Museum of Modern Art
The Museum of Modern Art is an art museum located in Midtown Manhattan, New York City, on 53rd Street between Fifth and Sixth Avenues. MoMA plays a major role in developing and collecting modernist art, is identified as one of the largest and most influential museums of modern art in the world. MoMA's collection offers an overview of modern and contemporary art, including works of architecture and design, painting, photography, illustrated books and artist's books and electronic media; the MoMA Library includes 300,000 books and exhibition catalogs, over 1,000 periodical titles, over 40,000 files of ephemera about individual artists and groups. The archives holds primary source material related to the history of contemporary art; the idea for the Museum of Modern Art was developed in 1929 by Abby Aldrich Rockefeller and two of her friends, Lillie P. Bliss and Mary Quinn Sullivan, they became known variously as "the Ladies", "the daring ladies" and "the adamantine ladies". They rented modest quarters for the new museum in the Heckscher Building at 730 Fifth Avenue in Manhattan, it opened to the public on November 7, 1929, nine days after the Wall Street Crash.
Abby had invited A. Conger Goodyear, the former president of the board of trustees of the Albright Art Gallery in Buffalo, New York, to become president of the new museum. Abby became treasurer. At the time, it was America's premier museum devoted to modern art, the first of its kind in Manhattan to exhibit European modernism. One of Abby's early recruits for the museum staff was the noted Japanese-American photographer Soichi Sunami, who served the museum as its official documentary photographer from 1930 until 1968. Goodyear enlisted Paul J. Frank Crowninshield to join him as founding trustees. Sachs, the associate director and curator of prints and drawings at the Fogg Museum at Harvard University, was referred to in those days as a collector of curators. Goodyear asked him to recommend a director and Sachs suggested Alfred H. Barr, Jr. a promising young protege. Under Barr's guidance, the museum's holdings expanded from an initial gift of eight prints and one drawing, its first successful loan exhibition was in November 1929, displaying paintings by Van Gogh, Gauguin, Cézanne, Seurat.
First housed in six rooms of galleries and offices on the twelfth floor of Manhattan's Heckscher Building, on the corner of Fifth Avenue and 57th Street, the museum moved into three more temporary locations within the next ten years. Abby's husband was adamantly opposed to the museum and refused to release funds for the venture, which had to be obtained from other sources and resulted in the frequent shifts of location, he donated the land for the current site of the museum, plus other gifts over time, thus became in effect one of its greatest benefactors. During that time it initiated many more exhibitions of noted artists, such as the lone Vincent van Gogh exhibition on November 4, 1935. Containing an unprecedented sixty-six oils and fifty drawings from the Netherlands, as well as poignant excerpts from the artist's letters, it was a major public success due to Barr's arrangement of the exhibit, became "a precursor to the hold van Gogh has to this day on the contemporary imagination"; the museum gained international prominence with the hugely successful and now famous Picasso retrospective of 1939–40, held in conjunction with the Art Institute of Chicago.
In its range of presented works, it represented a significant reinterpretation of Picasso for future art scholars and historians. This was wholly masterminded by Barr, a Picasso enthusiast, the exhibition lionized Picasso as the greatest artist of the time, setting the model for all the museum's retrospectives that were to follow. Boy Leading a Horse was contested over ownership with the Solomon R. Guggenheim Museum. In 1941, MoMA hosted the ground-breaking exhibition, Indian Art of the United States, that changed the way American Indian arts were viewed by the public and exhibited in art museums; when Abby Rockefeller's son Nelson was selected by the board of trustees to become its flamboyant president in 1939, at the age of thirty, he became the prime instigator and funder of its publicity and subsequent expansion into new headquarters on 53rd Street. His brother, David Rockefeller joined the museum's board of trustees in 1948 and took over the presidency when Nelson was elected Governor of New York in 1958.
