Activating an archived project | Zeplin Help Center

Activation Archives

activation Archives

The easiest way to install or upgrade activation files is by running the MSS automated installer. Download the current version of the activation file for each. Performing Archive gathers existing digital resources from Curtis projects and brings them together with new critical and artistic work, as well as new. Activating the Archive presents the work of 10 artists that explore and question the malleable nature of visual archives and the many ways.

watch the thematic video

2020 - 2021 IS Colloquia: Michelle Caswell - Urgent Archives: Enacting Liberatory Memory Work

Activation Archives - agree

Move an activation to a computer without Internet access

After downloading activations to a removable storage device, move the activations to the computer that is not connected to the Internet.

Before you begin:

  • Download activations from an Internet-connected computer to a removable storage device.

To move an activation to a computer without Internet access:

  1. Attach the removable storage device that includes the downloaded activations to the target computer.
  2. On the FactoryTalk Activation Manager home page, click the Manage Activations tab.
  3. Click Get New Activations.
  4. Click I have downloaded activation files and need to move them to this computer.
  5. Click Specify File Location. The File location box displays the location of the file on the removable storage device. Click the Browse button to select a different location.
  6. Click Move Files to import the files and activate the licenses.

See also

Get an activation from another Internet-connected computer

Download an activation to a removable storage device

Get new activations

Get an activation when Internet access is not available

Keywords: get, new, activation, no, internet, disconnected, internet, move, files

Источник: [https://torrent-igruha.org/3551-portal.html]

6.1 Installing Activation Files

  • Download the current version of the activation file and note the download destination.

  • In the Administrative Console, click - .

  • Click and browse to the activation file for the product you want to install:

    activation.<product_name>.jaw.

  • Click the file. The new product is installed and added to the Product list.

  • After the add-on product is installed, be sure to configure settings to activate and use the product.

  • Restart your browser to ensure that the Administrative Console is fully updated with the new set of activation files. You do not need to restart the Administrative Server.

  • Each add-on product requires further configuration and/or activation.

    For detailed steps, open the product Help to Configure Settings - Product Activation, and click Complete the Activation.

    Steps are available for

    • Security Proxy Server

    • Terminal ID Manager

    • Automated Sign-On for Mainframe

    • Micro Focus Advanced Authentication

  • Источник: [https://torrent-igruha.org/3551-portal.html]

    1. To reset your password, you will need to first, enter your Username and click on Login.

    How to reset and create a passwordHow to reset and create a password

    2. You will be redirected to a new page. Select Reset your password? to establish a new password.

    How to reset and create a password
    How to reset and create a password
    Note: Whenever you sign into your Online Banking on a new device or browser, you’ll be prompted to confirm your identity. You may be prompted to confirm your identity prior to viewing the Reset your password option. There are two ways you can receive a verification code: SMS Text or Phone Call (we advise you to mute your phone, the call is very sensitive to noise).

    3. After your identity has been validated successfully, you are ready to establish a new password:

    How to reset and create a passwordHow to reset and create a password

    Источник: [https://torrent-igruha.org/3551-portal.html]

    Activating the archive: rethinking the role of traditional archives for local activist projects

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    Marketers have a lot of their plates. Brands today are developing content at regular intervals and deploying it across their social channels in order to be in front of, and

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    Today, marketers are spending over $6BN a year on data-driven targeting solutions like data management platforms (DMPs) and demand side platforms (DSPs). However, the majority of marketing teams are not yet fully

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    Over the past few years marketers continue to experience rapid changes in how they activate consumers. Customer activation technology has grown tremendously, making experiential marketing a more measurable and effective

    According to FTI Consulting’s Holiday Retail Forecast, this year’s holiday spending is expected to increase by about 5.8% over the 2017 holiday season. Additionally, in-store sales are expected to rise almost 4%

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    Источник: [https://torrent-igruha.org/3551-portal.html]

    In order to generate new and inclusive narratives for the 21st century, we need to rethink the archival structures where data is stored. Using W21’s data-feminist mission as a starting point, this workshop will challenge the never-evolving nature of the archive and its fixed, discriminating taxonomy. Together, we will discuss: Who or what is presently un-archivable? How can we imagine cultural archives as living, legible, and accessible? What role can artificial intelligence play in restructuring archives to open new worlds?

    This workshop is presented in the framework of the European ARTificial Intelligence Lab, which is co-funded by the Creative Europe Program of the European Union and the Austrian Federal Ministry for Arts, Culture, Civil Service and Sport

    W21: W21 is a participatory, data-feminist curatorial platform which probes ‘what it means to be a woman in the 21st century?’ W21 aims to subvert patriarchal archival structures and construct a living archive of the ways in which we represent processes of making art in relation to one’s identity as a 21st century woman.
    Valeria Facchin (UK/IT): Valeria Facchin is a producer and independent researcher. With a focus on visual studies, biology and AI, her work explores the relationship between bodies, technologies and future ecosystems.
    Delanie Joy Linden (US): Delanie Joy Linden is a PhD candidate in art history at MIT. She researches the history of eighteenth- and nineteenth-century French art and has long been fascinated by the historical intersections of art, science, and colonialism.
    Indrani Saha (US): Indrani Saha is a PhD candidate in the History, Theory, and Criticism of Art and Architecture program at MIT. She studies modern art of the United States with a particular interest in histories of abstraction as they intersect with theories of mind, histories of spirituality, and reception theory.
    Источник: [https://torrent-igruha.org/3551-portal.html]
    activation Archives

    Remediation, Activation, activation Archives, and Entanglement in Activation Archives (Digital) Archives

    ¶ 1Leave a comment on paragraph 10 In the summer of 2013, a team of faculty, special collections librarians, archivists, library technology staff, web development/design professionals, undergraduate students, and graduate research fellows developed and implemented Performing Archive: Curtis + “the vanishing race. Performing Archive gathers existing digital resources from Curtis projects and brings them together with new critical and artistic work, as well as new digitizations of Curtis’s twenty-volume work The North American Indian. David J, activation Archives. Kim and I wrote about this work in “‘Performing Archive’: Identity, Participation, and Responsibility in the Ethnic Archive” for Archive Journal in 2014. In January of 2017, I offered a version of the following critical reading of the project at the Modern Language Association meeting in Philadelphia.

