Explorations in a meaning making system: Kerry as an entrepreneurial platform and the equine sector as a cluster

This Portfolio is about the changes that can be supported and achieved through transformational education that impacts on personal, professional and organisational levels. Having lived through an era of tremendous change over the second half of the twentieth century and into the twenty-first the author has a great drawing board to contemplate in the context of professional career experience as an engineer. The ability to engage in ‘subject-object’ separation is the means by which Kegan (1994, 2009) explains that transformation takes place and the Essays in this Portfolio aim to support and bring about such change. Exploration of aspects of ‘Kerry’ is the material selected to both challenge support change in the way of knowing from being subject to certain information and knowledge that to being able to consider it more objectively. The task of being able to distance judgement about the economy and economic development of Kerry was facilitated by various readings around of a number of key thinkers including Kegan, Drucker, Porter and Penrose. The central themes of Kerry or the potential for economic development are built into each Essay. Essay One focuses on reflections of Kerry life - on Kerry people within and without Kerry - and events as they affected understandings of how people related to and worked with one another. These reflections formed the basis for transformational goals identified which required a shift from an engineering mindset to encompass an economics-based view. In Essay Two knowledge of economic concepts is developed by exploring the writings of Drucker, Penrose, and Porter with pertinence to considering economic development generally, and for Kerry in particular in the form of an ‘entrepreneurial platform’. The concepts and theories were the basis of explorations presented in Essays Three and Four. Essay Three focuses on Kerry’s potential for economic development give its current economic profile and includes results from interviews with selected businesses. Essay Four is an exercise in the application of Porter’s ‘Cluster’ concept to the equine sector.

The architecture of influence: Paul Rudolph's Art and Architecture Building at Yale

Focussing on Paul Rudolph’s Art & Architecture Building at Yale, this thesis demonstrates how the building synthesises the architect’s attitude to architectural education, urbanism and materiality. It tracks the evolution of the building from its origins – which bear a relationship to Rudolph’s pedagogical ideas – to later moments when its occupants and others reacted to it in a series of ways that could never have been foreseen. The A&A became the epicentre of the university’s counter culture movement before it was ravaged by a fire of undetermined origins. Arguably, it represents the last of its kind in American architecture, a turning point at the threshold of postmodernism. Using an archive that was only made available to researchers in 2009, this is the first study to draw extensively on the research files of the late architectural writer and educator, C. Ray Smith. Smith’s 1981 manuscript about the A&A entitled “The Biography of a Building,” was never published. The associated research files and transcripts of discussions with some thirty interviewees, including Rudolph, provide a previously unavailable wealth of information. Following Smith’s methodology, meetings were recorded with those involved in the A&A including, where possible, some of Smith’s original interviewees. When placed within other significant contexts – the physicality of the building itself as well as the literature which surrounds it – these previously untold accounts provide new perspectives and details, which deepen the understanding of the building and its place within architectural discourse. Issues revealed include the importance of the influence of Louis Kahn’s Yale Art Gallery and Yale’s Collegiate Gothic Campus on the building’s design. Following a tumultuous first fifty years, the A&A remains an integral part of the architectural education of Yale students and, furthermore, constitutes an important didactic tool for all students of architecture.

Visual Disobedience: The Geopolitics of Experimental Art in Central America, 1990-Present

This dissertation centers on the relationship between art and politics in postwar Central America as materialized in the specific issues of racial and gendered violence that derive from the region's geopolitical location and history. It argues that the decade of the 1990s marks a moment of change in the region's cultural infrastructure, both institutionally and conceptually, in which artists seek a new visual language of experimental art practices to articulate and conceptualize a critical understanding of place, experience and knowledge. It posits that visual and conceptual manifestations of violence in Central American performance, conceptual art and installation extend beyond a critique of the state, and beyond the scope of political parties in perpetuating violent circumstances in these countries. It argues that instead artists use experimental practices in art to locate manifestations of racial violence in an historical system of domination and as a legacy of colonialism still witnessed, lived, and learned by multiple subjectivities in the region. In this postwar period artists move beyond the cold-war rhetoric of the previous decades and instead root the current social and political injustices in what Aníbal Quijano calls the `coloniality of power.' Through an engagement of decolonial methodologies, this dissertation challenges the label "political art" in Central America and offers what I call "visual disobedience" as a response to the coloniality of seeing. I posit that visual colonization is yet another aspect of the coloniality of power and indispensable to projects of decolonization. It offers an analysis of various works to show how visual disobedience responds specifically to racial and gender violence and the equally violent colonization of visuality in Mesoamerica. Such geopolitical critiques through art unmask themes specific to life and identity in contemporary Central America, from indigenous genocide, femicide, transnational gangs, to mass imprisonments and a new wave of social cleansing. I propose that Central American artists--beyond an anti-colonial stance--are engaging in visual disobedience so as to construct decolonial epistemologies in art, through art, and as art as decolonial gestures for healing.

