1,721,015 research outputs found
A Conversation With Tom Friedman
No full textDonald Trump promised to "Make America Great Again" and yet disarray and decline abound. Over the past 6 months, the President failed to slow the Coronavirus as our allies have done and the economic decline set a record. Still more profoundly, the President and his political allies have undercut the sources of American prosperity and global influence - our cutting edge education and scientific infrastructure along with our success in cultivating a level of social harmony in a diverse country that has eluded our European allies. President Trump's Middle East agreement is historic but received little public acclaim because of the chaos and division that he fueled.
Award-winning author and New York Times columnist Tom Friedman joins us to discuss this and other issues.Jacobs, Lawrence R.. (2020). A Conversation With Tom Friedman. Retrieved from the University Digital Conservancy, https://hdl.handle.net/11299/225953
Tom Friedman
No full text"The work of Tom Friedman (b.1965) captures for many the essence of art at the beginning of a new century. It is modest in scale, imaginative and ecological, painstakingly crafted and 'unheroic'. Friedman suggests a new direction in art: post video, post political/identity issues, post digital media, post ready-mades." -- Publisher's website
Courageous Conversations finale with Tom Friedman
No full textMonday, September 23, 2019
1:00 - 2:30 p.m.
Cowles Auditorium
Humphrey School of Public Affairs
301 19th Avenue South
Minneapolis, MN 55455
All around Minnesota, communities are redefining what it means to have a healthy economy and an engaged workforce. Tom Friedman has been traveling to towns in Minnesota and around the country to wonder why some are prospering, while others are losing population and jobs.
Tom Friedman’s presentation is the culmination of an 18-month event series, traveling around the state to explore how older workers could be part of the solution to our state’s workforce shortages as Baby Boomers retire.
Join us for the series conclusion on September 23rd to hear best practices and ideas for reviving towns in Minnesota.
Featuring:
● New York Times columnist Tom Friedman
● Courageous Conversations series moderator Gary Eichten
● Panelists from Southwest Minnesota, the Iron Range, and the Twin CitiesCenter for the Study of Politics and Governance
McKnight FoundationFriedman, Tom; Eichten, Gary; Jacobs, Lawrence R.; Cimino, Kate; Abdirahman, Sadiq; Ufford, Michelle; Quackenbush, Tom; Wolford, Kate. (2019). Courageous Conversations finale with Tom Friedman. Retrieved from the University Digital Conservancy, https://hdl.handle.net/11299/208598
An Evening with Tom Friedman: "Thank You for Being Late" Discussion and Book Signing
No full textWe have entered an age of dizzying acceleration in technology, economics, climate, and more. How do these changes interact, and how can we cope with them? In his newest book, Tom Friedman returns to his Minnesota childhood, a world where politics worked and joining the middle class was an achievable goal. Today, in contrast, it is harder than ever to be a leader or even “average.” With vision and wit, Friedman offers a blueprint for how to think about our times.Center for the Study of Politics and Governance, Humphrey School of Public Affairs, UMNFriedman, Thomas. (2016). An Evening with Tom Friedman: "Thank You for Being Late" Discussion and Book Signing. Retrieved from the University Digital Conservancy, https://hdl.handle.net/11299/194064
Cover Story piece on Tom Friedman, an op-ed columnist with the New York Times,
No full textCover Story piece on Tom Friedman, an op-ed columnist with the New York Times, who recently won his third Pulitzer Prize, this one for commentary. With references to Richard Russo of Camden, whose Empire Falls won this year\u27s Pulitzer for literature
Circling Modernism: Charles Ray, Tom Friedman, Analia Saban, and Sculpture after 1970
No full textCircling Modernism: Charles Ray, Tom Friedman, Analia Saban, and Sculpture after 1970
In the mid-twentieth century, sculpture underwent a seismic shift. The development of the literal, or minimalist, rubric of art as “what you see is what you see”—which entailed simple, often serial, structures made of industrial materials such as plywood, steel, or bricks installed on the floor without pedestals—created a crisis of autonomy. Turning the lens from the artwork itself to the viewer’s phenomenal experience of it and the surrounding environment, the definition of sculpture was radically cracked open.
This dissertation presents a study of three sculptors working in the wake of the medium’s sea change. Born roughly fifteen years apart, Charles Ray (b. 1953), Tom Friedman (b. 1965), and Analia Saban (b. 1980) were trained in progressively different decades: Ray in the seventies, Friedman in the nineties, and Saban in the aughts. As a result, their work develops out of three specific sculptural responses: postminimal, postmodern, and postmedium, respectively. Nevertheless, my project shows that while Ray, Friedman, and Saban are distinctly of their time, they also share a common sensibility that harks back to earlier tenets of sculpture established during the rise of modernism from 1890 to 1960.
Through the modernist writings of Michael Fried, Rosalind Krauss, and Clement Greenberg—as well as comparisons to modernist works by artists such as David Smith, Auguste Rodin, and Morris Louis—my project connects Ray, Friedman, and Saban to reveal an overarching self-reflexivity in their work. Each chapter pairs an artist with a specific modernist concept: Ray engages space as a medium rather than as an environment; Friedman produces labor-intensive objects that benefit from extended looking and forefronts the act of looking itself; and Saban possesses an unyielding curiosity for materials and a desire to push them to the furthest limit. This attention to space, looking, and material sets Ray, Friedman, and Saban apart from other contemporary sculptors, proving the continual potential of modernism in the current sculptural moment
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Circling Modernism: Charles Ray, Tom Friedman, Analia Saban, and Sculpture after 1970
No full textEMBARGO NOTE: This item is embargoed until 2030-05-01Circling Modernism: Charles Ray, Tom Friedman, Analia Saban, and Sculpture after 1970
In the mid-twentieth century, sculpture underwent a seismic shift. The development of the literal, or minimalist, rubric of art as “what you see is what you see”—which entailed simple, often serial, structures made of industrial materials such as plywood, steel, or bricks installed on the floor without pedestals—created a crisis of autonomy. Turning the lens from the artwork itself to the viewer’s phenomenal experience of it and the surrounding environment, the definition of sculpture was radically cracked open.
This dissertation presents a study of three sculptors working in the wake of the medium’s sea change. Born roughly fifteen years apart, Charles Ray (b. 1953), Tom Friedman (b. 1965), and Analia Saban (b. 1980) were trained in progressively different decades: Ray in the seventies, Friedman in the nineties, and Saban in the aughts. As a result, their work develops out of three specific sculptural responses: postminimal, postmodern, and postmedium, respectively. Nevertheless, my project shows that while Ray, Friedman, and Saban are distinctly of their time, they also share a common sensibility that harks back to earlier tenets of sculpture established during the rise of modernism from 1890 to 1960.
Through the modernist writings of Michael Fried, Rosalind Krauss, and Clement Greenberg—as well as comparisons to modernist works by artists such as David Smith, Auguste Rodin, and Morris Louis—my project connects Ray, Friedman, and Saban to reveal an overarching self-reflexivity in their work. Each chapter pairs an artist with a specific modernist concept: Ray engages space as a medium rather than as an environment; Friedman produces labor-intensive objects that benefit from extended looking and forefronts the act of looking itself; and Saban possesses an unyielding curiosity for materials and a desire to push them to the furthest limit. This attention to space, looking, and material sets Ray, Friedman, and Saban apart from other contemporary sculptors, proving the continual potential of modernism in the current sculptural moment
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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