tag:blogger.com,1999:blog-35928815815092049882024-02-19T09:22:18.012-08:00ART as MOVEMENTART as MOVEMENTART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.comBlogger59125tag:blogger.com,1999:blog-3592881581509204988.post-41392651619135329652013-12-14T12:00:00.002-08:002013-12-14T12:03:52.408-08:00If...<div id="container" style="-webkit-text-stroke-width: 0px; border-bottom-style: dashed; border-bottom-width: 1px; color: #111111; font-family: Verdana, Arial, Helvetica, sans-serif, 'MS sans serif'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; margin: 0px 30.265625px 30.265625px 0px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; width: 1009px; word-spacing: 0px;">
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If you can keep your head when all about you<br />
Are losing theirs and blaming it on you,<br />
If you can trust yourself when all men doubt you,<br />
But make allowance for their doubting too;</div>
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If you can wait and not be tired by waiting,<br />
Or being lied about, don't deal in lies,<br />
Or being hated, don't give way to hating,<br />
And yet don't look too good, nor talk too wise:</div>
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If you can dream - and not make dreams your master;<br />
If you can think - and not make thoughts your aim;<br />
If you can meet with Triumph and Disaster<br />
And treat those two impostors just the same;</div>
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If you can bear to hear the truth you've spoken<br />
Twisted by knaves to make a trap for fools,<br />
Or watch the things you gave your life to broken,<br />
And stoop and build 'em up with wornout tools:</div>
<div class="stanza-5" style="margin: 1em; padding: 0px;">
If you can make one heap of all your winnings<br />
And risk it on one turn of pitch-and-toss,<br />
And lose, and start again at your beginnings<br />
And never breathe a word about your loss;</div>
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If you can force your heart and nerve and sinew<br />
To serve your turn long after they are gone,<br />
And so hold on when there is nothing in you<br />
Except the Will which says to them: 'Hold on!'</div>
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If you can talk with crowds and keep your virtue,<br />
Or walk with kings - nor lose the common touch,<br />
If neither foes nor loving friends can hurt you,<br />
If all men count with you, but none too much;</div>
<div class="stanza-8" style="margin: 1em; padding: 0px;">
If you can fill the unforgiving minute<br />
With sixty seconds' worth of distance run -<br />
Yours is the Earth and everything that's in it,<br />
And - which is more - you'll be a Man my son!</div>
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- Rudyard Kipling</div>
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ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-17100640512891954502013-12-14T10:15:00.001-08:002013-12-14T12:04:15.588-08:00Hanging @ 15th & Arch<br />
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ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-6716783985288027052013-12-13T11:55:00.002-08:002013-12-14T12:04:55.723-08:0030 Air Squats Gets You A Free Subway Ride In Russia<div class="separator" style="clear: both; text-align: center;">
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30 air squats allows you to skip out on the 30 rubles (90 cent) fare. The installment of this machine in a Moscow subway station is a great public health initiative. Positive reinforcement at work here!ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-56630527232700563492013-11-22T12:17:00.001-08:002013-11-22T12:24:38.912-08:00Not Packing It In<br><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgchhq-_htDP2tBu0GZuG9qGvG4WqTdDqR1oruKx7o9uQI8TA83H8AoHEsjwyMD90LY0zeRpGB1WO447WgS1hU3mwOFohyphenhyphen_wUf8wxsTItQzRtj6RSONzkvzOyHCJxBZGajBxvH2MAu0gQ/s640/blogger-image-1141855984.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgchhq-_htDP2tBu0GZuG9qGvG4WqTdDqR1oruKx7o9uQI8TA83H8AoHEsjwyMD90LY0zeRpGB1WO447WgS1hU3mwOFohyphenhyphen_wUf8wxsTItQzRtj6RSONzkvzOyHCJxBZGajBxvH2MAu0gQ/s640/blogger-image-1141855984.jpg"></a></div><div class="separator" style="clear: both;">This was taken last Friday. I have not posted since then (11.15.13) because I have a tendency to "pack it in." I give up throughout an endeavor and then try to save it at the end. Maybe I manifest a sense of desperation to test my resolve. This will stop. Tomorrow, I will report back with pictures from today and I will discuss one of the topics mentioned on 11.15.13.</div>ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-72853899124424338682013-11-15T10:16:00.001-08:002013-11-15T10:36:52.695-08:00Information Extracted (Roll 1)<br><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT4ve4nNsMYEZU3Pam5qmRKLnl0Pr_8Lctr_coJGBgEoheDdRPteXD-xBzImjkHZJLjUVnXkJjLqpopRMv0FUN8mDk41OkdWkgfpXwYh9_bCB3gKl7xmaIn2-AJf6vzEFsLVU2uRkFpw/s640/blogger-image-1255980365.