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I put digital and analogical reactive art in the same category because our experiences of either impotence natural remedies discount kamagra 100 mg without prescription, at their best erectile dysfunction pills philippines order kamagra without prescription, are entirely parallel impotence treatments buy kamagra online. As Manning eloquently puts it erectile dysfunction shake cure discount kamagra 100 mg otc, although in a different context, making "the digital analog need not be the goal"-media art becomes "evocative when its techniques make transduction felt, foregrounding the metastability of all moving systems" (Manning 2009, 72). In a successful project, we do not just move in relation, we move the relation (Manning 2009, 64). Although it is not the colloquial definition of interactivity I follow for this chapter, what Cook and Graham call interaction means "acting upon each other"-where a computer or another person directly engages us, rather than merely responding to our movements. Participation, then, implies having a say; it requires viewers to contribute at least some of the content, and usually involves humantohuman relationships. In the digital art spectrum, this could easily include works that use social media platforms such as Facebook, Instagram, Vine or Twitter, networked games, or wikis. Finally, collaboration means working directly with; the production of the piece sees a degree of equality between the participants, rather than small contributions of content. Interaction, participation, and collaboration have, of course, a longer history than electronic art. Although the lines between many of the levels of engagement listed here can be blurred, they all-as critical tools, digital or otherwise-create situations in which our emergent relationships are highlighted. Their definitions, and what each achieves, are useful in thinking through the strategies for, and implications of, contemporary digital art. Here new media need not be singular in their position or oriented toward a goal, but have the potential to challenge and intervene in how we position, reposition, and proposition ourselves and our bodies in relation to other formations, both material and conceptual. Interactive Futures Interactive art is a frame for movingthinkingfeeling, an intensification of relations. With interactive art, an alwaysrelational body is staged so as to suspend aspects of its own performance. Interactive art can concentrate and ask us to feel our existing practices as they are practiced, and provoke us to engage with what those practices imply. The goal is not to elicit specific behaviors or gestures, but to introduce us to techniques and approaches for encountering, understanding, and taking greater accountability with our continuous, relational performance. The works discussed in this chapter focus mostly on the movement of the human body in an exhibition or public space. They make use of networked media and virtual worlds, social participation and generative coding, audiovisuals along with mechanical, tactile, or various multisensory outputs, analog or digital sensors, as well as many other new and old technologies and media in combination. The artworks mentioned here are part research, part philosophy or critical theory, part activism, and all put into practice with activity, both human and otherwise. Recently, the turn to what some call the "nonhuman," and what Erin Manning calls the "more than human," has led to a renewed interest in indirect interactive art, which does not rely solely on human interaction for its response. Interactive art, Manning reminds us, has a tendency to place humans "too quickly at the center of each experience" (Goodman and Manning 2012). What the system senses is then transduced into both sounds and signals across more than fifty speakers in a large installation, and into variable movements of a hundred yards of hung fabric across the space-the latter swinging and swaying due to motors and fans that continuously turn on and off. In addition to the ongoing, shifting electromagnetism of the environment that all people (and art viewers) are a small part of, the sounds and movements of the installation itself also feed back into what it senses. This creates a complex system where relationality is amplified as always more than what we, as humans, do and perceive. What I have called potentialized art, for example, is performed, or transformed, through some kind of technologically mediated process. In my own Compressionism series of prints (2005 and ongoing), for example, I strap a desktop scanner, laptop, and custommade battery pack to my body, and "perform" images into existence. I might scan in straight, long lines across tables, tie the scanner around my neck and swing over flowers, do pogolike gestures over bricks, or just follow the wind over water lilies in a pond. While not interactive by my own definition, such work invests in affect, relationality, and materialization in the process of its making and viewing. These prints wrap the potentials of time and performance into their production, and we see and feel aspects of that potential in the final print- even if only on a twodimensional and static plane.
