text:
For the 3-year-old who miraculously survived a gunshot wound to the face in his native Iraq, making his way through life with a white cane and Braille would be a wonderful victory.
Tap, tap, swish, swish.
Holding the white cane in front of him, Muhammed "Hamoody" Hussein detects shapes looming in the perpetual darkness before him — a wagon with toys, other students, a turn in the school hallway and eventually an elevator door. He listens for the difference in sound as his cane hits hollow metal.
"This is the elevator," says Elizabeth Williams, his school aide. "Hear the difference?" Tap, tap, tap, tap.
It's the sound of Hamoody's expanding world — one where blindness could be reduced to a "physical inconvenience" rather than a handicap. For the 3-year-old who miraculously survived a gunshot wound to the face in his native Iraq, making his way through life with a white cane and Braille would be a wonderful victory.
- Power restored after major, hour-long outage in downtown Seattle
- Trump, Clinton win Washington state primary
- Designed in Seattle, this $1 cup could save millions of babies
- Boeing plans hundreds of layoffs in local IT unit
- Walkoff magic! Leonys Martin's dramatic homer in ninth lifts Mariners
Most Read Stories
There have been many smaller — though hardly insignificant — victories in the five months since the blind and disfigured boy was brought here by a nonprofit agency that put him in touch with volunteer doctors who hope to help repair his bullet-ravaged face.
While his medical problems turned out to be far more severe than the doctors first predicted, Hamoody has eased into life with his host family, Randy and Julie Robinett Smith of Snohomish. He attends preschool, is now fluent in English, plays soccer and has made friends. He wears striped Polo shirts, cargo pants, a wool coat and hat and has developed a love for books in Braille.
But many questions remain. Not only is it uncertain when he will return to Iraq, but doctors continue to assess the damage he suffered when his family was ambushed north of Baghdad. Little can be done to restore his sight and doctors have learned that the damage to his sinuses caused him to develop severe sleep apnea, which robs Hamoody of a night's rest and distorts his speech. The first of many surgeries the boy will face will involve bone grafts to correct the apnea.
Between the poking and prodding of doctors, Hamoody is enjoying and growing into a life that few children in his native Iraq can know.
In September, Hamoody started a special preschool for disabled children at the Snohomish School District's Central Primary Center, joining eight other students in a half-day program designed to improve mobility skills, develop independence and smooth the way for academics.
Each school day, Hamoody bounds from his bed in the Smiths' large Snohomish home, with the family poodles, Tiffany and Roger, chasing after him. "I go school. I go school," he excitedly tells his foster mother.
By 8:15, Smith helps him on with the red backpack, which is almost as big as he is, and they walk to the end of the driveway to catch the yellow school bus. He's so small he must be strapped into a child's car seat.
Williams, an aide assigned to him, meets Hamoody at the school, unbuckles him and stands back. She coaches him on how to use his white cane to find the way down the aisle and the steep stairs of the bus.
"Swish, swish, tap, tap," she says, reminding him how to use it. "Keep the cane in front of you. You don't need to know what's in back."
Education has widened the boundaries of Hamoody's world. Not only has he met other children, but he's learning to navigate independently by maximizing his other abilities — hearing and touch — aided by his cane, a sort of antenna that feels out the world before him.
"Follow the trail," Williams tells him as he enters the school. He places a hand on a wall and follows it down the hallway instead of wandering around by himself.
When he reaches his classroom, the "trail" becomes the edge of a rug. Williams tells Hamoody to feel it with his foot as he walks to the table where one of several of his teachers wait to help him with Braille.
When children learn to use a cane, become familiar with Braille and a variety of other concepts early in life, it makes it easier for them to focus on academics when they reach kindergarten age, says Michelle Cormier, one of Hamoody's teachers.
In a corner, Cormier brings out a book in Braille with various objects designed to develop Hamoody's tactile senses, from plastic pretzels to scratchy sandpaper. Hamoody — a traditional nickname for Muhammed — was excited when he realized that the Braille dots in the books were words. At this point the goal is to get him used to the concept of Braille as a reading method, and to work on hand strength and using his fingers to feel things.
"He's just so smart. He picks up on concepts so fast," Cormier says.
Hamoody was brought to the Seattle area in May by Healing the Children, a nonprofit that matches hospitals and doctors willing to donate their services with children in need of medical care not available where they live. His uncle Adil Joda had contacted the agency, hoping to find a way to restore the little boy's sight.
Hamoody, who is Shiite, was shot in the face by Sunni militants while riding in a car outside Baghdad in May 2005. An uncle died in the attack; his mother and another relative were injured. There was only so much that could be done for him at Iraqi hospitals. The bullet had shattered his right eye and damaged the left one as well. A thick scar left mounds of flesh on his forehead where smooth skin should be, and an indentation instead of a nose.
After being examined by eye surgeons in Seattle, there appears that little can be done to restore his vision, but there is still much that can be done to rebuild his damaged face and sinuses. Later this month, he is scheduled to meet with a specialist. His visa — which expires in December — can be renewed if necessary to allow him to complete his medical care.
Just how long it will take no one knows because each visit to a physician results in the discovery of a new medical problem.
Yet his impish smile, his halo of brown hair and precocious personality win him instant friends who rave about his brightness, sense of humor and indomitable spirit.
"He wants to drive the car," says Smith, who with her husband, Randy, has cared for Hamoody since his arrival. At that time, he spoke no English. Now he's forgotten his Arabic. His quick ability to learn English opened worlds of communication and closeness with the Smiths. "Are you happy? Are you proud of me? Do you love me?" he asks Smith. "You're ridiculous!" he adds, parroting the phrases they often use with him.
He's also grown, has adapted to American food — and having plenty of it — and to being safe from bombs and gunfire.
"He talks about what happened to him," Smith says. He mimics the sound of gunfire and tells her that after the shooting it was dark. "I was all covered in water [blood] and I went up to heaven and came back down," he says.
"He was dying," she explains.
His days are now filled with happier things — playing with his best friend, soccer with a team of other disabled kids and the continuing classroom adventures. "I think he's forgetting what happened," Smith says. "And that's good."
During Hamoody's reprieve from the violence in Iraq, the independent living skills he's learning are critical. What education he receives here may be all he will ever get.
When he returns, he will be unable to attend school — there are no facilities for training blind students — will likely not be able to hold a job and will be considered an outcast.
"The lack of training in this child's home country will be difficult to overcome," says Mark Riccobono, director of education for the National Federation of the Blind. "But the society's view of blindness is more difficult to overcome. This means that at every turn the child will get the message that blindness is a barrier to his success."
That makes this early education more important than ever, he says.
"Early use of the long white cane is setting this young man on the road to success from step one. The long white cane is the key to independent movement and travel," Riccobono says.
With early training and technological advances in computers, cellphones and other devices, there is no reason blindness should be considered anything more than a "physical inconvenience," Riccobono says.
When it's time for Hamoody to return to Iraq, it will be a difficult transition not only for him, but for all who have come to love him.
"We talk a lot about [him] going back to Iraq," Smith says. "I tell him to remember that no matter what anyone says to him to always remember that auntie says he's smart and handsome."
Hamoody then picks up Smith's umbrella and begins using it as a cane: tap, tap, tap, swish, swish, tap, tap — exploring his new world.
Nancy Bartley: 206-464-8522 or email@example.com


text:
You are a fan of linkshell three ? Come to discover the best forums linkshell three on the internet and share your experience with a community fan of linkshell three . You can also build a forum linkshell three and create your online discussion.
Forum gratis : Free forum : sky abyssea linkshell phoenix server. Free forum : thegrazzhopperzz

subset: commoncrawl


text:
Shrine Gift Shop welcomes you to shop its online store.
April 30 - May 31, 2016
Our Lady of Consolation's Feast Day is May 25th.
We are celebrating the entire month of May honoring Our Lady of Consolation with a special 25% OFF sale. All of our official in-stock Our Lady of Consolation statues and rosaries will be reduced for this once a year sale.
The OLC staff thanks you for shopping on the online store. Your patronage is appreciated.


text:
Sign in now to view, license and download this image or contact us to see this image without a watermark. Want to embed this image on a non-commercial website or blog? Learn more.
Similar imagesView all
- Animal,
- Animal Body Part,
- Animal Head,
- Animal Themes,
- Close-up,
- Color Image,
- Colored Background,
- Cute,
- Day,
- Dog,
- Domestic Animals,
- Exhaustion,
- French Bulldog,
- Full Length,
- Indoors,
- No People,
- One Animal,
- Pets,
- Photography,
- Sitting,
- Small,
- Studio Shot,
- Tile,
- Tiled Floor,
- Vertical,
- White Color,
- Yawning,
French Bulldog Indoors Yawning Stock PhotoAnimal,Animal Body Part,Animal Head,Animal Themes,Close-up,Color Image,Colored Background,Cute,Day,Dog,Domestic Animals,Exhaustion,French Bulldog,Full Length,Indoors,No People,One Animal,Pets,Photography,Sitting,Small,Studio Shot,Tile,Tiled Floor,Vertical,White Color,YawningPhotographer Matthias ClamerCollection: The Image Bank Latin name for all domestic dogs is Canis familiaris.


text:
Complete Digestion by Enzyme Science may work to support optimal digestive function in several ways.
First' this vegetarian supplement provides a wide array of enzymes that could potentially aid in digestion. For example' cellulase may play a key role in breaking down a plant fiber known as cellulose' while pectase might work to break down pectin (a complex carbohydrate found in fruits).
In addition' Enzyme Science has included a unique blend of nutrients called ATPro™ in every capsule of Complete Digestion. Markedly' ATPro™ may work to encourage the production of ATP (adenosine-5'-triphosphate)' which is a molecule that is involved in nutrient absorption.
Finally' Complete Digestion contains probiotic strains like lactobacillus acidophilus' lactobacillus rhamnosus' and bacillus subtilis that may help address certain symptoms associated with minor diarrhea or irritable bowel syndrome (IBS).
At the recommended serving size of one capsule with every meal' every 30-capsule bottle of Enzyme Science's Complete Digestion should last for 10 days.
These statements have not been evaluated by the Food and Drug Administration (FDA). These products are not meant to diagnose' treat or cure any disease or medical condition. Please consult your doctor before starting any exercise or nutritional supplement program or before using these or any product during pregnancy or if you have a serious medical condition.