    ¶ 2Leave a comment on paragraph 20 I am using the three titular terms in the following ways:

    Remediation: “We call the representation activation Archives one medium in another remediation, and we will argue that remediation is a defining characteristic of the new digital media.”1

    Activation: leveraging new and old activation Archives (as well as personal networks) to forge cross-border connections and active engagement/organizing.

    Entanglement: “Knowing is a direct material engagement, a cutting together-apart, where cuts do violence but also open up and rework the agential conditions of possibility, activation Archives. There is not this knowing from a distance. Instead of there being a separation of subject and object, activation Archives, there is an entanglement of subject and object, which is called the ‘phenomenon.’ Objectivity, instead of being about offering an undistorted mirror image of the world, is about accountability to marks on bodies, activation Archives, and responsibility to the entanglements of which we activation Archives a part.”2

    ¶ 6Leave a comment on paragraph 60 Digital-edition or collection creation is activation Archives critical design process, one that entails ethical concerns and is an active and ongoing activation Archives. As my yoking together of remediation, activation, and entanglement suggests, it is both a matter of form and content. In this particular project, activation Archives, we had a rather complex media ecology that included existing digital assets, along with new ones created from a special-collections holding, and newly generated digital content of several activation Archives types.

    ¶ 7Leave a comment on paragraph 70 Below I will be offering my critical reading of Performing Archives, which has been informed by both academic and non-academic critiques of white, settler-colonial activation Archives and digital practices.3 While I will not be citing personal communications here, I do want to signal that in my thinking I have benefited enormously from both anonymous reviewers of my work and others who have engaged in person, activation Archives, sometimes to express both anger and frustration.

    ¶ 8Leave a comment on paragraph 80 In Decolonizing Methodologies Linda Tuhiwai Smith cites Boaventura de Sousa Santos’s articulation of what a decolonial approach entails: “a transnational interaction from below, that is, from the victims, the exploited, the excluded and their allies.”4 In using a decolonial Jogos de Animação e modelagem de Graça para Baixar for this reading, I am arguing that “epistemological and social monocultures of Europe” and of Anglo-American academic and social institutions have produced “silences, unpronounced abilities, and absences,” such that it seems as if people have “vanished” when they have not.5 This notion of vanishing was central to Edward Curtis’s salvage ethnography that resulted in the publication of the twenty-volume work known as The NorthAmerican Indian (1907-1930), and it may well be at work in Performing Archives as well.

    ¶ 9Leave a comment on paragraph 90 A bit of background (a more complete version can be found in the 2014 activation Archives 10Leave a comment on paragraph 100 The project was a three-month pilot funded by a Mellon planning grant focused on consortial digital humanities. The idea for the topic arose as part of conversations about primary source materials that we activation Archives use for a Scripps College first-year course. The faculty for this course (I was one of them) wanted a resource that leveraged local special collections and engaged students in a critical conversation about race, activation Archives, activation Archives, and historical identity formation. To meet this goal, activation Archives, the Scripps faculty selected an unusual special-collections resource: one of fewer than three hundred existing complete sets of the twenty-volume The North American Indian, by Curtis.

    ¶ 11Leave Leawo Blu-ray Creator Crack 2021 [v8.3.0.3] With License Key Download comment on paragraph 110 In addition to the pedagogical motivation to get students into our special collections, we wanted to demonstrate that it was possible to work with existing digital resources to build a robust pilot project that enabled curricular integration and undergraduate research in order to secure additional support from the Mellon Foundation. The digital humanities planning-grant team agreed that the Curtis materials and their use in the Scripps course constituted an excellent opportunity to address all our goals.

    ¶ 12Leave a comment on paragraph 120 Scripps College is a fairly elite, private liberal arts college, with a student population (in 2014) just below one thousand. According to the 2015 student census, 40 percent of Scripps students are “students of color.”6 College Data’s compilation of 2016 student-body numbers indicates that there are no American Indians at the college.7 Consequently, this was a project destined to teach non-Native Americans a media and political history of western Native Americans. While some members activation Archives the team are not white, activation Archives, there were no Native scholars, designers, or students on the team. If we considered the experiences and lives of Native Americans as central to the project, which we did, activation Archives, we certainly did not live up to the political and activist slogan “Nothing About Us, activation Archives, Without Us.”

    ¶ 13Leave activation Archives comment on paragraph 130 In truth, this is a project that used The North American Indian and its treatment of Native peoples and cultures as an occasion to talk about race, oppression, cultural vs. legal rights, media history, and local histories, and to demonstrate our own skills as both teachers and digital scholars. Additionally, the images and text of the Curtis multivolume set and our digital project activation Archives there to educate our students. For some this can seem unproblematic, noble even, perhaps. To others, particularly those who are members of the tribal nations represented in The North American Indian, the project might well look like another appropriation of Native culture in the service of settler colonialism.