David subsequently employed the noted architect Philip Johnson to redesign the museum garden and name it in honor of his mother, the Abby Aldrich Rockefeller Sculpture Garden. He and the Rockefeller family in general have retained a close association with the museum throughout its history, with the Rockefeller Brothers Fund funding the institution since 1947. Both David Rockefeller, Jr. and Sharon Percy Rockefeller sit on the board of trustees. In 1937, MoMA had shifted to offices and basement galleries in the Time-Life Building in Rockefeller Center, its permanent and current home, now renovated, designed in the International Style by the modernist architects Philip L. Goodwin and Edward Durell Stone, opened to the public on May 10, 1939, attended by an illustrious company of 6,000 people, with an opening address via radio from the White House by President Franklin D. Roosevelt. On April 15, 1958, a fire on the second floor destroyed an 18 foot long Monet Water Lilies painting (the current Mone
MIT Media Lab
The MIT Media Lab is an interdisciplinary research laboratory at the Massachusetts Institute of Technology, growing out of MIT's Architecture Machine Group in the School of Architecture. Its research does not restrict to fixed academic disciplines, but draws from technology, science and design; as of 2014, Media Lab's research groups include neurobiology, biologically inspired fabrication engaging robots, emotive computing and hyperinstruments. The Media Lab was founded in 1985 by Nicholas Negroponte and former MIT President Jerome Wiesner, is housed in the Wiesner Building known as Building E15; the Lab has been written about in the popular press since 1988, when Stewart Brand published The Media Lab: Inventing the Future at M. I. T. and its work was a regular feature of technology journals in the 1990s. In 2009, it expanded into a second building; the founding director of the lab was Nicholas Negroponte, who directed it until 2000. Directors were Walter Bender, Frank Moss, Joi Ito; as of 2014, the Media Lab had 70 administrative and support staff members.
Associate Directors of the Lab were Andrew Lippman. Pattie Maes and Mitchel Resnick were co-heads of the Program in Media Arts and Sciences, the Lab's Chief Knowledge Officer was Henry Holtzman; the Media Lab has at times had regional branches in other parts of the world, such as Media Lab Europe and Media Lab Asia, each with their own staff and governing bodies. The Lab's primary funding comes from corporate sponsorship. Rather than accepting funding on a per-project or per-group basis, the Lab asks sponsors to fund general themes. Specific projects and researchers are funded more traditionally through government institutions including the NIH, NSF, DARPA. Consortia with other schools or other departments at MIT are able to have money that does not enter into the common pool. Companies sponsoring the Lab can share in the Lab's intellectual property without paying license fees or royalties. Non-sponsors cannot make use of Media Lab developments for two years after technical disclosure is made to MIT and Media Lab sponsors.
The Media Lab generates 20 new patents every year. Some recurring themes of work at the Media Lab include human adaptability, human computer interaction and communication, artistic creation and visualization, designing technology for the developing world. Other research focus includes machines with common sense, sociable robots, sensor networks, musical devices, city design, public health. Research programs all include iterative development of prototypes which are tested and displayed for visitors; each of these areas of research may incorporate others. Interaction design research includes designing intelligent environments. Educational research has included integrating more computation into learning activities - including software for learning, programmable toys, artistic or musical instruments. Examples include Lego Mindstorms, the PicoCricket, One Laptop per Child; as of 2017, the MIT Media Lab has the following research groups: Affective Computing: "advancing wellbeing by using new ways to communicate and respond to emotion" Biomechatronics: "enhancing human physical capability."
