1,368 research outputs found
Strategic Communications for Influence: Lessons From the Annie E. Casey Foundation and Its KIDS COUNT Initiative
No full text· This article describes how the Annie E. Casey Foundation is using the KIDS COUNT Network in a new way: as a strategic communications tool in its focused efforts toward policy change, broad social change, and improved conditions for vulnerable children and families. An outcome map illustrates links between this strategy and the intended outcomes.
· Case illustrations of KIDS COUNT grantee activities surrounding the release of the 2008 KIDS COUNT Data Book describe the efforts of grantees in six states where the quantity and quality of media coverage surrounding the national data book reflected the kind of coverage that Casey believes will help achieve its desired outcomes.
· Strategic communications approaches such as relationships with journalists, use of locally relevant information, use of locally relevant media advocacy strategies, good preparation, and a solution orientation were present in states demonstrating desirable media coverage.
· Prescribing specific communications tactics matters less than supporting the network’s general capacity to engage in year-round strategic communications approaches to create conditions (e.g., reputations, relationships) that will contribute to successful media advocacy related to a specific event such as the release of the national data book
Congress Street Minutes piece about author Annie Seikonia\u27s day fishing with D
No full textCongress Street Minutes piece about author Annie Seikonia\u27s day fishing with David Snow, the former co-owner of the legendary jazz club Cafe No of Portland. Neither caught anything, but the author, thanks to Snow, came to realize that fishing is about as close as you can get to doing nothing while doing something
Publication COLOURSPACE David Batchelor - Ian Davenport - Lothar Goetz - Jim Lambie - Annie Morris - Fiona Rae
No full textPublication accompanying the exhibition COLOURSPACE at Mucciaccia Gallery, Rome.
published by SilvanaEditoriale, Milan
edited by Dario Cimorelli
text by Catherine Loewe
Lothar Goetz is best known for his dancing polychromatic patterns in the language of geometric abstraction which leap across the boundaries of two and three-dimensional space, sometimes on an epic scale, such as the 2019 commission for the exterior of the Towner Museum in Eastbourne. Goetz relishes the curves and angles that might defeat most artists to create effects that completely transform the spaces they inhabit. The radiating diagonals, lozenge-shapes and intersecting triangles in bright, rather unexpected harlequin hues on the Towner seem draped across it like material. The effect is part wrapped Christo, part dazzle camouflage, in keeping with his desire to alter our perceptions of space and the buildings themselves to reshape our own response to how we see the world. Goetz says, “The works are all about tension or discrepancy between the reality of the space and an abstract idea. I see the space, and I design this abstract painting in my studio, which then changes again completely because of the reality of the space. The moment it’s painted onto a wall, it becomes part of the space - part of reality, never completely abstract. There is a transition between abstraction and the real space; it’s this play that interests me.”
With Goetz’s site-specific commissions, the work might be described as 3D painting, uniquely responding to the architecture and context in which it is placed. The results are intimate dialogues with their environments, “ In an ideal situation, the building tells me what it wants. It feels like a cooperative practice. There is a spirit, there is an aura, a history.” The title of the Towner commission, Dance Diagonal reflects Goetz’s interest in the ephemeral world of movement and performance. The work is a dance of shapes linking stage choreography and painting composition. Goetz has likened his temporary installations to dressing up for a carnival, the element of transience allowing him to play with ideas and materials free from the burden of practical considerations associated with longevity. “Even the pieces I make in the studio—I’m not attached to them as objects. My pleasure and excitement in making them is not about making an object. It’s about the events that the object engenders or enables.”
A pivotal influence is Oskar Schlemmer’s Triadic Ballet, which saw costumed actors transformed into geometrical representations of the human body in what Schlemmer described as a "party of form and colour". In the 1920’s Schlemmer ran the mural-painting and sculpture departments at the Bauhaus School before taking over as Master of Form at the theatre workshop. Goetz’s work is imbued with the ideal visions embedded in the art and design of political and cultural utopias of the early 20th century like the Bauhaus and Constructivism. Although colour is invocative of joy and liberation, for Goetz there remains an underlying political aspect referring to the darker narrative when radical abstraction was labelled as degenerate by the Nazis. Colour theory was at the core of the visionary Bauhaus teachings of Kandinsky, Klee, Itten and Albers who pioneered the holistic practice of art, architecture and design, “Modernism and the Bauhaus probably had the biggest influence on me. When I was a student, I became completely fascinated by the Bauhaus and what I liked so much was that they did not create a distinction between painting, sculpture, theatre and textiles – let’s say the fine arts and the applied arts. They broke these boundaries. I was always a huge fan of Josef and Anni Albers, they created a very positive world and manufactured something that a lot of people could afford – something beautiful for the masses, not just for the few.” In this spirit, Lothar has collaborated with manufacturers to create designs for fabrics, wallpaper and china.