    ¶ 14Leave a comment on paragraph 140Performing Archive includes an article-length piece by photographic artist/scholar Ken Gonzales-Day; a set of data-visualization experiments by digital scholar David S. Kim and team; a scholarly essay on the media histories of Curtis’s images by media scholar Heather Blackmore; several short, thematic mediations by faculty and two student researchers at the Claremont Colleges; and a detailed primer on working with tribes and tribal assets by library and information science scholar Ulia Gossart. It also includes new recordings of the disintegrating wax recordings made by Curtis, activation Archives, along with nearly twenty-five hundred visual media assets and their metadata.

    ¶ 15Leave a comment on paragraph 150Scalar is an open-source publishing platform that allows for a range of media types from multiple sources. The project represents a technical innovation for Scalar; in the course of our work, the design team developed a new experimental interface, known as “Honeydew,” designed to maximize engagement with a large set of visual resources. This new interface has been particularly activation Archives for the ways in which it allows us to cut across the twenty-volume set to see trends or themes that emerge throughout Curtis’s work.

    ¶ 16Leave a comment on paragraph 160Remediation

    ¶ 17Leave a comment activation Archives paragraph 170 Our team was inspired by the notion that “Performing archives refers to a process in which human beings create and handle the Request For Software & Games Crack or Patch, MODs, but it also alludes to how archives are formative in shaping history and thus perform human beings, [as well as] structure and give form to our activation Archives and ideas.”8

    ¶ 18Leave a comment on paragraph 180 The project team saw this very kind of performative (rather than natural or documentary) work happening in Curtis’s text. As Ken Gonzales-Day reminds us in his exhibit for the book, the photographer often staged the images that he published.9 Various props, like wigs or breastplates, move through multiple photographs and across tribal lines. The North American Indian was a production staged to argue that western tribes were in fact vanishing and that they needed to be documented for the edification of those (settlers) who would remain in their place.

    ¶ 19Leave a comment on activation Archives 190 The historical archive of visual, sonic, and material culture compiled by and on behalf of Curtis was his attempt to perform his idea of activation Archives “Indianness” was, which for Curtis was vanishing, primordial, and uniform—the variations between tribes and their customs were of relatively little PDF Edit Archives - Patch Cracks. Curtis’s performance of his idea of “Indianness” continues to fundamentally shape non-Native America’s sense of the historical place of tribal culture and practices.

    ¶ 20Leave a comment on paragraph 200 When David Kim and I wrote about the project, we highlighted the ways that we were thinking of our digital book as something that simultaneously publishes an archive and allows authors and readers to “perform archive” or activation Archives “liveness” with the materials therein. In particular, we were bringing the insights of feminist theory and critical race and ethnic studies to reorient the issues of archival agency, as well as consider the ways in which recent paradigm shifts in the archival practice with respect to Native American/Indigenous materials can contribute to the discussion in the digital humanities about issues of cultural representation and its relationships to scholarly design.

    ¶ 21Leave a comment on paragraph 210 Eschewing the more mainstream priorities of scale and scalability of digital archives, we thought it was important to also recognize what “more and better” does not fully capture: the opportunity to reimagine different and differentiated archival models and practices that digital media and a performativity critique of the archive offer.

    ¶ 22Leave a comment on paragraph 220 So we understood this project as something other than an essentializing access project. We used performance as critical discourse that enabled us to think not only of the accumulation of cultural material, but also how that material lives and operates in US culture today. Several of the pieces in the project try to understand how Curtis’s work circulates and is commodified today and what the impact of that circulation might mean.

    ¶ 23Leave a comment on paragraph 230 Additionally, Curtis’s salvage ethnography produced the sense that a large array of cultures and individuals could be reduced to a history of disappearance. But were there disappearances that we ourselves were producing? Were there ways in which our data and technologies were always already enacting certain exclusionary ideologies and subject formations?

    ¶ 24Leave a comment on paragraph 240 To be able to answer this question fully, we would need a full account of the visual and textual technologies of Activation Archives initial publication, the digital technologies that formed the basis of subsequent special-collections publication at the Library of Congress and Northwestern University, and our Scalar book, activation Archives, as well as the media transformations that were part of the storage and sharing of the audio recordings and material-culture items that we included. We did not make it that far in three months, but it is a project worth undertaking in the future if we are to understand the ideologies and impacts that travel from one mediation to another.

    ¶ 25Leave a comment on paragraph 250Entanglement

    ¶ 26Leave a comment on paragraph 260 In addition to remediations of form and performance, we were also thinking about social networks and asking ourselves whose voices were under-represented in Curtis’s work and its reception history, activation Archives. One activation Archives our goals was to decenter Curtis by making clear that the infrastructure that supported his work was enormous. To this end, Bill Anthes wrote “Curtis and His Activation Archives a short essay that troubles the notion of Curtis as a solitary photographer. David Kim also created a network visualization, “The Network of Edward Curtis’s Biography,” that still has Curtis as the central node, but makes clear how many other people were important to the production of his work.

    ¶ 27Leave a comment on paragraph 270 Perhaps the biggest set of entanglements was also the set that we were not really able to begin addressing: the more than one hundred tribal communities represented in The North American Indian. Understanding that we could not contact the tribal councils/leadership for the entire work and forge meaningful relationships in our three-month pilot, activation Archives, we instead undertook a study of what it would take to do such work.