Camera Culture: "making the invisible visible – inside our bodies, around us, beyond – for health and connection" City Science: "looking beyond smart cities" Civic Media: "creating technology for social change" Collective Learning: "transforming data into knowledge" Conformable Decoders": "converting the patterns of nature and the human body into beneficial signals and energy" Fluid Interfaces: "designing wearable systems for cognitive enhancement" Human Dynamics: "exploring how social networks can influence our lives in business, health and technology adoption and diffusions" Lifelong Kindergarten: "engaging people in creative learning experiences" Mediated Matter: "designing for, by nature" Molecular Machines: "engineering at the limits of complexity with molecular-scale parts" Nano-Cybernetic Biotrek: "inventing disruptive technologies for nanoelectronic computation and creating new paradigms for life-machine symbiosis" Object-Based Media: "changing storytelling and everyday life through sensing and new interface technologies" Opera of the Future: "extending expression and health through innovations in musical composition and participation" Personal Robots: "building engaging robots and interactive technologies to help people live healthier lives, connect with others, learn better" Poetic Justice: "exploring new forms of social justice through art" Responsive Environments: "augmenting and mediating human experience and perception with sensor networks" Scalable Cooperation: "reimagining human cooperation in the age of social media and artificial intelligence" Sculpting Evolution: "exploring evolutionary and ecological engineering" Signal Kinetics: "extending human and computer abilities in sensing and actuation through signals and networks" Social Machines: "promoting deeper learning and understanding in human networks" Space Enabled: "advancing justice in Earth's complex systems using designs enabled by space" Synthetic Neurobiology: "revealing insights into the human condition and repairing brain disorders via novel tools for mapping and fixing brain computations" Tangible Media: "seamlessly coupling the worlds of bits and atoms by giving dynamic physical form to digital information and computation" Viral Communications: "creating scalable technologies that evolve with user inventiveness" The Media Art
Mary Flanagan is an artist, author and designer. She pioneered the field of game research with her ideas on critical play, she has over fifty articles to her credit. She is known for being the founding director of the research laboratory and design studio Tiltfactor Lab and the CEO of the board game company Resonym, she is a renowned digital artist whose work has been shown around the world and has won several awards and distinctions, including the Award of Distinction at Prix Ars Electronica in 2018. Flanagan graduated with a BA from the University of Wisconsin–Milwaukee, earned MFA and MA degrees from the University of Iowa, achieved her doctorate from Central Saint Martins College of Art and Design, UK, she studied film for her undergraduate and masters work while her PhD was in Computational Media focusing on game design. She is the inaugural chair holder of the Sherman Fairchild Distinguished Professorship in Digital Humanities at Dartmouth College, where she has served since 2008. Flanagan has been recognized for her contributions to digital art and game design theory.
She has been awarded several honors including: Honoris Causa in Design from Illinois Tech The Thoma Foundation Arts Writing Award in Digital Art The Vanguard award at Games for Change She has been awarded residencies with: The Robert Rauschenberg Foundation The MacDowell Colony The American Council of Learned Societies The Higher Education Video Game AllianceShe has been a distinguished scholar at: The Getty Museum Cornell University The University of Toronto She has served on the faculty of: Salzburg Global Seminar The White House Office of Science and Technology Policy Academic Consortium on Games for Impact Flanagan has received the support and backing of many commissions and grants including: The British Arts Council The National Science Foundation The National Institute of Justice The National Endowment for the Humanities The Institute of Museum and Library Services,Flanagan has given keynotes to groups ranging from the Association of Professional Futurists to Computer Supported Cooperative Work, from Philosophy of Computer Games to Games Learning and Society, from the experimental STRP Festival to Women in Games.
Flanagan was a 2018 Cultural leader at the World Economic Forum and an Invited Participant at the World Government Summit. When Flanagan founded Tiltfactor at Hunter College in 2003, it was the only game research lab in New York City. Focusing on conscious and innovative game design, Tiltfactor develops games for social issues such as changing biases and stereotypes, addressing public health, using the power of games to transform institutions. Through Tiltfactor, Flanagan developed the idea of values-centered design. Today the research lab is based at Dartmouth College and continues its mission to design and promote transformative games in all of their myriad forms: sports, card/board games, locative media, more. Flanagan is the CEO and creative director of Resonym. Founded in 2012, Resonym publishes original goods for social innovation. Resonym develops board games, card games, digital games. Many of the games Resonym has published have been researched at Tiltfactor, the Flanagan's interdisciplinary innovation studio dedicated to designing & studying games that help us learn.