Sobchack asserts that the geometric rectangularity of the film frame "is invisible to the seeing that is the film erectile dysfunction treatment with herbs order genuine kamagra on-line. The frame is not a metaphor here; it is a component of an embodied visual field both literal and phenomenal erectile dysfunction treatment centers purchase 100 mg kamagra visa. Romanyshyn offers an account of the "condition of the window" as a constituent component of film spectatorship erectile dysfunction effects on women purchase 50 mg kamagra overnight delivery. It establishes as a condition for perception a formal separation between a subject who sees the world and the world that is seen erectile dysfunction occurs at what age proven 100mg kamagra, and in so doing it sets the stage, as it were, for that retreat or withdrawal of the self from the world which characterizes the dawn of the modern age. Ensconced behind the window the self becomes an observing subject, a spectator, as against a world which becomes a spectacle, an object of vision. Romanyshyn invokes the metaphor of the window in order to emphasize the removed position of the viewer, in "retreat" and "withdrawal. But the German term that Freud used-Deckerinnerungen-emphasizes the manner in which an early memory "covers" or "blankets" rather than filters or distorts. In r899, Freud certainly was not referring to a film screen or even to the screens of magic lantern projection. But in the slippage of metaphor, the double-entendre forms the basis for readings of how films, seen on the screen, "screen" memories. While engaged in a call to meet discursive formation with material practice, Silverman retains the metaphoric use of the terms "camera" and "screen" and resists describing cinematic, televisual, or computer interfaces as material practices framing the view. With all of these metaphoric figures it will be important to underline the dynamic interaction between the place of the viewing subject and the framed view. As screens contain other screens in a nested mise en abyme of multiple frames, as quattrocento perspective is both fractured and multiplied, the "virtual window" opens onto a new logic of visuality, a time-architecture, framed and virtual, on a screen. For Kittler, these two devices illustrate the Renaissance roots of technical reproducibility, respectively, of image and text. Each apparatus was able to produce copies without the interference of the human hand. How do we account for the complex set of forces that have led to the computer display screen and its referential relation to the archives of image and text and databases of knowledge And before a child of our time finds his way clear to opening a book, his eyes have been exposed to such a blizzard of changing, colourful, conflicting letters that the chances of his penetrating the archaic stillness of the book are slight. It commands a new posture for the practice of writing and reading-one that requires looking into the page as if it were the frame of a window. Its overlay of"windows"-open to different applications forward-processing, Web browsing, emailing, downloading-transforms the screen surface into a page with a deep virtual reach to archives and databases, indexed and accessible with barely the stroke of a finger. It was written while looking into a screen fractured into many windows-overlapping and simultaneous applications, some hermetically sealed, some wired to the outside. And until there is a hyperlinked electronic edition, it will be read while held with the "archaic stillness" of a book. I examine the window in three separate and sometimes converging registers: the metaphoric window, the architectural window, and the virtual window of the film, television, and computer screen. Although the chapters follow a loosely chronological schema, the book does not paint a continuous cultural history. Rather, it offers a series of apen;us that slowly unravel dominant assumptions about the histories of media, and about perspective and its relation to the frames of moving images, and about the status of virtual images in our lives and experience. I have drawn upon a variety of philosophers and critical theorists each with a separate mediating "optic. If, as Marshall McLuhan suggests, we see the world best in a rearview mirror, we need to examine the past with a deeper refractive lens, adjust our lenses to a history that stretches to vanishing points deeper than the last century. Chapter 2, "The Frame," examines the role of the camera obscura as a scientific instrument and as a device for illusion. The camera obscura has served as an orginary apparatus for those who trace a continuity between quattrocento codes of perspective and the frames of photography and cinema, and yet, for more recent writers, it has also served to mark a rupture in such genealogies. The optical principle of the camera obscura is architectural: it translates a three-dimensional view from outside an enclosed space onto a twodimensional surface inside. In the imagined world of 2054, a character offers an architec- tural tutorial as he describes images of twentieth -century buildings seen on a flat screen. With a tone of retrospective certainty, he asserts: "The age of windows lasted three centuries. This chapter frames a history of the architectural window in terms of developing technologies of glass and materials of transparency in order to demonstrate how the window as an architectural opening for light and ventilation ceded its priorities to the modern function of the window: to frame a view.