Serving Size: 1 Capsule
Servings Per Container: 90
Amount Per Serving………. %DV
Amylase Thera-blend… 11'500 DU………. **
Protease Thera-blend… 45'000 HUT………. **
Glucoamylase… 25 AGU………. **
ATPro Blend… 25 mg………. **
Magnesium Citrate.......... **
Alpha Lipoic Acid.......... **
CoQ10.......... **
Lipase Thera-blend... 1'500 FCCFIP.......... **
Lactase... 800 ALU.......... **
Alpha Galactosidase... 100 GalU.......... **
Cellulase Thera-blend... 500 CU......... **
Maltase... 100 DP.......... **
Invertase... 305 SU.......... **
Pectinase w/Phytase... 75 Endo-PGU.......... **
Xylanase... 100 XU.......... **
Probiotics Blend... 125 Million CFU.......... **
** Daily Value not established
Other Ingredients: 100% Vegetarian Capsule (cellulose' water)
Contains No: Dairy' preservatives' salt' sucrose' soy' wheat' yeast' nuts' corn' gluten' casein' potato' rice' artificial colors or flavors.
Take 1 capsule per meal (first bite of food). More may be taken as recommended by your healthcare practitioner.
Consult a healthcare professional before use.
Allergy / Dietary Needs
- Artificial Color Free
- Artificial Flavor Free
- Casein Free
- Corn Free
- Dairy Free
- Gluten Free
- Made in the USA
- Nuts Free
- Preservative Free
- Rice Free
- Salt Free
- Soy Free
- Sucrose Free
- Wheat Free
- Yeast Free
- Vegetarian Capsules
Ratings & ReviewsReview This Item Be the first to review this item.
Questions About This ItemAsk a Question
Please ask any questions you may have about this specific product in the field below.
Your question(s) and our corresponding answer(s) will not be confidential and will be posted publically on this specific product page.
Additionally, PureFormulas is unable to directly recommend products in relation to specific health conditions. Please contact your trusted healthcare practitioner for direct product recommendations.
If you have any general questions regarding orders or our policies and programs, please contact our Customer Happiness Team @ 1.800.383.6008
If you are pregnant, nursing, taking any medications or have any medical condition, consult your doctor before use. Your healthcare professional is the best source for guidance before beginning an exercise or nutritional supplement program.


text:
|13. Juni 2000
|7. Okt. 1997
|9. Jan. 1992
|Robert M. Engelke, Kevin A. Colwell, Ronald W. Schultz, Troy Vitek
|Ursprünglich Bevollmächtigter
|Ultratec, Inc.
|Zitat exportieren
|BiBTeX, EndNote, RefMan
|Patentzitate (5), Referenziert von (51), Klassifizierungen (6), Juristische Ereignisse (5)
|Externe Links: USPTO, USPTO-Zuordnung, Espacenet
This application is based on Provisional application 60/028,927 filed Oct. 8, 1996 entitled In-Line Text Display System as hereby incorporated by reference. This application is further a continuation-in-part on a continuation-in-part of U.S. Pat. 5,724,405 entitled Text Enhanced Telephony issued Mar. 3, 1998 which is a continuation-in-part of Ser. No. 842,943, Jan. 9, 1992, U.S. Pat. No. 5,351,288, Ser. No. 129,894, Sep. 30, 1993, and Ser. No. 155,061, Nov. 19, 1993, said Ser. No. 842,943 is a continuation-in-part of Ser. No. 616,720, Nov. 16, 1990, U.S. Pat. No. 5,081,673, which is a continuation of Ser. No. 255,357, Oct. 11, 1988, abandoned, said Ser. No. 129,894 and Ser. No. 155,061, each is a continuation-in-part of Ser. No. 886,552, May 20, 1992, abandoned.
The present invention relates to telephone communication in general and relates in particular, to assisted telephone communication for persons having attenuated hearing capability.
Much of modern personal communication, both in social and business environments, takes place through the telephone. Yet, there are many persons in society who have attenuated hearing capability and are thus disabled or incapable or handicapped in using the voice telephone system commonly in use today. For person who are deaf, there has for some time been a system of communication through the telephone system which has been used by the deaf community. That system makes use of devices known as telecommunication devices for the deaf (TDDs), also known as text telephones (TTYs). Current TDDs are electronic devices consisting of a keyboard and a display and a modem, to acoustically or directly couple to a telephone line, which permit the user to type characters into their keyboard, with the characters then be encoded and transmitted over the telephone line to be displayed on the display of a communicating or remote TDD.
Current TDD communication is conducted in a code, known as Baudot or Baudot/Weitbrecht, which evolved historically at a time when many telecommunication devices for the deaf were based on mechanical or electromechanical devices rather than the current generation of electronic devices. Accordingly, the Baudot protocol was constructed for a set of constraints which are no longer relevant to present day devices. The original Baudot protocol was a uni-directional, or simplex, system of communication conducted at 45.5 baud. The normal Baudot character set consists of a 5 bit characters, and the system is a bi-tonal system based on 1400 and 1800 hertz tones. The protocol does not utilize a carrier when no signals are being sent, and because of the protocol for character transmission, which includes a start bit and at least 11/2 stop bits, it is only possible to send approximately 6 characters per second, one way, during conventional Baudot communications.
In spite of its limitations, the Baudot communication system, and TDDs, are widely used within the community of persons who are deaf. In addition, systems have been implemented to permit users of the TDD system to communication with hearing people. This is done through the use of a so-called "relay." A relay, as used herein, refers to a system of voice to TDD communication which uses an operator referred to as a call assistant who serves as an intermediate between a hearing user on one telephone line and a deaf TDD user on a second telephone line. The call assistant wears a headset to communicate by voice with the hearing user and also has access to a TDD so that the call assistant can communicate with the deaf user via the TDD. Thus, the call assistant serves as an intermediary between the deaf person and the hearing person so as to, in effect, translate from voice to digital electronic forms of communication.
While the TDD communication system has a constituency within the deaf community, it is not widely used by persons who are deficient in hearing capability, but would not describe themselves as deaf. Many otherwise fully able persons, particularly elderly ones, suffer attenuated hearing capability due to aging, disease, or other traumatic condition. Many persons who have some degree of hearing capability left do not consider themselves "rdeaf," and therefore will tend not to avail themselves of specialized equipment intended for the deaf community. If a person has spent much of his or her life engaged in oral communication using the spoken word in the telephone, it is difficult to accept that telephonic communication may become difficult or impractical as one's hearing declines in efficiency. No system has heretofore existed which is capable of assisting the person who has significant hearing loss, in communication over the telephone in a manner which emulates, to the fullest extent possible, the normal telephonic communication patterns of hearing people.
The present invention is summarized in that text enhanced telephonic capabilities are made available to persons with standard telephone equipment who have a hearing loss. The capabilities are provided with minimal additional equipment by using existing components of the standard telephone such as the handset or the PBX interface circuitry.
Other objects, advantages, and features of the present invention will become apparent from the following specification when taken in conjunction with the accompanying drawings.
FIG. 1 is a perspective view of a unified TDD/telephone per the present invention;
FIG. 2 is a schematic block diagram of the major components of the unified TDD/telephone of FIG. 1 showing the connections of an internal microprocessor to the various components of the device of FIG. 1 including a mode switch for routing text and voice;
FIG. 3 is a state chart showing the states of a program executed by the microprocessor of FIG. 2 in determining the appropriate state of the switch of FIG. 2;
FIG. 4 is a fragmentary view of a schematic block diagram similar to that of FIG. 2 showing an alternative embodiment incorporating a jack connecting a TDD system to a standard telephone to provide text blocking in that telephone; and
FIG. 5 is a fragmentary view of a schematic block diagram similar to that of FIGS. 2 and 4 showing a third alternative embodiment incorporating a first input jack connecting to a standard telephone at the handset jack and a second output jack connecting to a standard telephone handset to provide text blocking in that handset such as may be useful in PBX type systems.
Referring to FIG. 1, a TDD unit 10 having unified TDD/telephone features has a housing 12 exposing at its rearmost upper surface, a cradle 14 supporting a conventional telephone handset 16 having a mouthpiece microphone 17 and an earpiece speaker 11 as is well understood in the art. The microphone 17 and speaker 11 of the handset 16 are connected by a flexible electrical cable 18 to circuitry within the housing 12 as will be described below. When the handset 16 is in place in the cradle 14, it depresses a cradle switch 15 providing an electrical signal indicating that the handset 16 is in place in the cradle 14. The term "handset", as used herein, should be considered to embrace not only traditional handsets intended to be held next to the head but also their equivalent structure such as wearable microphone/headphone combinations and stationary microphone speaker sets such as are found in speaker phones and the like.
A standard QWERTY keyboard 22 formed of rows and columns of electrical pushbutton keys is presented at the frontmost upper surface of the housing 12. Three rows of the keyboard 22 comprise letters. A fourth, top row 24 comprises the Arabic numerals from 0 to 9, much in the fashion of a standard typewriter or computer keyboard.
Between the cradle 14 and the keyboard 22 and tipped upward and forward so as to be visible to a user of a keyboard 22 is a two-line liquid crystal display LCD 20 suitable for the display of both numbers and letters.
Special "menu", "dial", and "on/off" and cursor pushbuttons 28, 26, 27 and 25 are positioned to the side of the keyboard 22. The TDD 10 is connected to the telephone lines 30 by means of a standard telephone jack (not visible in FIG. 1) at the rear of the housing 12.
When the TDD 10 is used as a telephone, the handset 16 may be removed from the cradle 14 and voice conversations undertaken. When used as a TDD, received text is displayed on the display 20 and responses are typed by the user on keyboard 22. The display may also display certain status messages as will be described and upon pressing of the menu key 28, provides a set of menus on the display 20 allowing the user to access advanced features, such as a call timer, by use of the cursor keys 25 which maneuver a cursor on the display 20 to select the desired feature.
Dialing of the TDD 10 in either case is accomplished by the use of the numeric key row 24 which has imprinted above each number the three letter series found on a standard telephone for use in cases where the telephone number includes letters. Distinguishing between the use of the upper keyboard row 24 for dialing or for entering numeric characters is done by a dialing key 26 which may be activated by the user and which displays a dialing symbol on the display 20 to indicate that the numeric key row 24 is being used for dialing rather than TDD characters to be transmitted.