Resonym has designed and published award-winning party games like Buffalo: The Name Dropping Game and Awkward Moment, as well as the strategy games Monarch and VISITOR in Blackwood Grove. Buffalo was developed using Tiltfactor's research and aims to break down gender and racial stereotypes. In March of 2019, Resonym Kickstarted their game Mechanica; the game had over 2,000 backers. Her art has been exhibited around the world and she was featured in the video game art documentary 8 BIT. Within the field of culture and technology, she is known for her theory of playculture. Flanagan's artwork deals with how the design and use of technology can reveal insights into society. Other work is concerned with the representation of women in cyberculture, her artwork has exhibited internationally at venues including The Whitney Museum of American Art, SIGGRAPH, Ars Electronica, The Guggenheim, others. Is an interactive exhibit based on the idea that everyone is judging others at the same time that they are aware others are judging them.
Participants would take their own pictures that would be used in the exhibit. They would be given two altered images to choose from in order to match a given word; the work used computational neuroscience to show how beliefs people have about facial features can be related to culture and identity. The work received the Award of Distinction at the 2018 Prix Ars Electronica. is a 2009 video series documenting psychogeographic walks in virtual spaces around “virtual” historical sites. They are projected in gallery space; the work explores borders geographically and conceptually. The walks in are beautiful, and, as though we were transported directly into Thoreau's walking shoes, one can "glimpse Elysium,” but only as Thoreau might have: Whilst walking along, surveying the boundaries and divisions. In following virtual property lines, the walker becomes stuck in stones, sent underwater, teeters at the edge of the world, thus exposing the algorithmic nature of the rendering of landscape and the invisible disruptions in a seamless world.
Has since been exhibited in several locations including the Museum of Art and Technology in Lisbon, Portugal in October of 2019, the Museum of Fine Arts in Cologne from 2017 to 2018, the Electronic Lang
In anthropology, privilege is a special right, advantage, or immunity granted or available only to a particular person or group. In sociology, privilege is the perceived rights or advantages that are assumed to be available only to a particular person or group of people; the term is used in the context of social inequality in regard to age, ethnic or racial category, gender identity, sexual orientation and social class. Two common examples involve having access to housing. Under a newer usage of the term, privilege can be emotional or psychological, regarding comfort and personal self-confidence, or having a sense of belonging or worth in society, it began as an academic concept, but has since been invoked more outside of academia. Arguably, the history of privilege as a concept dates back to American sociologist and historian W. E. B. Du Bois's 1903 book The Souls of Black Folk. Here, he wrote that although African Americans were observant of white Americans and conscious of racial discrimination, white Americans did not think much about African-Americans, nor about the effects of racial discrimination.
In 1935, Du Bois wrote about. He wrote that these included courtesy and deference, unimpeded admittance to all public functions, lenient treatment in court, access to the best schools. In 1988, American feminist and anti-racism activist Peggy McIntosh published "White Privilege and Male Privilege: A Personal Account of Coming to See Correspondences through Work in Women’s Studies". Here, McIntosh documented forty-six privileges which she, as a white person, experienced in the United States; as an example, "I can be sure that if I need legal or medical help, my race will not work against me", "I do not have to educate my children to be aware of systemic racism for their own daily physical protection". McIntosh described white privilege as an "invisible package of unearned assets" which white people do not want to acknowledge, which leads to them being confident and oblivious about racial issues, while non-white people become unconfident and alienated. McIntosh's essay has been credited for stimulating academic interest in privilege, extensively studied in the decades since.
In 2014, Princeton University first-year student Tal Fortgang authored "Checking My Privilege", a debated article in which he condemned classmates who told him to "check his privilege" for attributing his success in life to "some invisible patron saint of white maleness", "for casting the equal protection clause, indeed the idea of a meritocracy, as a myth". McIntosh afterwards told the New Yorker, she argued that everybody has a combination of unearned advantage and unearned disadvantage, should aim to try to see themselves in the context of societal patterns of discrimination and oppression. Academic study of social inequality focused on the ways in which minority groups were discriminated against, ignored the privileges accorded to dominant social groups; that changed in the late 1980s. Privilege, as understood and described by researchers, is a function of multiple variables of varying importance, such as race, gender, sexual orientation, gender identity, religion, physical ability, level of education, others.