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT4ve4nNsMYEZU3Pam5qmRKLnl0Pr_8Lctr_coJGBgEoheDdRPteXD-xBzImjkHZJLjUVnXkJjLqpopRMv0FUN8mDk41OkdWkgfpXwYh9_bCB3gKl7xmaIn2-AJf6vzEFsLVU2uRkFpw/s640/blogger-image-1255980365.jpg"></a></div><div class="separator" style="clear: both;">Last Monday I spent the afternoon in Rittenhouse Square Park. I laid out a roll of cardstock paper and extracted information from the environment and my body through movement.</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;">This work deals with the body, maculinity, sweat, capability, repetition and testing oneself.</div>ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-88218017944326778452013-10-17T05:38:00.001-07:002013-10-17T05:41:04.517-07:00Weight: 10/14/13Weight: 169.4 lbs.<div><br></div><div>I am losing weight. I was a little over 180 lbs. 3 months back when I was moving my body against gravity at least 3 times per week.</div><div><br></div><div>I had to stop, twice, due to illness. I will be able to start back up soon. I am probably ready now, but for some reason have not. Talks with Rebecca Sacks reminds me of the empathetic angle; the reason I have not started back up is because it is daunting to start a movement routine, even for someone who enjoyed and understood all the benefits of such movements.</div><div><br></div><div>If it's hard for me, how difficult must it be for someone who has never connected with the movement of one's body?</div><div><br></div>ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-19080087055153972752013-10-17T05:20:00.001-07:002013-11-15T10:36:27.108-08:00Michael O'MalleyMichael O'Malley is an artist who concerns himself with the opportunity to foster a dialogue. He has been making pizza ovens on site across the country. <div><br></div><div>His work is about creating experiences that foster discussion; getting people together to talk about the world. The difference between Michael and a baker is the baker wants you to buy the bread and Michael want you to come by and talk about it.<br><div><br></div></div><div>I admire Michael's work because he is concerned about empathy, agency and creating experiences.</div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2cTUCCGIsipTszlZS-0fBz7FRKx8EYjNo-B307zD8LDOivYEsXhpSGoQV1mzLVNy_0ZjGNtsCunYE_d5hN7Fpir7Go-poekMRDuBSYEqqeGYsK1Poq7dRgRJgGENOgYPBwLraAC5e8A/s640/blogger-image-1432169837.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2cTUCCGIsipTszlZS-0fBz7FRKx8EYjNo-B307zD8LDOivYEsXhpSGoQV1mzLVNy_0ZjGNtsCunYE_d5hN7Fpir7Go-poekMRDuBSYEqqeGYsK1Poq7dRgRJgGENOgYPBwLraAC5e8A/s640/blogger-image-1432169837.jpg"></a></div><br><div class="separator" style="clear: both;"><br></div>ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-70657486743865634032013-10-07T12:46:00.003-07:002013-10-07T12:46:46.277-07:00 Body 1<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<br />ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-8452348417258090212013-09-30T07:17:00.002-07:002013-09-30T09:14:08.079-07:00Derrick Adams"Derrick Adams is a multidisciplinary New York-based artist with practices rooted in Deconstructivist philosophies" (<a href="http://www.youtube.com/watch?v=06Kq5ZjAGQI">Derrick's bio 1</a>). Wikipedia describes Deconstuctivist architecture as "characterized by fragmentation, and interest in manipulating a structure's surface or skin, non-rectilinear shapes which appear to distort and dislocate elements of architecture, such as structure and envelope" (<a href="http://en.wikipedia.org/wiki/Deconstructivism">Deconstructivism 1</a>). Deconstructivism's emergence in architecture is tied to two preceding forms of art, minimalism and cubism, "Analytical cubism has a sure effect on deconstructivism, as forms and content are dissected and viewed from different perspectives simultaneously" <a href="http://en.wikipedia.org/wiki/Deconstructivism">Deconstructivism 2</a>. "The collage works on paper create minimal geometric constructions of angular figures that seemingly live both in a state of deconstruction at the same time as if in the process of being built" (<a href="http://www.derrickadams.com/work/about/">Derrick bio 2</a>).<br />
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HEAD #12 (floor plan), Mixed media collage on paper, 36 inches x 36 inches, 2012.</div>
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In <i>Head #12 (floor plan)</i> Derrick successfully manipulates depth, particularly how the surface of the figure is read. The darkest section lays directly against the lightest at the cheekbone, contradicting the way shadows naturally form. <i>Head #12 (floor plan) </i>seems unfinished in this respect, as if fragmented layers are coming through prematurely. <i>"</i>Architectural processes and their different presentation strategies are important in the work: footprints, floor plans, elevation sections, visual rendering and the constructed object, acts as various developmental states and approaches and serve as a comparative investigation into the physical construction of the figure" (<a href="http://www.derrickadams.com/work/about/">Derrick's bio 3</a>).</div>
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Derrick's "focus is on fragmentation and manipulation of structure and surface - exploring shape-shifting forces of popular culture and its counter balances in our lives" (<a href="http://www.derrickadams.com/work/about/">Derrick's bio 4</a>). Derrick's performative works shares these philosophies.<br />
