#Plymouth Visual Arts Programming Group

[sipabacusclasses]

Math Classes in NZ – Auckland, Tauranga & New Plymouth | SIP Abacus

 Mathematics is more than just numbers; it's a vital skill that shapes our children's cognitive abilities, problem-solving skills, and overall academic success. In New Zealand, SIP Abacus stands out as a premier institution dedicated to enhancing children's math proficiency through innovative and engaging methods. With centers in Auckland, Tauranga, and New Plymouth, SIP Abacus offers a transformative learning experience for students across the country.​

What Is SIP Abacus?

SIP Abacus is a globally recognized educational program that integrates the ancient art of abacus calculation with modern teaching techniques. This unique approach not only improves mathematical skills but also enhances concentration, memory, and overall brain development. By visualizing numbers and performing mental calculations, students develop a deeper understanding of mathematical concepts and gain confidence in their abilities.

SIP Abacus in Auckland

Auckland, New Zealand's largest city, serves as a hub for SIP Abacus's innovative math programs. With multiple centers located in areas such as Mt. Roskill, Flat Bush, North Shore, Henderson, and Takanini, SIP Abacus ensures accessibility for students across the region.​

In these centers, children engage in structured modules that cater to various age groups and skill levels. The Junior Module, designed for children aged 6 to 9, focuses on building a strong foundation in basic arithmetic and abacus skills. As students progress, they move on to the Foundation, Advanced, and Grand Master modules, each introducing more complex concepts and techniques .​

Parents have reported significant improvements in their children's math abilities, concentration, and confidence. For instance, one parent shared that their child, after joining SIP Abacus, "excelled in Math, and his concentration, confidence, and overall development have soared"

SIP Abacus in Tauranga

Tauranga, a vibrant city in the Bay of Plenty, is home to a growing number of SIP Abacus centers. These centers offer the same high-quality math programs as those in Auckland, tailored to meet the needs of students in the region.​

Through engaging lessons and interactive activities, children in Tauranga develop essential math skills that serve as a solid foundation for their academic journey. The supportive learning environment fosters a love for math and encourages students to reach their full potential.

SIP Abacus in New Plymouth

New Plymouth, a coastal city on the west coast of New Zealand's North Island, is another key location for SIP Abacus's transformative math programs. The center in New Plymouth provides personalized instruction that caters to the unique learning needs of each student.​

By incorporating the abacus into their learning, students in New Plymouth experience improved mental calculation skills, better focus, and enhanced problem-solving abilities. The program's structured approach ensures that students progress at their own pace, building confidence as they master new concepts.​

Benefits of SIP Abacus Programs

SIP Abacus's programs offer a multitude of benefits that extend beyond traditional math education:

Enhanced Cognitive Development: Abacus training stimulates both hemispheres of the brain, leading to improved memory, concentration, and overall brain function.​

Increased Confidence: As students master mental calculations and problem-solving techniques, they gain confidence in their abilities, which positively impacts other areas of learning.​

Improved Academic Performance: The skills developed through SIP Abacus programs contribute to better performance in school subjects, particularly in math and science.​

Holistic Growth: The program emphasizes not only academic skills but also emotional and social development, fostering well-rounded individuals.

Enroll Your Child Today

If you're seeking to enhance your child's mathematical abilities and overall cognitive development, SIP Abacus offers the ideal solution. With centers in Auckland, Tauranga, and New Plymouth, SIP Abacus provides accessible and high-quality math education across New Zealand.

To learn more about the programs and to enroll your child, visit the official SIP Abacus website: sipabacus.co.nz. Here, you'll find detailed information about the various modules, class schedules, and contact details for each center.​

Investing in your child's education with SIP Abacus is a step toward unlocking their full potential and setting them on a path to academic and personal success. Don't miss out on the opportunity to be part of this transformative learning experience.

Contact Information

Auckland Centers: For locations in Mt. Roskill, Flat Bush, North Shore, Henderson, and Takanini, visit the SIP Abacus Auckland page: SIP Abacus Auckland.

Tauranga Center: For information about the Tauranga center, please refer to the SIP Abacus official website.​

New Plymouth Center: For details about the New Plymouth center, visit the SIP Abacus official website: By reaching out to the appropriate center, you can gather more information, schedule a free trial class, and begin your child's journey toward math excellence with SIP Abacus.​

[newsandmediarepublic]

We The People Are The Work: major visual arts extravaganza inspired by Plymouth’s people, heritage and future

We The People Are The Work: major visual arts extravaganza inspired by Plymouth’s people, heritage and future

We The People Are The Work is a major visual arts project in Plymouth that will explore ideas of power, protest and the public. Presented by Plymouth Visual Arts Programming Group and curated by Simon Morrissey, director of Foreground, the project will bring six internationally acclaimed artists from the UK, Canada, France and Mexico to Plymouth to create new artworks inspired by the city’s rich…

[micaramel]

Artist: Peter Fend

Venue: Museo Nivola, Orani

Exhibition Title: AFRICA-ARCTIC FLYWAY

Date: October 25, 2019 – January 26, 2020

Curated By: Elisa R. Linn, Lennart Wolff

Note: A textual walkthrough of the exhibition is available here.

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Museo Nivola, Orani

Press Release:

AFRICA-ARCTIC FLYWAY STARTING IN SARDINIA

On behalf of a legally-incorporated company of visual artists, founded in 1980 and named “Ocean Earth,” Peter Fend, a US citizen born in 1950, presents solutions for the current climate and water crisis in Sardinia, to be extended along the bird and insect flyways between sub-Sahara Africa and the Arctic.1

All the work shown is the intellectual property of the company, named Ocean Earth Development Corporation, or its partly-held subsidiary of Latin Americans, named TVGOV. The solutions displayed cannot possibly be accomplished by Peter Fend. They cannot even be accomplished alone by the company Ocean Earth, plus TVGOV. They can be accomplished by the people of Sardinia. This exhibition at Museo Nivola, in Orani, Nuoro Province, is addressed to the people of Sardinia—-with intention of follow-through action, for economic gain and ecological recovery, by the people of Sardinia. There’s plenty of meaningful and honorable work for everyone.

