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Students gather on the Shadow Lawn for the annual Involvement Fair where they get to peruse the various clubs and organizations available to them. September 14, 2022.
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Agency: NST Communications
Photographer: Aller Beauchamp
Art Director: Barry Whitfield
Industry: Public Service
My primary memories involving tables are of family dinners and having guests to dinner as a kid. The table in this photograph, in particular, reminds me of these dinners because it is my parents’ dining room table. More time has been spent around the table engaged in conversation than eating meals. Our conversations often included retelling of past events, which many times resulted in laughing at each other (with each other) and arguing over what actually happened from our different points of view.
“Having a place at the table” means being included. As I mentioned, many of my experiences at the table were more about conversation than meals, so having a place at the table would also mean being included in the conversation. Being included means a certain amount of importance and credibility have been given to you.
The ladder of LEGO user involvement over time.
The image above was sourced from here:
www.experience-economy.com/2008/04/25/lego%E2%80%99s-part...
and is a clearer version of the slide shown here:
Anything involving a whole pound of Muenster cheese is a good recipe in my book. I loved making these little breads.
The case involving Richard McNally, 62, of West Chester Township and a “sex for hire” service was bound over to the Butler County grand jury, according to West Chester Police Sgt. Matt Tombragel. McNally faces charges of promoting prostitution, obstructing official business and inducing panic. Photo provided by the Butler County Jail.
Beaut brunch situation involving avocado and goats cheese on toast, Turkish poached eggs in chili butter and yogurt, rosemary fries and amaazing raspberry yuzu and mint smoothie which didn't make the frame.
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intervention with Sara&Sara
Bridges (tools to overcome limitations in emotional involvement) was an attempt to build up experimental links between individual, private experiences and group experience, and was an attempt to stand up to indifference and its opposition (hidden, historical, forgotten, potential, dead, longed-for, shameful) to emotional involvement (in private and/or public affairs). Indifference is the first and troublesome perspective which defines attitudes towards Garston (and similar places) from outside – from the perspective of the artist/tourist. The objective of the events was to overcome powerlessness or at least to construct a few abstract and metaphorical (model) bridges towards involvement. The artist explains that Garston with its social and cultural locality, history, topography (old docks, mud, interpenetration of decreasing industry with shyly returning nature), is compared with singleness, individual character and histories of individuals invited to the project. The artist also has the ambition to create yet another link – between the macro and micro scales.
Community members and leaders from the Kingston-Galloway/Orton Park neighborhood meet with their university counterparts at the second Community Connections Leadership Forum.
The forum was designed to foster collaborations between UTSC and Scarborough communities. It brought UTSC faculty, administrators and students together with community leaders to discuss ways of partnering on research and community development projects.
The final work created for the Yoshikaze Residency involves a live mixed reality performance before an audience in Second Life®, in Umeå Sweden and streamed on the web.
An enclosed stage was constructed for the performance. This was populated with a set consisting of a green house, silhouettes of 'real' people and props of reclaimed and reworked Second Life® marketplace items. Behind the house through the trees a live vista of a mountain range (the Rockies) can be seen. Next to the house is a floating Second Life® client window.
During the performance, props within the space and client windows which appear and float through the space are timed to change colour periodically. My representations movements and direction of gaze is choreographed by a controller software external to Second Life® and it is this gaze that is broadcast live to the Second Life® client window. The audience simultaneously see the performers representation and through its point of view as my representation moves through the space panning, tilting and zooming.
The live broadcast however is manipulated. Green within the imagery has been keyed out and replaced by a video of the artist from the 'real' world. As my representation moves around the space, my photographic representation moves around its surfaces as they change to green, flattening the 'virtual' world, looking through its very window into another and breaking its stylised illusion. Sound heard is the artists heart beat from an ultrasound monitor reworked in a number of ways. Image and sound links the constructed space to the artist.
While the space of the performance as a whole exists as a combination of 'real' place, constructed 'virtual' representations of place(s) and physical personal data directly experienced by all present, the client window displays a unique vision of a multi-layered hybrid space, an inner 'virtual' world replete with representations, seen only first hand by my representation.