American Consultants Rx Provides Prescription Help: October 2014

This volume composes the proceedings of the Second International Conference on Computational Collective Intelligence-Technologies and Applications (ICCCI 2010), which was hosted by National Kaohsiung University of Applied Sciences and Wroclaw University of Technology, and was held in Kaohsiung City on November 10-12, 2010. ICCCI 2010 was technically co-sponsored by Shenzhen Graduate School of Harbin Institute of Technology, the Tainan Chapter of the IEEE Signal Processing Society, the Taiwan Association for Web Intelligence Consortium and the Taiwanese Association for Consumer Electronics. It aimed to bring together researchers, engineers and po- cymakers to discuss the related techniques, to exchange research ideas, and to make friends. ICCCI 2010 focused on the following themes: * Agent Theory and Application * Cognitive Modeling of Agent Systems * Computational Collective Intelligence * Computer Vision * Computational Intelligence * Hybrid Systems * Intelligent Image Processing * Information Hiding * Machine Learning * Social Networks * Web Intelligence and Interaction Around 500 papers were submitted to ICCCI 2010 and each paper was reviewed by at least two referees. The referees were from universities and industrial organizations. 155 papers were accepted for the final technical program. Four plenary talks were kindly offered by: Gary G. Yen (Oklahoma State University, USA), on “Population Control in Evolutionary Multi-objective Optimization Algorithm,” Chin-Chen Chang (Feng Chia University, Taiwan), on “Applying De-clustering Concept to Information Hiding,” Qinyu Zhang (Harbin Institute of Technology, China), on “Cognitive Radio Networks and Its Applications,” and Lakhmi C.

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Process and Presentness: The Work of Israel Lund

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Israel Lund, Untitled, 2014. Acrylic on raw canvas. Courtesy of the artist and David Lewis Gallery.

Though his first one-person show was just last year (at Roberts & Tilton in Los Angeles), Brooklyn-based painter Israel Lund (b. 1980) has quickly become known for his canvases featuring stripes and abstract shadows/grazings of paint in both black and white and the CMYK color model.

In advance of his one-person exhibition this winter at the Power Station in Dallas, I visited Lund’s Bushwick studio to learn more about his work and process.

In short, he’s worth paying attention to. If you have a chance to get to Dallas for his show, go.

Israel Lund, Untitled, 2014. Acrylic on raw canvas. Courtesy of the artist and David Lewis Gallery.

For one, Lund’s process is fascinating, a unique combination of digital and analogue techniques taken from the history of technologies available to painting (and conceptual art and photography) since Robert Rauschenberg and Andy Warhol. For example, Lund appropriates (from artists such as Daniel Buren — the stripes, and Martin Kippenberger — the doodles). He uses photocopies, photographs, and scanned PDFs created with his phone. Via black and white and CMYK paint pushed through silkscreens he nuances the gestures, pressures and forms of abstract painting. Finally, his method is iterative, and he employs chance and challenges finish. He seems never to be finished; he makes a lot of work/experiments everyday; then he meditates on the few which go out into the world.

You could call Lund’s relationship with finish “punk.” He approaches but then seems to balk at the too-easy, too-beautiful, too-designed. He is more interested in setting up boundaries and the off-register, as a way to challenge himself in further days/weeks/months.

Israel Lund, Untitled, 2013. Acrylic on raw canvas. Courtesy of the artist and Roberts & Tilton, Culver City, California.

Lund’s paintings demand in-person consideration. They are objects with 180 degrees of presence. Upon closer looking and walking around them, colors, forms and figurative associations emerge and recede. Personally, with his striped works I found myself seeing bodies between the stripes, as one might see prisoners sleeping behind bars in jail. In some of the works where the stripes are horizontal, they recall flags, and clouds of paint bring to mind antiwar imagery: specifically, how explosions or war photography were juxtaposed with the American flag in the 1960s. I also was intrigued by the subtleties of paint droplets in all of his works; how they sat delicately on top of the canvas grain and had a sculptural presence. Or how the whites and yellows of his paintings powerfully (but almost invisibly) influence our perception.

Israel Lund, Untitled, 2014. Acrylic on raw canvas. Courtesy of the artist and David Lewis Gallery.

Israel Lund, Untitled, 2013. Acrylic on raw canvas. Courtesy of the artist and Roberts & Tilton, Culver City, California.

