The document discusses two case studies of cultural organizations focused on comics:
1) A city gallery that hosted a comics exhibition but failed to understand the medium and incurred significant unexpected costs, losing money.
2) A comic book club from the 1970s that introduced children to new titles and creators, organized swap meets, but ultimately disbanded after a large show lost money. The club founder continues a small annual show focused on local community and learning from guest creators.
It is OCT 21, 2015. Welcome to the #BTTF2015. I wanted to compare today's 10/21/2015 with Back to the Future's 10/21/2015. Here comes 10 perspectives:
#1 Flying Cars
#2 Wearables
#3 Augmented/Virtual Reality
#4 Profiling
#5 Marketing & Mega Screens
#6 Flying Things & Drones
#7 Fingerprint
#8 Smart Homes
#9 Robots and Avatars
#10 Games
Happy #BTTF2015 Day. Don't forget the watch the movie again on Oct 21, 2015.
Microsoft power point in defense of art educaArtdoc01
It is part of my attempt to begin a dialog to get people thinking of art education in terms of its actual value to education and to society. Art Education magazine's last issue was an attempt to start a dialog regarding creativity in general and its value, but I think it stopped short of examining the idea of visual art as the focus of so much of our culture and society. I am looking at visual awareness and visual literacy in terms of their impact on the culture and the classroom. The long term goal is to make art education part of the "core" subjects in schools. Give this a look and let me know what you think. And please send this up the line and see who else may be interested in this idea.
Presentatie van Elizabeth Currid bij Creative Cities Amsterdam Area (CCAA). Haar boek The Warhol Economy omvat een onderzoek naar de schijnbaar toevallige samenloop van omstandigheden in de creatieve industrie in New York die tot briljante samenwerking leidde (zoals Stephen Sprouse voor Louis Vuitton).
It is OCT 21, 2015. Welcome to the #BTTF2015. I wanted to compare today's 10/21/2015 with Back to the Future's 10/21/2015. Here comes 10 perspectives:
#1 Flying Cars
#2 Wearables
#3 Augmented/Virtual Reality
#4 Profiling
#5 Marketing & Mega Screens
#6 Flying Things & Drones
#7 Fingerprint
#8 Smart Homes
#9 Robots and Avatars
#10 Games
Happy #BTTF2015 Day. Don't forget the watch the movie again on Oct 21, 2015.
Microsoft power point in defense of art educaArtdoc01
It is part of my attempt to begin a dialog to get people thinking of art education in terms of its actual value to education and to society. Art Education magazine's last issue was an attempt to start a dialog regarding creativity in general and its value, but I think it stopped short of examining the idea of visual art as the focus of so much of our culture and society. I am looking at visual awareness and visual literacy in terms of their impact on the culture and the classroom. The long term goal is to make art education part of the "core" subjects in schools. Give this a look and let me know what you think. And please send this up the line and see who else may be interested in this idea.
Presentatie van Elizabeth Currid bij Creative Cities Amsterdam Area (CCAA). Haar boek The Warhol Economy omvat een onderzoek naar de schijnbaar toevallige samenloop van omstandigheden in de creatieve industrie in New York die tot briljante samenwerking leidde (zoals Stephen Sprouse voor Louis Vuitton).
Class 1 - Introduction to the Semiotics of Digital Interactions.
Originally run at University of Tartu for Undergraduates and up.
Audience: anyone with an interest in the meaning and philosophy behind our interaction with the technological world around us.
Wu Fan, PhD Candidate, University of Leeds, considers the audience experience in cross cultural contexts, leading us to interrogate who and what arts and cultural management activity in cross cultural contexts is for. Presented at Intercultural Relations in Arts and Cultural Management Practice, the fourth seminar of an AHRC funded research network, Brokering Intercultural Exchange: Interrogating the Role of Arts and Cultural Management. The network is based at Queen's University Belfast (PI Victoria Durrer) in partnership with Heilbronn University (Co-I Raphaela Henze). www.managingculture.net
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
Safalta Digital marketing institute in Noida, provide complete applications that encompass a huge range of virtual advertising and marketing additives, which includes search engine optimization, virtual communication advertising, pay-per-click on marketing, content material advertising, internet analytics, and greater. These university courses are designed for students who possess a comprehensive understanding of virtual marketing strategies and attributes.Safalta Digital Marketing Institute in Noida is a first choice for young individuals or students who are looking to start their careers in the field of digital advertising. The institute gives specialized courses designed and certification.