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<em>Ask The Presiden</em>t, performance documentation, Adams’ Go Stand Next To The Mountain, The Kitchen, NYC, 2012.</div>
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In <i>Ask The President </i>Adams's has brought to life a man who would normally be existing as a deceased president on U.S. notes. This is communicated simply enough by creating a cut-out in a large hundred-dollar bill wooden, sculptural object. Here he explores popular culture as he transforms into arguably the most powerful being on the planet.<br />
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What I can take away from Derrick Adams is his use of props. Adams's genius with theatrical objects is evident here as well,<br />
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<em>Crossroads<strong>,</strong></em> Digital Photograph, edition of 5, 34 in. x 48 in., 2012.</div>
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Derrick Adams use of props is thought out and simple. Lessons are to be learned here.</div>
ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-90685705796511881562013-09-27T14:42:00.001-07:002013-09-27T21:44:41.486-07:00John Cage's 4:33John Cage was an American experimental composer. He famously had his ensemble play nothing. This piece, void of any musical instruments, is known as <i>4 minutes and 33 seconds. </i>The audience is suppose to hear the environment as it is when the piece is being "performed."<div><br></div><div>This is performance art. Cage activated the audience and gave them a memorable experience that challenged one's notion of what a performance can be.</div><div><br></div><div>What I can appropriate from this?</div><div><span class="Apple-style-span" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); "><br></span></div><div>My work with stasis has <span class="Apple-style-span" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); ">me standing still or "doing nothing," and an in-depth look at Cage's piece will take one's focus away from the orchestra altogether, shifting the focus to audience shared experience. This could prove important to master in my own work, because there may be times when I do not want myself to be the subject of the attention, and rather have the audience either knowingly or unbeknownst take center stage.</span></div>ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-89443457733823748862013-09-22T18:38:00.002-07:002013-09-27T14:43:03.920-07:00Thoughts on Chris Burden 1<div>
Chris Burden continuously questions the established order. One of my favorites is <i>You'll Never See My Face In Kansas City</i>, 1971. With this piece he discusses notions of celebrity. Paid engagements that require access to a celebrity and the idea of the artist becoming more important than the work are two thoughts that come to mind. Burden dons a ski mask whenever he is not behind the panel located in the gallery. He no doubt alarmed people during his stay due to the inability to perform facial recognition. Not only are ski masks associated with burglars, a face has a lot of information that would bode well for one to read accurately; the intentions of said individual are important to the group and the face will usually tell the story.<br>
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Chris Burden was present during the opening, but not accessible. If you were able to catch a few moments with him around town, your conversation, visually, was one-sided. You, as a patron/fan/gallerist, were stripped of the facial cues involved in every human interaction. Mind you, this if you were able to track him down.<br>
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ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-38482893154981885602013-09-19T01:35:00.002-07:002013-09-19T18:27:52.818-07:00Marina Abramovic Institute<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDtcKFyZ_BKAHMZqbZbtB7K2uConsagEgeo7nMNy24DGvEc5sXIsbzdd3FajcbRsIDSarMvIxhaRXImtwUUkEFUePu5CAJ7rne-cWarkLcc68NZnihIeiAECihM0AIMva9K4yX3Xr7Rw/s1600/Marina-Abramovic-Institute-OMA-yatzer-a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDtcKFyZ_BKAHMZqbZbtB7K2uConsagEgeo7nMNy24DGvEc5sXIsbzdd3FajcbRsIDSarMvIxhaRXImtwUUkEFUePu5CAJ7rne-cWarkLcc68NZnihIeiAECihM0AIMva9K4yX3Xr7Rw/s320/Marina-Abramovic-Institute-OMA-yatzer-a.jpg" width="320" /></a></div>
Planning for the Marina Abramovic Institute (MAI) is well underway as seen in this <a href="http://www.marinaabramovicinstitute.org/mai/mai-101/2" target="_blank">video</a> by the artist. The mission "is dedicated to the presentation and preservation of long durational work." Marina goes on to say, "You come here not to just to see the work but to change yourself through the work."<br />
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MAI is asking the world if this is the future. Nothing like this exists. The chance for meaningful change to take place in someone's life when they surrender their time and the outside world is an extraordinary prospect.<br />