What’s not well-known is that the installation of Lund’s paintings plays an active role in the work. For example, in his 2013 show at Eleven Rivington in New York Lund purposefully installed his paintings with their backs against the window so that light would activate their surfaces and change their appearances throughout the day. In Brussels at Elaine Levy Project, Lund’s striped works were hung in direct dialogue with a columned gallery space. The act of looking became, as a result, constantly interrupted by the columns, and the columns’ interruptions were, in turn, reflected in Lund’s striped paintings.

***

If you saw Lund on the street, you’d think “skateboarder.” When I visited him at his studio he was wearing a Thrasher sweatshirt and skate shoes. Skateboarding was Lund’s first obsession, which led him to move out to Portland, Oregon (from Vermont) at the age of 18. Soon after Lund began obsessing about art. For a long time he was just gathering images that would influence him. Initially this became a collection of pictures he would aggregate in a scrapbook, and eventually it became his Tumblr, where since 2008 he has kept a running log of his own work and the works of others (such as John Cage, Marcel Duchamp, or his friends) as well as anything else that is inspiring to him (quotes from books, movie stills). His Tumblr is also where his work initially gained a following.

Israel Lund, Untitled, 2014. Acrylic on raw canvas. Courtesy of the artist and David Lewis Gallery.

Many associations come to mind when you look at Lund’s works. Jasper Johns (due to Lund’s stripes that approach flags); Pop Art (due to Lund’s use of the silkscreen process); or 1960s and 1970s conceptual artists like the BMPT group and particularly Daniel Buren (due to Lund’s appropriation of Buren’s work as well as his process that challenges ideas of authorship). Then there is Martin Kippenberger (because, as mentioned before, Lund sampled his doodles), Gerhard Richter (due to the immediate similarity of appearance, though Richter doesn’t silkscreen), and Andy Warhol (his shadow paintings in particular). In conversation, Lund referred to the influence of music on his art. (Right now he is interested in Harsh Noise.) Additionally he mentioned the importance of Ray Johnson, On Kawara and Thomas Pynchon to him. Johnson and Kawara are interesting comparisons; one can see similarities between their repetitive processes imbued with subtle differences to Lund’s own.

Again, Lund only allows a small number of his works into the world. Don’t rely on reproductions or hearsay to tell their story. Go see them.

Israel Lund’s next exhibition will open at The Power Station in Dallas, Texas this winter.

Arts – The Huffington Post

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Daniel Radcliffe Rapping ‘Alphabet Aerobics’ Is Proof That Magic Does Exist

Harry Potter’s flow is officially riddikulus!

On Tuesday, Daniel Radcliffe stopped by “The Tonight Show” to talk about his new movie “Horns” and revealed that he loves rap music and has a thing for memorizing difficult lyrics. Seeing this as an opportunity for something amazing to happen, Jimmy Fallon then put the actor to the test by getting him to rap Blackalicious’ “Alphabet Aerobics.”

From watching the performance, it’s pretty obvious why the actor was chosen to play a wizard — because this is nothing less than magic.

“The Tonight Show Starring Jimmy Fallon” airs weeknights at 11:35 p.m. ET on NBC.

Comedy – The Huffington Post

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Suzan-Lori Parks Returns From the Wars Triumphant

Jenny Jules, Sterling K. Brown and Jeremie Harris in
Father Comes Home from the Wars (Parts 1, 2 & 3). Photo: Joan Marcus

“Dark is the night, long is the day” sings a balladeer at the beginning of Suzan-Lori Parks’ masterful Father Comes Home from the Wars (Parts 1, 2 & 3) at the Public. Since the ushers — along with the ticket-takers and elevator attendants — have all warned us that the first act runs nearly two hours, we might well hear this as “long is the play.” Long, perhaps; but as soon as Parks draws you into her epic, you’re likely to lose any notion of time.

The almost three hours of Father Comes Home from the Wars will leave you eager for more. A good thing, as there is more; namely Parts 4-9. It is only a foolhardy or brilliant playwright who will scope out a scheme which will require the erstwhile theatergoer to buy multiple tickets in order to see one complete work; The Life and Adventures of Nicholas Nickleby, Angels in America and The Orphans’ Home Cycle spring to mind. While it is too early to place Father Comes Home from the Wars in such company — Parks has yet to write all nine of the interrelated one-acts, after all — the first three parts are overloaded with soaring language, trenchant philosophy and provocative debate.