Growing up in a small market town in Bavaria, architecture played a key role in Goetz’s life from trompe l’oeil ceilings in Baroque churches to the hard-edged shapes and geometric layouts of Modernist houses. Many of his drawings represent the floor plans of idealized dwellings for historical or imaginary people, an ongoing series where colour is used to denote functions and atmospheres of domestic spaces. Goetz says, “I’m responding to something: it could be somewhere I’ve been, or a piece of design, could be clothing. Sometimes I see someone in the papers, and I’m taken, and then I go to the studio and I draw a retreat for them and it looks like an abstract drawing, but it is actually an imagined ground plan for a building. I’m not interested in how that really would look like as three-dimensional. In the end it’s a colour composition.” Goetz’s work is the distillation of ideas lifted from the world, in a web of imaginative factors that continually feed into the geometrical arrangement of form and colour. In our times of global pandemic and civil unrest Goetz’s art remind us of the possibilities of both personal and collective utopias, better visions for a new world
Peer Networking and Community Change: Improving Foundation Practice
No full text· This article brings together the Annie E. Casey Foundation’s 15 years of experience with peer networking— examining through two research studies the process of peer networking and its impact, both with community-based and funder groups.
· Peer networking helps people with common interests to exchange information, disseminate good practices, and build a leadership structure for work they do together, such as a community change initiative.
· Casey’s research identified 10 good practices for effective peer networking, as well as 10 challenges that can affect its success; a four-level model was created to provide context for these findings.
· The research indicates that peer networking can have significant impact for communities and in meeting philanthropic goals, but it is costly and must be carefully structured if it is to be successful.
· Casey is working to synthesize its peer networking practices into a more strategic framework, and other foundations might use some of its lessons learned to enhance their own practices in this area
Ethel Kennedy Valentine photograph
No full textThe John and Annie Glenn collection is comprised of photographs, slides, books and ephemera documenting the career of John Glenn as an astronaut and U.S. Senator. The collection also documents his life with his wife Annie Glenn née Castor, family and friends, such as Robert and Ethel Kennedy and fellow astronauts
Chronik und kollektive Autobiographie : Schreibweisen der Gegenwart bei Alexander Kluge, Rainald Goetz und Annie Ernaux
No full textKluges Schreiben ist tief in der Zeitgeschichte verankert, in den großen Erzählungen des 20. Jahrhunderts, die aber heute neu bilanziert werden müssten, sowohl objektiv wie subjektiv, wobei das Subjektive, das wissen wir als Leser Kluges, nicht nur das Was, sondern auch das Wie des Erzählens betrifft. Denn die spezifische Irrealität der Gefühle erlaubt es Kluge, jene Romane umzuerzählen, Geschichte nicht einfach wiederzugeben, sondern sie zu variieren, Fakt und Fiktion, Reales und Irreales zu mischen. Allerdings, und das ist bemerkenswert, verbindet Kluge diesen Materialismus der Gefühle mit der Form der Chronik, die doch zunächst eine objektive Form zu sein scheint. Aber weiß man denn eigentlich wirklich, was eine Chronik ist? Kluge scheint hier verschiedenes zu meinen: das Moment der Gleichzeitigkeit, das Moment der Aufzählung, der Serie der Jahre, die variierende Reichweite (das Jahr der Gleichzeitigkeit, die eigene Lebenszeit, die 2000 Jahre). Welche poetologischen Implikationen haben diese Eigenschaften, welche darstellerischen Potentiale, welche Autor- oder Chronistenfiguren gehen mit ihnen einher? Wie erlaubt es diese Form, historisches und persönliches Leben zu vermitteln, also gewissermaßen 'kollektive Autobiographie' zu schreiben? Um diese Fragen zu erörtern, stelle ich Kluge einen Autor und eine Autorin zur Seite, die sich auf den ersten Blick deutlich von ihm wie auch voneinander unterscheiden: Rainald Goetz und Annie Ernaux
"L'usage de la photo": Ekphrastic and Phototextual Rhethorics in Annie Ernaux's Works
No full textreservedLa tesi si propone di esplorare il contributo di Annie Ernaux al genere letterario dell'autosociobiografia, focalizzandosi sull'abile integrazione di parole e immagini attraverso l'uso dell'ecfrasi e dell'iconotesto. Analizzando opere chiave dell'autrice, il lavoro si immerge nella complessità di come Ernaux utilizzi la fotografia e il testo per narrare la sua storia personale intrecciata con il contesto sociale e storico attraverso il prisma della teoria letteraria e sociologica.
