1,516 research outputs found
Bad Appendix
No full textJen Crawford's bad appendix may be the most daring book of poetry published anywhere this year. Crawford often writes about everyday, apparently uncomplicated subjects - a walk down the road, a kiss, a patch of grass with sun on it - but her language is dense and mysterious. Reading bad appendix is like walking through a formal garden that gradually becomes a tangled forest
The Edge of Reality: Paul Magee in Conversation with Paul Collis, Jen Crawford and Wayne Knight
No full textThe idea is to compose a whole book by speaking it. Spoken on Barkindji and Nyemba Country by a Barkindji elder, academic and poet (Paul Collis), in dialogue with two white poet-academics (Jen Crawford, Paul Magee) and five local Barkindji, Kunya and Nyemba interlocutors (Gertie Dorigo, Bradley Hardy, Margaret Knight, Wayne Knight, Brian Smith), taped and transcribed, A Book that Opens provides a book-based archive of oral intellectual practice on Country along the Darling / Baarka River in outback New South Wales.Many of the book’s discussions concern care for that Country. For instance, in Chapter 9 curator Bradley Hardy of the Brewarrina Aboriginal Cultural Museum takes us on a tour of the stone Fish Traps at Brewarrina, which are older than the Pyramids (Heritage NSW 2014). Palpable evidence of the industrial aquaculture practised throughout the riverine environments of pre-Conquest Australia, the Fish Traps served to maintain gatherings of up to 5,000 people in their flourishing, and they did so sustainably (Dargin 1976).But the book is also – because of the simple insistence of our work as poets, and the nature of the topics that arise when we chat – about poetry, and in particular about the relation of speaking to the emergence of lines on the page.The question of transcription comes into this. Though it is popularly imagined to be an automatic act, a verbatim rendering of speech in fact makes subjects appear illiterate. A downside of the transcription of Aboriginal English is its tendency to platform just this feature, as if white speakers were not similarly ‘oral’ when conversing. In fact, repetitions, false starts, a-sentential utterances and filler words characterise speech in all registers, whoever the speaker (Halliday 1985). At the same time, oral dialogue at venues like academic conferences constitutes a key driver of new ideas (Jakobson and Pomorska 1988), in ways the printed word simply cannot. Witness how important academics and professionals everywhere found it to maintain oral interactions online in the face of COVID, through Zoom and other such albeit impoverished technologies. We are actually all from oral cultures, however much our ideologies, on the one hand, and our once radical stances on the topic of ‘writing’ on the other, tend to obscure the fact. For all these reasons, Indigenous conversational practices stand side by side with various modes of academic speaking through the length of A Book that Opens, blurring the artificial boundaries we place between them, allowing a new set of differences to emerge.The book accordingly begins – Chapter 1 – in an improvised seminar presentation, given on the 29th of August, 2022 at the University of Canberra. Over those pages we and our various interlocutors on campus consider the strategies we have thought up to bring narrative consistency to A Book that Opens, given that the conversations that course through it are, effectively, being made up on the spot. But nothing is really made up on the spot. The rivers of story and pre-given phrasing from which everyday speech emerges, in European and indigenous cultures alike, contour that presentation, as much as they contour the chapters that follow. Chapter 2, taking to the road, is set on the way from Canberra out to Bourke and captures a set of uncannily postcolonial ghost stories told by the tow truck driver who rescued and then disturbed us, when we broke down past Dubbo. Chapter 3 is the first set on Barkindji Country. It begins at a turning circle, a few metres from the entrance to Gundabooka National Park. WK Knight, a Barkindji / Kunya man and former Parks and Wildlife Cultural Officer, joins us at this point. We discuss why we are standing outside Barkindji ancestral lands, and cannot go in. Chapter 4, which follows immediately below, was composed later that afternoon, when we stopped at an Information Shelter on the red dirt road back to Bourke
Jenepher Crawford taking a jump shot
No full textA photograph of Springfield College Women's basketball player, Jenepher (Jen) Crawford taking a jump shot over the outreached hand of a defender. Behind them are the spectators sitting on bleachers. She is number 21
Loch Computer
No full textPoems by Meg Bateman (in Gaelic with English translation), Robert Crawford (in English), Jen Hadfield (in English), Peter Mackay(in Gaelic with English translation), with photographs by Norman McBeath and Leena Nammar
Jen Delos Reyes
No full textProjects in this collection: Open Engagement
From http://www.jendelosreyes.com/about: Jen Delos Reyes was born in the city of Winnipeg, Manitoba, Canada, and educated first in its local music scene of the mid-90’s infused with the energy of Riot grrrl and DIY, and then in its university. [1] How she works today is rooted in what she learned in her formative years as a show organizer, listener, creator of zines, and band member. Graduate work at the University of Regina made the space possible for her to see her work as an organizer as a key component of her continued creative work.