A Measure of a Man starts with a Greek chorus of four “less than desirable” slaves standing on what passes for the local street corner — it is 1862, on a dusty plantation in West Texas — betting on whether Hero, the #1 slave, will chose to go to the War as Boss-Master’s servant-slave. (It’s a society without money; one fellow bets his boots, another his spoon.) We begin to see the universality of this journey — and this cycle of plays — when we learn that Hero’s wife is named Penny, and that his cross-eyed dog is Odd-See (or Odyssey); there is no Ulysses present, at least early on, other than that marauding general up North.

What makes the burgeoning evening most exciting is that Parks’ Greek drama of the American Civil War, set very much in period, is contemporary; there is enough in the characters and the dialogue — even in the costumes, with some actors drifting on wearing basketball sneakers — to tell us that Father Comes Home is a play of ideas and freedom that directly speaks to us, here in the 21st century.

The expansive nature of the cycle becomes apparent in the second one-act, A Battle in the Wilderness. The time is later that year, the place a shaded area in the middle of nowhere, the middle of no man’s land. A Confederate colonel — Hero’s owner — is holding a Union captain captive in a wooden cage. Or is he a Union captain? Hero stands guard, but the slave has far more in common with the captive. Parks corners her characters into discussions of freedom, slavery and worth. How much is Hero, in fact, worth? He pridefully considers his monetary value; eight hundred dollars, or isn’t he really worth a thousand? If the South loses, though, he is free — and not worth a dollar. Which is the better existence? And what if he escapes? Is he in effect stealing eight hundred dollars from his hated, hateful master? If slavery is an immoral institution, what does it mean for a slave to be true to his owner?

Louis Cancelmi and Sterling K. Brown in
Father Comes Home from the Wars (Parts 1, 2 & 3). Photo: Joan Marcus

After intermission comes the third play, The Union of My Confederate Parts. This is Hero’s homecoming from the War in 1863, not as a hero but in defeat. (The War rages on but Boss-Master has been killed in battle.) Penny/Penelope has waited for him, although there are a couple of surprises in store. There are also some runaway slaves hiding on the plantation; as Part 3 ends, they escape — not knowing that they are technically free, courtesy of the just-declared Emancipation Proclamation. There is much cross-discussion of loyalty and bonds, but the answers are never easy. Parks ups the ante in this section by adding an element of outrageous fantasy that is mighty farfetched, but it works so deliciously well that we are sent out into the night eager for Parts 4, 5 & 6.

Director Jo Bonney (of Small Engine Repair and By the Way, Meet Vera Stark), who has been part of Father Comes Home since 2009, has done a masterful job and is clearly an intrinsic part of the project, which is a coproduction of the Public (Oscar Eustis) and the American Repertory Theatre (Diane Paulus). All deserve credit for the work they’ve done and the work yet to do, as does the design team of Neil Patel (sets), Esosa (costumes) and Lap Chi Chu (lighting). The ten-person cast of relatively little-known actors does wonderfully well, with standout turns by Sterling K. Brown (Hero), Jenny Jules (Penny), Jeremie Harris (Homer), Louis Cancelmi (Smith, the captive soldier) and Jacob Ming-Trent in a perfectly droll impersonation.

At this point in the creation of the cycle, A Battle in the Wilderness — with its concentration on slavery and freedom, leading to a sudden (and unexpected) moment of unharnessed emotion — is the strongest of the plays. The Union of My Confederate Parts is a close second, thanks in part to that fantastical whimsy which provides clarity. Parks is already a Pulitzer-winner for her 2001 play Topdog/Underdog, and a winner of a MacArthur “Genius” Grant. Father Comes Home from the Wars — and we have no way of knowing whether the cycle will stay in the Civil War era or move on to other prominent American wars — is on track to be monumental.

Father Comes Home from the Wars (Parts 1, 2 & 3), a new play by Suzan-Lori Parks, opened October 28, 2014 and continues through November 16 at the Public’s Anspacher Theater

Entertainment – The Huffington Post

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The Doctor Is in

On the day the doctor comes to the farm, ten animals line up in the barnyard. They whinny, moo, and bark, wishing that their aches and pains would go away. The animals checking in with the nurse include a pig with a runny nose, a horse with a stone in his shoe, a lamb with burrs in her coat and a rooster with a cut on his beak. There’s also a cow with a bellyache, a rabbit with a cut on his back, a crow who can’t fly, a goat who cut his mouth on a tin, a cat with a kink in his tail and a dog with a swollen paw. How will the doctor be able to help them all? “The Doctor’s In” is a wonderful tale that teaches pre-school and kindergarten-age children that a visit to the doctor doesn’t have to be a scary or painful experience.