(1) Organize Sardinia into its salt-sea catchments, or hydrometric areas, with separation therein of any dammed catchments, which accumulate sediments and waste.

(2) Each catchment becomes a unit for resource management and taxation under principles of the first body of economic thought: Physiocracy. Land (& water) are declared to be the one foundation for economy, which must be preserved and improved. Since Physiocracy was conceived, in 18th-century France, surrogates for land have become the foundation of our economy: mineral fuels like coal, oil, gas—and uranium; and, in substitution of normal rivers, dammed reservoirs. These surrogates have no doubt harmed the planet’s ecology. They produce global warming, air and water pollution, eutrophication in streams, loss of animal diversity and deserts. Physiocracy can be launched in Sardinia to reverse such abuses of our land and water. This would be a world first.

(3) In each dam catchment, and each saltwater bay downstream, remove accumulated sediments and waste in the form of waterplants, grown with solar energy, and convert that into biogas or electricity.Feed the biogas into local methane supply streams, and send the electricity into local grids.

(4) Deconstruct high dams, restoring the original gradient with white-water rapids, collecting hydroelectric energy with suspended arrays of ultra-light Poncelet waterwheels suspended from Duchamp-model bicycle-wheel forks.

(5) In view of many technologies for energy for an island blessed with much sun, wind, waves, sea-currents, and soil now accumulating in dams or flowing offshore, we say, DO NOT build a long gas pipeline or LNG terminal, especially for imported fossil gas. Also, find ways to make the electricity from falling water not go through turbines at high-wall dams, but on no-blockage waterwheels. Rely on the many sources of easily-collected energy, especially since the island has the lowest population density of anywhere in Italy.

(6) Apply the same technologies in marshlands along migratory flyways. Single out salt lakes west of the Gulf of Gabes, Tunisia, Lake Chad, artificial lakes near Milan and on the Ruhr, and Norway’s fjords.

All action here, though based on what are normally assigned to art, is an extension of art into inhabited space, occupied through time. This is called Architecture. Leon Battista Alberti wrote that Architecture meets the needs of any inhabited area, in this case Sardinia, for (1) clean air, (2) living waters, (3) ease of movement and (4) defense. Ocean Earth has done research and developed plans for sites worldwide in all four sectors of Architecture. Almost no professionally-trained architect today does this. Can Sardinia, with its very low population density and already-established urban forms, largely on heights, become a model for Alberti’s principles. In this case, extending the practices along the bird flyway, to assure survival of nutrient- transferring migrants from African jungles to Arctic tundra, and back, is a form of territorial defense.

1 The firm builds on structural and data display concepts right-negotiated with Dennis Oppenheim, Paul Sharits, Gordon Matta-Clark and Carolee Schneemann, plus invitations for real-world initiatives by Joseph Beuys (1980) and the United Nations Environment Program (1982, 1989, 2008). The firm has worked with scientists at Caltech (1980-94), oceanographers in Plymouth (2003-4) and then-named Leningrad (1980-82), and naval architect Marc Lombard, La Rochelle (1993-96). The firm has had a stormy history. Government interventions, such as seizure of observation-satellite data, led – inadvertently–to: a quick end to the Falklands war, Iran ending an Iraqi earthworks invasion, Iraq then deciding to invade Kuwait, and revelations to the world press, scientists and the Ukraine Government of an ongoing instability of reactor sites at Chernobyl, with long-term effects on water policy in the Black, Caspian and Aral Seas.

  Peter Fend (*1950) is an American who, in 1980, due to the advice of a lawyer, founded the Ocean Earth Construction and Development Corporation (“OCEAN EARTH”), as a legally incorporated successor to an artist venture, started in 1979, meant to deliver art ideas and practices to real-world clients. That venture included Jenny Holzer, Coleen Fitzgibbon, Fend, Richard Prince, Peter Nadin, Robin Winters. The first three bought stakes in the successor. It builds upon on structural and data-display concepts rights-negotiated with Dennis Oppenheim, Paul Sharits, Gordon Matta-Clark, and Carolee Schneemann, plus requests for real-world initiatives by Joseph Beuys (1980) and the United Nations Environment Program (1982, 1989, 2008). The firm has worked with scientists at Caltech, oceanographers in Plymouth, two oceanographic centers in then-St. Petersburg, and naval architect Marc Lombard. In 1981, shareholders Sharits, Fend and Fitzgibbon decided to start building knowledge about sites through sight-mimic processing of multispectral satellite data. This led quickly to authoritative monitoring for world news-media of the Falklands, Beirut, Libya, the Iran-Iraq war, Nicaragua, the Amazon Basin, and Chernobyl–with historical consequences. After six years, Western governments shut down this work. Since then, using knowledge built up by the firm, Fend presented multi-disciplinary projects at Documenta, biennials in Beijing, Yinchuan, Osaka, Venice, Liverpool and Sharjah, all towards practical solutions to economic and ecological crises. Direct response to government officials is underway in Algeria, Ukraine, Norway, Italy, NZ. Since 1988, commercial galleries have displayed Fend-led work, notably American Fine Arts, Esther Schipper, Essex Street, Christian Nagel, Barbara Weiss, Georg Kargl, Pinksummer, Le Case d’Arte. Talks have been at major architecture schools, art schools, military think tanks, the US Congress Office of Technology Assessment (with commissioned report), the UN Correspondents Association (twice; sponsored by the US, Russian and Turkish press), architecture festivals, even international scientific conferences. The list of works confiscated or doctored is probably longer than of those extant; many authorities find that art in the real world, on real-world terms, might threaten their professions, or–some say–the State. The firm launched its worldwide business with a 1982 show at The Kitchen, NY called “Art of the State.”.

