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"Edited by Max Schumann, Director of Printed Matter, and with a foreword and afterword by art writer and Colab member Walter Robinson, the book traces the output of Collaborative Projects Inc. (aka Colab), the highly energetic gathering of young New York downtown artists active from the late 1970's through the mid 1980's."--Printed Matter website.
Both a book and a sculptural object, Absence is a memorial to the twin towers of the World Trade Center. Yoon, an architect and designer who is currently an Assistant Professor of Architecture at the Massachusetts Institute of Technology, chose not to produce a traditional design proposal for the World Trade Center Memorial Competition. Instead she created a non-architectural, non site-specific space of remembrance: a portable personal memorial in the form of book.At almost two pounds, Absence has a considerable physical presence, but it is in every way the ghost of a presence, and it is this ghostliness that gives it its particular emotional weight. A solid white block of thick stock cardboard pages, the books only "text" consists of one pinhole and two identical squares die-cut into each of its one-hundred-and-twenty pages one for each story of the towers including the antenna mast. These removed elements lead the reader floor by floor through the missing buildings towards the final page where the footprint of the entire site of the World Trade Center is die-cut into a delicate lattice of absent structures.
This facsimile edition collects all 19 issues of 'Art-Rite' magazine, edited by art critics Walter Robinson and Edit DeAk from 1973 to 1978. Robinson, DeAk and a third editor, Joshua Cohn, met as art history students at Columbia University, and were inspired to found the magazine by their art criticism teacher, Brian O'Doherty. 'Art-Rite', cheaply produced on newsprint, served as an important alternative to the established art magazines of the period. 'Art-Rite' ran for only five years, and published only 19 issues. But in that time the magazine featured contributions from hundreds of artists, a list that now reads like a who's-who of 1970s art: Yvonne Rainer, Gordon Matta-Clark, Alan Vega (Suicide), William Wegman, Nancy Holt, Jack Smith, Dorothea Rockburne, Robert Morris, Adrian Piper, Laurie Anderson, Carolee Schneemann and Carl Andre; critics such as Lucy Lippard contributed writing. Through its single-artist issues and its thematic issues on performance, video and artists' books, 'Art-Rite' championed the new art of its era.
Since the Truth and Reconciliation Commission released its Calls to Action in June 2015, governments, churches, non-profit, professional and community organizations, corporations, schools and universities, clubs and individuals have asked: “How can I/we participate in reconciliation?" Recognizing that reconciliation is not only an ultimate goal, but a decolonizing process of journeying in ways that embody everyday acts of resistance, resurgence, and solidarity, coupled with renewed commitments to justice, dialogue, and relationship-building, Pathways of Reconciliation helps readers find their way forward. The essays in Pathways of Reconciliation address the themes of reframing, learning and healing, researching, and living. They engage with different approaches to reconciliation (within a variety of reconciliation frameworks, either explicit or implicit) and illustrate the complexities of the reconciliation process itself. They canvass multiple and varied pathways of reconciliation, from Indigenous and non-Indigenous perspectives, reflecting a diversity of approaches to the mandate given to all Canadians by the TRC with its Calls to Action. Together the authors—academics, practitioners, students and ordinary citizens—demonstrate the importance of trying and learning from new and creative approaches to thinking about and practicing reconciliation and reflect on what they have learned from their attempts (both successful and less successful) in the process.
If you’re not having fun, you’re not fully living. The author of How to Break Up with Your Phone makes the case that, far from being frivolous, fun is actually critical to our well-being—and shows us how to have more of it. “This delightful book might just be what we need to start flourishing.”—#1 New York Times bestselling author Adam Grant Journalist and screen/life balance expert Catherine Price argues persuasively that our always-on, tech-addicted lifestyles have led us to obsess over intangible concepts such as happiness while obscuring the fact that real happiness lies in the everyday experience of fun. We often think of fun as indulgent, even immature and selfish. We claim to not have time for it, even as we find hours a day for what Price calls Fake Fun—bingeing on television, doomscrolling the news, or posting photos to social media, all in hopes of filling some of the emptiness we feel inside. In this follow-up to her hit book, How to Break Up with Your Phone, Price makes the case that True Fun—which she defines as the magical confluence of playfulness, connection, and flow—will give us the fulfillment we so desperately seek. If you use True Fun as your compass, you will be happier and healthier. You will be more productive, less resentful, and less stressed. You will have more energy. You will find community and a sense of purpose. You will stop languishing and start flourishing. And best of all? You’ll enjoy the process. Weaving together scientific research with personal experience, Price reveals the surprising mental, physical, and cognitive benefits of fun, and offers a practical, personalized plan for how we can achieve better screen/life balance and attract more True Fun into our daily lives—without feeling overwhelmed. Groundbreaking, eye-opening, and packed with useful advice, The Power of Fun won’t just change the way you think about fun. It will bring you back to life.