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Will Flex Make a Successful Return to Stand-Up? | Flex and Shanice | Oprah Winfrey Network

TUNE IN TO THE SERIES PREMIERE ON SATURDAY, NOVEMBER 1, AT 10/9C

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Most people know 90s pop sensation Shanice for her Grammy-nominated hit song, “I Love Your Smile” and actor Flex Alexander from his hit TV show, “One on One,” but few people know this fairytale couple both faced career stumbling blocks and quickly hit financial rock bottom. Flex and Shanice realized that they needed to take their wedding vow “for richer or poorer” to heart, so with their two adorable kids, 12-year-old Imani and 10-year-old Elijah, in tow, they moved into a rental home and brought their hilarious extended family into the mix to help cover the cost. A total of nine people, including Shanice’s “momager” Crystal, make this truly a full house where anyone’s business becomes everyone’s business.

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That Time Blake Griffin Attended A ‘White Party’ At Donald Sterling’s House

Clippers star Blake Griffin told an anecdote about going to an exclusively white function hosted by disgraced ex-Clippers owner Donald Sterling — and it got the intended laughs.

That’s because Griffin was talking about a “white party” in which Sterling asked everyone to dress in white. Sterling, meanwhile, dressed in black.

“It’s ironic,” Griffin declared on “Conan” Monday. “You guys get it, right?”

Until last April, when a tape of Sterling making racist comments about black people was released, Griffin’s story might not have gone anywhere. But now that Sterling has been banned from the NBA because of the bigoted remarks, Griffin’s account of the 2009 party he attended as a freshly drafted rookie resonates.

The player recalled Sterling holding his hand as he guided him around a room in his Malibu home, asking his prized prospect the same questions over and over in front of different guests. “Just keep smiling,” Griffin remembers being told by another guest. “It will all be over soon.”

For more details about Griffin’s odd encounter with his new boss at the time, check out his essay at The Players’ Tribune.

H/T Uproxx

Comedy – The Huffington Post

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Monday, October 27, 2014

Marianne Williamson Is On “Super Soul Sunday” November 2 | Super Soul Sunday | Oprah Winfrey Network

Tune in Sundays 11am/10c

Oprah speaks with bestselling author and spiritual teacher Marianne Williamson about the lessons she learned from her recent run for congress, why she believes spirituality belongs in politics and the thrill of taking a leap of faith at any age.

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Findings don’t apply to regular chocolate or hot cocoa, however

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John Oliver Calls Out Sugar Industry, Demands They #ShowUsYourPeanuts

How much sugar are you eating? Odds are you don’t know, and as John Oliver pointed out Sunday on “Last Week Tonight,” it’s because food makers are doing their best to make sure you never find out.

For example, most cranberry products are packed with sugar, and for good reason.

“Cranberries are, I think we can all agree, nature’s most disgusting berry. Cranberries taste like cherries who hate you,” Oliver said. “Cranberries taste like what a raspberry drinks before its colonoscopy — and the industry knows it.”

That, he said, is why even cranberry companies are fighting against adding labels that would disclose added sugars.

“Which is tantamount to begging, ‘Please don’t make us tell everyone how much sugar we dump on our garbage bog-berry,'” Oliver said.

It’s not just the cranberry industry, either. Most food and beverage makers are fighting the proposed inclusion of an added sugars label on food packages. And, if there is a label, they don’t want sugars listed in teaspoons. They want it in grams, which Oliver says is because no one knows what a gram is.

So he’s offering a better solution.

“We are proposing, in the spirit of Halloween, that product manufacturers express their sugar content in the form of candy,” Oliver said. “Specifically, circus peanuts, the most disgusting of all the candies. They taste like an elephant ejaculated into a packet of Splenda.”

Since there are more than 5 grams of sugar in each circus peanut, Oliver said food makers should put a picture of one circus peanut on the front of the package for every 5 grams of sugar in the product.

“Do it, food makers. Expose your peanuts to the world. Because if you’re going to shove your peanuts in our mouths, the very least you can do is tell us what we’re swallowing.”

Oliver called on viewers to support this idea by tweeting food makers with the hashtag #ShowUsYourPeanuts.

Comedy – The Huffington Post

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Impromptus: Sasha Waltz Flirts With Schubert

The last time I saw a piece by Sasha Waltz, she set the stage on fire. Literally. The preoccupations of that piece (Gezeiten, or Tides) were apocalyptic compared to those of the whimsical Impromptus, set to a selection of Schubert’s heavenly impromptus and art songs – in a splendid performance by pianist Cristina Marton and mezzo-soprano Ruth Sandhoff, ensconced on stage in close proximity to the dancers at Cal Performances in Berkeley this weekend.