    ¶ 28Leave a comment on paragraph 280 This work forms the last chapter of the digital book, “Consulting with Tribes as a Part of Activation Archives Development,” by Ulia Gossart and includes discussions on how to engage with the issues around intellectual property rights and tribal rights. We worked through both the legal and archival work on these issues, asking often “who has the rights and what do we do when a ‘rights’ framework doesn’t work for all implicated?” In retrospect, I have pretty complicated feelings about having proceeded with work activation Archives leveraged images, songs, and text about Native peoples without having actually engaged with any of the communities it might have impacted. However good our intentions might have been, activation Archives, part of what learning about ethical approaches to this kind of work has taught me is that a college course, activation Archives, particularly for non-Native students, and a grant deadline are not sufficient reasons to have skipped this step.

    ¶ 29Leave a comment on paragraph 290Activation

    ¶ 30Leave a comment on paragraph 300 As Karen Barad notes, memory is not a matter of the activation Archives, but recreates the past each time it is invoked. So what did we invoke? What networks, activation Archives, ideas, and images were we activating? Did we really “decenter” Curtis as we had aimed?

    ¶ 31Leave a comment on paragraph 310 A visualization of the sheer volume of work would suggest that we were not activation Archives successful as we might have imagined; however useful and activation Archives our essays, activation Archives, data viz, and photographic essays might be, they are overwhelmed in some ways by Curtis’s legacy, activation Archives, which we imported ourselves.

    ¶ 32Leave a comment on paragraph 320Figure 1. This radial visual is produced by the Scalar interface. The green that dominates represents the media assets from the Curtis books themselves.

    ¶ 33Leave a comment on paragraph 330 There is a lot of good and important work in the digital book. There are a number of ways in which we began to contextualize not just Curtis’s work but also that of the people around him, activation Archives. We were also able to consolidate an enormous amount of information in a single space, activation Archives we brought historical use of The North American Indian into conversation with modern remix and reuse. Unfortunately, activation Archives, we also activated memories of oppression and settler knowledge systems and we organized people working in and around centers activation Archives institutional privilege. While we were able to work more horizontally within the university systems (bringing students, staff, activation Archives, faculty, technicians, and archivists together), what we activated was an essentially privileged, non-Native network, activation Archives. While we were a multi-institutional effort, it is also the case that activation Archives our partner institutions we almost entirely activated networks of the state, with all of their privileges and past transgressions.

    ¶ 34Leave a comment on paragraph 340 Stuart Hall and Linda Tuhiwai Smith both talk about the remarkable activation Archives of the Western knowledge infrastructure, including archives, to assimilate/appropriate radical critique without fundamentally changing knowledge structures.10 In effect, in its current state the Curtis project is a really excellent example of small and incremental difference on the top of essentially the same repressive and violent structures.

    ¶ 35Leave a comment on paragraph 350 Part of Barad’s point about entanglement is that it requires us to be attentive to what gets excluded as activation Archives as what comes to matter, activation Archives. As noted earlier, “Monocultures produce… silences… and absences.” So, activation Archives, for me this requires that I do more to activation Archives to the Native artists who have directly engaged with Curtis’s legacy and who are not (yet) activation Archives in the site, to do more to get outside of the monoculture of white American histories, activation Archives. As a gesture toward what has been excluded, here are some of the Native artists who have directly engaged with Curtis’s legacy and who are not currently represented in the site: Marla Allison, Cara Romero, Virgil Ortiz, Will Wilson, Zig Jackson, activation Archives, and Wendy Red Star.

    ¶ 36Leave a comment on paragraph 360 Barad has a wonderful thought on why the fantasy of erasure—of fixing historical errors—is not possible even as possibilities for reparation exist: “‘Changing the past’ in the sense of undoing certain discrete moments in time is an illusion. The past, like the activation Archives though, is not closed. But ‘erasure’ is not what is at issue. In an important sense, the ‘past’ is open to change, activation Archives. It can be redeemed, productively reconfigured in an iterative unfolding of spacetimematter, activation Archives. But its sedimenting effects, its trace, cannot be erased. The memory of its materializing effects is written into the world.”11

    activation Archives a comment on paragraph 370 So, changing Kena: Bridge of Spirits Download Free PC + Crack past—even when that engagement has not really changed much, as I think is true in this case—is never without costs, or responsibility. The Tipard Video Converter Ultimate 10.2.8 Crack + Key [Latest] Free Download of our digital book invokes a particular past, and that comes with both costs and responsibilities. As the PI and lead on the project, activation Archives, I have responsibilities and it is possible that others have born the costs that I did not anticipate.

    ¶ 38Leave a comment on paragraph 380 Asking myself about the costs and responsibilities that I bear in having done this project is not just a theoretical issue—the digital book is getting used. Since January 2016, it has had thirty thousand page views, roughly nine thousand users, activation Archives, with roughly twenty people returning (bots excluded, although there are a few caveats there). Another of my projects, Eugenic Rubicon, has had about a tenth of that volume of engagement over the same period, for comparison.

    ¶ 39Leave a comment on paragraph 390 I have not done deep analytic tracking on the site, in part because I am generally not a fan of such tracking, activation Archives I cannot say much about who or why people are using the book. Given my own critique of the project as it stands now, and the fact that it is getting activation Archives least some usage, I find myself at a bit of juncture—a spot where I feel pretty keenly the responsibility of entanglement and activation. I am also cognizant that there is likely to be an uptick in interest in Curtis in 2018, activation Archives, which is his 150 birthyear.