Referring now to FIGS. 1 and 2, the display 20 and keyboard 22 are connected with a microprocessor 32 which receives digital data from the keyboard 22 and which provides data to be displayed on the display 20 as is well understood in the art. Microprocessor 32 also receives electrical signals from the menu key 28, the dialing key 26, the on/off key 27 and the cradle switch 15.
The microprocessor 32 may receive data from the telephone lines 30. Telephone lines 30 first pass through a two-to-four (2-4) line converter 31 which converts the standard two line telephone lines 30 to its four line equivalent 30' having a separate received signal line 40, along which signals may be received by the TDD 10, and a separate transmitted signal line 42 along which signals may be transmitted from the TDD 10 prior to passing out of the housing 12. The transmitted signal line 42 and the received signal line 40 next pass through a relay 41 which disconnects both from the TDD 10 when the TDD 10 is off, i.e., no call is in progress.
The microprocessor receives signals from the received signal line 40, after they pass through a demodulator 33 which converts the Baudot tones to voltage levels readable by the microprocessor 32. The output of the demodulator 33 provides a signal that indicates to the microprocessor whether there is text present on the telephone lines 30, and also allow the microprocessor to decode any such text according to conventional methods. Generally, text may be distinguished from voice by its spectral content, the uninterrupted duration of the signal within a particular spectral band, and in the case of text, whether the decoded tones map to legal characters under the specific data communications protocol in use.
The microprocessor 32 may also transmit data on the telephone lines 30 via a modulator 34 which converts voltage levels produced by the microprocessor 32 to Baudot tones to be transmitted to the telephone lines 30 via transmitted signal line 42. The modulator 34 may provide not only Baudot tones needed for text communication over the telephone lines 30 but also the dual tone multi-frequency modulation (DTMF) required to dial a telephone.
A switch unit 36 provides two independent single pole, single throw switches A and B as implemented in solid state circuitry well known in the art. The positions of each switch A and B may be independently moved between an open and closed position by switch controls unit 37 which receives commands from the microprocessor 32. When closed, switch A connects the received signal line 40 directly to the speaker 11. When open, the switch A provides a high impedance path between the received signal line 40 and the speaker 11 muting the sound received by the user but providing some residual volume as has been found useful as a audible cue to the user indicating the receipt of data and the functioning of the handset.
Likewise, when closed, switch B connects the transmitted signal line 42 directly to the microphone 17. When open, the switch B provides a high impedance path between the transmitted signal line 42 and the microphone.
Each switch A and B may be operated together or separately by means of switch control unit 37 receiving a signal from microprocessor 32. Thus, it will be apparent that under the control of microprocessor 32, voice signals may be independently switched between telephone lines 30, the speaker 11, and the microphone 17.
Referring now to FIGS. 2 and 3, the microprocessor 32 includes a program for controlling the switch unit 36 according to the state of the TDD 10 in one of four modes: OFF, VOICE MODE, TEXT MODE, and VCO MODE (voice carry-over). The position of the switches A and B are changed according to the particular mode as indicated in Table I.
TABLE 1______________________________________Mode Switch A Switch B______________________________________OFF NA NAVOICE MODE closed closedTEXT MODE open openVCO MODE switched switched______________________________________
The first mode is the OFF mode 90 where the relay 41 is open and the TDD 10 is disconnected entirely from the telephone line 30. The TDD 10 starts in this mode when it is first powered-up or when it is idle prior to receiving the telephone call or after a call is terminated. Switches A and B arbitrarily remain in a closed position.
The TDD 10 moves from the OFF mode 90 to a VOICE MODE 100 when the handset is lifted as indicated by state change arrow 92. In the VOICE MODE 100, the switch unit 36 is simply configured to connect the handset 16 to the telephone lines 30 for telephone operation. Thus, if one is intending to make a voice telephone call or is answering the telephone unaware of whether the source of the incoming call is a TDD or a telephone, the TDD 10 will always move first to the VOICE MODE 100. Replacing the handset in the VOICE mode 100 causes the TDD 10 to move to the OFF mode, hanging up the telephone as indicated by state change arrow 96.
If the on/off key 27 is pressed in VOICE MODE 100, the switch moves to VCO mode 106 indicated by state change arrow 105. This latter situation may arise when a hearing user detects that a newly received call is a TDD call based on the presence of a limited number of Baudot tones.
If the call is a voice call, the TDD 10 will remain in VOICE MODE 100 and the call may be answered. If however, a predetermined amount of incoming text is detected, per a text detector circuit implemented in the programming of the microprocessor 32, the TDD 10 will switch to VCO MODE 106 as indicated by that state change 105. Thus, no special training is required for a hearing individual to use the TDD/telephone as a telephone in most situations. VOICE mode 100 can be returned to by pressing the shift key and the on/off key 27.
In contrast, if one wishes to make a TDD call, the on/off key 27 may be pressed without removing the handset 16, thereby causing the TDD 10 to move from the OFF mode 90 to TEXT MODE 104 as indicated by state change arrow 98. Pressing the shift key (not shown) and the on/off key 27 together returns on to the OFF mode 90 terminating the call. This combination of key strokes prevents accidental hanging up of the TDD 10 while typing.
Only in TEXT MODE 104 will an automatic TDD identification signal be transmitted by the TDD 10 for use or example by emergency services after the dialing of a umber. Such an automatic identification signal serves to identify the TDD 10 as a TDD to remote devices having certain call recognizing circuitry and thus to eliminate time wasted determining the call type. In VOICE mode 100, where the TDD/telephone is presumably calling a voice telephone, an automatic identification signal, which is in the form of a text signal, would be inappropriate and irritating. The automatic identification signal is generated by the microprocessor 32 and may consist of one or more text characters recalled from the microprocessor's memory.
The VCO MODE 106 may also be reached from the TEXT MODE 104 by lifting the handset 16, after TEXT MODE 104 has been entered, as indicated by state change arrow 110. Faint Baudot tones will be heard on the handset by the hearing individual indicating that a TDD message is still incoming, if this in fact is the case. The experienced user will be able to use the TDD 10 in this mode with a voice relay as has previously been described, as a result of a switching sequence performed by switch unit 36 to be described in more detail below. Replacing the handset, while in VCO mode 106 returns the user to the TEXT mode 104, as indicated by state change arrow 108.
The VCO MODE 106 is useful both for hearing individuals who are speech impaired and wish to use a voice carry over relay service as has been described or for deaf individuals that wish to use a relay service permitting them to speak directly to the opposite party yet to receive responses on the display 20.
The name of the current mode is displayed on the display 20 by microprocessor 32.
Referring to TABLE 2 in the VCO mode, the handset 16 and more specifically, the microphone 17 and speaker 11 of the handset 16 are switchable depending on the presence of text data on the telephone lines 30 and the source of that data as either external, from a remote TDD connected on the telephone lines 30, or internal from the keyboard 22.
TABLE 2______________________________________ Switch B Switch A______________________________________Text Present open after three open after three(external source) characters in 1.5 characters in 1.5 seconds secondsExternal Source close after 0.3 close after 2.5Text No Longer seconds secondsPresentText Present open immediately open iminediately(internal source)Internal Source close after 0.3 close after 2.5Text Non Longer seconds secondsPresent______________________________________
The voice frequency band and the text frequency band overlap and thus the demodulator 33 used by the microprocessor 32 to develop a text present signal will occasionally indicate apparent Baudot tones when no text is present on telephone lines 30. Even with further processing, occasional false text detection may disrupt conversation on the TDD/telephone in VOICE MODE 100. This possibility is eliminated by delaying any opening of the switches A and B, to mute text data and prevent corruption of text data by sounds received by microphone 17, unless three characters have been received in a rolling window of 1.5 seconds. Shorter detection thresholds could be used, however, it has been determined that it is preferable for intelligibility to admit some text signals to the handset 16 rather than prematurely truncate voice communications over the handset 16.
This text detection problem only occurs if the source of the text is external to the TDD 10. If the source of the text is internal, i.e., from the keyboard 22, then detection may be made immediately by detecting keyboard signals instead of text on the telephone lines 30 and there is no delay in the opening of switches A and B.
The closing of the switches A and B can also be disruptive. Such switching can cause clicks in the handset speaker 11 and changes in the background noise level which may be distracting. For this reason and given that the transmission of text occurs at discrete and separated intervals, it is necessary, in any case, to delay the closing of the switches after the last text character has been detected to avoid needless switching activity. Thus, the re-closing of switches A and B is delayed in both the case of internal and external source text.
Nevertheless, it has been determined that a user of the TDD 10, watching the text message on the display 20, may be able to anticipate the conclusion of a message in much less time that this delay or may wish to respond more quickly that this delay would allow. Thus, the microphone 17 and speaker 11 are independently switched with the microphone switch B closed earlier to allow rapid response, but the speaker switch A closed later to prevent the disruptive clicking. Implicit in this design is the recognition that serious corruption of text data by the microphone signal produced by the user's response is unlikely in most calling situations.
Referring now to FIGS. 2 and 4, in an alternative embodiment, a solid-state switch unit 36 designated A' may be placed to connect with the telephone line 30 at one side and to communicate the signals on the telephone line 30 to a standard telephone jack 200 when switch A' is closed. A standard telephone (not shown) may be plugged in to the jack 200. Switch A' will typically switch both lines of the telephone line 30 and thus may be a double pole switch but in other respects is similar to switches 36 described above.
Switch A' receives a switch control signal from switch control 37 identical to that previously described for controlling switch A attached to the speaker 11 within the handset 16 (shown in FIG. 2). Thus when text is detected on either the telephone line 30 or as initiated from the keyboard 24 (also shown in FIG. 2), switch A' is opened, disconnecting the standard telephone that may be plugged into jack 200. The effect of this additional switch A' is to provide text blocking in a standard telephone when plugged into the TDD 10' of this embodiment.
It will be recognized that by providing jack 200, the handset 16 associated with the TDD 10' may be dispensed with entirely and the handset of the telephone connected to jack 200 may be used instead. Similarly, the keyboard 24 (shown in FIG. 2) may optionally be eliminated so that the TDD unit 10' becomes a simple display-only unit that may accompany a standard telephone.