Phylotastic! Making tree-of-life knowledge accessible, reusable and convenient.

BACKGROUND: Scientists rarely reuse expert knowledge of phylogeny, in spite of years of effort to assemble a great "Tree of Life" (ToL). A notable exception involves the use of Phylomatic, which provides tools to generate custom phylogenies from a large, pre-computed, expert phylogeny of plant taxa. This suggests great potential for a more generalized system that, starting with a query consisting of a list of any known species, would rectify non-standard names, identify expert phylogenies containing the implicated taxa, prune away unneeded parts, and supply branch lengths and annotations, resulting in a custom phylogeny suited to the user's needs. Such a system could become a sustainable community resource if implemented as a distributed system of loosely coupled parts that interact through clearly defined interfaces. RESULTS: With the aim of building such a "phylotastic" system, the NESCent Hackathons, Interoperability, Phylogenies (HIP) working group recruited 2 dozen scientist-programmers to a weeklong programming hackathon in June 2012. During the hackathon (and a three-month follow-up period), 5 teams produced designs, implementations, documentation, presentations, and tests including: (1) a generalized scheme for integrating components; (2) proof-of-concept pruners and controllers; (3) a meta-API for taxonomic name resolution services; (4) a system for storing, finding, and retrieving phylogenies using semantic web technologies for data exchange, storage, and querying; (5) an innovative new service, DateLife.org, which synthesizes pre-computed, time-calibrated phylogenies to assign ages to nodes; and (6) demonstration projects. These outcomes are accessible via a public code repository (GitHub.com), a website (http://www.phylotastic.org), and a server image. CONCLUSIONS: Approximately 9 person-months of effort (centered on a software development hackathon) resulted in the design and implementation of proof-of-concept software for 4 core phylotastic components, 3 controllers, and 3 end-user demonstration tools. While these products have substantial limitations, they suggest considerable potential for a distributed system that makes phylogenetic knowledge readily accessible in computable form. Widespread use of phylotastic systems will create an electronic marketplace for sharing phylogenetic knowledge that will spur innovation in other areas of the ToL enterprise, such as annotation of sources and methods and third-party methods of quality assessment.

[Book review] Iterations: The New Image

Tony Mann provides a review of the book: Timothy Druckrey (ed.) Iterations: The New Image. MIT Press, (1994), 199pp. ISBN: 0-2620-4143-X. £35.95

Concise introduction to image processing using C++

A Concise Intro to Image Processing using C++ presents state-of-the-art image processing methodology, including current industrial practices for image compression, image de-noising methods based on partial differential equations, and new image compression methods such as fractal image compression and wavelet compression. It includes elementary concepts of image processing and related fundamental tools with coding examples as well as exercises. With a particular emphasis on illustrating fractal and wavelet compression algorithms, the text covers image segmentation, object recognition, and morphology. An accompanying CD-ROM contains code for all algorithms.

Art and Social Work: an intervention programme for transforming society’s vision to include people with early-onset dementia and Alzheimer’s

This paper presents a program centred on arts and education as tools in social work for the inclusion of people with earlyonset dementia and Alzheimer’s. The objective of the programme is to eradicate the stigma and myths associated with the disease.The program is part of the Junta de Castilla y León and the European Social Fund’s ARS Project (Arte y Salud Alzheimer; Alzheimer’s Art & Health). The programme presents a series of evaluated artistic and educational activities that can be undertaken by people in the early stages of Alzheimer’s disease and that can also be used by caregivers and family when working with this group of people, with the aim of improving their wellbeing, self-esteem and quality of life.