Link: Peter Fend at Museo Nivola

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/36SVYQx

[itsworn]

Rain Couldn’t Damp the Enthusiasm of Nearly 400 Drag Racers at the 2018 Meltdown Drags

After we flew five hours from Los Angeles to Chicago, news of a weather front moving through the Great Lakes Region wasn’t what we wanted to hear. Pressing forward up I-90 in afternoon traffic towards Byron, Illinois, to attend the Ninth Annual Meltdown Drags, our thoughts were with past Meltdown events and how much fun we’d had covering them. In today’s structured world of motorsports, the Meltdown Drags are something of a rarity. No eliminators, no record runs or qualifying brackets, no huge cash payouts or trophies. And above all, no whining. The basic premise is just go out there, be safe, and have fun!

Sanctioned by Vintage Drag Racing 101 and manned by such dedicated Midwestern gasser enthusiasts as Eric and Jeff Koopmeiners, Paul Zielsdorf, Art Zangerle, Tom Bucek, Steve Liberto, and “Smokey Moe” Petersen, the Meltdown Drags also features a car show, a swap meet, and Gasser Alley, where you may run across a vintage gasser or altered on display from the bygone era. Heck, there is even a pinup-girl contest, won this year by Cassandra Hicks.

The event also attracts its share of luminaries from back in the day, including featured guests Ed “the Cam Father” Iskenderian and gasser great Robert “Bones” Balogh, along with former Funny Car stars Arnie “Farmer” Beswick, Hawaiian and Chi-Town Hustler driver Ron Colson, Randy “Super Nova” Walls, ex-Ramchargers Top Fuel driver Merek Cherktow, and fuel altered star Gabby Bleeker.

This year, 390-plus entrants who braved the weather represented groups like the Scott Rods AA/Gassers, Great Lakes Gassers, Brew City Gassers, Nostalgia Gasser Racing Association, Southern Outlaw Gassers, Northern Indiana Gassers, Geezer Gassers, Southeast Gassers, Southern Gassers, Mid American Willys Club, Straight Axle Mafia, Twisted Pistons, Tin Butchers, Nostalgia Super Stocks, Border Bandits, Gopher State Timing Association, No Car Club, and others. Talk about a slice of vintage drag racing Americana!

Strip promoter and track owner B.J. Vangsness and his crew had to fight 3 inches of rain on Friday repeatedly prepping the track a whopping 12 times, but they were not to be deterred. As for the racing itself, it became necessary to shorten the measured distance from a quarter to an eighth of a mile on both Friday and Saturday for safety reasons (racing late into both nights). But none of the 10,374 spectators (which included visitors from Sweden, Australia, and Great Britain) seemed to mind, as the actual show itself was on the starting line. Then with a dry track surface, quarter-mile racing resumed on Sunday.

Meltdown 2018 was a rousing success in spite of Old Man Weather. If you like what you see here, start making plans to attend the 10th anniversary edition of the Meltdown Drags July 19-21, 2019.

On the Back Bumper The unofficial wheelstander award went to Don Moyer and his 401 AMC–powered, (that’s right) Rebel Reaper fiberglass B/Gas 1941 Willys coupe. He pulled bumper-dragging wheelies on every run.

(Not) the Pits Come hell or (almost literally) high water, the Meltdown Drags pits were bustling with activity throughout the weekend. More than 390 competitors participated in front of a record attendance of 10,374 spectators.

Off-Track Action The swap meet and car show areas at Meltdown 2018 also had plenty for the fans to see and buy.

Past Gas Minnesotan John Zechbauer rolled up with the restored Lutz & Lundberg 1941 Willys B/Gasser. This was L&L’s breakout car. In the early to mid 1960s, the famed gasser team also raced Anglias and a very weird and wonderful altered-wheelbase Oldsmobile Funny Car named 442 Much.

First Out Winnipeg, Manitoba, Canada’s Gary Misko with his red 1937 Willys Americar two-door sedan, and the Long’s Garage 1967 SS396 El Camino, were the first ones down the track during Friday’s rain-delayed eighth-mile drag racing.

Living Legends For the third year in a row, special celebrity guests Ed Iskenderian (left) and Robert “Bones” Balogh signed autographs and sold drag racing memorabilia including hats, T-shirts, and posters.

Twisted Deuce Meltdown fans loved the starting-line gyrations of Gold Chain, the 1932 Ford C/Gasser belonging to Midland, Michigan’s Dave Gray. The coupe, powered by a small-block Chevy engine, ran in the low 10s.

Tailwind This is what it looks like when you are trying to do a respectable burnout with the wind at your back. The event director of Meltdown Drags, Paul Zielsdorf, took a little time out on Sunday to lay down a 10.46/129.00 run.

Off the Map Meltdown Drags board member and all round good guy “Smokey Moe” Petersen poses with some of the European visitors who routinely attend the event.

Street Driven Ex-Ramchargers Top Fuel driver Merek Cherktow warms up the tires on his street-legal, two-seat blown Chevrolet/Bantam. The car is capable of low 8s, although Cherktow struggled with the rain-washed track surface.

Big Beats Small Mark Benjamin, driving the Benjamin, Kasicki & Klink AA/GS 1933 Willys with blown small-block Chevy power, took on Scott Rods’ Al Borowski in a big-block Anglia. This particular heat was won by Borowski, recording a 5.62-second eighth-mile e.t.

Up, Up, and Away Muscle car collector Jim Paulson wheeled the ex–Candies & Hughes-Jake’s Speed Shop altered-wheelbase 1965 Plymouth Savoy past Wally Petersen and his 572-inch AWB 1965 Hemi Dodge Coronet. Paulson ran a best of 10.50/123.00, but since Petersen didn’t file a flight plan with the tower, no times were recorded!

Wheels-Up Chevy David Tanner’s blown small-block, chop-top 1932 AA/G Chevrolet coupe has been a regular at the Meltdown Drags. His wheels-up runs are always popular with the fans.

The Future These two small fries appear to be poised and ready to jump into Junior Dragsters and get with the program. Someday, dad, someday!

Wheelstand Battle The anticipated side-by-side wheelstand showdown between two of the Midwest’s Tri-5 wheelie kings, ex-Chicago police officer Mike Bilina and “Iron Man” Tony Shervino, failed to fully materialize. Timing between the two racers appeared to be the problem because it sure as heck wasn’t the cars.