for beginners, providing thorough training in areas such as SEO, digital communication marketing, and PPC training in Noida. After finishing the program, students receive the certifications recognised by top different universitie, setting a strong foundation for a successful career in digital marketing.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
1. Virtues, Vices, and Media
Practices: Towards a
Normative Framework for
Cultural Policy
Benjamin Woo
School of Communication
Simon Fraser University
2. Virtues, Vices, and Media-
oriented Practices: Towards a
Normative Framework for
Cultural Policy
Benjamin Woo
School of Communication
Simon Fraser University
3.
4.
5.
6.
7.
8. The gap between textually-based studies and policy
cannot be bridged merely by further refinements in
theories of representation, in new understandings of
the audience or the “progressive text,” or in notions of
sub-cultural resistance.
Stuart Cunningham, “Cultural Studies from the
Viewpoint of Cultural Policy,” in Critical Cultural
Policy Studies: A Reader, ed. Justin Lewis and
Toby Miller (Oxford: Blackwell, 2002), 19.
9.
10. I guess that’s something that I do
value because I miss it in some of
the communities that I’m a part of
right now, some of the fannish
communities. I respect the [Society
for Creative Anachronism] for being
quite strong on that.
On what aspect of that,
specifically? Support?
On support, on commitment ... on
obligations, duty, advancement,
excellence.
“Barry,” SF fan and re-creationist
11. One example of a character that
currently is popular is Deadpool.
However, they’re doing what in the
past they’ve done and has been kind
of a dangerous thing to do: they’re
flooding the market with Deadpool
products. There are comics that don’t
even feature Deadpool in the story,
but they’ll make a special variant
cover for that comic that has
Deadpool on it just to get the
Deadpool people to buy it, which
is ... I don’t want to use too
derogatory a term, but I guess there’s
no real nice way to put it: It’s low.
“Donald,” comic-bookstore owner
12. Yeah, science-fiction, fantasy. But no
Twilight.
No?
I’m sorry, but glowing vampires are
wrong. They sparkle in the sun.
I hear they're like crack, though.
((laughs)) I don’t care. It’s just wrong.
“Diana,” gamer and SF fan
17. • A “particular mode of
reception” and a “particular
set of critical and interpretive
practices” Jenkins, Textual
Poachers, (London:
Routledge, 1992), 277–78.
Henry Jenkins
“Participatory culture”
18. • A “particular mode of
reception” and a “particular
set of critical and interpretive
practices” Jenkins, Textual
Poachers, (London:
Routledge, 1992), 277–78.
• Play, performance,
simulation, and transmedia
navigation Jenkins et al.,
Confronting the Challenges
of Participatory Culture
Henry Jenkins (Cambridge, MA: The MIT
“Participatory culture” Press, 2009), xiv.
19. • A “particular mode of
reception” and a “particular
set of critical and interpretive
practices” Jenkins, Textual
Poachers, (London:
Routledge, 1992), 277–78.
• Play, performance,
simulation, and transmedia
navigation Jenkins et al.,
Confronting the Challenges
of Participatory Culture
Henry Jenkins (Cambridge, MA: The MIT
“Participatory culture” Press, 2009), xiv.
• Appropriation Jenkins et al.,
Confronting Participatory
Culture, xiv.
20. • “Fandom functions as an alternative social
community.” Jenkins, Textual Poachers, 280.
• R.W. Connell, “Hegemonic
masculinity”/“emphasized femininity”
21. I had all but given up hope that any man would
accept me as an intellectual equal. But most male
fans did[....] That fact alone made fandom seem
very progressive in America in the ’50s.
Juanita Coulson, “Why is a Fan?,” in Science
Fiction Fandom, ed. Joe Sanders (Westport, CT:
Greenwood Press, 1994), 7.
22.