Waltz reportedly aimed for a conversation between dance and music, but there was little sign of give and take. Like a goddess in a simple, stunning white gown, Sandhoff as the stand-in for Schubert stared the dancers down as if from Mount Olympus. One could imagine the thought bubble emerging from her head (in German, with English surtitles): “what attractive but naughty mortals.”

Waltz’s dancers, archly termed “Guests” in her company name, do not dance to Schubert in the conventional sense. Much of the movement is performed in silence, and the rest is triggered by ideas in the music without being enslaved to it – which is at times very absorbing. The evening opened in silence, with Xuan Shi and then Juan Kruz Diaz de Garaio Esnaola jumping, twisting and crumpling in the throes of some unknown agony, but at the crisp and bracing notes of the Impromptu in F minor, the gentlemen recovered their equanimity. Similarly, the mesmeric, tai chi quality of a male couple and female couple shifting and balancing each other’s bodies in space – applying weight and counterweight, with minimal use of the hands for support – is interrupted by the lively Impromptu in E major, whose rapid scales in triplets prompt an orgy of jogging around the stage.

Waltz’ sense of humor and sensitivity to the music are much in evidence at these moments, but at others, the draggy, repetitive nature of the movement – especially during the protracted scenes in which dancers rub a red powder all over their bodies and pour water on themselves to produce streams of blood red liquid that trickle down the raked stage – sent a few in the audience nodding off… though they snapped to attention as a pair of comely females disrobed.

One of Ballet to the People‘s pet peeves is the tendency of modern dance choreographers to put women in lingerie, in sheer shifts, or dresses with revealing slits, with underpants showing, whereas men are invariably dressed as if headed to a fashionable art opening. But this being German modern dance, there is always one guy in a Speedo – which evened up the score a bit, until the pair of women stripped completely.

Nothing transpired in the 70 minutes on stage that Pina Bausch hadn’t already bestowed on us, but the setting, designed by Thomas Schenk, was breathtaking: two elevated, steeply raked platforms abutting each other, as if an earthquake had riven a fault line through the stage, and a massive golden trapezoid suspended from the ceiling in the background, that swung slowly and ominously from side to side during the latter half of the program. A Japanese soaking tub embedded in one of the platforms incited some nude bathing and frolicking – the playful dancers oblivious to Goethe’s mysterious suffering, as Sandhoff wryly admitted “if these sorrows could be fatal/ to my heart/ ah, I would have died long ago” (which sounds so luscious in German.) Golden shafts of light, brilliantly arranged by Martin Hauk, struck the dancers at angles which gave the pedestrian movement a dreamy, féerique quality.

The knotty duets, both male-female and same-sex, provided the most visually arresting moments of the evening, the grappling and precarious balancing acts revealing undercurrents of insecurity, a preoccupation with primal desires and impulses interspersed with moments of exquisite tenderness.

But, ultimately, all that crawling and tumbling and spinning and rolling around in paint and skinny-dipping failed to illuminate the music in the way Balanchine illuminates Stravinsky, Robbins illuminates Chopin, and Mark Morris illuminates Handel. Which is a pity, as Schubert continues to be one of the most misunderstood and elusive composers.

In the expert hands of Marton and Sandhoff, however, the music soared without an assist from Waltz. They brought out that distinctive Shubertian quality of a sadness deeply buried, of heroic acceptance of the tragedy of the human condition.

While Waltz’ choreographic strategies echo that of the Judson Church disciples, there is no contest when it comes to visual impact. The conditions under which American postmodern dance survives dictate that American productions, more often than not, are presented in a YMCA. Or, in the case of Anna Halprin’s 1957 Hangar, at a construction site at the San Francisco international airport. European financial and moral support for the arts has fertilized the work of Waltz and many others – even of Americans like John Neumeier, William Forsythe and Mark Morris – permitting them to take risks and experiment with ambitious artistic collaborations. The visual and aural splendor of Impromptus is a rarity on American soil.

Photos courtesy Cal Performances: Sasha Waltz brought Impromptus, featuring seven dancers and live music by pianist Cristina Marton and mezzo-soprano Ruth Sandhoff, to Zellerbach Hall on Friday and Saturday, October 24 and 25, 2014.

Arts – The Huffington Post

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“Am I That Name?” Feminism and the Category of “Women” in History

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Wednesday, October 29, 2014

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