In the United States, people of color are disproportionally more likely to live in environments with poor air quality, in close proximity to toxic waste, and in locations more vulnerable to climate change and extreme weather events. In many vulnerable neighborhoods, structural racism and classism prevent residents from having a seat at the table when decisions are made about their community. In an effort to overcome power imbalances and ensure local knowledge informs decision-making, a new approach to community engagement is essential. In Resilience for All, Barbara Brown Wilson looks at less conventional, but often more effective methods to make communities more resilient. She takes an in-depth look at what equitable, positive change through community-driven design looks like in four communities—East Biloxi, Mississippi; the Lower East Side of Manhattan; the Denby neighborhood in Detroit, Michigan; and the Cully neighborhood in Portland, Oregon. These vulnerable communities have prevailed in spite of serious urban stressors such as climate change, gentrification, and disinvestment. Wilson looks at how the lessons in the case studies and other examples might more broadly inform future practice. She shows how community-driven design projects in underserved neighborhoods can not only change the built world, but also provide opportunities for residents to build their own capacities.
Unlock the power of artificial intelligence with top Udemy AI instructor Hadelin de Ponteves. Key FeaturesLearn from friendly, plain English explanations and practical activitiesPut ideas into action with 5 hands-on projects that show step-by-step how to build intelligent softwareUse AI to win classic video games and construct a virtual self-driving carBook Description Welcome to the Robot World ... and start building intelligent software now! Through his best-selling video courses, Hadelin de Ponteves has taught hundreds of thousands of people to write AI software. Now, for the first time, his hands-on, energetic approach is available as a book. Starting with the basics before easing you into more complicated formulas and notation, AI Crash Course gives you everything you need to build AI systems with reinforcement learning and deep learning. Five full working projects put the ideas into action, showing step-by-step how to build intelligent software using the best and easiest tools for AI programming, including Python, TensorFlow, Keras, and PyTorch. AI Crash Course teaches everyone to build an AI to work in their applications. Once you've read this book, you're only limited by your imagination. What you will learnMaster the basics of AI without any previous experienceBuild fun projects, including a virtual-self-driving car and a robot warehouse workerUse AI to solve real-world business problemsLearn how to code in PythonDiscover the 5 principles of reinforcement learningCreate your own AI toolkitWho this book is for If you want to add AI to your skillset, this book is for you. It doesn't require data science or machine learning knowledge. Just maths basics (high school level).
Edited by Julie Ault. Essays by Doug Ashford, Julie Ault, Sabrina Locks, Tim Rollins.
A critical history of the pioneering art and technology group Mobile Image and their prescient work in communications, networking, and information systems. In The Future Is Present, Philip Glahn and Cary Levine tell the fascinating history of the visionary art group Mobile Image—founded by Kit Galloway and Sherrie Rabinowitz in 1977—which appropriated emerging technologies, from satellites to electronic message platforms. Based in Los Angeles, this under-studied collective worked amid urban crisis, a techno-boom, consolidating media power, and ascendant neoliberal politics. Mobile Image challenged fundamental conventions of the public sphere, democracy, communication, and political participation, as well as notions of power, representation, and identity. Glahn and Levine argue not only for the historical importance of Mobile Image, but also for a critical artistic process that is at once analytic and transformative. They weave themes such as embodiment and its mediation, public/private dialectics, and techno-utopian vision throughout the book, binding these projects to discourses around race, gender, and class, as well as margin and center, the local and the global. In today’s world of ubiquitous digital re/production, networking, and social media, The Future Is Present shows how the work of Mobile Image continues to have profound implications for art, technology, and the politics of public and private experience.