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What I can appropriate for my practice is thinking about the lasting effect my work will have on people's lives. With my pull-up bar installation I will hopefully be introducing someone to this movement for the first time, and possibly creating a lifestyle of fitness.ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-23363275616666117452013-09-16T23:30:00.002-07:002013-09-16T23:59:16.655-07:00Hirschhorn's Summer Stay in The Bronx<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjetWsx0XcYCEMfHeumZVDTIN_2ybmHAp3NHzlUbRoVjRrlRqtkqBWncNjAETfHJ1n8oCoqJ0PSWHbjz_5hh6Ekm6AfyW0EfEQyCLGxvsns_CZQ3h2y7UqacWb71GsbQXOK8ahUG7ZdbQ/s1600/CameronBlaylock_GramsciMonument9.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjetWsx0XcYCEMfHeumZVDTIN_2ybmHAp3NHzlUbRoVjRrlRqtkqBWncNjAETfHJ1n8oCoqJ0PSWHbjz_5hh6Ekm6AfyW0EfEQyCLGxvsns_CZQ3h2y7UqacWb71GsbQXOK8ahUG7ZdbQ/s320/CameronBlaylock_GramsciMonument9.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Thomas Hirschhorn at his monument to Antonio Gramsci in the Bronx, NY.</td></tr>
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Thomas Hirschhorn, the famous Swiss artist, has installed his version of a monument to Marxist thinker Antonio Gramaci located in the Forest Houses housing project of the South Bronx in New York City.<br />
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What is Hirschhorn asking with the erection of this contemporary temporary monument? Well, he chose this site due to the inhabitants low incomes, and filled this site with Gramsci-approved literature, thereby sewing the revolutionary seeds needed for the proletariat to overthrow the bourgeois. Ken Johnson gives a clearer account of Hirschhorn's intentions in <a href="http://www.nytimes.com/2013/07/26/arts/design/a-visit-to-thomas-hirschhorns-gramsci-monument.html?pagewanted=all&_r=0">The New York Times</a>, "Gramsci thought that the overthrow of capitalist hegemony should come not by violent revolution but through the rise of “counter-hegemonies” — alternative cultures developed by disenfranchised groups. Through self-education, self-organization and the creation of its own institutions, a proletarian culture might someday become powerful enough to displace the bourgeois culture of modern, industrial society." Those that say real change is not possible and this just a big ego stroke are seeing the glass half empty. Regardless of my political philosophies, I can appreciate Hischhorn's goal in making meaningful discussion, self-education and exposure tenets of this monument.<br />
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What I can appropriate from this piece is what the person takes away with them, forever. Hirschhorn's Gramsci Monument is temporary, but the ideas passed on will last a lifetime. My pull-up bar sculpture is going to be permanent, not temporary, but the skills learned will hopefully stay with someone a lifetime.<br />
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My sculpture will be in a place where you may not expect to find a pull-up bar. Stressing the notion that <em>movement</em> is possible <em>anywhere</em>, just like how you wouldn't expect to find a Marxist cultural center in a South Bronx housing project courtyard. Stressing the notion that serious <em>discourse </em>should and can happen anywhere.</div>
ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-30655594129685128782013-09-12T15:04:00.000-07:002013-09-12T15:07:41.272-07:00First Day Back & Typewriters, Pianos and Pull-Up Bars<span style="font-family: inherit;"><span style="color: red;">Working Out</span>:</span><br />
<span style="font-family: inherit;">Today was the first day I worked out since mid-summer. I am looking forward to creating projects and performances that call for an exertion of the body.</span><span style="font-family: inherit;"><br /></span><br />
<span style="font-family: inherit;"><span style="color: red;">Typewriters, Pianos and Pull-Up Bars</span>:</span><br />
<span style="font-family: inherit;">Henry Goldkamp is a St. Louis poet who has installed <a href="http://www.npr.org/2013/09/05/218607348/forget-twitter-in-st-louis-bare-your-soul-via-typewriter" target="_blank">37 typewriters</a> around his hometown. </span><span style="font-family: inherit;">This public art installation invites people to convey their thoughts. Erin Williams, contributor for NPR, provides input from Liesel Fenner, the public art manager at Americans for the Arts in Washington, "Successful public art engages the viewer, and whether that's hands-on participation, or the viewer coming away with a tangible change in how they experienced that space, that place... [has] a really lasting impact [on the viewer] for years to come." Goldkamp may have been influenced by Luke Jerram's<i> Play Me, I'm Yours</i> which has installed more than 900 pianos in 36 cities across the globe. </span>Setting up interactive opportunities for the public to collaborate with objects at their disposal is a theme I am currently working on with my <i>WorkoutAnywhere Pull-Up Bar </i>installation. Accompanying the pull-up bar will be a 3 foot by 3 foot aluminum sign that is in the process of being rendered by a graphic designer and then it is off to Berry & Homer for 2D printing. The image below will give you an idea of what the sign will look like. My hope is that people, who may not normally engage with a pull-up bar, will "hang."Small communities may form around this installation, creating a home base for those that realize they don't need a pair of the latest, greatest sneakers or a $100 gym membership to sweat, build muscle and get their heart rate up. They can produce movements in public that are typically relegated to the gym/home space, thus reshaping the idea of site specificity in the minds of others.<br />