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The purpose of the initial conservation assessment is to understand specific and broad technical features of the work: What is the work What external dependencies are required to properly render the work for exhibition Asking such questions of the work forms an initial set of facts-or in many cases erectile dysfunction hormones purchase discount kamagra on-line, unanswered questions-that can inform an initial preacquisition conversation between the artist and the collecting institution erectile dysfunction icd 9 code 2012 100 mg kamagra sale. The desire of the institution impotence liver disease buy kamagra cheap, of course impotence prozac purchase genuine kamagra, is to acquire any and all materials and information required for the long term stewardship of the artwork, regardless of what any future conservation strategy for the work at hand may be. After one has assessed the form and boundaries of the work, it is central to accomplishing this goal to learn exactly how the artist created the end result-understanding the production environment, tools, and decisionmaking process. Rather than requiring artists to meet a strict format policy based on what the institution deems may be an archival format, the intent in this phase of the acquisition is to understand what might constitute a master or archival format given the specific and particular production environment of the work at hand. The form this dialogue takes can vary greatly, depending to a very great extent on the time the conservator and artist have available. However, a surprising amount of ground can be covered through a brief email exchange comprising a handful of very basic questions. There is no magic list of essential questions that covers all bases in all situations. The second goal should be to understand any recreation or reformatting of the work that has occurred prior to acquisition. It is often the case that by the time a work is being acquired by an institution, the artist has had to recreate, revisit, or produce new exhibition files for a given artwork. If this is the case, it is critical to understand the process used by the artist: what files serve as the "masters," what tools were used, what were their criteria for quality assurance, and what form the work took in any subsequent exhibition contexts. An artist interview is a critical tool for delving deeper into specific conservation issues latent in the work, usually, postacquisition. It is in no way specific to the conservation of artworks that employ media or technology. This methodology, however, had severe inherent biases-namely its scripted questionbased format, and its rather dichotomic framing of "storage, emulation, migration, and reinterpretation" as mutually exclusive the n u t s a n d b o lt s o f h a n d l i n g d i g i ta l a r t 519 strategies. Coming to realize these flaws, the Variable Media Questionnaire2 eventually evolved away from being a static list of questions to be posed to artists, and into a more general tool for building custom questionnaires for any constituents. Despite the value that interviews with artists can offer, it is critical to integrate such documentation and evidence as simply one factor among many-not as factual guidance that should dictate the life of an artwork, but as qualitative evidence. To pose such drastic scenarios to the artist in the cold format of a scripted questionnaire disregards and denies the sociological complexities involved in the very situation of the interview. Oral historians, anthropologists, and sociologists know the advantages but also the risks involved with the use of interview research [. It is for this reason that interviews are better understood as guided conversations. Considering the setting of the interview, the interviewer, and the context of the institution that is collecting the work, all information produced in an interview setting is in fact far from objective fact. To take such interview questions as the canonical guide for the future conservation treatment of the work would, somewhat ironically, accomplish the opposite of what the conservator sets out to do-the act would freeze the work in time, according to the parameters and variables that were present in the particular interview. This point of capture is a critical moment in that there are essential facts of provenance that must be documented: where the digital object originally came from, what process was undertaken to capture the digital objects, by whom they were captured, and when. If the delivery device is from the artist, it may contain contextual evidence that would be of great interest and potential use to researchers interested in technical art history. There are ample free and open source tools for aiding in this acquisition process. This offers those working in digital archives, museum conservation, and generally any cultural heritage collection tasked with the acquisition of physical media carriers, a souptonuts system for managing all phases of this process while employing standardsbased metadata for the documentation of process and material. There are, however, some basic needs that can be met even in the absence of the adoption of a full suite of tools such as BitCurator.