Classical Gassers Nostalgia Gassers’ Steve Bacon and his Innocent Rascal 1941 Willys B/Gasser squared off against the Lost Wages 1956 Chevrolet B/Gasser of Robbie Roberson in a match that Bacon won.

Ford vs. Chevy Tommy Killingworth’s Miss Fit, a 1963 Ford Fairlane AA/GS running out of the Southern Outlaw Gassers group on pure Ford power, faced Randy Stone’s Bootlegger A/Gas 1955 Chevrolet shoebox, which won this particular heat.

Colson Stude Pitside attractions at Meltdown 2018 included the former Colson & Wood/Scott Hammack AA/Gas 1941 Studebaker coupe. A Pennzoil ad from the March 1963 HOT ROD, which was displayed with the car, extolled back-to-back class records: 11.64/118.42 at Oswego, Illinois, followed by 11.33/131.78 at Cordova. At the wheel was Ron Colson, who also earned fame driving the Chicago Patrol, Hawaiian, and Chi-Town Hustler Funny Car (among others).

Stead(y) vs. Crazy Marty Stead driving the Stead Speed Shop 1941 AA/Gas Willys went off against fellow Scott Rods circuit member Brian Spotts and It’s Crazy, his 1952 AA/G Anglia. Running on a 5.60 index, Stead posted a winning. 5.64 seconds in the eighth-mile.

Black Magic Check out Alex Case’s street-driven 1965 Dodge Coronet. It is powered by a Keith Black alloy Hemi with Stage V twin-plug Hemi heads, twin magnetos, a Danekas blower, and eight (count ’em!) Stromberg carburetors. Unbelievable!

Missing a Few Another oddity to be found in the Gasser Wars display was this blown Chevrolet Hemi V6. We’re not sure about the who, what, or why, but the pintsize Hemi sure drew a lot of attention.

Holeshot In round one of the Scott Rods show, Mike Kalinowski’s Un-Finished Business AA/Gas ’52 Austin took on Jeff Cryan and his wheelstanding 1933 AA/G Willys known as the Phenomenon. Can you guess who won?

Burnin’ and Churnin’ Nostalgia Super Stocks member John Grinwald and his Gold Digger 1965 AWB Dodge put on one heck of a show for Meltdown Drags fans Saturday with eighth-mile smoky burnouts.

Street-Legal Sprint Car Street-Legal Sprint Car: How many times have you seen an old Kurtis sprint car running around town? Well, if you live in the State of Illinois, you might run across this Ford flathead-engined single seater.

Dueling Hemis The ever popular two-car fuel duel: Jim Henry’s Big Iron injected nitro Hemi-powered 1964 Plymouth and Steve Moth’s Bad News 1964-1965 AWB nitro Hemi Dodge traded wins throughout the weekend.

Beating the Bully Rich Maier and his Blacktop Bully 1940 Chevrolet C/Gasser went up against the Mr. Quick’s Speed Shop–sponsored Moon Dust 1965 AWB Plymouth. The Hemi won.

Ultravintage Floyd Craig’s 21-stud, flat-motor-powered D/Altered Model A and Kevin Croise’s similarly powered Ornery Buzzard front-engine dragster are regulars at the Meltdown Drags and underscore the meaning of dragstalgia.

Free Booty A popular feature with Meltdown Drags participants is the prize booth. The racers’ ticket numbers are randomly drawn throughout the event, and they are allowed to select from a bevy of really cool items.

Sincerest Form Paul Brown decided that since he already owned a replica of Doug Thorley’s Chevy 2 Much, why not replicate the former Burgeois & Wade Doug’s Headers Logghe Chassis flip-top Corvair? A close inspection reveals that the car is expertly done, borrowing visual cues from both the B&W car and Thorley’s U.S. National–winning Corvair. Yes, there were two. That’s car owner Brown in the fire suit.

Chip off the Old Block Following in his dad Paul’s footsteps, 17-year-old David Zielsdorf jumped behind the wheel of the family’s 427 big-block 1963 Chevrolet Biscayne on Sunday and hammered out a 12.06/116.00, topping the old man’s personal best by a couple thousandths of a second.

Hot Track Seven-year-old Oliver Bucek mans the Mattel Hot Wheels race track, where every kid who participated got to choose and take home his own Mattel Hot Wheels die-cast miniature.

Broke as Hell According to the shoe polish on the windshield, the “world’s fastest outhouse” Model A runs in the 10s thanks to a 371-inch “Chevy/Olds” V8. Rick Neal’s Possum Killer Garage built the roadster pickup, which now belongs to T.K., Tug, Bo, and Trouble Thompson of the Broke as Hell Garage of Memphis.

Henry Battle Nostalgia Gassers member Tom Peter’s Drag Addict B/Gas 1951 Henry J went up against Nick Nampa’s No Quarter 1951 Henry J B/Gasser. Nampa took the win.

Quicker Than the Auto Club Whenever one of the contestants lost fire, the Meltdown Drags starting line crew was quick to remedy the situation.

The post Rain Couldn’t Damp the Enthusiasm of Nearly 400 Drag Racers at the 2018 Meltdown Drags appeared first on Hot Rod Network.

from Hot Rod Network https://www.hotrod.com/articles/rain-couldnt-damp-enthusiasm-nearly-400-drag-racers-2018-meltdown-drags/ via IFTTT

[danieljamesinterdisciplinary]

Interdisciplinary studies

Interdisciplinary studies were a collaborative project where I was asked to work on two different events, event 1 and event 2. For the first event, I was put into a new class, this was full of people that I had not met before, these where people from other disciplinary.

For this first event I had been asked to work within the new class that I had been placed in, this meant that I had to get to know new people, and work with them to create the work asked to do. For the first event as a group, we had been asked to look at how Plymouth College of Art would look the year 2030. We were then asked to get into three different groups, the creative manifesto, the future of the university, and an artefact. I chose to work in the group that was in charge of the manifesto. I thought that this is where my strengths would lie, I liked the visual side of the creation of the manifesto.