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<span id="goog_560497719"></span>ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-32247990166976234072013-07-31T08:32:00.001-07:002013-07-31T15:42:40.702-07:00925<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Looking at City Hall</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Mayor Nutter and myself</td></tr>
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Today, from 9 a.m. to 5 p.m., I am sitting in a desk in front of Philadelphia, PA's City Hall on South Broad street. I am once again exploring stasis while reading Alfred Jarry's <i>Supermale, </i>a book that "is obsessed with the potentialities of man and what he considers to be his limitations, with the idea of extending frontiers, pushing the possible to the limits of the imaginable, discovering what might be done by will power to liberate and control the energy of the universe" (Jarry XIII). It would appear that finding similarities between <i>Supermale</i> and my work, performances that deal with human capability, should be easy. I am placing myself in a public context with a wardrobe that provides assumptions as to my line of work and what I should be doing during the work day, yet I am doing the quintessential leisure exercise, reading. In my last post I talked about the sacrifices one must make when joining a social group<span class="Apple-style-span" style="-webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-tap-highlight-color: rgba(26, 26, 26, 0.292969);">; conforming is needed for order. Questioning the status quo though is fundamental to the human condition. Here, I am playing the role of the white-collar worker at his desk, doing something he presumably enjoys. </span><span class="Apple-style-span" style="-webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-tap-highlight-color: rgba(26, 26, 26, 0.292969);">It is my hope that passerbys question the available enjoyment opportunities in their work place environment. Does their job </span><span class="Apple-style-span" style="-webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875);"><span class="Apple-style-span" style="-webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-tap-highlight-color: rgba(26, 26, 26, 0.292969);">allot time for said enjoyment. What if the job world had time set aside where you engaged in fun physical exertion, and on other days you read your favorite literature?</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;">View down South Broad Street.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Donated by City Hall Coffee House, by accepting I entered an inadvertent advertising agreement</td></tr>
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ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-53285637581632000062013-07-30T09:10:00.000-07:002013-07-30T13:23:16.525-07:00Traci TulliusWhat is performance artist Traci Tullius asking in her video piece <i>Kneads</i>?<br />
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Here is a link to the page <a href="http://www.tracitullius.com/index.php?/ongoing/kneads/">http://www.tracitullius.com/index.php?/ongoing/kneads/</a><br />
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At first glance, she appears to be dealing with submissiveness. Not unlike Marina Abromovic's <i>Rhythm 0, 1974 </i>wherein Abromovic assumes a passive role; allowing the audience to use 72 objects on her person in any way they pleased. These objects ranged from things that nurture to those that harm. There is a connection to these artist's submissive/passive states and my exploration of capability's opposite.<br />
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My <i>Immobile </i>piece explored stasis. Traci is also exploring stasis, and allowing the placement of another artist's hands on her face. The man starts out with caressing strokes and progresses "to aggressive and possibly sadistic" maneuvers (<a href="http://www.tracitullius.com/index.php?/ongoing/kneads/">http://www.tracitullius.com/index.php?/ongoing/kneads/</a>). The moments before I started <i>Immobile</i> I struggled with the possibilities of what might happen. What if someone played with my face against my will? What if someone put a gun to my head like in Marina's <i>Rhythm 0, 1974</i>?<br />
