PLN : The paradigm shift in teacher and learner autonomy

This presentation explains a dozen tools and paradigm shifts that teachers should apply in transformative ways to working with their students, how Web 2.0, tagging, and RSS are crucial to this process, and how teachers can develop their own personal learning networks to practice continuous lifelong learning and 'teacher autonomy' before applying these concepts to students.

Writingmatrix : Una experiencia de la comunidad virtual de inglés (EVC) en la Web 2.0

En una sesión de chat, el profesor Vance Stevens me comenta que tiene en mente un proyecto intercultural utilizando blogs. Así, comenzó a gestarse 'Writingmatrix'

PLN : The paradigm shift in teacher and learner autonomy

This presentation explains a dozen tools and paradigm shifts that teachers should apply in transformative ways to working with their students, how Web 2.0, tagging, and RSS are crucial to this process, and how teachers can develop their own personal learning networks to practice continuous lifelong learning and 'teacher autonomy' before applying these concepts to students.

Writingmatrix : Una experiencia de la comunidad virtual de inglés (EVC) en la Web 2.0

En una sesión de chat, el profesor Vance Stevens me comenta que tiene en mente un proyecto intercultural utilizando blogs. Así, comenzó a gestarse 'Writingmatrix'

PLN : The paradigm shift in teacher and learner autonomy

This presentation explains a dozen tools and paradigm shifts that teachers should apply in transformative ways to working with their students, how Web 2.0, tagging, and RSS are crucial to this process, and how teachers can develop their own personal learning networks to practice continuous lifelong learning and 'teacher autonomy' before applying these concepts to students.

Writingmatrix : Una experiencia de la comunidad virtual de inglés (EVC) en la Web 2.0

En una sesión de chat, el profesor Vance Stevens me comenta que tiene en mente un proyecto intercultural utilizando blogs. Así, comenzó a gestarse 'Writingmatrix'

Peter Alwast talks to Grant Stevens

This interview was published in the catalogue for Peter Alwast's solo exhibition, "Future Perfect", at the Institute of Modern Art, Brisbane, in August 2011.

Grant Stevens : Are You Upset with Me?

Grant Stevens is ambivalent. The young Brisbane artist made his name with a series of computer-generated animated-text videos that explore clichés but seem undecided as to whether they are trivial and vacuous, profound and authentic or somehow both at once. Stevens plunders mass-media sources (the familiar image repertoire dished up by Hollywood, television, pop music and the Internet) as readymade content. He explores this everyday language, sometimes for its ambiguity, but more often for its almost uncanny lucidity. Resembling meditation and relaxation guides, his recent videos beg the question: what made us so anxious? This book examines Stevens' artistic output over the first ten years of his practice. It includes essays by Mark Pennings and Chris Kraus.

Bycatch provisions in the reauthorized Magnuson-Stevens Act

Bycatch can harm marine ecosystems, reduce biodiversity, lead to injury or mortality of protected species, and have severe economic implications for fisheries. On 12 January 2007, President George W. Bush signed the Magnuson-Stevens Fishery Conservation and Management Reauthorization Act of 2006 (MSRA). The MSRA required the U.S. Secretary of Commerce (Secretary) to establish a Bycatch Reduction Engineering Program (BREP) to develop technological devices and other conservation engineering changes designed to minimize bycatch, seabird interactions, bycatch mortality, and post-release mortality in Federally managed fisheries. The MSRA also required the Secretary to identify nations whose vessels are engaged in the bycatch of protected living marine resources (PLMR’s) under specified circumstances and to certify that these nations have 1) adopted regulatory programs for PLMR’s that are comparable to U.S. programs, taking into account different conditions, and 2) established management plans for PLMR’s that assist in the collection of data to support assessments and conservation of these resources. If a nation fails to take sufficient corrective action and does not receive a positive certification, fishing products from that country may be subject to import prohibitions into the United States. The BREP has made significant progress to develop technological devices and other conservation engineering designed to minimize bycatch, including improvements to bycatch reduction devices and turtle excluder devices in Atlantic and Gulf of Mexico trawl fisheries, gillnets in Northeast fisheries, and trawls in Alaska and Pacific Northwest fisheries. In addition, the international provisions of the MSRA have provided an innovative tool through which the United States can address bycatch by foreign nations. However, the inability of the National Marine Fisheries Service to identify nations whose vessels are engaged in the bycatch of PLMR’s to date will require the development of additional approaches to meet this mandate.