Referring now to FIG. 5, in certain situations, and in particular with private branch exchange systems (PBX systems), such as are used in many businesses, the signal on the telephone line 30 will be encoded in a possibly proprietary digital coding scheme. In order to avoid designing many different products for each PBX system and to further avoid the need to make a direct connection to the telephone line 30 in an alternative embodiment, a second jack 210 may be placed on a TDD unit 10" for receiving a cable 212 that may be attached to the handset-out jack on a PBX-style telephone (not shown) that normally receives the handset cord. The signals on cable 212 will be those normally found after the two-to-four line converter 31 described with respect to FIG. 2 and well known in the art. The received signal line 40 and transmitted signal line 42 normally found after the two-to-four line converter 31, in this case, come directly from the jack 210 and may received by the switches A and B previously described.
The other sides of switches A and B are connected to yet another jack 214 which may receive a cord 216 to the handset of the PBX-style telephone.
The switches A and B operate as described before with respect to FIG. 2. Thus the TDD unit 10' may be placed between the handset of a PBX telephone and the PBX telephone to provide text blocking as has been discussed so that a user of the PBX telephone cannot hear or hears only an attenuated version of a text signal that may be present on the telephone line 30.
As before, switch B prevents the introduction of voice signals from the microphone 17 (shown in FIG. 2) into the telephone line 30 during a text transmission. It will be understood further that the embodiment of FIG. 5 may also include only a display 20 (shown in FIG. 2).
The above description has been that of a preferred embodiment of the present invention. It will occur to those that practice the art that many modifications may be made without departing from the spirit and scope of the invention. For example, the attenuation of the signals to and from the handset may be such as to completely block the signals and thus the term attenuation used herein should be considered to include complete blocking of the signals.
|Zitiertes Patent
|28. Nov. 1979
|15. Sept. 1981
|Micro-Tek, Inc.
|Security identification system using pulse code modulation
|31. Aug. 1981
|5. März 1985
|Novation, Inc.
|Intelligent telephone
|21. Okt. 1985
|28. Juni 1988
|Feinson Roy W
|Interpretive tone telecommunication method and apparatus
|15. Aug. 1986
|13. Juni 1989
|Borges Marcos V P
|Telephone and demodulator
|24. März 1994
|3. März 1998
|Ultratec, Inc.
|Text enhanced telephony
|Zitiert von Patent
|29. Mai 1998
|11. Mai 2004
|Nortel Networks Limited
|Telephone system integrated text based communication processes, apparatus and systems
|11. Jan. 2001
|23. Aug. 2005
|Nxi Communications, Inc.
|Network communication system
|28. Febr. 2003
|3. Jan. 2006
|Motorola, Inc.
|Device and method for communicating teletype information in a vehicle communication system
|8. Sept. 2000
|12. Sept. 2006
|Fuji Xerox Co., Ltd.
|Telephone accessory for generating conversation utterances to a remote listener in response to a quiet selection
|26. Febr. 2004
|17. Juli 2007
|Hamilton Relay, Inc.
|Internet protocol (IP) relay system and method
|30. Dez. 2005
|18. Sept. 2007
|Fuji Xerox Co., Ltd.
|Personal computer and scanner for generating conversation utterances to a remote listener in response to a quiet selection
|29. Juni 2005
|2. Okt. 2007
|Nxp B.V.
|Communication apparatus including a mechanism for preventing demodulation of text telephone information during poor signal reception
|8. Sept. 2000
|23. Okt. 2007
|Fuji Xerox Co., Ltd.
|Telecommunications infrastructure for generating conversation utterances to a remote listener in response to a quiet selection
|22. Aug. 2005
|13. Nov. 2007
|Nxi Communications, Inc.
|Network communication system
|9. Aug. 2005
|30. Sept. 2008
|Temic Automotive Of North America, Inc.
|Method for communicating teletype information in a vehicle communication system between a vehicle and a remote station
|9. Aug. 2005
|5. Mai 2009
|Temic Automotive Of North America, Inc.
|Device and method for communicating teletype information in a vehicle communication system
|30. Juni 2009
|Ultratec, Inc.
|Relay for personal interpreter
|2. Sept. 2005
|17. Nov. 2009
|Hamilton Relay, Inc.
|Video relay system and method
|9. Febr. 2010
|Ultratec, Inc.
|Captioned telephone service
|28. März 2006
|1. Febr. 2011
|Ultratec, Inc.
|Device independent text captioned telephone service
|19. Dez. 2005
|29. März 2011
|At&T Intellectual Property, I, L.P.
|Methods, systems, and computer program products for providing calendar based routings of communications
|7. Juni 2011
|Research In Motion Limited
|System and method for differentiating between incoming and outgoing messages and identifying correspondents in a TTY communication
|27. Apr. 2011
|13. März 2012
|Research In Motion Limited
|System and method for differentiating between incoming and outgoing messages and identifying correspondents in a TTY communication
|29. Mai 2012
|Research In Motion Limited
|System and method for differentiating between incoming and outgoing messages and identifying correspondents in a TTY communication
|13. Dez. 2007
|3. Juli 2012
|Ultratec, Inc.
|System for text assisted telephony
|9. Apr. 2013
|Ultratec, Inc.
|Device independent text captioned telephone service
|30. März 2006
|14. Mai 2013
|Avaya Inc.
|Telephone-based user interface for participating simultaneously in more than one teleconference
|13. Jan. 2010
|20. Aug. 2013
|Ultratec, Inc.
|Captioned telephone service
|12. Mai 2009
|31. Dez. 2013
|Avaya Inc.
|Treatment of web feeds as work assignment in a contact center
|9. Juni 2014
|9. Dez. 2014
|Ultratec, Inc.
|System for text assisted telephony
|8. März 2013
|23. Dez. 2014
|Ultratec, Inc.
|Device independent text captioned telephone service
|9. Juni 2014
|23. Dez. 2014
|Ultratec, Inc.
|System for text assisted telephony
|1. Juni 2012
|8. Sept. 2015
|Ultratec, Inc.
|System for text assisted telephony
|6. Apr. 2015
|17. Nov. 2015
|Captioncall, Llc
|Device, system, and method for performing echo cancellation in different modes of a communication device
|2. Okt. 2013
|17. Nov. 2015
|Captioncall, Llc
|Systems and methods for using a caption device with a mobile device
|25. März 2015
|24. Nov. 2015
|Captioncall, Llc
|Communication device and related methods for automatically connecting to a captioning communication service to receive text captions following an interruption during a call
|11. Mai 2015
|26. Jan. 2016
|Captioncall, Llc
|Apparatuses and methods for routing digital voice data in a communication system for hearing-impaired users
|30. März 2015
|9. Febr. 2016
|Captioncall, Llc
|Communication device and related methods for offline data record modification and synchronization with a backend server associated with a relay service for hearing-impaired users
|31. Okt. 2014
|10. Mai 2016
|Captioncall, Llc
|Methods and apparatuses related to text caption error correction
|28. Febr. 2003
|23. Sept. 2004
|Van Bosch James A.
|Device and method for communicating teletype information in a vehicle communication system
|16. Okt. 2003
|21. Apr. 2005
|Hamilton Relay, Inc.
|Video relay system and method
|26. Febr. 2004
|1. Sept. 2005
|Hamilton Relay, Inc.
|Internet protocol (IP) relay system and method
|18. Febr. 2005
|13. Okt. 2005
|Engelke Robert M
|Captioned telephone service
|9. Aug. 2005
|15. Dez. 2005
|Van Bosch James A
|Device and method for communicating teletype information in a vehicle communication system
|9. Aug. 2005
|2. Febr. 2006
|Van Bosch James A
|Device and method for communicating teletype information in a vehicle communication system
|22. Aug. 2005
|16. März 2006
|Mclaughlin Thomas J
|Network communication system
|30. Dez. 2005
|25. Mai 2006
|Fuji Xerox Co., Ltd.
|Personal computer and scanner for generating conversation utterances to a remote listener in response to a quiet selection
|24. Febr. 2006
|29. Juni 2006
|Engelke Robert M
|Relay for personal interpreter
|31. Jan. 2005
|3. Aug. 2006
|Mong-Tsang Tsai
|Phone apparatus combined with keyboard
|28. März 2006
|15. Febr. 2007
|Ultratec, Inc.
|Device independent text captioned telephone service
|19. Dez. 2005
|21. Juni 2007
|William Daniell
|Methods, systems, and computer program products for providing calendar based routings of communications
|29. Febr. 2008
|3. Sept. 2009
|Research In Motion Limited
|System and method for differentiating between incoming and outgoing messages and identifying correspondents in a tty communication
|31. Aug. 2009
|31. Dez. 2009
|Research In Motion Limited
|System and method for differentiating between incoming and outgoing messages and identifying correspondents in a tty communication
|14. Juli 2011
|Engelke Robert M
|Captioned telephone service
|18. Aug. 2011
|Research In Motion Limited
|System and Method for Differentiating Between Incoming and Outgoing Messages and Identifying Correspondents in a TTY Communication
|5. Febr. 2004
|16. Sept. 2004
|Motorola Inc.
|Device and method for communicating teletype information in a vehicle communication system
|379/52, 379/93.18, 379/93.28
|Internationale Klassifikation
|Europäische Klassifikation
|23. Juli 1999
Owner name: ULTRATEC, INC., WISCONSIN
Free format text: ASSIGNMENT OF ASSIGNORS INTEREST;ASSIGNORS:ENGELKE, ROBERT M.;COLWELL, KEIN R.;SCHULTZ, RONALD W.;AND OTHERS;REEL/FRAME:010118/0967
Effective date: 19990623
|22. Jan. 2002
|Certificate of correction
|14. Nov. 2003
|Fee payment
Year of fee payment: 4
|15. Nov. 2007
|Fee payment
Year of fee payment: 8
|19. Sept. 2011
|Fee payment
Year of fee payment: 12


text:
I AM MYSELF A CITIZEN OF NO MEAN CITY vol. 2
July 3, 2013 · Print This Article
"The Cardinal†by designer Jeff Laramore behind the Wishard Slow Food Garden near Washington & West St.
Greetings from Indianapolis, friends!