Amorous Ex/Incursions: Love in Writings of Badiou, Weil, Fromm, and Barthes

My dissertation explores the enabling contributions of love to the practice of ethico-political and cultural critique. Engaging with the work of Alain Badiou, Simone Weil, Erich Fromm, and Roland Barthes, I examine love in terms of the following modalities: waiting, giving, and looking. I place the aforementioned thinkers in dialogue with selected literary and cinematic texts to explicate and interrogate the meaningful possibilities of their discourse on love. In my chapter on Alain Badiou, I discuss his ontology, which I draw upon heavily to set the theoretical parameters of my study. I also discuss the logic of love that he develops in his philosophy. Speaking to the problem of pre-Evental agency that critics of his work identify, I suggest that waiting as attention, as theorized by Simone Weil, might be the closest form of agency that a pre-Evental (amorous) being can experience. In my discussion of Erich Fromm, I reevaluate his “art of loving” within the constellation of late capitalism. Reading his work through a Lacanian lens, I explore the utility of his prescriptions by examining Chuck Palahniuk’s controversial novel Fight Club. In my chapter on Roland Barthes, I theorize the possibility of cinematic looking that does not depend on the antagonism inherent in the binaries masculine/ feminine and (Gazing) spectator/ (to-be-looked-at) image. Towards this objective, I propose the “amorous look,” a mode of viewing occasioned by cinematic punctual encounters, that I contend is beyond the domain of desire and perversion. I deploy the “amorous look” as I reflect on Aureus Solito’s film Ang Pagdadalaga ni Maximo Olivares (The Blossoming of Maximo Olivares) and its representations of love and waiting.

Superficialidad máxima. Superficie como posibilidad de sentido: imagen y síntoma

En estas páginas se pretende proponer un modo de entender lo visto siempre como adaptación inmanente, deseo y simbolización, esto es, entenderlo como imagen. Se hará conforme a un concepto de ‘superficie’ que prolonga la lectura que hiciera Didi-Huberman del concepto de imagen-síntoma de Aby Warburg, y se apoya en textos de teoría psicoanalítica de la mano de Jacques Lacan, en un intento no de arruinar la capacidad de hermenéutica del observador, sino de entender la búsqueda del sentido y de la esencia –del arte por ejemplo– como la investigación sobre un conflicto histórico de pérdidas, crisis y memoria. ‘Superficie’ en tanto que masa átona y sin sentido donde el ojo siempre visiona formas: ver superficie es que el ojo siempre adapte lo visto, deseando abrirlo visionariamente en su significado para recabar su verdad oculta, pero paradójicamente cerrándolo. Porque mirar imágenes supone siempre perder visión respecto de una supuesta totalidad en la que se darían todos los significados en todas sus ambigüedades y en todas sus posibilidades históricas, pérdida sólo decible en su retorno en tanto que resignificación traumática. Aquí postulamos que la ilusión será creer no que las apariencias son ilusorias, sino que más allá de ellas hay “más realidad”. Este planteamiento no sólo ratifica la posición del sujeto, inserto en una superficie/cuadro dada-a-ver, sino que descubre la brecha constitutiva que le rige y que es un “más en él” que él mismo.

The "Art" of Criticism: Rubén Darío and his Unknown Chronicles of the 1895 Salon for "La Prensa"

With the impetus that has led recent studies on Latin American Modernism to a reevaluation of the sense of cultural fluxes from the modernity capitals to its peripheries –discarding categories such as “influence”, “exotism” and “ivory tower”, stereotypes that have clouded critical understanding of this aesthetics for decades- the present study intends to investigate a persistent practice of the main writers of the movement. This practice is modernist pictorial criticism, a genre that will be approached through the analysis of an unknown corpus: the seven chronicles Rubén Darío published in the journal La Prensa on occasion of the third art exposition of the Ateneo de Buenos Aires. Our hypothesis is that the rare creators of images portrayed by Darío by the end of 1895 work as a visual counterpoint of the eccentric writers’ biographical sketches that a year later will be part of the fundamental volume Los raros (1896). In this early “salon”, which we reproduce in its entirety, accompanied by explanatory notes, the leader of Modernism rehearses and consolidates his transcultural work with the universal tradition –now applied to the Salons (1845-1860) by Charles Baudelaire and to the monumental project by John Ruskin in Modern painters (1843-1860)- to legitimate, from another subgenre of Modernist criticism, a new figure of the critic, in dissent with the Enlightenment model of the writer.