Jen Delos Reyes is a \u27farmer of sorts and an artist of sorts\u27[2], educator, writer, and radical community arts organizer. She is defiantly optimistic, a friend to all birds, and proponent that our institutions can become tender and vulnerable. Her practice is as much about working with institutions as it is about creating and supporting sustainable artist-led culture.
Delos Reyes worked within Portland State University from 2008-2014 to create the first flexible residency Art and Social Practice MFA program in the United States and devised the curriculum that focused on place, engagement, and dialogue. The flexible residency program allowed for artists embedded in their communities to remain on site throughout their course of study.
She worked with the Portland Art Museum from 2009-14 on a series of programs and integrated systems that allowed artists to rethink what can happen in a museum, and reinvigorate the idea of the museum as a public space.
From 2015-2022 Delos Reyes was the Associate Director of the School of Art & Art History of the University of Illinois, Chicago’s only public research university, where she taught in the departments of Art and Museum and Exhibition Studies.
She was the Director and founder of Open Engagement, an international annual conference on socially engaged art that was active between 2007-2019 and hosted ten conferences in two countries at locations including the Queens Museum in New York. After over a decade of large scale organizing she is now focused on work on the scale of her life.
She is the author of I’m Going to Live the Life I Sing About in My Song: How Artists Make and Live Lives of Meaning, Everything You Ever Wanted to Know About Public Engagement But Were Afraid to Ask, and Defiantly Optimistic: Turning Up in a World on Fire.
Delos Reyes divides her time between Chicago, IL where she is the founder of Garbage Hill Farm, and Ithaca, NY where she is an Associate Professor of Art at Cornell University.
[1] Credit to Saul Alinsky in form, and for the reminder that often the most formative educational experiences happen outside of the classroom.
[2] Grateful to Wendell Berry in general, and for this descriptor I am using.https://pdxscholar.library.pdx.edu/artandsocialpractice_creators/1030/thumbnail.jp
A Personal Journey with Gish Jen, Author
No full textBorn and raised in the United States, Gish Jen has become a leading literary voice of the Chinese-American experience. In this program, Bill Moyers talks with the critically acclaimed writer, whose novels and short stories are known for their humorous and incisive edge. (14 minutes, color
Story Ground:The Anthology
No full textA collection of creative works generated in the Story Ground creative workshops. Edited by Paul Collis and Jen Crawfor
Gish Jen: Vocation of the Writer (Library Resources)
Full text linkA bibliography of resources available through the Holy Cross Libraries which provide additional information related to Gish Jen: Vocation of the Writer a lecture by award-winning author and speaker Gish Jen. The conference is sponsored by the Rev. Michael C. McFarland, S.J. Center for Religion, Ethics and Culture, the Creative Writing Program, and Asian Studies and was held at the College of the Holy Cross on February 27, 2018.https://crossworks.holycross.edu/bibliography_events/1012/thumbnail.jp
Public Support for the Financing of RD&D Activities in New Clean Energy Technologies
Full text linkSeveral market failures, as well as other technical, economic and regulatory barriers to the market penetration of clean energy technologies result in under-investment of private innovators in RD&D. Therefore, public support is needed in order to induce innovations. Policy tools creating market conditions that are attractive for the exploitation of clean technologies (market pull) must be combined with other tools directly supporting the development of these technologies through the provision of public funds (technology push). Thereby, financing policy instruments should be chosen so that their characteristics match with those of the specific innovation process being targeted at the same time that social welfare is maximized. We develop an analytical framework to define the form of public support and to provide recommendations on the optimal choice of both technology push and market pull instruments.clean energy technologies; innovation finance; public support; technology push; market pull
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