Federally identified subgroups are used for reporting venogenic erectile dysfunction treatment safe 50mg kamagra, and include American Indian/Alaskan Native zinc erectile dysfunction treatment cheap kamagra 50 mg otc, Asian guaranteed erectile dysfunction treatment 100 mg kamagra overnight delivery, Native Hawaiian/Other Pacific Islander erectile dysfunction treatment massage order 100mg kamagra with visa, Black/African American, Hispanic/Latino of any race(s), White, and Two or More Races. Washington will use 20 as the minimum number of students required for accountability purposes for the all-student group and subgroups. In order to protect student privacy, there must also be a minimum of five students within each single year of data (and the three years must combine to a minimum of 20). Schools that were identified as a comprehensive school will be removed from this status if the school meets all state accountability indicators after completion of the three-year improvement cycle. This department coordinates state resources for comprehensive school counseling program development and collaborates with other state associations and agencies to assure all students receive equitable access to effective school counselors and comprehensive school counseling programs. A comprehensive school counseling program focuses on student outcomes, teaches student competencies, and is delivered using professional standards. The Washington School Counselor Association is supporting legislation that requests professional evaluation specific to the role of school counseling. However, the school counselor evaluation will focus on professional growth driven by identified student needs. Using professional competencies and student needs to develop a professional growth plan results in a meaningful and authentic evaluation process that avoids the pitfalls of a punitive, compliance driven model. Comprehensive school counseling programs directly align with school improvement plans and achievement outcomes by strengthening school climate and building multi-tiered systems of support so all students learn at their highest level. Despite funding appropriated specifically for school counselors, the recommended school counselor staffing by the American School Counseling Association, as well as, the prototypical school funding model, some districts do not use their funding to assure all students have equitable access to a comprehensive school counseling program. District discretion to staff school counselors below minimum recommended staffing ratios leave school counselors in a predicament of trying to implement a comprehensive school counseling program while being held responsible for non-school counselor duties. Districts may mitigate this staffing shortage by utilizing non-school counselor certified support staff to supplement the comprehensive school counseling program. Model policy in House Bill 1087 describes the skill set and responsibilities that a graduation coach should have working within a comprehensive school counseling program. It is understood that small schools and rural districts rely on all staff to fulfill duties outside of their typical certification and/or professional role. With this reality in mind, the evaluation for school counselors will be limited to evaluation on the school counselor competencies that are adequately supported and achievable within a given year. This flexibility prevents school counselors from possible penalty in lower evaluation ratings due to time away from comprehensive school counseling program development and implementation for nonschool counselor responsibilities. Key Term Effective School Counselor Emerging Effective School Counselor Ineffective School Counselor Statewide Definition or Statewide Guidelines School counselors with more than three years of experience will be identified as being "effective" if they receive a level 3 (proficient) or above on their evaluation in the standards/benchmarks identified on their professional growth plan. School counselors with three or less years of experience will be identified as "emerging" if they receive a level 2 (basic) or lower on their evaluation in the standards/benchmarks identified on their professional growth plan. School counselors will be identified as "ineffective" and qualify for a professional plan of improvement for required professional development if they receive a level 2 (basic) or below based on years of experience. Supporting All Students Summary Washington has a long history of focusing on education reform. School Counselors are the leaders and managers of the Comprehensive Guidance and Student Support System. Once again, School Counselors are the consciousness of the school system because of their scope and expertise in all of the three student domains. During the past decade, the state, school districts, and communities have embraced the importance of the early years in preparing students to be successful in school and life. They are beginning to develop decision-making, communication and life skills, as well as character values. It is also a time when students develop and acquire attitudes toward school, self, peers, social groups and family. Students in middle school must create a High School and Beyond Plan, which is a graduation requirement. School Counselors are the coaches, guides, architects, and the specialized leaders who help students operationalize their plan in school for their future. Dozens of other transition support services exist for students in Washington at all levels. School Counselors provide transition programs between elementary, middle and high school in schools. Washington supports the effective use of technology through several programs like Computers 4 Kids, the development of technology and computer science learning standards, broadband access, support for open educational resources, and online learning.