Lewis Hyde is a scholar, translator, cultural critic and writer whose scholarly work focuses on the nature of imagination and property. Hyde was born in the son of Elizabeth Sanford Hyde and Walter Lewis Hyde, he received an M. A. in comparative literature from the University of Iowa and a B. A. in sociology from the University of Minnesota after which there were many years of freelance work and odd jobs, before teaching writing in the 80s. Hyde taught writing at Harvard University. From 1989 to 2001 he was the Luce Professor of Politics at Kenyon College in Ohio. Since 2006 he has served as the Richard L. Thomas Professor of Creative Writing at Kenyon, a visiting fellow at Harvard's Berkman Center, he is a Nonresident Fellow at the USC Annenberg Center for Communication. Hyde's awards include an NEH Fellowship for Independent Research. Hyde's popular works of scholarship, including the books The Gift and Trickster Makes this World have been praised by fiction writers, including Margaret Atwood, Michael Chabon, Jonathan Lethem and David Foster Wallace.
The Gift has been cited as the inspiration for visual artist Jim Mott's Itinerant Artist Project. Robert Darnton in The New York Times called Hyde's latest book, Common as Air: Revolution and Ownership, "an eloquent and erudite plea for protecting our cultural patrimony from appropriation by commercial interests." Hyde is married to Patricia Vigderman. The couple divide their time between Gambier and Cambridge, Massachusetts. Twenty Poems, by Vicente Aleixandre Translated by Lewis Hyde and Robert Bly, edited by Lewis Hyde A Longing for the Light: Selected Poems of Vicente Aleixandre The Gift: Imagination and the Erotic Life of Property re-published with the alternate subtitle: "Creativity and the Artist in the Modern World" in 2007 On the Poetry of Allen Ginsberg Alcohol and Poetry: John Berryman and the Booze Talking This Error is the Sign of Love: Poems Milkweed Editions "Elegy for John Cage" Kenyon Review 15: 55-56 "American memory, American forgetfulness + Heritage and history" Kenyon Review 19: U1-U4 "2 ACCIDENTS, REFLECTIONS ON CHANCE AND CREATIVITY" Kenyon Review 18: 19-35 "The Land of the Dead" Kenyon Review 18: 27-34 "Prophecy" American Poetry Review 27: 45-55 Created Commons Trickster Makes This World: Mischief and Art re-published with the alternate subtitle: "How Disruptive Imagination Creates Culture" in 2008 "Henry Thoreau, John Brown, the problem of prophetic action" Raritan - A Quarterly Review 22: 125-144 The Essays of Henry David Thoreau Edited by Lewis Hyde Posts at On The Commons blog Common As Air: Revolution and Ownership A Primer for Forgetting: Getting Past the Past Lewis Hyde's official website Frames from the Framers: How America's Revolutionaries Imagined Intellectual Property
Miya Masaoka is based in New York City and is an American composer and sound artist active in the field of experimental music. Her work encompasses contemporary classical composition, electroacoustic music, traditional Japanese instruments, performance art, her full-length ballet was performed at the Venice Biennale 2004. She is the recipient of the Core Fulbright Scholarship for Japan, 2016, she performs on a 21-string Japanese koto koto, which she extends with software processing, string preparations, bowing. Masaoka has created performance works and installations incorporating plants, live insects, sensor technology, she began studying classical music at 8 years old. In her early twenties, she moved to Paris and upon returning to the USA, she enrolled at San Francisco State University, received her BA in Music, magna cum laude, where she studied with Wayne Peterson and Eric Moe, she holds an MA from Mills College. Her teachers included Maryanne Amacher and David Tudor. Masaoka's work spans many media.
She has created works for voice, installations and film shorts. She has sewn and soldered handmade responsive garments and mapped the movement of insects and response of plants and brain activity to sound Her works have been commissioned and premiered by Bang on a Can, So Percussion, Either/Or, Kathleen Supove, Joan Jeanrenaud, SF Sound, Rova Saxophone Quartet, Alonzo King’s Ballet, The Del Sol String Quartet and others, her orchestral work “Other Mountain” was selected for a reading by JCOI Earshot for the La Jolla Symphony 2013. She founded and directed the San Francisco Gagaku Society under the tutelage of Master Suenobu Togi, a former Japanese Imperial Court musician who traced his gagaku lineage more than 1000 years to the Tang Dynasty, her love of nature and resonant outdoor space led her to record the migrating birds in the deep and resonant canyons near the San Diego Airport, resulting in the work “For Birds and Cello,” written for Joan Jeanrenaud of Kronos Quartet. “While I Was Walking, I Heard a Sound” is scored for 120 singers, spatialized in balconies of the concert hall.
During one movement, three choirs and 9 opera singers are making bird calls and environmental sounds. As a kotoist, she remains active in improvisation and has performed and recorded with Pharoah Sanders, Pauline Oliveros, Gerry Hemingway, Jon Rose, Fred Frith, Larry Ochs and Maybe Monday, Steve Coleman, Anthony Braxton, Didier Petit, Reggie Workman, Dr. L. Subramaniam, Andrew Cyrille, George Lewis, Jin Hi Kim, Susie Ibarra, Vijay Iyer, Myra Melford, Zeena Parkins, Toshiko Akiyoshi, William Parker, Robert Dick, Lukas Ligeti, Earl Howard, Henry Brant and many others. Masaoka describes herself, saying, “I am moved by the sounds and kinetic energy of the natural world. People, memory, this geography and soundscape of nature and culture --from our human heart beat to the rhythms of the moon and oceans-- how infinitely complex yet so fundamental.” She initiated and founded the San Francisco Electronic Music Festival in 1999. In 2004, Masaoka received an Alpert Award in the Arts, she was given a National Endowment for the Arts and a Wallace Alexander Gerbode Award.