The group that I worked with to make the creative manifesto worked well together. We did work together in the end to have a finished outcome but did have a lot of issues when it came to working together. I have learned a lot when it comes to working with people I don’t know, I think that this is an important skill and something that is going to be applied and useful when it comes to careers after university. We thought the best way to do this wad to have the keywords like 'PROUD' and 'MOTIVATE' to be red and in bold, sticking out from the rest of the text that makes up the manifesto.

As a group we didn’t just want to have the creative manifesto by its self, we wanted to use the most important elements from the poster and displayed in a different way. It was then my idea to take the keywords from the poster and create a GIF. We thought this is something that could not only be used on the university website but also the different social media platform’s they use.

We thought as a group the first thing we wanted to do was come up the keywords that would feature on the GIF and the creative manifesto. We came up with fourteen words, this meant that we could then split up the group into two, one group to concentrate on the creative manifesto, and the other group was in control on the GIF. As the GIF was my idea, I was in the group that worked on this, my partner and I had never made our own GIF before, this is something that we had to learn. This meant that we had to work together and learn on our own.

For the second event, this is when I worked with the members of my own degree. I was asked to think about how fashion is inspired by music, art and film. Looking at how these subjects had been inspired by art was going to help us understand who we are when inspires us in the world that also inspires the fashion that we loved. This is want was going to help to build up our own unique subculture. Then together we could add them all together, having a collaborative piece of work that all perfectly represent us as a university degree.

I found working as a whole interesting, this meant that we had to make sure that we all had different roles, this was going to ensure that everything ran smoothly. We decided as a group that we would create a video, this was going to be a change for everyone to show who they were and what inspired them, this could be the music that they love or the television programs they loved. Anything that explains who they were quick.

I think that what we had, in the end, was a successful video, this really showcased everyone’s individual style, who they really were. I learnt that I didn’t know myself as well as I thought, this made me really have to think about what I was going to be putting on my slides. I would go back and change what I put on some of my slides, I don’t think I understood the idea of the slides till it was too late. I wish I had used more interesting pictures, and not used images that explained the slide straight away. I think that in the future I will be putting a lot more thought into the images used in my work.

Overall I think that I have learned a few useful skills form the two events. I have learned valuable skills when it comes to working in a group with new people. When it came to the second event that I would have been interesting to collaborate with another subject, I think trying to do a collaborative project with people I already know wasn’t useful. I think that combining two different subjects would help to have a more interesting outcome. I found walking around seeing what everyone else did interesting, I liked seeing how they had worked together. I think compared to what we had done we displaced are work in a professional way, I thought the slides from are blogs really helped to show people how we liked the video to Interdisciplinary studies.

[gummydesigndiscovery-blog]

My Mastery Timeline

Qualities of a Good Mentor

·      Greene

o   Aligned with your Life’s Task (Greene, 2012, p. 112)

o   Helps develop your own style (Greene, 2012, p. 107)

o   Has a wide range of knowledge and experience (Greene, 2012, p.106)

·      Me

o   Provides feedback on projects

o   Offers guidance

o   Inspires me to become more

 Get Involved Design Industry

·      Join aiga in mobile: president@mobile.aiga.org (Seaborn, Joannah L.) mobile.aiga.org

·      Create a meetup group for graphic design and photography

 Industry Leaders

·      Martha Garcia: Sr. Graphic Designer at Disney Store Martha.g.negrete@gmail.com

·      Jill Alexander: Freelance Graphic Designer at JA Inc. 850.725.6355 jill@alexandersdesign.com

·      Veronique Zayas: Creative Director at HatchMark Studio 469.233.3494 veronique@hatchmarkstudio.com

·      Kim Griffin: Creative Director at Griffin Design Firm 850.824.4618 kim@griffindesignfirm.com

·      Christy Jennings: Founder of Christy Jennings Creative 850.294.3300 christy@christyjenningcreative.com

·      Peter Mamatey: Designer/Illustrator of Mamatey Graphic Design 850.907.0019 inquiries02@maatey.com

 Full Sail Involvement

·      Attend Fluid Fridays workshops sponsored by the Digital Arts & Design/Graphic Design Degrees

·      Join Clubs: Women of Full Sail & Entertainment Networking Society

  Expand my PNL: Innovated companies/ heros

·      Von Glitschka

·      Anthony Burrill (Instragram)

·      Andrew Fairclough

·      HatchMark Studio

·      Mina Firm

·      Viktor Hertz

·      ILOVEDUST

 Timeline Journey

·      Mastery: Personal Development and Leadership

o   Goal: Understand Mastery

§  Strategy: Read Robert Greene’s Book Mastery and watch “Mastery” | Talks at Google Lecture by Robert Green https://www.youtube.com/watch?v=J4v_34RRCeE

§   

o   Goal: Re-learn APA writing Style

§  Strategy: Attend Writing Center’s Workshops

o   Goal: Learn Schools Library and Databases

§  Strategy: Explore library resources (EBSCOhost, Safari Books Online, ???)

·      Defining Client Needs

o   Goal: Learn the designer-client relationship

§  Strategy: Watch “Client Relationships” by Jason Yim on Lynda.com

o   Goal: Learn research strategies to define clients needs

§  Strategy: Read case study: Miles, L. (2004). The use of research to develop a marketing strategy for Plymouth Argyle Football Club. International Journal of Sports Marketing & Sponsorship, 6(1). 49-69

o   Goal: Learn methods for testing design solutions

§  Strategy: watch “Design Thinking: Implementing the Process” by Chris Nodder on Lynda.com

·      Brand Development

o   Goal: Learn the basics of Branding

§  Strategy: through “Personal Branding Basics” by Lorrie Thomas Ross on Lynda.com

§  Strategy: Watch “Foundations of Branding for Designers” by Sean Adams on Lynda.com

o   Goal: Study case studies of branding to stay current

§  Strategy: Read e-book The Future of Branding by Rajendra Srivastava from Ebscohost.com

o   Goal: Learn marketing tools for brand development

§  Strategy: Research tools from www.ama.org/resources/MarktingToolkit/BrandingAndMarketingEssentials/Pages/default.aspx