I spent the majority of June rolling up the west coast, visiting other lovely cities, giving out poetry broadsides, and spreading Indpls lore and legend.
Here are a couple of things that I was really looking forward to that I missed in June:
June 1st Friday – We Buy White Albums by Rutherford Chang at iMOCA, Heather Stamenov, Stutz artist-in-residence: TA-DA! at Primary Gallery. And more!
Image via Nuvo.netÂ
Independent Music and Arts Festival (IMAF)/ INDIEana Handicraft Exchange at the Harrison Center for the Arts: a yearly exchange of hand-made goods, visual art, and lots of music.
However, there were still plenty of artistic experiences to be had in the last two weeks of June.
When I arrived back to work at the Indianapolis Art Center I was greeted by a new exhibition called Under Construction that gets more fascinating every time I see it (which is every day). Giant wall "tapestries" made entirely out of duct tape by Garry Noland, paper cuttings of microscopic views of tree bark by Katie Vota, and objects handcrafted entirely out of pennies by Indianapolis-native Stacey Lee Webber.
The very next week at work I had an awesome experience of facilitating an Andy Goldsworthy inspired land art workshop with a group of about 80 urban teens. They made some seriously incredible stuff in just an hour and a half:
The following Saturday I joined a different group of teens on a public art bike tour in the city's center.
This got me thinking that I should share a few of my favorite pieces of public art here in Indy!
This project is part of the legacy project that came out of Indianapolis hosting the Super Bowl in 2012. In just a few months, 46 new murals went up all over the city. Here are some of my favorites:
Image via Arts Council of Indianapolis
Indy's Always on A Roll by Michael Cooper at the intersection of Virgina, Maryland and Delaware.
Image via Arts Council of Indianapolis
Trivergence by Carl Leck at the 10th st/Mass Ave gateway.
My absolute favorite mural in all of Indianapolis is a bit older though:
Color Fuses by Milton Glaser (1975) on the brutalist-inspired Minton-Capehart Federal Building. (corner of Penn and Michigan)
The mural is a giant rainbow that completely wraps the first story. The mural was recently restored to its former glory, and Glaser's vision completed with the addition of a fully functional system of lights for enhanced viewing after dark.
I stopped by my friend Megan Hart's show with Beth Eisinger, Archaeornithology – an Excavation of Urban Artifacts.
All of the objects and imagery included in the show were found in the neighborhood I live in on the near southeast side of Indianapolis – Fountain Square.
The show included Beth's incredible (and affordable) handmade bird's nests:
Including an enormous human-sized one:
Megan is fascinated with the act of collecting and categorizing urban artifacts (trash) to learn about the secret lives of her neighbors:
This show, coupled with homesickness from being out of town, has got me thinking a lot about art in Indianapolis, and how a lot of it celebrates our city, our neighborhoods, our streets, our friends.
And then, perfectly, this video about my favorite, wacky, DIY theater group, Know No Stranger was released! Video via our central Indiana contemporary art blog Sky Blue Window
Until next month!
Wendy Lee Spacek is a poet who lives and works in Indianapolis, Indiana. She likes her city very much. She is a core volunteer of the Indianapolis Publishing Cooperative (Indy Pub Co-Op), publishes small editions of handmade books under the name Soft River and is an arts administrator at the Indianapolis Art Center. She will be posting monthly all summer long about her encounters with art, culture, creative experiences and resources in her city.
The Outward Spiral
June 21, 2013 · Print This Article
Guest Post by Robert Burnier
Whence this creation has come into being; whether it was made or not; he in the highest heaven is its surveyor. Surely he knows, or perhaps he knows not.
 From the Cosmology Hymn of the Rig Veda, c. 2000-1700 BCE
In the initial remarks of his recent lecture at Northwestern University[1], Tim Griffin[2] offered as foundational that there is no timeless or natural state for art. G. Roger Denison[3], in his polemic on the Museum of Modern Art's exhibition, Inventing Abstraction, employs a cyclical view of history to reel in some of the statements made by that exhibition's curators, suggesting that a "Re-†in front of the title would have gone a long way to calm his nerves[4]. Richard Kalina[5] writes of painting born from its perennial destruction, calling the prevalent cross sectioning and boundary exploration not a "stasis, but rather a new kind of growth."[6] These discussions can feel quite esoteric in a way, and yet if one pauses to consider the Sistine Chapel, for instance, and the way it sadly and slowly deteriorated over time, only to stir up an outrage at the garish colors produced after it's restoration, it becomes apparent that the public is constantly wrestling with its own expectations of art's duration. Additionally, Griffin spoke of a compressed, lossy JPEG image – seemingly complete and yet missing most of its original information – as a metaphor for spontaneous creation by art viewers and art historians; the radical necessity for reconstruction in the mind of someone observing. Denison takes a somewhat formalist approach as he draws comparisons among the art of differing eras, but nonetheless produces striking examples of historical syzygy, such as when he aligns the distant planets of Tantric and Supremacist painting two centuries apart or points out the sleek "modern†character of a Cycladic head carved perhaps 2,500 years ago. Kalina, for his part, seems compelled to fashion an outline of historical typologies as a kind of deck the artist can shuffle. He calls for "a non-judgmental format for viewing painting, and to allow for growth and expansion in a non-linear†way. From this I take the author to mean that nothing is entirely off limits form the standpoint of art history and time; that we should think instead terms of consolidation and dispersion, linking and decoupling. Similar to what I said in an earlier essay about craft[7], when I suggested we look for "usage before material specificityâ€, we should look for the usage of an historical precedent in present terms. All of these views are reconstructions of history – welcome ones for me. Even as the historical lines they push against are themselves constructions, they revitalize an openness in how a single work of art endures. But this also points toward how contemporary art production can have access to this shifting ground as a generative source. As things have come back around in the past, they can do so again for us – the same but different. But this is not a merry-go-round, nor is it a journey toward some definite horizon. It is a widening field of activity expanding around us even as it reverberates and echoes the waves of the past. We can observe the freedom art and artists have had to loop and interact with, and not necessarily march through, history, even as they exist for the present and point toward the future.
Aside from any categories we might apply to our work, I like to think in terms of how things move; what dynamics keep us in the search, trying to create something, and trying to look critically at what is happening. There are aspects to life around the artist that change, like technology, politics, social tension and geography. These kinds of things morph at very different rates, some daily while others are fixed for millennia, which can create openings to explore as currents slide past each other. The artist can also look back and find a great deal unresolved, perhaps seeing something that was abandoned that could bear a lot more exploration. Alternately, in light of present circumstances, one can seek new meaning through an old, established idea. So in view of the approach to grappling with these issues as suggested by Kalina, I submit a few observations to consider in addition to the framing devices he offers us. I will touch on a few of these notions here, mainly focused on examples in painting and photography, knowing that they are only sketches or pointers toward a deeper investigation of these dynamics in future writing.
One steadfast source of change, as mentioned above, has been technological development. But as art observes this change it will necessarily index what came before as well. We can look far into the past, such as to the innovative oil painting of the 15th century Flemish master Jan van Eyck if we want to see the effects of a new technique or technology. He achieved a fidelity in surface and light that greatly added to the visual depth and presence of his paintings, enhancing the experience of story, idea and imagination in subjects that were themselves very well established. His Virgin of Canon van der Paele (1434–36) contains many of these innovations in the myriad facbrics, reflective surfaces and patterns, all bathed in a convincing light. And however utterly familiar the subject of Madonna and Child may have been, it is instructive how the artist could bring so much to it through his particular technique and vision, drawing it closer to the viewer than previously possible. And the cultural expectation to illustrate such subjects as the Passion of Christ, as exemplified in the Crucifixion and Last Judgement diptych (c. 1430–40) is fulfilled with new urgency and impact. The subject is reborn.
In our own day we can look at the work of an artist like Cory Arcangel, who has also tried to chisel something out of art history through new technological means. Although it got some mixed press, I thought there were a number of things to take from his 2011 Whitney exhibition, Pro Tools. There we saw a series of his Photoshop prints, which present themselves initially as machine-perfect geometric abstraction and color fields. On this level they speak plainly enough about modern art history, but more deeply they are conjugations of the character and limits of that digital medium on a most basic level. They seem to point toward a repeating, overarching pattern in history of medium exploration and technique discovery; of finding uses for them and expanding on the possibilities. It's also worth considering that many of the functions and terms in Photoshop are themselves borrowed from other traditions that just weren't worth changing, so they stayed in the software[8]. I've also always thought of Arcangel's work as both "fast†and "slowâ€, liable to be obsolete in a year or sooner and yet connected to ideas that are truly glacial. An example would be his Paganini's Caprice No. 5. It is resolutely about the way change affects us as we strive to remember who we are or were. Paganini's romantic era composition is cut to ribbons by a software program that auto-tunes and selects the notes in the musical composition from a pool of amateur musical videos of mainly dudes on their couches playing guitar. The extremely short clips are reassembled back into a "song†of a decidedly estranged character. This double-facing view – an old thing strained through new means – is essential to the way the work speaks of loss (or lossy-ness) through a distorted nostalgia, but also issues of the democratization of esthetics through a DIY impulse and the technological dispersion of information, for better or worse. In the end, as with van Eyck, our relationship to a cannon of art has been forever altered, but not erased.
Besides generally contrasting with something prior exists the possibility of flowing with and redirecting it. Chicago artist Jeremy Bolen takes a position that mimics some prevalent aspects of the post-industrial age but draws radically different conclusions. He essentially hijacks the scientific method, but collates his "research†in a way that produces more questions than answers. His alternate use of such a tried medium as photography – whereby, in his words, he makes it additive rather than subtractive – continues this line of redirection. The photographic plane is thus a base on which he accumulates rather than frames. Specifically, the images result from visiting the sites of particle accelerators throughout the world, and capturing echoes of the energy nearby on sensitive photochemical paper. It problematizes institutional research in the sense that it is not necessarily authorized (the scientists at the research facilities aren't always aware of where Bolen is working or what he's doing) and that the energy particles he's captured are arriving at locations they weren't ideally "meant†to go – they are traveling beyond their preferred targets, such as in the series 350 Feet Above the Large Hadron Collider #1-4. Bolen not only captures the stray energy in these images, but re-situates them in a displaced representation of the location by layering a "conventional†photo of the site beneath. This also causes a rift in how results are obtained, as his are essentially esthetic, provocative and non-deterministic. It is as if he's running behind the scientists plucking out the seams of everything they try to sew up. Bolen's work not only expands on the possibilities of photography with his alternative approaches of imprinting an image but broadens our thinking about empiricism and knowledge acquisition in general.