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I think I can appropriate Tullius's use of the up-close, still video camera shot on the subjects face. In a simple fashion <i>Kneads </i>creates an immediately personal experience for the viewer. You focus on each facial expression made not by Traci, but by this man whose head is never shown. My desire for this next piece, which will be called <i>925</i>, is reach the audience not present on a personal level (those who only have documentation to go by) as I raise issues of conformity through a stasis state. I'm not exactly saying conformity is a bad thing either. It exists and is necessary for particulars reasons. I think one will put up with or live with such realities if they truly care about their business. Whether it's a Fortune 500 Company or an artist collective in North Philadelphia, sacrificing a little bit of yourself for the sake of the group may not be a bad thing. If you do not think such sacrifices are worth the benefits of said incorporation into said group then maybe my piece will reignite the spark that everyone asks themselves, "What am I doing?" Those who don't see the sacrifice worth it might choose to rediscover themselves.<br />
<br />ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-72968419918786337202013-07-24T15:17:00.001-07:002013-07-24T15:17:59.375-07:00Immobile<i style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px;">Immobile</i><span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px;">, a performance piece, is<i> </i>a </span><span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px;">reflection on my time spent bedridden last week. Last week's sickness struck me with unforgiving blows, leaving me at it's mercy. Last night I made the conscientious choice to be temporarily immobilized for twelve hours, 10 p.m. to 10 a.m. Conversely, last week I did not choose to be off my feet for days. This piece can metaphorically serve as a drop in the bucket for the unforgiving realities of the disabled.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTLLIJaeyKfXPhsJ81_S6XrhIH6qAGKJ8lk1WWD5-6sHAYT7C_DAsn5kI4OMVnvUS0KygDZ_KcqKhrLIQDOJy0FenNBrMYFvWtFKiZo1wRdCssOzxObMbQzTThphfuxCO190VmFcfkOg/s1600/Immobile+POV.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTLLIJaeyKfXPhsJ81_S6XrhIH6qAGKJ8lk1WWD5-6sHAYT7C_DAsn5kI4OMVnvUS0KygDZ_KcqKhrLIQDOJy0FenNBrMYFvWtFKiZo1wRdCssOzxObMbQzTThphfuxCO190VmFcfkOg/s320/Immobile+POV.JPG" width="320" /></a></div>
ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-2939055656432428812013-07-08T10:06:00.001-07:002013-07-08T10:08:18.804-07:00Poetry For Dummies<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZYfq1s8Rv0-DWB7q0hNnpKGZnEUqA5-SnB9_ddNKPmaZCpXrVCMpD6fXGClh69YwgqDZGX1vg1CPBMtZr1cqMkY9I6NhFXXD-Irfk9VpRV3dHgvUPzhby0wj7qNyxF5lKupbzu6ba6A/s1600/dummies.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZYfq1s8Rv0-DWB7q0hNnpKGZnEUqA5-SnB9_ddNKPmaZCpXrVCMpD6fXGClh69YwgqDZGX1vg1CPBMtZr1cqMkY9I6NhFXXD-Irfk9VpRV3dHgvUPzhby0wj7qNyxF5lKupbzu6ba6A/s320/dummies.jpg" width="255" /></a></div>
<span style="background-color: white; color: #222222; font-family: arial, helvetica, sans-serif; font-size: 13px;"><br /></span>
<span style="background-color: white; color: #222222; font-family: arial, helvetica, sans-serif; font-size: 13px;">I have an idea of reading the book </span><i style="background-color: white; color: #222222; font-family: arial, helvetica, sans-serif; font-size: 13px;">Poetry for Dummies</i><span style="background-color: white; color: #222222; font-family: arial, helvetica, sans-serif; font-size: 13px;"> in it's entirety while engaged in a physical task. A portion of my work is performance based, pushing </span><span style="color: #222222; font-family: arial, helvetica, sans-serif; font-size: 13px; white-space: pre-wrap;">the body to its perceived limit. In these moments of extreme physical stress I channel the beauty of spoken word poetry. However, I am well aware that I do not have an extensive poetry background. So, reading this beginner book on poetry is a gestural act acknowledging my novice status while committing acts (working out) that I feel quite knowledgeable/comfortable partaking in.</span>ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-13752081838569150502013-07-02T13:47:00.001-07:002013-07-02T13:53:36.052-07:00Philadelphia Wellness Initiative<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiesnYtHgrdY_gcPRomhiVysNB2FKQMI8sJe5cYqaXRpn4ysynLHMTf4l7vPZol6OQkKa3vol-ciCKTKU7xVSqHVEeTtAKjErB-uyT5hbssMwMnWdnJCSyEEZKnj3LsnTO63x8ExPVv2w/s792/Untitled-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiesnYtHgrdY_gcPRomhiVysNB2FKQMI8sJe5cYqaXRpn4ysynLHMTf4l7vPZol6OQkKa3vol-ciCKTKU7xVSqHVEeTtAKjErB-uyT5hbssMwMnWdnJCSyEEZKnj3LsnTO63x8ExPVv2w/s320/Untitled-1.jpg" width="247" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">PWI's mock up to be sent to the designer</td></tr>
</tbody></table>