    ¶ 40Leave a comment on paragraph 400 I have been thinking seriously about what should happen next. Initially I felt that this project was closed, for all intents and purposes, but I have been invited to give activation Archives on the project several times in the last couple activation Archives years. This set of opportunities and privileges have me thinking about the ways I might address my own entanglement and responsibility, activation Archives. I have considered removing the project from digital space altogether, activation Archives, as well as reconfiguring it to make good on the promises of activation Archives and decentering. While I have decided not to take the project down, in part because I think it is important to have a record of mistakes and imperfect work, I am not entirely sure what the next steps are. I do know that I will not be focused on Curtis’s birthyear, since that is just activation Archives in a history that centers him. What will come—what I will do with others—remains to be seen.

    1. ¶ 41Leave a comment on paragraph 410
    2. Jay David Bolter and Richard Grusin, Remediation: Understanding New Media (Cambridge, activation Archives, MA: MIT Press, activation Archives, 1998), 45. [↩]
    3. Karen Barad, “‘Matter feels, converses, suffers, activation Archives, desires, yearns and activation Archives Interview with Karen Barad” in New Materialism: Interviews & Cartographies, ed. Rick Dolphijn and Iris van activation Archives Tuin (Ann Arbor: Open Humanities Press, 2012), http://quod.lib.umich.edu/o/ohp/11515701.0001.001/1:4.3/–new-materialism-interviews-cartographies?rgn=div2;view=fulltext. [↩]
    4. I have pulled together a bibliography recently on decolonial and justice oriented work on digital archives: https://jwernimont.com/2017/06/13/justice-and-digital-archives-a-working-bibliography/. [↩]
    5. Linda Tuhiwai Smith, Decolonizing Methodologies: Research and Indigenous Peoples, 2nd edition (London and New York: Zed Books, activation Archives, 2012), 219. [↩]
    6. Ibid. 223. [↩]
    7. “About Scripps College,” accessed June 13, 2017, http://www.scrippscollege.edu/about/glance. [↩]
    8. “College Profile: Scripps College,” College Data, accessed June 13, 2017, http://www.collegedata.com/cs/data/college/college_pg06_tmpl.jhtml?schoolId=770. In 2013, I knew one Scripps student who self-identified as Native American and she graduated that year. [↩]
    9. Gundhild Borggreen and Rune Gade, eds., Performing Archive/Archives of Performance (Museum Tusculanum Press, 2013), activation Archives, 10. [↩]
    10. Ken Gonzales Day, “Visualizing the ‘Vanishing Race’: The Photogravures of Edward S. Curtis,” in Performing Archive: Curtis and “the vanishing race,” by Jacqueline Wernimont, David J. Kim, Amy Borsuk, Beatrice Schuster, Heather Blackmore, and Ulia Gosart (2013), activation Archives, http://scalar.usc.edu/works/performingarchive/visualizing-the-vanishing-race1?path=visualizingvanishingraceexhibit. [↩]
    11. Tuhiwai Smith, activation Archives, Decolonizing Methodologies, 46, activation Archives. [↩]
    12. Barad, “Matter feels, activation Archives, converses, suffers, yearns, desires, activation Archives, and remembers,” np. [↩]
    Remediation, <b>activation Archives</b>, Activation, and Entanglement in Performative (Digital) <b>Activation Archives</b> Wernimont</h4><p>Assistant Professor of English and Co-Director of HASTAC – Arizona State University</p></div></div>Источник: [https://torrent-igruha.org/3551-portal.html]</div> <div><div><p>At Kadence we believe insights must be communicated clearly in order to generate maximum impact. We also believe that demonstrating the value of these insights, and embedding them across stakeholder groups, is vital. With this in mind, we pride ourselves on producing design output that is easily and effectively shared across organisations to inform, add value and drive <b>activation Archives</b> business decisions.</p><p>But the designers at Kadence are not only responsible for creating diverse outputs at <i>activation Archives</i> end of research studies to embed insights within businesses, they also produce stimulus and workshop collateral, and visualise concepts and products for testing. </p><p>The global design team works closely with teams across the Kadence group to tell powerful visual stories, and includes design talent covering digital and print mediums, as well as video production and animation. </p><p>We asked our designers in Singapore, <i>activation Archives</i>, Jakarta and London to tell us about a typical day in their roles at Kadence, so let’s go ahead and meet the global design team.</p><h3>Meet the design team</h3><p>From left to right, Myra Lafrelle (Singapore), Widyo Prakoso (Indonesia) and Katrin Scheibert (UK).</p><div><figure><img width=

    What kind of work are you responsible for at Kadence?

    Katrin
    “I’m responsible for all things design and video at Kadence UK, but I also work with the global marketing and design teams across the Kadence group. The design outputs and disciplines I work across vary from project to project – one day I could be visualising concepts or products for testing, other days I might be creating an infographic or digital report summarising the data and findings at the end of a study, or I might be producing video content to bring a segmentation to life. Recently I have been exploring augmented reality and how this can be used for visualising and testing products in qualitative and quantitative studies, which I think is really exciting and has a lot of potential across a variety of sectors.”

    Myra
    “I lead the execution of a wide array of dedicated outputs including infographics, videos and interactive whitepapers. I work closely with the insight team to create content that brings to life an idea, solves a problem, or relieves a pain point in an innovative way. Essentially, I translate consumer and business insights into absorbable and engaging data visualisations and marketing initiatives.”

    Widyo
    “I create visually engaging, innovative and functional design outputs that typically include infographics, reports and product mock-ups, activation Archives. Activation Archives outputs are produced for clients, for marketing initiatives and also for internal use here at Kadence Indonesia. Most recently, I completed the design of an online community platform that we use for local research here in Indonesia.”

    Why do clients typically look to include design and video as part of their research projects?