Joined Spectral Trees for Scalable SPIHT-Based Multispectral Image Compression

In this paper, the compression of multispectral images is addressed. Such 3-D data are characterized by a high correlation across the spectral components. The efficiency of the state-of-the-art wavelet-based coder 3-D SPIHT is considered. Although the 3-D SPIHT algorithm provides the obvious way to process a multispectral image as a volumetric block and, consequently, maintain the attractive properties exhibited in 2-D (excellent performance, low complexity, and embeddedness of the bit-stream), its 3-D trees structure is shown to be not adequately suited for 3-D wavelet transformed (DWT) multispectral images. The fact that each parent has eight children in the 3-D structure considerably increases the list of insignificant sets (LIS) and the list of insignificant pixels (LIP) since the partitioning of any set produces eight subsets which will be processed similarly during the sorting pass. Thus, a significant portion from the overall bit-budget is wastedly spent to sort insignificant information. Through an investigation based on results analysis, we demonstrate that a straightforward 2-D SPIHT technique, when suitably adjusted to maintain the rate scalability and carried out in the 3-D DWT domain, overcomes this weakness. In addition, a new SPIHT-based scalable multispectral image compression algorithm is used in the initial iterations to exploit the redundancies within each group of two consecutive spectral bands. Numerical experiments on a number of multispectral images have shown that the proposed scheme provides significant improvements over related works.

SPECK-Based Lossless Multispectral Image Coding

This letter proposes an efficient extension of the set partitioning embedded block (SPECK) algorithm to lossless multispectral image coding. Such a wavelet-based coder is widely referred to in the literature, especially for lossless image coding, and is considered to be one of the most efficient techniques exhibiting very low computational complexity when compared with other state-of-the-art coders. The modification proposed in this letter is simple and provides significant improvement over the conventional SPECK. The key idea is to join each group of two consecutive wavelet-transformed spectral bands during the SPECK coding since they show high similarities with respect to insignificant sets at the same locations. Simulation results, carried out on a number of test images, demonstrate that this grouping procedure considerably saves on the bit budget for encoding the multispectral images.

Rethinking the identity artist-researcher, from the project “Dialogues with women art teachers”

The questioning of identity and the various roles that artists have begun to explore, from the last century, are fundamental aspects in this article. Today it is difficult to speak of the artist as individual isolated innate talent working in his studio, but the various social, political and cultural effects, have moved the artists to become part of the social world and to generate artistic practices that visualize and manifest critically these concerns. To explain these transits deeper, we will share part of the personal artistic practice and reflections, and how it has begun to intertwine with the doctoral research, through the art project “Dialogues with women art teachers”. From the experience as an artist and researcher in training, we will share what this project of artistic inquiry is about and reflect their points with the notion of `artistic practice as research´ developed by Graeme Sullivan (2010, 2011). On the other hand, we will seek to reflect how the identities of `artist´ and `academic´ are in constant dialogue. This art project seeks to show that these identities are not in a fixed position, but rather reflect, from the place of an artist, how through the various shifts in different disciplines, can conceive an identity ‘in-between’. The latter refers to the ability to understand the processes of being a woman, artist and researcher who travels and forms its identity among both disciplines.

Museums and youth: between misunderstanding and disappointment. Youth perceptions and arguments about the cultural consumption of museums in Chile

Young people are less explored in museum audience research; this is a paradoxical situation when considering its strategic location in the cultural reproduction and if considering the high performing cultural consumption compared with other sectors. The phenomenon of museums consumption by young Chileans who are self recognized as public and non-public museums is explored from a qualitative approach. It was conducted with focus groups in the three largest cities in Chile (Santiago, Valparaíso and Concepción). They identify the museum as a cultural institution in full force. However, in questioning museums activity youth reveal the specificity of their cultural matrix. This is referred to a social temporality based on the fragment, the discourse of familiarity, proximity and instead of breaking and critical. They claim a museum aesthetic / historical experience based on pleasure and enjoyment. An overview is proposed to further clarify the youth cultural consumption to characterize more precisely the place of the museum in the set, to design more effective policies museums.

About infamy: the filthiness of Art and its diogenic disease

In this paper, we postulate the direct relationship that exists between waste production and artistic objects; its manufacturing system, consumption, and subsequent waste. What arises in this relationship then, is another character of interest –and that will serve as a reference to compare its modus operandi with the place of artists and the arts–, in this sick world, the Diogenes. The obsessed that lives among the garbage. The absurdity of the conquest of the infinite of the illogical within the logical. The amount clouded and blinded, nothing is enjoyed, nothing is appreciated; the countless abandons its place in the memory –memorable– and there only exists a pathological accumulation, mountains of garbage, desires to hold on to vital faith of the belief of doing Something for themselves. Working just to work and building something that will not last, like a sand castle, accumulation of detritus and dust. A new logic is born, the enjoyment of diseases and emptiness, the destruction of a world without a history. «Artists of the world, abandon! You have nothing to lose but your own professions!» (Kaprow, 2007, p. 37).