Mock up of the diagram that will accompany the installment of pull-up bars around the city by the Philadelphia Wellness Initiative (PWI). One pull-up bar will be installed underneath i95 on Fairmount Ave in Northern Liberties and another along the Schuylkill River Path. A graphic designer from Philadelphia, who will remain nameless, is interested in contributing to the growth of PWI. It is my opinion that this designer's professional skill will lend an air of official credibility to the placement of these pull-up bars. It is PWI's hope that these pull-up bars are installed without incident i.e. the authorities do not impede on our installment at the two sites. To help diffuse such possible situations, I think PWI needs t-shirts and ID's. Also, I am working with a sculpture faculty member, who will remain nameless, to make it difficult for metal scrappers to disassemble the piece. The Philadelphia Wellness Initiative would like to thank you for your continued support.<br />
<br />ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-53985701637799167532013-06-30T09:10:00.000-07:002013-06-30T09:10:45.398-07:00Adapt<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Nz8hrF4cKxc?feature=player_embedded' frameborder='0'></iframe></div>
Setting up Controlled Gym Environment, so as to film in a contained space. Ran into a snag. The structural skeleton of my studio consists of metal studs, not wood. They are thin and will not support my pull-up bar. Bummer. As an artist, especially as a performance artist, you need to be able to adapt; to make decisive changes on the fly. So, I'm thinking this equipment of mine could have a life next door in the once vacant lot that is now a social-fun-food-hang out place. I will write a proposal.ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-74709806783381527452013-06-26T15:29:00.003-07:002013-06-26T15:30:06.518-07:00PechaKucha (The Story of The Cockle)<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/t6KAcFsc1HI?feature=player_embedded' frameborder='0'></iframe></div>
<br />
I had myself a holiday,<br />
the sun was playing host,<br />
no single cloud was in the sky<br />
to cry on me and boast,<br />
and this was strange because it was<br />
upon the English Coast!<br />
<br />
When standing on the beach, I felt<br />
a tapping on my toe,<br />
A Cockle looking up at me<br />
while I looked back below,<br />
and this went on for quite some time<br />
till words began to flow.<br />
<br />
"Oh pardon me," the Cockle Said,<br />
all bashful and sincere,<br />
"I miss the sound of seaside waves<br />
that crash beneath the pier."<br />
And this was rather odd, you see,<br />
he had no ears to hear!<br />
<br />
"I strain to see," the Cockle said,<br />
"My way around this bay,<br />
I don't suppose you have the time<br />
to help me find my way?"<br />
I tied some string around his shell<br />
and pulled him like a sleigh.<br />
<br />
"I thank you, Sir," the Cockle beamed,<br />
"To lend your helping hand,<br />
dragging me 'round this far and wide<br />
and all across the sand."<br />
You see, he couldn't walk himself -<br />
he'd got no legs to stand.<br />
<br />
"I'll introduce you to my friends<br />
that live beneath the tide,<br />
like dear old Mr. Langoustine<br />
and Mrs. Shrimp, his bride."<br />
I joked I'd like to dine on them<br />
and little Cockle cried.<br />
<br />
"We're almost there," I cheered to him,<br />
expecting quite a yell,<br />
but as I turned, he'd disappeared<br />
to where I couldn't tell.<br />
(A seagull came on swooping down<br />
and picked him from his shell!)<br />
<br />
- Ben Habbard<br />
<br />
(each time I am descending from the 8th floor to the 1st floor in the Anderson building at UArts, where my studio is located, and then I am ascending the 8 flights of stairs)ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-79237699297767482682013-06-26T15:11:00.003-07:002013-06-26T15:11:49.728-07:00Quesadilla<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/2gxviArZ3I8?feature=player_embedded' frameborder='0'></iframe></div>
<div style="text-align: center;">
Having fun synced to Walk The Moon's Quesadilla.</div>
ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-39026365924249452982013-06-20T10:00:00.000-07:002013-06-20T10:11:34.702-07:00Really?<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn6I1AoZnCieN_m__vQZ2pnFZPCN3eCZhEtvJshjy28qBYsmPXuRgudFRqQunXyE1siaoF5ekn6s_GgTO1obhYeMOhwVmvQCZ6_XW4cEvqY1SyE-ygabg4KRBkCbnbm48gGiY9dzsraQ/s1600/huh.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn6I1AoZnCieN_m__vQZ2pnFZPCN3eCZhEtvJshjy28qBYsmPXuRgudFRqQunXyE1siaoF5ekn6s_GgTO1obhYeMOhwVmvQCZ6_XW4cEvqY1SyE-ygabg4KRBkCbnbm48gGiY9dzsraQ/s320/huh.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Watching TV on treadmill.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUGMOdaPHMb8-nKI5jdABrCBccf1EAgQ8EFp_EUw-Bwrz9HBlto_ST-qXwbqof5bsOWqdUNRZXePZyWbo7CPUOtOFqdb6o-smXSDPuqg8lh8FtR_12OEHr0YPJB1655y2TEGU8y7ZXCQ/s1600/what.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUGMOdaPHMb8-nKI5jdABrCBccf1EAgQ8EFp_EUw-Bwrz9HBlto_ST-qXwbqof5bsOWqdUNRZXePZyWbo7CPUOtOFqdb6o-smXSDPuqg8lh8FtR_12OEHr0YPJB1655y2TEGU8y7ZXCQ/s320/what.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kid exercising while watching TV</td></tr>
</tbody></table>
Are we so averse to exercise that we need a familiar distraction? Or are we so addicted to said familiar distraction? I guess the silver lining is that at least these people are moving. In Ancient Greece they had open air gymnasiums where you not only exercised, but pursued intellectual pursuits,<br />
<div>