Race and social class are felt by many sociologists to be the characteristics most determinative of a person's overall level of privilege. Privilege theory argues that each individual is embedded in a matrix of categories and contexts, will be in some ways privileged and other ways disadvantaged, with privileged attributes lessening disadvantage and membership in a disadvantaged group lessening the benefits of privilege. For example, researchers of social privilege would tend to view a lesbian university professor of European ancestry as benefiting from racial and educational privilege, but disadvantaged due to her gender and sexual orientation; some attributes of privilege are ordinarily visible, such as race and gender, others, such as citizenship status and birth order, are not. Some such as social class are stable and others, such as age, wealth and attractiveness, will or may change over time; some attributes of privilege are at least determined by the individual, such as level of education, whereas others such as race or class background are involuntary.
In the context of the theory, privileged people are considered to be "the norm", and, as such, gain invisibility and ease in society, with others being cast as inferior variants. Privileged people see themselves reflected throughout society both in mass media and face-to-face in their encounters with teachers, workplace managers and other authorities, which researchers argue leads to a sense of entitlement and the assumption that the privileged person will succeed in life, as well as protecting the privileged person from worry that they may face discrimination from people in positions of authority; some academics highlight a pattern where those who benefit from a type of privilege are unwilling to acknowledge it. American sociologist Michael Kimmel describes the state of having privilege as being "like running with the wind at your back", unaware of invisible sustenance and propulsion; the argument may follow that such a denial constitutes a further injustice against those who do not benefit from the same form of privilege.
One writer has referred to such denial as a form of "microaggression" or microinvalidation that negates the experiences of people who don't have privilege and minimizes the
Lindsay Grace is a video game designer, artist and writer who lives in Miami, FL he is best known as an academic game designer who employs critical design. He has been the director of a news game initiative called, JOLT at American University, which includes the Fake News game and the NPR game Commuter Challenge. In 2013 his game, Wait was inducted in the Games for Change Hall of Fame as one of the five most significant games for change in the last decade. Created in 2009, players must navigate a 3D world that fades away when the player moves, grows more detailed as they wait. If players fail to move for long, the world recedes. Other notable games include Big Huggin', a game controlled by a giant stuffed animal that players must hug to meet game goals. Big Huggin' was Kickstarted with notable support from Jane McGonigal and selected for the ACM Siggraph's Aesthetics of Gameplay Show. Grace has created more than 15 independent games, acting as the sole designer and artist, he has written articles about this process and supports such activity as one of 8 executive board members organizing the Global Game Jam.
He exhibits art internationally and curates exhibits. He co-curated the Indie Arcade 2016 events at the Smithsonian American Art Museum. Lindsay Grace has publicly opposed the link between video games and violence. Grace is Knight Chair at the University of Miami, he is Vice President of both the Higher Education Video Game Alliance. Grace lead the games program at American University School of Communication in Washington D. C. Grace has published more than 45 academic articles since 2009, he was the C. Michael Armstrong Professor of Creative Arts at Miami University/Armstrong Institute for Interactive Media Studies at Miami University where he runs the Persuasive Play Laboratory, he teaches interaction design and theory at American University. He publishes writing and video games that relate the concept of "philosophy of software" and Critical Design as practice in the arts and games; this practice falls between critical design. The Critical Gameplay games employ theories in the design of video games and society.
The work for Critical Gameplay has been shown in more than 15 cities including Athens, São Paulo, Rio de Janeiro, Taipei, Chicago and Istanbul. It is internationally recognized. Grace's independent video game publications include Penguin Roll, Zombie Master, Polyglot Cubed and several games under the Mindtoggle Software company, he writes about games and independent game-making. According to App Annie statistics, his Game Black Like Me was a top 100 game in 3 countries by number of daily downloads. In 2008, Grace created Polyglot Cubed, recognized at the Meaningful play conference at Michigan State, was a serious games showcase finalist at the Interservice/Industry Training and Education Conference IITSEC, the International Conference on Advances in Computer Entertainment Technology. Gamasutra ran an article about it, his research includes algorithmic music generation using visual emergent behavior. He is an alumnus of the Electronic Visualization Laboratory at the University of Illinois as well as two degrees from Northwestern University.