    Katrin
    “The design and video outputs we typically produce for clients at the end of studies are used in a variety of ways – both internally within their businesses and externally in a more public facing capacity – but often our clients work with us to produce digestible, activation Archives, actionable and visually engaging outputs to inform and drive decision making within their businesses. In some cases, we also work with our clients to produce outputs that are used for marketing purposes. 

    Design outputs that are produced at the start or during the early stages of a study typically include producing stimulus for testing – this mainly includes visualising concepts and products, which are then revised and refined based on the results from the study. These visuals are then used by our clients’ internal teams for further development.”

    Myra
    “The key thing that our clients are looking for is to be able to communicate insights effectively. The right data visualizations and messaging can help explain insights so activation Archives are more easily understood and interpreted correctly. A clearly communicated insight creates a strong message that is hard to ignore, preparing the pathway for action to occur, activation Archives. If an insight isn’t understood, the chances of affecting change are limited.”

    What does a typical day look like for a designer at Kadence?

    Widyo
    “There’s no such thing as activation Archives typical day as a designer. Some days I may be focusing on animation, activation Archives, video and sound editing, others I might be producing an infographic for clients or marketing purposes. I make time to stay up to date with the latest design trends and developments in the creative world, so that I am continuously learning.”

    How do you determine which design outputs to produce?

    Katrin
    “The purpose of an output and the preferred communication channels within a business are the main factors that will drive the format or type of output we produce for a client. For a recent segmentation study, we developed various pieces of collateral for a series of personas – this included digital and print outputs that all served different purposes. We developed printed materials in the form of hand-outs and posters for internal workshop sessions, as well as short, animated videos and interactive PDFs that could easily be shared with internal teams via email and an intranet platform.”

    Myra
    “The output is very much dependent on the type of research study. Data from quantitative studies can be crafted into infographics that tell a compelling visual story, or if we’re filming interviews or running an online community where video content is being generated by respondents, then this can lend itself to producing a video that brings the findings to life using this footage.”

    What are your top tips for clients looking to land insights within a business?

    Katrin
    “Keep it short, visual and to the point – consider how much time relevant teams and individuals may have activation Archives engage with a topic (or study) and how much detail they may find useful, and tailor the format and length of your output to fit this. Using visuals to tell part of the story, activation Archives, or communicate key insights, activation Archives, can be really helpful activation Archives this and keep the core messages top of mind.

    In some cases, it can also be beneficial to produce short visual ‘teasers’ that clearly and succinctly communicate key points and direct the relevant team members to more detailed reports or outputs. For example, a short video summarising the key insights from a study can be easily shared across local and global teams and can help drive interest and engagement around a topic or study.”

    Myra
    “My top tip would be to remind activation Archives of the importance of taking the time into articulate insights correctly before converting them into activation Archives. We approach insight like peeling an onion, going deeper and deeper to draw out drivers, motivations and values. This provides a wealth of information, activation Archives, which we then sift through, identifying the key points for inclusion in the design output.”

    Where do you go, or what do you do when you need creative inspiration?

    Katrin
    “I think that inspiration can sometimes be found in the most unlikely places. I often find inspiration when I’m shopping for groceries – the abundance of new, innovative products and brands competing for our attention on the shelves of supermarkets can be really fascinating.”

    Widyo
    “One of the best sources of inspiration activation Archives me is my colleagues. I find that “ngobrol” (chit chat) with the team after receiving a new brief or a client meeting can be a booster to creativity and generating ideas.”

    Myra
    “I draw creative enlightenment from random places, things and scenarios within my surroundings: moments of inspiration I’ve coined design inspos.”

    Finally, tell us what the best part of the job is for you?

    Myra
    “Creating something that did not previously exist is really exhilarating. Solving people’s problems is also very rewarding for me. When you’re starting a new project, activation Archives, you’re trying to solve a new problem for a specific client. From research to interviews to kick off meetings, we take a number of steps to make sure we’re solving the right problem. Then, once we’ve nailed it down, I get to start brainstorming all of the billion ways of solving that problem, until I find the magic one. That’s always something exciting to look forward.

    Another thing I love is learning new tips and tricks and finding new tools every single day. Trends change, new tech is created, new languages are written, tools are enhanced, activation Archives, tools disappear, activation Archives, you definitely have to enjoy being a lifelong learner in this profession.”

    Katrin
    “The best part of my job is working across such varied projects and outputs at Kadence. I’ve been able to continuously develop my skills and knowledge in new areas, from UX and activation Archives to commercial agriculture and animal health. We’re also lucky to have such diverse teams across the Kadence group – I’m constantly learning from others activation Archives there’s always the sense that we’re working towards delivering the best possible outputs.”

    Find activation Archives how you can use design in your business to land insights and inspire change

    Learn more about our design and data visualisation services or get activation Archives touch with our team if you have a project you’d like to discuss.

    Источник: [https://torrent-igruha.org/3551-portal.html]

    Brands and agencies are beginning to understand the importance of developing their brand activations for the digital age, activation Archives. Traditional advertising and marketing communications are no longer resonating with target audiences,

    Marketers have a lot of their plates. Brands today are developing content at regular intervals and deploying it across their social channels in order to be in front of, and

    Marketers spend their days tirelessly capturing customer data. If you take a look at your CRM it’s likely a vast bank of customer information. But let’s jump off the data

    In today’s digital-first and data-driven world, marketers are able to leverage a number of digital solutions to increase engagement and drive consumers to action. But with new technology brings new

    Today, marketers are spending over $6BN a year activation Archives data-driven targeting solutions like data management platforms (DMPs) and demand side platforms (DSPs). However, the majority of marketing teams are not yet fully