Even going back to using some method of photography to simply record something, we can see how photographic reproduction causes shifts in meaning based on its place in time. Veronese's The Wedding Feast at Cana (1563), now at the Louvre, Paris, was recently painstakingly scanned, duplicated, assembled and "reinstalled†in Palladio's refectory at the San Giorgio Monastery in Venice Italy, where it originated. The reproduction of Veronese's work is an expression of a longtime trend to "originalize†works of art from the past, either by restoring them to a location nearer their origins, in proximity to their original people, or by providing a context for them to be seen in a way somehow closer to what people in their time might have. The process by which this was achieved is fascinating enough[9]; but almost like an artificial appendage, it is provocative to think about how it both provides a useful, educational facsimile even while it underscores loss and speaks to shifting world political power as a kind of prime mover.
If we're not necessarily breaking new ground all the time, does that mean we're only fussing with details and adding adornments, or is there another way to see this? As Kalina says, we can draw from these accumulations to "make new spaces between existing areas, [and] reference new subject matter as the world around us changes.†I think of Robert Smithson's Spiral Jetty as a fitting metaphor. He was very interested in the idea of entropy, but instead of focusing on its implications of dissolution and decay, I prefer to think about how a crystal forms by the same process of lowering its energy state and yet arriving at more structure than before. The jetty seems to disintegrate slowly, even disappears and reappears as the water level changes, but it is in fact also accumulating accretions of salt crystals. To this we could add more earth, continuing the outward spiral. From any point we are free to look toward the center or toward the open sea, but we'd always be standing on its shore.
[2]Â Formerly the editor-in-chief of Artforum and currently the Executive Director and Chief Curator of The Kitchen, a non-profit, interdisciplinary arts organization.
[3]Â Critic, essayist, novelist and screen writer living in New York City who has written on art and culture for Art in America, Parkett, Artscribe International, Flash Art, Bijutsu Techo, Kunstlerhaus Bethanien, and numerous other international magazines and journals.
[4]Â Colonizing Abstraction: MoMA's Inventing Abstraction Show Denies Its Ancient Global Origins, http://www.huffingtonpost.com/g-roger-denson/colonizing-abstraction-mo_b_2683159.html
[5]Â Painter and critic. He is a Contributing Editor at Art in America and is represented by the Lennon, Weinberg Gallery in New York. He is Professor of Art at Fordham University, where he teaches art history and studio art.
[6]Â The Four Corners of Painting, The Brooklyn Rail, December, 2012, http://www.brooklynrail.org/2012/12/artseen/the-four-corners-of-painting
[7] http://badatsports.com/2013/catholic-craft/
[8] Operations like cropping were, of course, previously quite physical undertakings with scissors or blades. Masks were just physical barriers to light in a photochemical process, and layers were simply layered negatives. The list could go on.
[9] Bruno Latour and Adam Lowe, The Migration of the Aura, or How to Explore the Original through Its Facsimilies, Switching Codes: Thinking through Digital Technology in the Humanities and the Arts, ed. Thomas Bartscherer and Roderick Coover (University of Chicago Press, 2011), pp. 275-97
ROBERT BURNIER is an artist and writer who lives and works in Chicago. He is an MFA candidate in Painting and Drawing at The School of the Art Institute of Chicago and holds a B.S. in Computer Science from Shippensburg University of Pennsylvania. Recent exhibitions include The Horseless Carriage at Andrew Rafacz Gallery, Salon Zurcher at Galerie Zurcher, New York, the Evanston and Vicinity Biennial, curated by Shannon Stratton, and Some Dialogue, curated by Sarah Krepp and Doug Stapleton, at the Illinois State Museum, Chicago.
Welcome to the Annex
June 16, 2013 · Print This Article
Over the past several years Spudnik Press has become a staple for Chicago printmakers and printmaking education. The space and scope of the project continues to grow; the latest expansion occurred about 6 months ago when an adjacent space in the Hubbard Street Lofts building became available. Spudnik director Angee Leonard jumped on this as an opportunity to have a more dedicated exhibition space and also to broaden the focus of the Printshop. This new space, called the Annex, is a center for writing, bookmaking, and self publishing. It houses a growing small press library, as well as a xerox machine, guillotine cutter, selectric typewriter (which I am a big fan of), hot foil stamper, long arm staplers, as well as a supply of bone folders, awls, linen thread, and other book binding materials. Programming includes writing, book making, paper making, and self publishing classes, as well as one day workshops, such as the zine making community workshop taught by Bad At Sports' own Caroline Picard this past week. I have also been lucky enough to be involved in teaching classes and workshops at the Annex since it opened last fall.
As more of a "clean" space than the printshop next door, the Annex also provides an expanded exhibition space for Spudnik. Curatorial duties rotate between Spudnik coordinators. The most recent show, Charlie Megna's Lost Tribes of Renni, which opened last night, was organized by Luke Daly – a Spudnik member who has been a driving force in developing the Annex. Luke co-edits and runs the small press arrow as aarow. I also co-teach a class with him at the Annex, which will be running for the third time in the fall. Charlie Megna is the director of the Peanut Gallery and a founding member of the Peanut Collective. His show will be up through early August.
Over the week leading up Charlie's opening, Luke and I exchanged emails about his involvement with the Annex and the new show, which is the first in a series that creates small-press publications to accompany exhibited works.
Bailey Romaine: Tell me a little bit about how you came to be involved with Spudnik and about your current role there.
Luke Daly: I've been involved with Spudnik in one way or another since pretty early on, when it was still running out of Angee's apartment in Ukranian village. We started doing a reading series there which we then transplanted to the new space when Spudnik moved over to the Hubbard building. Around that time I took a screenprinting class and started printing there. Then last summer I approached Angee with the idea for what would become The Annex, which she and I developed together and worked on translating into reality. Now my title is Book and Writing Projects Coordinator. In this role I work with Angee on classes and programing, I recruit teachers, teach, design classes, and work to include Chicago's literary community in what we're doing and vice versa. Very recently a lot of my efforts have been directed towards programming for Printer's Ball which we're hosting at the end of July. I also curate our library of small press and artists books and curate three gallery shows per year, which like Charlie's show will all coincide with the making and publishing of an artist's book that somehow extends the work being shown in the gallery.
BR: It seems like things really came together in an amazing way with the Annex – it all happened within a really short time frame. There were classes being offered and a show up within a month if I remember correctly. The small press library is really exciting for me. It seems like what you are developing is pretty unique in Chicago, in terms of what is essentially a study collection in a small non-profit space for making.
Can you talk a little bit about this curatorial project you have undertaken – both in terms of the library and the exhibitions? Did you know before seeing Charlie's work that you wanted to begin publishing books to accompany the gallery shows?
LD: Yeah, the library was an important part of thinking about what the Annex could be from the beginning. Mainly I was interested in having a physical home for small press, mostly very small-run and handmade literary books, since they are such an important part of the history of alternative or experimental writing in the US, and because they are so tactile and really need to be seen and held to be appreciated. Of course Chicago has places where similar things are available, like the Read/Write Library or Quimby's, but the focus of the collection that I was interested in putting together at the start was slightly different in that it sought to foreground small, specifically literary publishing from around the US.
Since I've been putting together the collection, my interests have developed in an organic way, and I'm finding myself interested in the intersection that seems to be going on between comics, zine and literary cultures. It seems like those categories are learning from one another, and people are doing work that very interestingly exist at the intersection of those different conversations. I'm finding myself more and more drawn to work of this nature. And always work that looks beautiful but that is made simply, since in the end we are a space that's built around making, and it's great to be able to have this collection here to show students or to consult for ideas when getting started on a project.
As for the Book Arts Series, which is the series of exhibitions that I curate at the Annex, my idea to pair gallery shows with the publication of artists' books started to come together while I was researching people who I thought would work well to show here. I knew that I was interested in work that was operating at the intersections of language work and visual work, but often the work that I was encountering that extended this as it's main goal or focus never totally hit home for me, and I started to feel that placing work at a crossroads of visual and literary could very well be a slightly more involved and creative curatorial task than just seeking and finding artists whose work, as is, fit with my own conceptual goals of the Annex.
When I had the idea of doing a show of Charlie's work, I think that these ideas clicked, and that his work helped me to articulate to myself what I was interested in doing curatorially. Charlie was really excited about creating physical artifacts, tools, symbols, alphabets, and languages for his Renni tribes, and I was really excited about the idea of creating real material things that have been retrieved from an imaginary, non-physical world.
It reminded me of one of my favorite writers Henri Michaux, who wrote factual travel writings of impossible imaginary places, or Borges, who wrote intensely detailed scholarly accounts of imaginary texts, places, histories, people, feuds, conversations, etc. I knew that a book would further the fact of having Charlie's work existing in multiple planes, and it was exciting for me to locate his work in a place of literary imagination, and have that translation become the intersection that was being investigated or developed. I'm interested in doing books that extend the work that's being shown somehow, or that translates it across, so that it exists in a different kind of space (physical space to literary/imaginary space perhaps), or in multiple spaces simultaneously. I like the way that the books can live on and grow and complement and play off of one another in a series after the shows are long past.
Difficult Questions: One View of Twin Cities
June 13, 2013 · Print This Article
Guest post by Eric Asboe
As a curatorial department of the Minneapolis Institute of Arts (MIA), the Minnesota Artist Exhibition Program (MAEP) is "dedicated to exhibiting and supporting artists living and working in the state of Minnesota." Begun in 1975, the MAEP is a creative partnership with the MIA, "founded by a group of regional artists interested in creating an innovative exhibition and programming space. What began as a year-long agreement has been extended into an ongoing relationship between the Minnesota artist community and the MIA." An elected artist panel representing the Minnesota arts communities selects artists from open calls who exhibit within the MIA. The MAEP is an integral part of the MIA's broader efforts to "enrich the community through art," expanding beyond its galleries, engaging audiences in ways that effectively utilize the assets and strengths of its collection, while continuing to question how that collection can continue to enrich Minnesota artists and visitors in new ways.