Cineme Midwestern Game Developers Conference - Lecturer Westwood College PAC Curriculum - Advisory committee Meaningful play, Michigan State University - Game Exhibitor International Conferences on Advances in Human Computer Interaction, Mexico - A Universally Designed, Device-Independent Email Client IITSEC, Florida - Serious Games Showcase International Conferences on Advancements in Computer Entertainment, Greece - Game Exhibitor International Digital Media and Arts Association, Ball State University, USA CHI, Atlanta, USA ISEA, Istanbul, USA Games and Society, Wisconsin, USA Electronic Language International Festival, São Paulo, Brazil Artscape, Baltimore, USA Conference on Human Factors in Computing Systems, Texas Games for Change, New York, USA Electronic Language International Festival, São Paulo, Brazil CHI, France ArtScience Museum, Singapore SIGGRAPH, New York, USA College Art Association Annual Conference, Cassidy Theater at the Chicago Cultural Center, Chicago, USA Game Developers Conference, "In the Hearts of Players: Affection Games and Mobile Love", Game Developers Conference, San Francisco, United States Game Developers Conference, "Education Soapbox", Game Developers Conference, San Francisco, United States SXSW, "Gaming 4 Gov Impact", SXSW, Texas, United States Game Developers Conference, "Community Engagement at the Intersection of Games and News", Game Developers Conference, San Francisco, United States Game Developers Conference, "Who Owns What and Why?
Student IP, Faculty IP, Game Design Programs", Game Developers Conference, San Francisco, United States Online News Association, Keynote "What Journalists Can Learn from Game Designers About Engagement", Online News Association, London Game Developers Conference, "It's not all about unicorns, sustainable diversity in the classroom", Game Developers Conference, San Francisco, United States Game Developers Conference, "Cube, Borneo-Oh My, Creating Games Education Very Abroad", Game Developers Conference, San Francisco, United States Critical Gameplay Big Huggin' Lindsay Grace's website American University Faculty Profile The Critical Gameplay Project ACM Portal Publications List Article by Lindsay Grace Review of his
Benetton Group S.r.l. is a global fashion brand based in Ponzano Veneto, Italy. The name comes from the Benetton family, who founded the company in 1965. Benetton has a network of about 5,000 stores in the main international markets. In 1963, Luciano Benetton, the oldest of four children, was a 30-year-old salesman in Treviso, his initial small collection of sweaters received a positive response in local stores in the Veneto region, soon after he asked his sister and two younger brothers and Carlo, to join him. In 1965, the entity known as the "Benetton Group" was formed. In 1965, the Benettons opened their first store in Belluno and three years after in Paris, with Luciano as chairman, his brother Gilberto in charge of administration, their younger brother Carlo running production, Giuliana as a chief designer; the company's core business remains their clothing lines: United Colors of Sisley. The Group has a network of about 5,000 stores around the world; the company is known for sponsorship of a number of sports, for the provocative and original "United Colors" publicity campaign.
The latter originated when photographer Oliviero Toscani was given carte blanche by the Benetton management. Under Toscani's direction, ads were created that contained striking images unrelated to any actual products being sold by the company. Up to 1982, Benetton marketing campaigns relied on traditional models wearing the brand clothing. In 1982, the company decided to change its advertising campaigns by focusing on world issues to raise awareness and create an added value for the brand. In 1984, Oliviero Toscani photographed the first multiracial ad for the brand; these graphic, billboard-sized ads included depictions of a variety of shocking subjects, one of which featured a deathbed scene of a man dying from AIDS. Others included a bloodied, unwashed newborn baby with umbilical cord still attached, controversial; this 1991 advert prompted more than 800 complaints to the British Advertising Standards Authority during 1991 and was featured in the reference book Guinness World Records 2000 as'Most Controversial Campaign'.