    The Super Bowl is quickly approaching, and it’s fair to say that the only thing bigger than the game itself is the marketing and advertising supporting activation Archives event. While the

    Social media and digital communications is influencing the way marketers operate. Customer activation no longer lives and dies with traditional media channels and live events. It relies on savvy digital

    Over the past few years marketers continue to experience rapid changes WiFiSpoof Crack [v3.5.8] Mac With Serial Key Full Version Free Download how they activate consumers. Customer activation technology has grown tremendously, making experiential marketing a more measurable and effective

    According to FTI Consulting’s Holiday Retail Forecast, this year’s holiday autodesk autocad 2020 is expected to increase by about 5.8% over the 2017 holiday season. Additionally, in-store sales are expected to rise almost 4%

    It’s already spooky season, which means marketers have an opportunity to harness Halloween to engage and activate consumers. The window for Halloween promotions is a small one, activation Archives, so it’s important

    Never Miss a Post

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    Источник: [https://torrent-igruha.org/3551-portal.html]

    6.1 Installing Activation Files

  • Download the current version of the activation file and note the download destination.

  • In the Administrative Console, click - .

  • Click and browse to the activation file for the product you want to install:

    activation.<product_name>.jaw.

  • Click the file. The new product is installed and added to the Product list.

  • After the add-on product is installed, be sure to configure settings to activate and use the product.

  • Restart your browser to ensure that the Administrative Console is fully updated with the new set of activation files. You do not need to restart the Administrative Server.

  • Each add-on product requires further configuration and/or activation.

    For detailed steps, open the product Help to Configure Settings - Product Activation, activation Archives, and click Complete the Activation.

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  • Источник: [https://torrent-igruha.org/3551-portal.html]

    K. Kofi Moyo and FESTAC '77: The Activation of a Black Archive

    Logan Center Exhibitions at the University of Chicago activation Archives pleased to present K. Kofi Activation Archives and FESTAC ’77: The Activation of a Black Archive, in partnership with the Richard and Mary L, activation Archives. Gray Center for Arts and Inquiry. Featuring images from the archive of Chicago-based photographer Karega Kofi Moyo, the exhibition will be on view from February 12–March 21, 2021. Running online in parallel to the on-site exhibition, a dedicated website featuring video content, essays, a video tour, and other digital materials supports viewer engagement from afar. If public health conditions allow, visitors may reserve a free timed ticket through the UChicago Arts Box Office which will be available beginning February 8.

    K. Kofi Moyo and FESTAC ’77: The Activation of a Black Archive resituates, and also finds a place for, a cache of images by Karega Kofi Moyo, who was active between 1968 and 1978 during a pivotal time for Black liberation and cultural production. Notably, activation Archives, the Moyo repository, replete with @Air 3.0 crack serial keygen of Black political, activation Archives, social, and cultural life from that period, includes images that refer back to an auspicious 1977 event for Black diasporic convening in Lagos, Nigeria: the Second World Black and African Festival of Arts and Culture, known as FESTAC ’77.

    This presentation includes a core selection of Moyo’s photographs of FESTAC ’77, which are activated here for the first time in an exhibition context. They index the event and the journey to activation Archives from the perspective of a Chicago participant, activation Archives. In addition, activation Archives, the show presents varied contemporary responses to, and interpretations of, Moyo’s FESTAC ’77 activation Archives. Projects by University of Chicago students Enid, activation Archives, Ayrika Hall, Cortlyn Kelly, activation Archives, Fabien Maltais-Bayda, Shane Rothe, Andrew Stock, activation Archives, and Abigail Taubman draw from a Fall 2020 course taught by Romi Crawford and Theaster Gates as part of their Mellon Collaborative Fellowship at the Gray Center that aimed to activate and turn on a Black photographic archive, such as Moyo’s, and also rouse the art historical significance of FESTAC ’77.

    Projects include a curated playlist that highlights how a growing interest in pan-African identity manifested through music in the United States, composed of tracks that explore the breadth of rhythmic styles and melodic techniques present at FESTAC ’77; a series of performative exchanges that center choreography as a critical tool for engaging with activation Archives Moyo archive; a video exploring sentiments around the FESTAC ’77 experience; an installation of images paired with Moyo’s reflections, activation Archives, which locates the role of the artist’s memory in making the archive; and a broadside investigating the role of Black light as metaphor, metonym, media, and material network within Chicago’s Black Arts Movement.

    The exhibition offers an occasion to ponder the artistic and art historical significance of both FESTAC ’77 and Black photographic archives. It also suggests the potential for animating the local and regional bearing of such projects. Supporting access to the works from afar, the exhibition will be virtually hosted with a dedicated website that will feature installation images, a narrated video tour, and audio descriptions of the works on view.

    K. Kofi Moyo and FESTAC ’77: The Activation of a Black Archive is presented by Logan Center Exhibitions in partnership with the Richard and Mary L. Gray Center for Arts and Inquiry and co-curated by Romi Crawford and Theaster Gates, with Danielle Wright, Assistant Curator, and Alyssa Brubaker, Exhibitions Manager. This exhibition is made possible by support from The Reva and David Logan Foundation and friends of the Logan Center.

    For more information and details about related programming, visit loganexhibitions.uchicago.edu or follow Logan Center Exhibitions on Facebook and Instagram @logancenterexhibitions.

    About Karega Kofi Moyo
    K, activation Archives. Kofi Moyo
    is a photojournalist who has published works in Ebony, the Chicago Defender, activation Archives, and the Black Photographers Annual, activation Archives. In 1977 he traveled to Lagos, Nigeria, for the Second World Black and African Festival of Arts and Culture (FESTAC ’77), where he was an exhibiting artist. He later co-founded Real Men Cook for Charity and published Real Men Cook: Rites, Rituals, and Recipes for Living (Simon and Schuster, 2005).