The Artpolitics of May Stevens’ work: disrupting the distribution of the sensible

In this paper I look into the life and art of May Stevens, an American working class artist, feminist and committed political activist. I am particularly interested in how Stevens' artwork is inextricably interwoven with her politics, constituting, as I will argue, an assemblage of artpolitics. The discussion draws on Jacques Rancière's analyses of the politics of aesthetics and particularly his notion of ‘the distribution of the sensible’. What I argue is that although Rancière's approach to the politics of aesthetics illuminates an understanding and appreciation of Stevens' art, his idea about the redistribution of the sensible is problematic. It is here that the notion of artpolitics as an assemblage opens up possibilities for a critical project that goes beyond the limitations of Rancière's proposition.

Stevens County GIS Data 2009

UW access only. Questions about spatial data can be directed to uwlib-gis [at] uw [dot] edu, include the URI address below and any information you have.

Receipt from Mitchell, Vance and Co. of New York for gas fixtures

Receipt from Mitchell, Vance and Co. of New York for gas fixtures, Sept. 13, 1876.

Receipt from Mitchell, Vance and Co. of New York for chandelier

Receipt from Mitchell, Vance and Co. of New York for chandelier, Oct. 3, 1876.

Receipt from Mitchell, Vance and Co. for payment on account

Receipt from Mitchell, Vance and Co. for payment on account, Oct. 26, 1876.

"The nothing that is" : An Ethics of Absence Within the Poetry of Wallace Stevens

Cette thèse se concentre sur ce que j'appelle «l’espace négatif» de la représentation dans la poésie de Stevens comme étant un véritable espace d'engagement politique, une interprétation qui se distingue de la plus grande partie de la critique sur Stevens. En suivant les écrits philosophiques d'Emmanuel Levinas, j'affirme que l'emphase que Stevens place sur la représentation de la représentation elle-même ouvre un espace au-delà des limites rigides de l'identité-ce que Levinas appelle « le je [sujet] semblable », permettant un contact authentique avec « l'Autre» ainsi qu’avec le concept de « l'infini ». Bien que Stevens s’est farouchement opposé à la notion Romantique de la sublime transcendance, c’est-à-dire d'un espace censé exister en dehors des limites de l'imagination humaine, il se concerne néanmoins avec l'exploration d'un espace au-delà de l'identité individuelle. Pour Stevens, cependant, « la transcendance» est toujours, nécessairement, liée par les restrictions reconnues du langage humain et de l'imagination, et donc par la réalité du monde perceptible. Toute « transcendance» qui est recherchée ou atteinte, dans la poésie de Stevens ne devrait donc pas - ma thèse affirme - être entendu dans le sens sublime déterminé auparavant par les Romantiques. Une connexion plus appropriée peut plutôt être faite avec la transcendance concrète et immédiate décrit par Lévinas comme le «face à face ». L’attention que Stevens accordent aux notions concrètes et immédiates est souvent exprimé à travers son attention sur les qualités esthétiques de la langue. Sa poésie a en effet la poésie pour sujet, mais pas dans le sens solipsiste qui lui est souvent attribué. En se concentrant sur le processus actif et créateur inhérent à l'écriture et à la lecture de la poésie, Stevens explore la nature de l'Etre lui-même. Je compare cette exploration dans le travail de Stevens à celle du dessinateur, ou de l'artiste, et dans ma conclusion, je suggère les liens entre l'approche d'enquête de Stevens et celle d’artistes visuels contemporains qui se sont également engagés à la figuration du processus créatif. L’ artiste sud-africain William Kentridge est mon exemple principal , en raison de sa conviction que la méthode est intrinsèquement liée à l'engagement politique et social.