theorists like Arthur Danto and Jean Baudrillard explored how pop art blurred the lines between art and everyday objects through the use of symbols and simulations.
This document discusses dystopias in real life and in works of art and literature. It analyzes several dystopian novels and movies like The Giver, Divergent, Animal Farm, and 1984, connecting themes in them like lack of individuality and totalitarian governments to real historical events like those under Hitler, Stalin, and in the Soviet Union. The document also discusses dystopian elements in the real-life Kowloon Walled City and environmental degradation captured in the artwork "The Prophecy." It concludes that dystopian futures depicted by various artists and authors reflect dystopian tendencies observable in the current world.
Minimalism emerged in the 1960s as both an extension of and reaction against modernist art. It embraced industrial materials and serial production techniques, rejecting a focus on individual craft. Minimalist works displayed no signs of the artist's touch, instead prioritizing the viewer's experience of the physical object in space over visual expression. While some saw it as replicating an alienating capitalist aesthetic, minimalism shifted the role of the viewer in important ways. Conceptual art further developed these ideas by emphasizing ideas and language over finished objects, challenging notions of what constitutes a work of art. Both movements reflected broader social and political critiques of the postwar era.
The document discusses how society, the economy, and arts are constantly changing. It advocates for an interdisciplinary and student-centered approach to education to help students solve tomorrow's problems. The Academy of Pop Culture's approach focuses on personal, professional and artistic development through practice-based learning tailored to each student. Its goals are to contribute to society and business in a socially and economically sustainable way through grassroots, international collaboration at the intersection of music, design and their environments.
Alice was bored sitting by her sister and not having anything to do. She peeked at her sister's book but found it uninteresting without pictures or conversations. The document then discusses various debates around conceptual art including whether art should engage socially or focus on its own rules and forms. It provides summaries of key features and artists of conceptual art as well as criticisms and reactions against it. The summary discusses the return of painting and focus on aesthetics in reaction to dominant conceptual trends.
The document discusses the history and development of performance art from the 1960s onwards. It explores how performance art moved the body out of the frame and into physical space, challenging passive spectatorship and notions of disembodied viewing. Many early performance artists used the body to confront issues like gender, sexuality, and political power through provocative and sometimes shocking acts.
The Museum of Arts and Design is welcoming an educator group to visit the exhibition "Second Lives: Remixing the Ordinary". The exhibition features works by 40 artists from 17 countries that transform everyday discarded objects into art. Students will get a tour from an educator and do a hands-on art project. To enhance the experience, educators are encouraged to use the provided packet with classroom activities before and after the visit. The packet includes topics, writing prompts, and art projects related to exhibition themes of identity, power/politics, repurposing, and function. The museum staff looks forward to the students' visit and hopes it will inspire thought about how artists can transform objects.
This document provides guidance on how to curate digital art. It discusses using tools like semiotics, neo-Marxism, and psychoanalysis to analyze artworks. Examples of digital art are provided, like the 2007 work "Victory Gardens, Future Farmers" and the 2010 work "Unlogo." The document suggests workshops where students determine cultural memes in works, curate small exhibitions around those memes by finding related artworks, and present their exhibits. Helpful background information and links on digital art databases, the work "Unlogo," and utopian theory are also referenced.
Similar to Creative activism hetac dec 2011 part 2 (20)
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
How to Fix the Import Error in the Odoo 17Celine George
An import error occurs when a program fails to import a module or library, disrupting its execution. In languages like Python, this issue arises when the specified module cannot be found or accessed, hindering the program's functionality. Resolving import errors is crucial for maintaining smooth software operation and uninterrupted development processes.
Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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Find out more about ISO training and certification services
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This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
26. Precedents in Art
SOCIAL SCULPTURE
Only art is capable of dismantling the repressive effects of a senile
social system that continues to totter along the deathline: to dismantle in
order to build ÔASOCIAL ORGANISM AS A WORK OF ARTÕ EVERY É
HUMAN BEING IS AN ARTIST who Ð from his state of freedom Ð the
position of freedom that he experiences at first-hand Ð learns to
determine the other positions of the TOTAL ART WORK OF THE
FUTURE SOCIAL ORDER. (Joseph Beuys 1973)
29. Precedents in Art
• SITUATIONS
• “…détournament (Guy Debord 1957)means to turn the
system’s images against it, to simply divert them.
It’s about finding a way to take from the system
without being taken in by it. On the other hand
recouperation is the process by which radical ideas
and images are commodified and incorporated within
mainstream society. “
• Masta magazine +++ written by: Igor Stojanovski
30. Precedents in Art
• HAPPENINGS
• “Audiences should be eliminated entirely… a group of
inactive people in the space of a Happening is just Dead
Space. It is no different to a dead area of red paint on a
canvas… the best participants have been persons not
normally engaged in art but who are moved to take part in
an activity that is at once meaningful to them in its ideas
yet natural in its methods.” (Allan Kaprow 1966)
31. Creative Activism:
Interesting Websites
• Masta http://www.creativeacts.org/
• Hactivism http://knowledge.exchangedublin.ie/lectures/hacktivism.html
• Activist Handbook 2011 http://www.centreforglobaleducation
.com/sites/default/files/publications/Activist%27s%20Handbook.pdf
• Ricardo Levins Morales (Posters)
• http://www.rlmarts.com/
• http://en.wikipedia.org/wiki/Guernica_%28painting%29
• http://www.aiweiwei.com/html/works.htm
• The Lab of Insurrectionary Imagination http://labofii.net/reflection/
• Journal of Aesthetics and Protest http://www.journalofaestheticsandprotest.org/
• About Joseph Beuys and social sculpture
http://en.wikipedia.org/wiki/Joseph_Beuys#The_concept_of_.22Social_Sculpture.22
• Information Activism
• Information is Beautiful
• Loesje Posters
• Good Is Infographics
32. Finally….
• A Hopi Elder speaks:
•
• "There is a river flowing now very fast. It is so great and swift that there are those who will be
afraid. They will try to hold on to the shore. They will feel they are torn apart and will suffer
greatly. "Know the river has its destination. The elders say we must let go of the shore, push
off into the middle of the river, keep our eyes open, and our heads above water. And I say, see
who is in there with you and celebrate. At this time in history, we are to take nothing personally,
Least of all ourselves. For the moment that we do, our spiritual growth and journey comes to a
halt. "The time for the lone wolf is over. Gather yourselves! Banish the word struggle from
you attitude and your vocabulary. All that we do now must be done in a sacred manner and in
celebration. "We are the ones we've been waiting for .