The current MAEP exhibitions embody and transform the MIA. In Posture is Everything, Kristina Estell gathers sheets of molded silicone across a series of armatures. The armatures seem to have caught the simultaneously flowing and visibly weighted silicone, interrupting the gravity we suddenly notice more intensely. On closer inspection, the silicone has been carefully layered, applied, and manipulated by hand. The manipulations of the silicone and the human presence they reveal disguise the fact that the area of the silicone sheets is exactly the area of the MAEP gallery floor. Estell subtly lures the visitor into examining the materiality of the museum, inviting visitors to question what they see and the environment in which they stand.
Allen Brewer's exhibition Verbatim begins with the MIA collection. MIA visitors were asked to describe any piece they liked in any way they chose. From those descriptions, Brewer created new works, continuing to solicit and create work throughout the exhibition. The conceptual framework leaves Brewer a lot of room, but, in the exhibition brochure, Brewer explains he preferred to work with "objective definitions, like 'round' or 'black.' Words such as 'beautiful' are unusable to me." Brewer playfully uses the objective words of the descriptions to create his works (e.g. the colorfield of "Lucretia" described by Sandra, the rigid shapes of "Linear Still Life" described by Katie Van Zante). The new works are diverse, and they show Brewer's close attention to the nuances of language and the difficulties of defining aesthetic experiences.
With the MAEP, the MIA asks and lives through difficult questions about the role of artists and arts institutions in the future of the arts. How can contemporary artists work within encyclopedic art museums? Through nearly forty years and over 180 MAEP exhibitions, the MIA has been dedicated to exploring the role it can play in enabling contemporary art, and it continues to be a unique model to other institutions. With free admission year round and a broad appeal through its collection and programming, the MIA exposes its many visitors of all ages and locations to vital contemporary Minnesota artists.
What role can local artists play in a global museum? MAEP exhibitions are far more than an experiment in thinking locally. The exhibitions are dynamic; the artwork is excellent. More importantly, by supporting an artistic peer selection process, the MIA helps build a community of artists, specifically in and with the resources of a major art institution. Alan Brewer's exhibition pushes the question further. When I met with him in his MAEP exhibition, he stopped to talk to a visitor, an older man who had written a description. They discussed his description and possibilities for recreations. The transformative power of that individual conversation and the way Brewer has empowered all visitors to the MIA to engage in completely new ways with its collection demonstrates to me the MIA is not just asking how local artists can shape a global museum, but, more importantly, how we can all shape the museums of the future.
Last weekend, Northern Spark, the all-night arts festival of the Twin Cities, a project of Northern Lights.mn, happened for the third time, 8:58pm Saturday to 5:26am Sunday. It is impossible to capture a festival with over 75 projects, multiple sites, and tens of thousands of visitors in words that do all of it justice. Those visitors, however, were the key to and strength of the festival as a whole. The visitors were the focus of many of the projects, whether learning (screen printing, letter press, cyanotype), watching performances (music, dance), or engaging on an individual level (soundscapes, sunrise boat cruises). Inside and around the Saint Paul Union Depot, the projects called for more than passing engagement. Hundreds of people joined in Christian Jankowski's Rooftop Routine, twirling hula-hoops. I saw multiple families camped at astronaut spirit academy, with children asking to return late into the night. The air in the Union Depot Carriage Way, under the main plaza, was thick with spray paint from hundreds of taggers participating in Underpass of the Eyes of Freedom. Piotr Szyhalski's sprawling, riveting performance, Permanent Labor, invited visitors to celebrate "the round of production and consumption, of making and using." The layered movements and labors of the performance, washed by waves of drumming and singing, were a stark contrast to the people waiting in the long lines for the nearby beer tent and food trucks for a different type of labor.
In a very different context than the MAEP, Northern Spark asks difficult questions about the place of arts festivals in the landscape of contemporary art. How can an arts festival shape our vision of a city? Northern Spark was focused in the Lowertown area of downtown Saint Paul, an arts and cultural district with artist live/work spaces, Saint Paul's only art museum, and the Mississippi River hidden on its border. The creation of a new light rail line through the middle of Lowertown, increased focus on creative placemaking, and the expectations of what an influx of the creative class might do are shining a bright light on Lowertown and downtown Saint Paul generally. Northern Spark's presence in Lowertown this year, the number of people who attended, and the economic impact of those visitors will continue to play a part in the area's ongoing development.
Can an arts festival attract more than artists, and can an all-night festival move past spectacle to real engagement? In the largest single event of the festival, thousands of people stood in the rain to watch Chris Larson's Celebration/Love/Loss, a full-size replica of a Saint Paul home designed by Marcel Breuer burned to the ground. The house was simple and beautiful, and the burn was awe-inspiring. (This video shows the house before burning, but this video shows how massive the flames really were.) Some of the quieter, less explosive projects, however, truly showed the possibilities of engagement. The all-night Singing From the Sacred Harp, organized by the Minnesota State Sacred Harp Singing Convention, brought home for me just how the conversations, techniques, and tools of an all-night festival can last far beyond that night. Sacred Harp Singing encourages people of all experience levels to sit together in an inward facing square to sing four part hymns and anthems without practice. During my first Sacred Harp experience, I was told that the most important part of singing is how loudly you sing. Since that time, I have rarely experienced anything as moving as a room full of strangers singing together perfectly, and the power of Singing From the Sacred Harp at Northern Spark was similarly palpable. The square of chairs was tucked away at the top of a little used stairway; all of the passers-by stopped in rapt attention at the beautiful music, the wide smiles, and the astonished laughter of the singers, even though it was well past 3am.
Eric Asboe is an artist, writer, and cultural worker. Asboe's creative works prioritize process over product and explore the boundary between practice as improvement and practice as way of life. Forthcoming projects include ubuwebtopten.com. He currently lives and works in Minneapolis.
Comics & the Aesthetic Economy
June 11, 2013 · Print This Article
Guest Post by Faye Kahn¹
While social evidence that the rich is dividing farther away from the poor becomes more & more unavoidable, it seems that at the same time the art world is inversely nudging the them closer together. Traditional distinctions between "high" & "low" art are fading. In his essay "Comrades of Time," discussing the definition of the term "contemporary," Boris Groys states that "…at the turn of the twenty-first century, art entered a new era-one of mass artistic production, & not only mass art consumption." Art-making is no longer restricted to a higher, educated or professional class. With the encouragement of advancing technologies from the ball point pen to the smartphone & increased visibility of the individual creative practice via the internet has reified this notion of art as "mass-cultural practice" ad infinitum (probably to some ad nauseum). To track the currency of art between upper & lower economic & academic classes & attempt to elucidate the creation of connecting middle classes of art, for instance independent comics & publication as well as social media experiments, it may be helpful to recognize the presence of commercial aesthetics in all classes. By following this reciprocal currency of consumerist media to high art & back, there are many significant signs pointing to a possible future of a classless art world.
Imagine this daisy in an advertisement for a department store chain. Now imagine it in a comic made by a peer. Lastly, imagine (or remember) this daisy in a contemporary art museum, as a part of a painting, a 300-editioned print of which is sold for more than $1,000. Of course this image is fairly well known- it was designed by artist Takashi Murakami in the mid-late 90s & repeated throughout his career in various incarnations (in carnations……….). What is unique about this daisy, however, is that to the unfamiliar eye its origins & environment could believably be in any of these three locations, or strata of art. It is difficult to say this of other contemporary arts images- a Jeff Koons sculpture, a performance piece by Marina Abramović, a photo by Wolfgang Tillmans (although this might be grounds for an interesting project). Most can't be conceived in the commercial sphere-until the work becomes safely art-historical, when they can be reproduced on consumer goods & sold to a nostalgic or young audience-until then they are works intentionally too "conceptual" or "difficult" to be at home in a consumer setting where expediency of communication is paramount.
Murakami was/is famously aware of this & was actively attempting to collapse gaps between high & lowbrow art communities. Naturally, other internationally renowned pop artists like Lichtenstein & Warhol & more recently Philip Guston & Yoshimoto Nara have exercized a similar style. I stop at Murakami, not because I'm particularly fond of his work, but because his conceptual "Superflat" agenda is well articulated & aware of the collapse of economic boundaries. "When comparing  a half a million dollars to 'free,'" says Murakami, comparing to his blind-assortment collectible figure series ('free' with a purchase of candy) to his life-size statues of the same characters residing in contemporary arts institutions, "there's an overwhelmingly different sense of values, almost a confusion of values."² This "confusion of values" intellectualized by Murakami in the art scene in the late 90s/early '00s is a significant checkpoint in the travel of commercial aesthetics, but this consciousness not exclusive to artists of highly educated stature (according to Wikipedia, Murakami has a Ph.D. from the Tokyo University of the Arts) but also in artists in so-called lower, consumer target-market classes.
Before I continue, here's quick review these "levels of art" as crookedly defined for the purpose of this essay:
1) High Art (elite)
2) "DIY" or "Low" Art
3) Commercial Art (consumerist)
"High Art" referring to work usually made by career artists & found in the gallery, museum, & similarly institutionalized art biennials, fairs, etc., with a prestigious milieu of critics, buyers, curators & so on. For level 2, I'm wont to trade in the negative term "low" (granted this negativity is a badge of pride for some) for "DIY," which as an adjective has come to encompass the "mass practice" of unprofessional quotidian participation in the making of art ("unprofessional" or "quotidian" not as pejoratives, but as neutral descriptors)-including student work. Level 3 is one populated by masters of an aesthetic practice but whose products are intended to be consumed by an unassuming hoi polloi. Although this stratum by nature lacks the conceptual, self-aware qualities arguably integral to defining something as "art," certainly artistic techniques are employed (& exploited). Not only this, but it is common for early-career artists to hold jobs in this industry for obvious financial reasons, allowing them to coexist on both levels, while to varying degrees keeping their personal work separate.