    About the Curators
    Romi Crawford
    , PhD, is a professor of Visual and Critical Studies at the School of the Art Institute of Chicago. Her research and writing explore areas of race and ethnicity as they relate to Jogos de Thriller de Graça para Baixar visual culture (including art, film, activation Archives, and photography). Recent publications include “Reading Between the Photographs: Serious Sociality in the Kamoinge Workshop,” in Working Together: Louis Draper and the Kamoinge Workshop, activation Archives. Sarah Eckhardt (Virginia Museum of Fine Art, 2020), and Fleeting Monuments for the Wall of Respect (Green Lantern, activation Archives, forthcoming 2021).

    Theaster Gates is a professor in the Department of Visual Arts and the Harris School of Public Policy at the University of Chicago, activation Archives, as well as a Distinguished Visiting Artist and Director of Artist Initiatives at the Lunder Institute for American Art at Colby College. Drawing on his interest and training in urban planning and preservation, his work redeems spaces that have been left behind and recirculates art world capital, often contending with the notion of Black space as a formal exercise—one defined by collective desire, artistic agency, and the tactics of a pragmatist.

    In 2010 Gates created the Rebuild Foundation, a nonprofit platform for art, cultural development, and neighborhood transformation that supports artists and strengthens communities through free arts programming and innovative cultural amenities on Chicago’s South Side. He has exhibited and performed internationally, most recently at Tate Liverpool (2020); Haus der Kunst, Munich (2020); Walker Art Center, Minneapolis (2019); and Palais de Tokyo, Paris (2019), activation Archives. He was a recipient of the Légion d’honneur in 2017. In 2018 he was awarded the Nasher Prize for Sculpture and the Urban Land Institute J.C. Nichols Prize for Visionaries in Urban Development. Gates received the 2020 Crystal Award for his leadership in creating sustainable communities.

    About Logan Center Exhibitions
    Logan Center Exhibitions presents international contemporary art programming at the Logan Center Gallery and throughout the Reva and David Logan Center for the Arts at the University of Chicago. Reflecting the spirit of inquiry at the university, Logan Center Exhibitions focuses on open, collaborative, and process-based approaches to cultural production. Working closely with artists, students, scholars, and community members, Logan Center Exhibitions presents innovative exhibitions by emerging and established artists; activation Archives ambitious new commissions and research projects; disseminates knowledge through publications; and facilitates connections through talks Method 1: You use the web to download Windows 10 ISO free from Microsoft other public programs.

    About the Richard and Mary L. Gray Center for Arts and Inquiry
    The Richard and Mary L. Gray Center for Arts and Inquiry is a forum at the University of Chicago for experimental collaborations between artists and scholars. Gray Center activities take place all over campus (encompassing various divisions, departments, and programs), across the community, throughout the city, and beyond. Through its various programs—including the Mellon Residential Fellowships for Arts Practice and Scholarship, activation Archives research initiatives, the monthly Sidebar conversation series (reconceived as FarBar for the academic year 2020–21), Gray Sound, an experimental music and sound performance series, international conferences, activation Archives, and institutional collaborations—the Gray Center seeks to foster a culture of innovation and experimentation at the intersection of arts practice and scholarship. The center also publishes its interdisciplinary journal, Portable Gray, twice a year (Fall/Spring) through the University of Chicago Press.

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      Move an activation to a computer without Internet access

      After downloading activations to a removable storage device, activation Archives, move the activations to the computer that is not connected to the Internet, activation Archives.

      Before you begin:

      • Download activations from an Internet-connected computer to a removable storage device.

      To move an activation to a computer without Internet access:

      1. Attach the removable storage device that includes the downloaded activations to the target computer.
      2. On the FactoryTalk Activation Manager home page, click the Manage Activations tab.
      3. Click Get New Activations.
      4. Click I have downloaded activation files and need to move them to this computer.
      5. Click Specify File Location. The File location box displays the location of the file on the removable storage device. Click the Browse button to select a different location.
      6. Click Move Files to import the files and activate the licenses.

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      In order to generate new and inclusive narratives for the 21st century, we need to rethink the archival structures where data is stored. Using W21’s data-feminist mission as a starting point, activation Archives, this workshop will challenge the never-evolving nature of the archive and its fixed, discriminating taxonomy. Together, we will discuss: Who or what is presently un-archivable? How can we imagine cultural archives as living, legible, and accessible? What role can artificial intelligence play in restructuring archives to open new worlds?

      This workshop is presented in the framework of the European ARTificial Intelligence Lab, which is co-funded by the Creative Europe Program of the European Union and the Austrian Federal Ministry for Arts, Culture, Civil Service and Sport

      W21: W21 is a participatory, data-feminist curatorial platform which probes ‘what it means to be a woman in the 21st century?’ W21 aims to subvert patriarchal archival structures and construct a living archive of the ways in which we represent processes of making art in relation to one’s identity as a 21st century woman.
      Valeria Facchin (UK/IT): Valeria Facchin is a producer and independent researcher. With a focus on visual studies, biology and AI, her work explores the relationship between bodies, technologies and future ecosystems.
      activation Archives alt="">Delanie Joy Linden (US): Delanie Joy Linden is a PhD candidate in art history at MIT. She researches the history of eighteenth- and nineteenth-century French art and has long been fascinated by the historical intersections of art, science, and colonialism.
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