L'iconotesto emerge come elemento centrale della trattazione, si riflette su come l'autrice integri le fotografie nella trama narrativa, fornendo una chiave interpretativa per comprendere la sua singolare metodologia e il modo in cui essa arricchisce il significato dell'autosociobiografia. Ulteriore approfondimento di questa tesi è la considerazione degli adattamenti cinematografici delle opere di Ernaux. Si esplora come il passaggio dalla pagina allo schermo influenzi la fruizione dell'iconotesto e come la dimensione visiva si integri con la parola scritta per creare un'esperienza narrativa unica.The thesis aims to explore Annie Ernaux's contribution to the literary genre of autosociobiography, focusing on the skillful integration of words and images through the use of ekphrasis and iconotext. Analyzing key works of the author, the study delves into the complexity of how Ernaux uses photography and text to narrate her personal story intertwined with the social and historical context through the lens of literary and sociological theory.
The iconotext emerges as a central element of the discussion, reflecting on how the author integrates photographs into the narrative, providing an interpretative key to understanding her unique methodology and how it enriches the meaning of autosociobiography. Further depth in this thesis involves considering the cinematic adaptations of Ernaux's works. It explores how the transition from page to screen influences the experience of the iconotext and how the visual dimension integrates with the written word to create a unique narrative experience
"Not drowning but waving: the preservation of Annie Bonus' 'River-Reeds' (1866)"
No full textAbstract of paper delivered on 7.7.18
Annie Bonus’s River-Reeds are the poems of a Victorian teenager, preserved after more than 150 years by the fact of their having appeared in print. They did so anonymously, in 1866; but the publishers, Joseph Masters, were well aware of the author’s identity. She had been on their books since her 1863 début, with Beatrice: A Tale of the Early Christians. They would not have been surprised by her apparent turn in River-Reeds to nature-writing as a vehicle for devotion: “I have always from childhood entertained a great fancy for finding parables in Nature. It has ever been my special delight to frame for myself stories and allegories out of the voiceless things around me, and to discover in the silent insensate life of flower, stream, or sea, lively images of the mysteries of God’s spiritual kingdom.”
Annie Bonus went on to become, as Anna Kingsford, one of the leading lights in the British Spiritualist movement. The celebrity resulting from that, and the interest which those whom it reached then came to feel in tracing Kingsford’s visionary leanings back to her juvenile poetry, further boosted the survival prospects of River-Reeds. The poems themselves may seem pallid in comparison with what was being simultaneously produced, not only in the same area of London but within sight of Bonus’s house, by Gerard Manley Hopkins (who was also first published in 1863). Hopkins’s bold new poetic departures were beyond the Bonus revealed in River-Reeds: a writer still very much bound and beholden to the Brownings and to Tennyson. However, my paper will argue that this harnessing of other poets’ power did not preclude significant imaginative creation on the part of Bonus herself. Furthermore, she is rehearsing in River-Reeds some of the strategies, stances and positions which would subsequently define her as an adult author
Nancy Appleby, Alberta McDonald, Annie Eherer and Berta Hees
No full textPhotograph - Tea at Anna Eherer's home, Athabasca, Alberta. Left to right: Nancy Appleby, Alberta (Bert) McDonald (Alice's sister), Annie Eherer and Berta Hee
Annie Laurie Williams, author\u27s agent, bust shot
No full textImage shows Annie Laurie Williams, who sells books and stories to movie studios, has found herself a bright new writer.https://mavmatrix.uta.edu/specialcollections_startelegram1950s/16611/thumbnail.jp
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