Others included a black stallion covering a white mare, close-up pictures of tattoos reading "HIV Positive" on the bodies of men and women, a cemetery of many cross-like tombstones, a collage consisting of genitals of persons of various races, a priest and nun about to engage in a romantic kiss, pictures of inmates on death row, an electric chair, an advert showing a dark-skinned boy with hair shaped into the devil's horns, three different hearts with "black", "white" and "yellow" written onto them, a picture of a bloodied T-shirt and pants riddled with bullet holes from a soldier killed in the Bosnian War. Most of the advertisements, although not all, had a plain white background, in most the company's logo served as the only text accompanying the image. In November 2011, Benetton created the UNHATE Foundation and launched its new worldwide communication campaign, described by the company as an invitation to the leaders and citizens of the world to combat the "culture of hatred". In a press release, Benetton claimed the campaign was created as the group's corporate social responsibility strategy and not as a cosmetic exercise.
Benetton's Fabrica research centre partnered up with 72andSunny to create the UNHATE poster series. These show digitally manufactured images of political and religious leaders, i.e. Barack Obama at that time President of the United States and Hugo Chávez President of Venezuela, kissing each other. According to Benetton “These are symbolic images of reconciliation—with a touch of ironic hope and constructive provocation—to stimulate reflection on how politics and ideas when they are divergent and mutually opposed, must still lead to dialogue and mediation”. However, the image series of lip-locking political and religious figures sparked controversy. After protests by the Vatican, Benetton removed a campaign poster purportedly showing Pope Benedict XVI kissing Ahmed Mohamed el Tayeb, the imam of the Al Azhar mosque in Egypt. At the Cannes Ad festival in June 2012, Benetton won the Press Grand Prix for its Unhate campaign. In November 2017, UCB launched a campaign in collaboration with Devbhumi, a registered company owned by rural women from remote villages in Uttarakhand, India.
The initiative claims to empower over 6,000 rural women artisans across India. Benetton Group entered Formula One as a sponsor of Tyrrell in 1983 Alfa Romeo in 1984. Benetton Formula Ltd. was formed at the end of 1985 when the Toleman and Spirit teams were sold to the Benetton family. The team saw its greatest success under Flavio Briatore, who managed the team from 1990 to 1997. Michael Schumacher won his first Drivers' Championships with the team in 1994 and 1995, the team won their only Constructors' title in 1995. From 1996, the team raced under an Italian licence although it continued to be based, like Toleman, in Oxfordshire in England; the team was bought by Renault for US$120 million in 2000 and was rebranded Renault F1 in 2002. In 1979, Benetton first sponsored their local rugby team, A. S. Rugby Treviso. Benetton Rugby has since become a major force in Italian rugby, with 11 league titles and supplying many players to the national team. Benetton Group has sponsored Treviso Basket and Sisley Volley.
Benetton has faced criticism from Mapuche organizations over its purchase of traditional Mapuche lands in Patagonia. The Curiñanco-Nahuelquir family was evicted from their land in 2002 following Benetton's claim to it, but the land was restored in 2007; the company have published a position st
Anthony Dunne is a critical designer and founder of the art group Dunne and Raby. He runs the studio with collaborator Fiona Raby, he was a reader at the Royal College of Art Design Interactions department from 2005 - 2015 before leaving and moving to New York to take up professorships in Design and Emerging Technologies at the New School. Anthony Dunne and Fiona Raby, Design Noir: The Secret Life of Electronic Objects, Basel: Birkhäuser, 2001. ISBN 978-3-7643-6566-0 Anthony Dunne and Fiona Raby, Hertzian Tales: Electronic Products, Aesthetic Experience, Critical Design, The MIT Press, 1999. ISBN 9780262042321 Anthony Dunne and Fiona Raby,'Between Reality and the Impossible' In: Biennale Internationale Design Saint-Étiennne 2010. Cité du Design Éditions, Saint-Étienne, France, pp. 129–153. ISBN 978-2-912808-40-0 Anthony Dunne and Fiona Raby, Speculative Everything: Design and Social Dreaming, The MIT Press, 2013. ISBN 9780262019842. Paola Antonelli, Emma Dexter, Fiona Raby, Iwona Blazwick, Darkitecture: Learning Architecture for the Twenty-First Century Two Little Boys, 2013.