·      Effective Copywriting

o   Goal: Learn what is copywriting

§  Watch “Writing Marketing Copy” by Ian Lurie on Lynda.com

o   Goal: Learn how to write for advertising & corporate communications

§  Watch “Writing Ad Copy” by Michael Duquet on Lynda.com

o   Goal: Improve my persuasive writing ability

§  Collaborate with the Full Sail’s Writing Center

·      Design Research

o   Goal: Learn the fundamentals Design research

§  Strategy: Watch “Foundations of Design Research” by Andy Schwanbeck on Lynda.com

o   Goal: Learn how to merge business and design

§  Strategy: Watch “Design Research and Dealing with Ambiguity” by Nathan Shedroff on Lynda.com

o   Goal: Learn how graphic design uses design research

§  Strategy: Read Basics Graphic Design 02: Design Research by Neil Leonard on Safari Books Online

·      Organizational Structures

o   Goal: Learn how to organize, process, and evaluate research information

§  Strategy: Watch: Organizational Structure on study.com education_portal.com/academy/lesson/organizational_structure_definition_and_influence_on_organizational_behavior.html

o   Goal: Collaborate with others to perform and create, ensuring professional conduct at all times

§  Strategy: Watch “Delegating Tasks to Your Team” by Britt Andreatta on Lynda.com

o   Goal: Learn to write a business plan

§  Watch “Creating a Business Plan” by Mike Figliuolo

·      Design Strategies and Motivation

o   Goal: Learn how to collaborate with other designers and departments to build a strong research piece.

§  Strategy: Watch “Collaborative Design: Vision and Strategy” by Lauren Bacon on Lynda.com

o   Goal: Become current on projects in design industry

§  Strategy: Use Tumblr to discover inspiring and motivating designs

o   Goal: Strengthen my ability to evaluate designs adhere to industry standards

§  Strategy: Evaluate the effectiveness of  the selected inspiring designs from watching “Branding Design, Strategy, and Innovation” by Debbie Millman on Lynda.com

·      Design Integration

o   Goal: Take the knowledge I have gained from previous classes and integrated them into a campaign

§  Strategy: by watching “TED Talks: Design for All 5 Senses” by Jinsop Lee youtu.be/N6wjC0sxD2o

o   Goal: Begin thesis ideas through presentations and evaluations of projects and design products through networking with my professors and classmates

§  Strategy: Watch “Creative Insights: Local Projects, Interactive Media Designers” by Local Projects on Lynda.com

o   Goal: Goal: Better understand how research, analysis, and discussions change world of design

§  Strategy: Read the academic journal Hands On, Hearts On, Minds On: Design Thinking within an Education Context

·      Multi-Platform Delivery

o   Goal: Gain insight of different styles of multi-media campaigns

§  Strategy: Use FSO library to research multi-media campaigns

o   Goal: Learn how to design a campaign on various types of media

§  Strategy: Watch “Acrobat 9 Pro: Creating Multimedia Projects” by Brian Wood on Lynda.com

o   Goal: Understand the basic creative components to the level of proficiency

§  Strategy: Practice and master techniques of using Adobe CC

·      Measuring Design Effectiveness

o   Goal: Design Projects with information and discretion based on evaluations research

§  Strategy: Watch “Instructional Design Essentials: Needs Analysis” by Jeff Toister on Lynda.com

o   Goal: Identify the basic principles of identifying target audiences and affecting response with design elements

§  Strategy: Research various design models and the effectiveness associated with brand or advertisement using online database EBSCO or LexisNexis

o   Goal: Learn the basic concepts regarding metrics and marketing strategies and how they are implemented

§  Strategy:  watch “Marketing Fundamentals” by Drew Boyd on Lynda.com

·      Thesis: Presentation of Design Solution

o   Goal: Create a strong visual appealing online presentation

§  Strategy: Watch “Design 101: Presentations” by John McWade on Lynda.com

o   Goal: To create an impressive thesis project for the panel

§  Strategy: Implement design strategies, research, and creative tools producing solutions presentation and knowledge I collected throughout the program

o   Goal: Re-evaluate my portfolio for the career world

§  Strategy: I will have a meeting with the career center, update my Behance profile, edit my portfolio, and update my LinkedIn account

·      Professional Practice

o   Goal: Learn the legal and ethical issues of my industry

§  Strategy: Exploring “Ethics in graphic design” by Eileen MacAvery Kane on ehticsingraphicdesign.org

o   Goal: Strengthen my ability to manage processes

§  Strategy: watch “Design Thinking: Understanding the Process” by Chris Nodder on Lynda.com

o   Goal: Show cast my abilities on a professional level

§  Strategy: By researching through LinkedIn, Behanced, and other sites to review styles of prominent firms

      References:

 Adams, S. (2015, March 3). Foundations of Branding for Designers [Video file]. Retrieved from lynda.com

 Ambrose, G. & Leonard, N. (2012). Basic Graphic Design 02: Design Research [Safari Book Online version]. Retrieved from Safari Book Online.

 Andreatta, B. (2013, Feb 22). Delegating Tasks to Your Team [Video file]. Retrieved from Lynda.com

 Bacon, L. (2014, Dec 5). Collaborative Design: Vision and Strategy [Video file]. Retrieved from Lynda.com

 Boyd, D. (2014, Aug 28). Marketing Fundamentals [Video file]. Retrieved from Lynda.com

 Branding and Marketing Essential. (2017). Retrieved from https://www.ama.org/resources/MarketingToolkit/BrandingAndMarketingEssentials/Pages/default.aspx

 Duquet, M. (2016, May 23). Writing Ad Copy [Video file]. Retrieved from lynda.com

 Ellison, K. (2015, Oct 30). Branding Design, Strategy, and Innovation [Video file]. Retrieved from Lynda.com

 Ellison, K. (2015, Dec 11). Design Research and Dealing with Ambiguity [Video file]. Retrieved from https://www.lynda.com/Documentaries-tutorials/Design-Research-Dealing-Ambiguity/436470/456628-4.html

 Fatima, C. (2013). International Journal of Art & Design Education. Hands On, Hearts On, Minds On: Design Thinking within an Education Context, 32(2), 190-202. Retrieved from EBSCOhost