23. • Goods related to interpretation
• Goods related to alternative forms of
sociability
24. Just as the good life for an individual depends on
her subordination of external to internal goods rather
than her accumulation of external goods for their
own sake, so too does the good of practices—and
therefore of individuals as practitioners—require that
money, power and authority be organized for the
sake of goods internal to practices rather than
substituted for their pursuit. A teleological ordering
of social relations would subordinate institutions to
practices.
Kelvin Knight, “After Tradition?: Heidegger or
MacIntyre, Aristotle and Marx,” Analyse & Kritik 30
(2008), 44.
27. Other
8%
Sponsorships Gov't grants
5% 22%
Gallery Store
17%
Investment income
3% Admissions and memberships
22%
Fundraising and bequests
20% Exhibition loan fees
3%
28. They were going, “Oh, you get all this space free
and you can have this and this and this.” It’s like, “All
right, that sounds good,” and I’m waiting for the
other shoe to drop, which they didn’t drop until just
before the thing, which was, “Oh, we don’t actually
have any tables. You have to rent all these tables,
and you have to set them up because our union
guys won’t set them up. And you can’t charge
admission. And you can’t do this. And, oh, we need
this much for security guards.” […] And, the back of
my head, I knew that there’s like a running meter
somewhere, but because they weren’t saying what it
was I was only guessing that I was short[....] That
show lost a shitload of money.
29.
30. They didn’t get a lot of things about comics. Going
back all the way to their first press conference for
the show when somebody, one of the media, asked
why there were no superhero comics there. And the
guy, I guess the head curator of the gallery, said,
“Oh, because you don’t need to see superhero
comics.” Like, he basically said that superhero
comics are shit and you don’t need them. Yet, they
wanted us to bring in superhero comic artists to do
programming for them on the weekend. And when
one of them called them on it, it was like, “Oh, well,
we’re just trying to start a dialogue.” It’s like, “All
right, let’s have that dialogue.” “Oh no no, that’s
amongst you.”
33. This was in the ’70s, when we were kids. There used
to be a comic-book club that was formed as some
summer programme that somebody organized.
They got government money somehow to do this, so
they put out ads, and kids would just show up from
all over the place. We’d hang out over the night, and
these … they were adults … they would show us
comics.
34.
35. That sort of turned us on to stuff beyond DC and
Marvel: that was the first time we saw Cerebus when
it was just coming out; Will Eisner, that was our first
exposure to Eisner; the Hernandez Brothers. I mean
all of that stuff we sort of started seeing through
these guys [....] So, it was just like we’d come and
hang out and we’d talk about comics and read
comics, and it would be a couple hours every week.
36.
37. The club organized these little swap meets, and that
went on for a few years. The club tried to do a big
show [...] and lost money left, right, and centre, and
then imploded after that because nobody wanted to
be left holding the bag with the debt. And so we all
sort of went on our way. Some of us stayed in touch,
others didn’t, but we all just sort of quit putting on
these shows and stuff.
38.
39. So, I got hauled back into this, going, “Look, these
guys are doing these shows, and, you know, they’re
charging this much money for tables, and kids can’t
afford to go in.” And it’s like, “All right. Well, if we can
find a small place to do it at, maybe we'll explore it
again.”
40.
41. Every year, I’m sort of like, “Do I want to do it again?
I don’t know.” But part of it is, like, [comic artist]
Howard Chaykin will email me out of the blue and
go, “I want to come up next year. I want to hang
out.” That’s sort of cool. That’s fun. The fact they [the
guests] don’t mind spending time with local creators
and basically giving them a one-on-one this-is-what-
it’s-like—they get something out of it. I think most of
them [the local creators] appreciate that they can sit
and have a beer with whoever and basically learn
from these people. Honestly, as long as it’s fun, I’ll
keep doing it.
42.
43. In the cultural industries[...,] an issue that haunts
nearly all discussions of quality is the audience.
Products and services in any industry tend
ultimately to be for someone. But the cultural
industries are oriented towards consumption in
particular ways, for they are centred on acts of
communication more than any other set of
organisations.
David Hesmondhalgh and Sarah Baker, Creative
Labour: Media Work in Three Cultural Industries
(London: Routledge, 2010), 200.