<span style="background-color: white; font-family: sans-serif; font-size: 13px; line-height: 19.1875px;"><br /></span>
<span style="background-color: white; font-family: sans-serif; font-size: 13px; line-height: 19.1875px;">"The ancient Greek gymnasium soon became a place for more than exercise. This development arose through recognition by the Greeks of the strong relation between athletics, education and health. Accordingly, the gymnasium became connected with </span><a href="http://en.wikipedia.org/wiki/Education" style="background-color: white; background-image: none; color: #0b0080; font-family: sans-serif; font-size: 13px; line-height: 19.1875px; text-decoration: none;" title="Education">education</a><span style="background-color: white; font-family: sans-serif; font-size: 13px; line-height: 19.1875px;"> on the one hand and </span><a href="http://en.wikipedia.org/wiki/Medicine" style="background-color: white; background-image: none; color: #0b0080; font-family: sans-serif; font-size: 13px; line-height: 19.1875px; text-decoration: none;" title="Medicine">medicine</a><span style="background-color: white; font-family: sans-serif; font-size: 13px; line-height: 19.1875px;"> on the other. <span style="color: red;">Physical training and maintenance of health and strength were the chief parts of children's earlier education</span>. Except for time devoted to letters and music, the education of young men was solely conducted in the gymnasium, where provisions were made not only for physical pedagogy but for instruction in morals and ethics. As pupils grew older, informal conversation and other forms of social activity took the place of institutional, systematic discipline. Since the gymnasia were favorite resorts of youth, they were frequented by teachers, especially philosophers.</span><sup class="reference" id="cite_ref-colliers_8-0" style="background-color: white; font-family: sans-serif; line-height: 1em; unicode-bidi: -webkit-isolate;"><a href="http://en.wikipedia.org/wiki/Gymnasium_(ancient_Greece)#cite_note-colliers-8" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none; white-space: nowrap;">[8]</a></sup><span style="background-color: white; font-family: sans-serif; font-size: 13px; line-height: 19.1875px;"> Philosophers and </span><a href="http://en.wikipedia.org/wiki/Sophist" style="background-color: white; background-image: none; color: #0b0080; font-family: sans-serif; font-size: 13px; line-height: 19.1875px; text-decoration: none;" title="Sophist">sophists</a> <span style="background-color: white; font-family: sans-serif; font-size: 13px; line-height: 19.1875px;">frequently assembled to hold talks and lectures in the gymnasia; thus the institution became a resort for those interested in less structured intellectual pursuits in addition to those using the place for training in physical exercises" (Wikipedia </span><a href="http://en.wikipedia.org/wiki/Gymnasium_(ancient_Greece)">http://en.wikipedia.org/wiki/Gymnasium_(ancient_Greece)</a><span style="background-color: white; font-family: sans-serif; font-size: 13px; line-height: 19.1875px;">).</span><br />
<br />
<span style="color: red;">This makes me think about how restless young boys can be in grammar school</span>. They literally can not sit still. Maybe we need to run them into submission, like you would a hyper dog. Get them tired so they can actually focus in a classroom, or better yet, abandon the classroom altogether and get them out into the real world. Awaken their senses with rigorous exercise and periodic spurts of real world knowledge during their workout underneath the open sky. Those who don't want to be there, send away. Treat education as a privilege.</div>
ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-90162580988189323392013-06-19T18:43:00.002-07:002013-06-19T18:43:49.060-07:00Craigslist Ad<a href="http://philadelphia.craigslist.org/act/3882358648.html">http://philadelphia.craigslist.org/act/3882358648.html</a>ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0tag:blogger.com,1999:blog-3592881581509204988.post-66696288320501001422013-06-19T12:39:00.002-07:002013-06-20T04:05:30.208-07:00Talk Test<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">“In order to enhance endurance performance, some training has to occur around the lactate threshold intensity level. When subjects in the study had difficulty talking, they were very close to that lactate threshold intensity. Because of this, athletes could gauge their intensity based on ability to talk comfortably.” </span><br />
<div style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px; margin-bottom: 1.12em; margin-top: 1.12em;">
“If you are beginning an exercise program and can still talk while you’re exercising, you’re doing OK,” Quinn says. “But if you really want to improve, you’ve got to push a little bit harder.”</div>
<div style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px; margin-bottom: 1.12em; margin-top: 1.12em;">
(excerpt from <a href="http://www.unh.edu/news/cj_nr/2011/sep/bp13exercise.cfm" style="background-color: transparent;">http://www.unh.edu/news/cj_nr/2011/sep/bp13exercise.cfm</a>)</div>
ART as MOVEMENThttp://www.blogger.com/profile/02439080587810321008noreply@blogger.com0