 Figliuolo, M. (2015, Aug 25). Creating a Business Plan [Video file]. Retrieved from Lynda.com

 Greene, R. (11/2012). Mastery [VitalSource Bookshelf version]. Retrieved from https://bookshelf.vitalsource.com/books/9781101601020

 Kane, E.M, (2010). Ethics: A graphic designer’s field guide. Retrieved from http://www.ethicsingraphicdesign.org/wp-content/uploads/2011/10/Ethics_Graphic_Designers_Field_Guide.pdf

 Local Projects. (2014, Jan 17). Creative Insights: Local Projects, Interactive Media Designers [Video file]. Retrieved from Lynda.com

 Lurie, I. (2014, May 28). Writing Marketing Copy [Video file]. Retrieved from lynda.com

 McLaughlin, J. (2017, Jan 29). Organizational Structure: Definition and Influence on Organizational Behavior [Video file]. Retrieved from http://study.com/academy/lesson/organizational-structure-definition-and-influence-on-organizational-behavior.html

 McWade, J. (2016, May 5). Design 101: Presentations [Video file]. Retrieved from Lynda.com

 Miles, L. (2004). International Journal of Sports Marketing & Sponsorship. The Use of Research to Develop a Marketing Strategy for Plymouth Argyle Football Club, 6(1), 46-69. Retrieved from EBSCOhost

 Nodder, C. (2016, Oct 27). Design Thinking: Implementing the Process [Video file]. Retrieved Lynda.com

 Nodder, C. (2016, Oct 27). Design Thinking: Understanding the Process [Video file]. Retrieved from Lynda.com

 Peni, A. & Schwanbeck, A. (2015, Feb 24). Foundations of Design Research [Video file]. Retrieved from Lynda.com

 Ross, L.T. (2013, Nov 4). Personal Branding Basics. [Video file]. Retrieved from lynda.com

 Srivastava, R.K. & Thomas, G.M. (2016) The Future of Branding [EBSCOhost version]. Retreived from EBSCOhost.

 TED. (2013, Aug 6). Design for All 5 Senses (TED Talks) [Video file]. Retrieved from https://youtu.be/N6wjC0sxD2o

 Talks at Google. (2013, April 7). Robert Greene: “Mastery” Talks at Google [Video file]. Retrieved from https://www.youtube.com/watch?v=J4v_34RRCeE

 Toister, J. (2014, Aug 21). Instructional Design Essentials: Needs Analysis [Video file]. Retrieved from Lynda.com

 Wood, B. (2009, July 21). Acrobat 9 Pro: Creating Multimedia Projects [Video file]. Retrieved from Lynda.com

 Yim, C. (2009, Nov 11). Creative Inspirations: Trigger, Interactive Design Studio [Video file]. Retrieved from https://www.lynda.com/Web-Documentaries-tutorials/Client-relationships/56647/58722-4.html

[micaramel]

Artists: Gina Folly, Peter Friel, Lina Viste Grønli, Marie Karlberg, Ann Greene Kelly, Eli Kerr, Sean MacAlister, Luzie Meyer, Adam Revington, Louise Sartor, Ben Schumacher, u

Venue: Bel Ami, Los Angeles

Exhibition Title: Showrunners

Curated by: Sean MacAlister, Adam Revington

Date: December 7, 2019  –  January 11, 2020

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Video:

Luzie Meyer, The Trout, 2019, Single-channel video, 02:10

Images courtesy of Bel Ami, Los Angeles 

Press Release:

Showrunners is organized by Sean MacAlister and Adam Revington, and features works by eleven artists and one curator, most of whom have been involved in running exhibition projects. One of the artists operates under a pseudonym, u, which was born out of a space called 67 Steps in Los Angeles. In 2019 u opened a gallery in Calgary called u’s.

For Showrunners, u will present six examples from an ongoing series of sculptural collaborations called ‘project spaces.’ The project spaces begin as small box-like forms made from clear packing tape that, when worked on by artists and curators, can act as thresholds into more expansive conversations on how identity is signaled through exhibition making. As the project spaces amass into an archive, they create a record of collaborations and conversations that unfold casually, on an intimate scale, alongside other works.

Gina Folly (b. 1983, Zurich, Switzerland) lives and works in Basel. Since 2013 Folly has been running the artist space called Taylor Macklin, Zurich, together with Selina Grüter and Michèle Graf. Selected solo exhibitions include KURA, Milan; Hard Hat, Geneva; Studioli, Rome; Ginerva Gabino, Cologne; Almanac, London; Tunnel Tunnel, Lausanne; SPREEZ, Munich; Ermes-Ermes, Rome; Space Is The Place, Basel; and S.A.L.T.S., Birsfelden. Selected group shows include Contemporary Art Centre, Riga; Swiss Institute, New York; Museion, Bolzano; Galerie Nagel Draxler, Cologne; Freedman Fitzpatrick, Paris; Sommer Contemporary Art, Tel Aviv; Kölnischer Kunstverein, Cologne; Galerie Bernhard, Zurich; Ginevra Gambino, Cologne; Freymond-Guth Fine Arts, Basel; Le Doc, Paris; and Art Bärtschi & Cie, Geneva.

Peter Friel (b. 1990, Chicago, Illinois) lives and works in Chicago. Friel has held recent solo exhibitions at forgo, Berlin and Bonny Poon, Paris. Recent group exhibitions include Ginerva Gambino, Cologne; Commercial Street, Los Angeles; Zwinglisalon, Berlin; Bonny Poon, Paris; and Galerie Bernhard, Zurich.

Lina Viste Grønli (b. 1976, Bergen, Norway) lives and works in Somerville. In addition to her public art work, Grønli has exhibited at several contemporary art spaces internationally during the last ten years, including Sculpture Center, New York; Kunsthalle Wien, Vienna; Wiels Contemporary Art Centre, Brussels; Henie Onstad Art Centre, Bærum; and List Visual Arts Center, Cambridge.