This commercial universe, simultaneously seductive & repulsive, has provided us a strange key to a universalized art practice. It consists of a language instantly readable & in turn available to all to appropriate (throw legality into the wind). The visual toolbox of late capitalist propaganda is one of monumental typography, drop shadows, heavy outlines, over-emotive caricatures, light reflecting textures, shining sparkling neons, pastels, & primaries, & supreme cleanliness, (even when portraying something dirty). Whether you want simple geometrics or complex mechanics there is a commercial toolset for you. Anyone born in a first world country (& to a lesser degree, beyond) in the past 50 years has come to age in a society increasingly saturated by this imagery & fast motion. Having been the target market of any number of advertising campaigns at every given moment of a lifetime, a significant number of artists, whose headcount increases with the approach of the contemporary period, have co-opted this style in more radical ways than simple parody. Take for example (moving beyond the household names of 60s pop artists) Mike Kelley's Memory Ware Flats collage series, the gradients (among many other things) of Cory Archangel or the clusterfuck of American commercialism in Ryan Trecartin videos. All of this work is, while certainly of high conceptual &/or critical value, speaking with a language that is, though perverted, immediately legible or familiar to anyone who has experienced pop culture.
This artistic momentum is surprisingly well represented by the current proliferation of amateur comic artists, many of whom are vocally & visibly aware of the high art world. It's safe to say that comics, originally a consumer product, have become widely accepted as an outlet for personal expression, like photography, that has become recently emancipated from its irreproducible commercial status to the disposal creatives of all ages & classes. The beginnings of this can be attributed in significant part to movements like the underground comix scene in the 60s & 70s with artists like Rick Griffin & R. Crumb (among many others) carrying through to cartoonists of the 80s & 90s such as Gary Panter & Raymond Pettibon. These cartoonists, along with experimental anthologies like RAW & Weirdo expanded comics into experimental territory, communicating more with high art logics than their syndicated predecessors/counterparts (psychedelics are a shortcut to philosophy!?). Counterintuitively, while extending the medium into traditionally elitist domains (psychedelics are a shortcut to the philosophical!?), they simultaneously introduced comic-making to a wider, younger, & unprofessional bracket. Now, comics were not only an art to be consumed, but an art practice to actively participate in, as much or as little as one consumed them.
The alternative comics community today is expansive to say the least. Contemporary DIY comics anthologies like Mould Map, Sonatina Comics, & Happiness (to name just a tiny fraction of those existing today), tumblrs, Â & conventions (Brooklyn Comix & Graphics Fest (although recently discontinued!), CAKE, TCAF, etc.) document hundreds of artists per year. Comics have gradually become another near-neutral visual alphabet or option for people to represent themselves with: similar to how everyone with a camera can now be a photographer/self documentarian, anyone with a writing tool can now be a comics artists/self documentarian.
Despite this hyperactivitity & close relationship to the art world, independent comics remain largely ignored by institutionalized critical artistic discourse. While there's no shortage of books, journals, & blogs dedicated to dissecting comics culture & composition, they remain intended for readers interested in comics specifically & lack a serious concern for communicating with the larger contemporary art world. In other words, while the artwork straddles all strata of art, the reception does not (or does so very disproportionately). When consulting with a few active comic artists about this, many of them responded with reference to a class-related animosity between the comics & high art world in one direction or another, or rather, to the anti-intellectual/elitist (respectively) attitude either of the two fosters. On the one hand, comic artist & editor of the Happiness comic anthology series, Leah Wishnia states, "…art/alt/underground comics are a rejection of the elitism propagated by the fine art market, and the institution behind the fine art market may resent this and therefore, continues to label the majority of comics as 'low art.'" At the same time, comic artist Blaise Larmee expressed a disillusion at the contemporary alt-comics sphere for its perceived blandness to outside audiences & Austin English admitted to looking to fine art for more inspired organization of text, characters & figure drawing. Unsurprisingly, the comics blog "Comets Comets" (the name a riff on the popular "Comics Comics Mag" (now also defunct) ran by Dan Nadel of Picturebox Publishing, Tim Holder, & Frank Santoro) maintained by Larmee, English, & comics artists Jason Overby & Carrie Bren was one of the only (if not the only) sources of writing that started to look at comics in a conceptually analytical way.
"Where does form end and content begin?
American comics came from newspapers and manga from ukiyo-e. There was no preciousness about the drawings that led to the printed matter until more recently. Original art can be beautiful to look at, but it's beside the point: comics are perfect objects that have been formed by combining the raw material of an individual's (or group of them) vision with the machines of mass production (computers, these days). They're able to (like other modern media) lack the Bodhidharma-style transmission of artistic consciousness "Art" traffics in and allow many people to have and enjoy the same content cheaply."
Jason Overby, originally posted on Comets Comets on 06/21/2010. The blog was disbanded in the summer of 2011 but some of the original writing remains here & here.
Due to the internet visibility of artists at all moments in their careers, we are more aware of this in-between group of young artists, concurrently existing in all levels of art, & in turn the levels are more connected, regardless of said existing tensions. Artists emerging from the 90s Providence Fort Thunder junk-art-music-noise-space-universe like Brian Chippendale, Matt Brinkman, & arts collective Forcefield are a few examples using this new form of commercial art inspired neo(n)materialism in a way that has caught the eye of institutions such as the Whitney Biennial & new galleries. Vancouver-based artist Chris Von Szombathy utilizes cartoon, illustration & commercial vernacular to communicate severe & conceptual topics beyond what's normally associated with their style. Austin English put together a show at Baltimore Open Space exhibiting young artists with comic-influence such as James Ulmer & Leif Low-Beer. Strange (reciprocal?) lateral appropriation (to borrow a term from Sean Joseph Patrick Carney) is happening between artists inside & outside of the comics world not only in places conducive to such activity like tumblr but also in the gallery space. All of these instances are notable because they are garnering attention while they are happening, while they are "contemporary" rather than after they have become art historical (the art world is not lacking in Gary Panter & R. Crumb shows).
There is much more to say & countless more artists to consider in the economy of aesthetics between the different classes of art. It brings to mind for example the many lives of anime character AnnLee traded between artists Pierre Huyghe & Â Philippe Parreno (her latest incarnation by Tino Seghal at the 2013 Frieze Art Fair, discussed here & many other places), the universe of fan art (recently considered here in Hyperallergic), "designer" vinyl toys & statues, & the time-based worlds of animation, photography, & film. The entirety of DisMagazine seems to be dedicated to promoting alternative use of commercial aesthetics.
I recently walked into a new-ish local gallery space called Beginnings in Brooklyn to find a show exhibiting 3 artists: a painter, a photographer, & a writer. The painter, Jamian Juliano-Villani immediately caught my eye as her work subscribed to a neon(n)materialist agenda, reappropriating known graphics like animation smear-frames & 70s illustrations by Moscoso with updated dayglo color schemes. The photographs, initially seeming unrelated, were by Jan Kempenaers & documented the abandoned Yugoslavian monuments to the socialist republic. This visual work was punctuated by framed essays referring to the rise & fall of democratic capitalism, written by Wolfgang Streeck, director of the Max Planck Institue for the Study of Societies (MPIfG), based in Cologne, Germany. The sheer variety of this show, while on second look (& after discussion with curator Matt Giordano) managing to be cohesive through the themes of ideological criticism, along with the newness of the gallery I think attests to novel locations in which commercial aesthetics can now comfortably exist & will appear more frequently in the future. Sternberg press, who published the original "What is Contemporary Art†e-flux edition from which I extracted the Boris Groys article quoted in the introductory paragraph recently posted on their tumblr an upcoming volume on "Altcomics.†All of this, while egos will never completely allow a true socialist art world, is evidence that surprising juxtapositions & convalescence of all three classes of art are becoming more possible & will bring artistic practice & hopefully also criticism to more audiences without losing conceptual value or legibility.
H. FAYE KAHN is a freelance animator in NYC &  a free-format radio DJ at listener-sponsored WFMU in Jersey City, NJ. She resides in Brooklyn, NY & holds a BFA in Film/Animation/Video from Rhode Island School of Design.
1. Many thanks to Matt Giordano of Beginnings Gallery, Blaise Larmee, Jason Overby, Austin English, & Leah Wishnia for taking time to chat with me about these subjects & providing important examples. Thanks also to Chris Von Szombathy who discussed this with me about this at length in 2011.
2.© Murakami, Takashi Murakami: Company Man, by Scott Rothkopf pg. 137


text:
Setsuko's Massage & Spa team members specialize in their field and are passionateabout what they do. This reflects in the quality of services and can be felt inMore
$1 mil. - $5 mil.in Revenue
10 - 20EmployeesContact people at this company
1078 Rue Addington Suite AMontrealQuebecH4A 3G4Canadaview map
(514) 482-1991
ProPub_Iteration_NT.411[04] SEIDXWK-23


text:
£16.93 inc VAT
StarTech.com's PCI1S950DV gives you high performance 16C950 serial UART channels/ports for connecting any new or old serial peripheral, with data transfer rates of up to 460 Kbits/sec.
Perfect for connecting serial modems, POS devices, PDAs, digital cameras, printers, ISDN terminal Adaptors and more, to your system. Installation is a breeze with the options of using PCI 5V / PCI-X 3.3V. This card supports for Windows XP, ME, 2000, 98, 95 and NT4. Plus, IRQ sharing and a PCI plug and play interface, guarantee convenient, hassle-free connections.
Do you have you a question about the StarTech.com 1 Port PCI RS232 Serial Adaptor Card with 16950 UART - Dual Voltage?
No one has submitted a review yet, be the first one!
CCL Computers Ltd
Inmoor Road
Off Cross Lane
Copyright © 2016 CCL Computers


text:
Get a funding boost with Go-Ride coaching bursaries
Scheme helps club volunteers apply for financial contributions towards Level 1 or 2 coaching courses
The Blue Peter track cycling challenge: part two
From training on the boards to racing at Revolution - how did Barney and Radzi get on?
Go-Ride Racing a winter success
Programme popularity reflects trend of more young people being active in cycling than ever before
Young volunteers: support the 2016 School Games National Finals
Great opportunity for young people the Cycling Award for Young Volunteers Programme
Go-ride for young people
Become a Go-Ride Club
Discover the benefits to becoming a Go-Ride Club including ongoing support, resources and guidance from British Cycling.
Young volunteers
Learn new skills while contributing to the development of one of the most successful Olympic sports in recent years.
For the latest from Go-Ride
Find us on Facebook
Join the conversation on the Go-Ride Facebook page for all the latest updates, news and photos.