Marie Karlberg (b. 1985, Stockholm, Sweden) lives and works in New York. In 2013 Karlberg founded M/L Artspace with artist Lena Henke. Karlberg has recently performed at Elevation1049, Gstaad; Palais de Tokyo, Paris; and Künstlerhaus Halle für Kunst & Medien, oGraz. She has staged solo exhibitions at Bonny Poon, Paris; Plymouth Rock, Zurich; Tramps, London; Marbriers 4, Geneva and Reena Spaulings Fine Arts, New York. Karlberg has recently participated in group shows such as Ab auf die Insel!, Kunstmuseum Luzern; IL NUOVO III, Etablissement d’en face, Brussels; The 9th Berlin Biennale, Berlin; Freak Out, Greene Naftali, New York. Karlberg performed in plays at the Schinkel Pavillion, Berlin; the Whitney Museum of Art, New York; and MoMa, New York. Her upcoming solo show at Tramps New York will open Dec 11th.

Ann Greene Kelly (b. 1988, New York, New York) lives and works in Los Angeles. She received her BFA from the Maryland Institute College of Art, MD in 2010. Kelly has held solo and two-person exhibitions at Chapter NY, New York; Michael Benevento, Los Angeles; AND NOW, Dallas; Station Gallery, Marfa; and White Columns, New York. Recent group exhibitions include Galleria Zero, Milan; Baba Yaga, Hudson; Lubov, New York; Michael Benevento, Los Angeles; Stems Gallery, Brussels; Maisterravalbeuna, Madrid; Kerry Schuss Gallery, New York; AND NOW, Dallas; The Pit, Los Angeles; Derek Eller Gallery, New York; Jack Hanley Gallery, New York; White Flag Projects, St. Louis; and David Zwirner, New York.

Eli Kerr (b. 1988, Regina, Canada) is a curator and writer based in Montreal and Toronto. Since 2014 Kerr has been invested in notions of ‘the alternative’ for its practical affordances as a mode to explore exhibition practices and intimately engage in artists’ ideas. Between 2014-2019 Kerr organized over 20 exhibitions in Montreal through various alternative contexts. In 2016 with Daphné Boxer he co-founded VIE D’ANGE, an experimental exhibition space. His writing has decidedly existed as contributions to artists’ exhibitions and projects. Kerr completed curatorial residencies at International Studio and Curatorial Program (ISCP) New York in 2017, as well as Rupert in Vilnius Lithuania (2018). He was awarded the 2019 Hnatyshyn Foundation-Fogo Island Arts Young Curator Residency for Canadian curators under 30, and is currently completing his graduate studies in Curatorial Studies at the University of Toronto.

Sean MacAlister (b. 1987, Calgary, Canada) lives and works in Calgary. MacAlister ran the exhibition space 67 Steps in Los Angeles (2017-18) and is the showrunner at u’s in Calgary (2019 – current). Solo exhibitions include The Loon, Toronto; Art Metropole, Toronto. Group exhibitions include Carl Louie, Toronto; Balice Hertling, Paris; and Soon.tw, Montreal.

Luzie Meyer (b. 1990, Tübingen, Germany) lives and works in Berlin. Recent film screenings and solo exhibitions include Sweetwater, Berlin; Kunstverein Braunschweig, Braunschweig, Germany; Kölnischer Kunstverein, Cologne; Éclair, Berlin; and Nassauischer Kunstverein Wiesbaden, Wiesbaden. Her poetry, films, and readings have also been exhibited or performed at CACBM Paris; Artist Moving Image Festival, Tramway Glasgow; KW Institute for Contemporary Art, Berlin; Portikus, Frankfurt; and the 2016 Montreal Biennial of Contemporary Art. Meyer studied at the Städelschule, Frankfurt and was a resident at Cité International des Arts, Paris in 2018.

Adam Revington (b. 1990, London, Canada) lives and works in Toronto. Revington co-directs the exhibition space, Carl Louie, Toronto. Recent solo exhibitions include The Loon, Toronto; Main Street, Toronto; Support, London, Ontario. Group exhibitions include: u’s, Calgary; Vie D’ange, Montreal; Macfarlane, Los Angeles; Green River Project, New York.

Louise Sartor (b. 1988, Paris, France) lives and works in Rome. Between 2013 and 2015 Sartor co-directed the project space Shanaynay, Paris. She also runs Cocotte, a nomadic curatorial project. Recent solo and two-person exhibitions include Crèvecoeur, Marseille; Bel Ami, Los Angeles; Galerie der Stadt Schwaz, Schwaz; Crèvecoeur, Paris; and Tonus, Paris. Recent group exhibitions include WallRiss, Fribourg; Freedman Fitzpatrick, Paris; Gwangju Biennale, Palais de Tokyo Pavillon, Gwangju; Le Plateau, FRAC Île de France, Paris; MAMCO, Geneva; Château de Versailles, Palais de Tokyo off-site; François Ghebaly Gallery, Los Angeles; Bel Ami, Los Angeles; Palais de Tokyo off-site, Château de Villeneuve-Lembron; Musée des Beaux-Arts de Dole; Fondation d’entreprise Ricard, Paris; Treignac Projet, Treignac; and Crèvecoeur, Paris.

Ben Schumacher (b. 1985, Kitchener, Canada) lives and works in Berlin. He graduated from New York University in 2011, and has held museum and gallery exhibitions at Sculpture Center, New York; Musée d‘art contemporain de Lyon; Johan Berggren, Malmö; Croy Nielsen, Vienna; Kunstverein Braunschweig, Braunschweig; XYZcollective, Tokyo; and Bortolami, New York.

u is the letter “u” in the word “current” on the website of a now defunct Los Angeles based exhibition space called 67 Steps. In 2019, u opened an exhibition space in Calgary called u’s and in 2020 u will focus on a series of diary entries. Recent collaborative two-person and group exhibitions include: u and Alan Belcher w/ Alan Belcher, The Lily, Calgary; The Lucinda River w/ Naoki Sutter-Shudo, Carl Louie, London; and u, group exhibition, Utopian Visions Art Fair, Portland.

Link: “Showrunners” at Bel Ami

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