The New York Times describes her solo performances as “exploring the extremes of her instrument,” and The Wire describes her own compositions as “magnificent…virtuosic…essential music…” She has been a faculty member at the Milton Avery Graduate Program at Bard College in Music/Sound since 2002, has taught music composition at NYU. She received the Doris Duke Performing Artist Award in 2013, a Fulbright Scholarship for Japan, 2016. Symphony Orchestra Other Mountain Creative Orchestra What is the Difference Between Stripping and Playing the Violin? Off a Craggy Cliff, 2 large telematic ensembles Jagged Pyramid, large ensemble Choral Works While I Was Walking, I Heard a Sound…” 3 a cappella choirs, 9 soloists Large Ensemble: 7 or more players Twenty Four Thousand Years is Forever, chamber orchestra and tape. Clarinet, synthesizer in group 1, 2 computers in Group 2, streaming audio and projected video of children's hands gesturing Pieces for Plants, plants, EEG sensors, computer, (plant with sensors on leaves.
Tuning forks, multi channel speakers The Dust and the Noise
The Lab (organization)
The Lab, located in San Francisco's Redstone Building, is a not-for-profit arts organization and performance space founded in 1984. The Lab believes that if it gives artists enough time and funding to realize their vision, the work they produce will change the way we experience the world; these are small propositions that challenge the familiar ways we perceive value, so it seeks out extraordinary artists who are underrepresented as a result of gender, race, sexuality, or geography, whose work is not defined and therefore monetized. As a site of constant iteration and indeterminacy, The Lab is, above all, a catalyst for artistic experimentation; the Lab is W. A. G. E. Certified. W. A. G. E. Certification is a program initiated and operated by working artists that publicly recognizes non-profit arts organizations demonstrating a commitment to voluntarily paying artist fees that meet a minimum standard. Founded in 1984 by Alan Millar, John DiStefano, Laura Brun and other art students from San Francisco State University, The Lab was a site for interdisciplinary artistic production.
The Lab, located in a two-story building at 1805 and 1807 Divisadero Street, featured a black box theater upstairs and a gallery space downstairs. Early presentations included music shows by radical groups such as Rhythm & Noise, Minimal Man, Hüsker Dü, Z'EV. In 1985, Co-LAB renamed itself as "The LAB" under the auspices of Alan Millar's non-profit The•art•re•grüp, Inc. In 1995, The Lab relocated to the historic Redstone Building in San Francisco’s Mission District. A hub for political organizing since 1914, the Redstone played a significant role in the General Strike of 1934 and unions occupying the building have advocated for expanded rights for African Americans and Chicano workers. With a nod to this rich history, in 1995 The Lab partnered with Aaron Noble of the Clarion Alley Mural Project and the Redstone Building's still-active union and non-profit occupants on a series of murals in the building's main atrium, which were dedicated upon completion by Mayor Willie Brown. Since 1984, The Lab has hosted performances and projects by Cluster, Jack Smith, Nan Goldin, Lynn Hershman Leeson, My Bloody Valentine, David Wojnarowicz, Nayland Blake, Christine Tamblyn, Lutz Bacher, Lydia Lunch, Karen Finley, Kevin Killian, Negativland, Carl Stone, Koh-i-noor, The Billboard Liberation Front, Survival Research Laboratories, Mike Kelley, Barry McGee, Carrie Mae Weems, Barbara Kruger, Xylor Jane, Bill Orcutt, Malcolm Mooney, Kathleen Hanna, Jello Biafra, Fred Frith, Rhys Chatham, Nao Bustamante, Rebecca Bollinger, Bruce Conner, Paul DeMarinis, Elbows Akimbo, Felipe Dulzaides, Guillermo Gómez-Peña, Beth Lisick, Alan Millar, Trevor Paglen, Rex Ray, Lise Swenson, PrOphecy sun, Alice Notley, many more.
The Lab's website
Kirmen Uribe is a Basque language writer. He won the National Prize for Literature in Spain in 2009 for his first novel Bilbao-New York-Bilbao; the languages into which the novel has been translated exceed fifteen, including French and Japanese. His poetry collection Meanwhile Take My Hand, translated into English by Elizabeth Macklin, was a finalist for the 2008 PEN Award for Poetry in Translation, his works have been published on Open City and Little Star. Kirmen Uribe was born in a fishing town about one hour from Bilbao. Uribe's father was a trawlerman and his mother was a homemaker, he studied Basque Philology at the University of the Basque Country–Gasteiz, did his graduate studies in Comparative Literature in Trento, Italy. He won his first literary prize in 1995 while he was in jail for being conscientious objector and refusing to go to compulsory military service. In 2008 Uribe published Bilbao -- New York -- Bilbao; the book sparked great curiosity. It received the Spanish Literature Prize for Narrative.
In early 2010 it was brought out in Spanish and Catalan. The novel Bilbao–New York–Bilbao is set on a hypothetical flight that its narrator, one Kirmen Uribe, takes from Bilbao's Loiu Airport to New York's J. F. K. On the flight the writer contemplates his supposed novel-in-progress, about three generations of a family, his own, whose life is bound up with the sea. Bilbao–New York–Bilbao is a novel with no conventional plot to speak of, its structure is that of a net, the knots of the net are the stories of the three generations as they intersect with crosswise stories and reflections on the twentieth century as it was experienced in the Basque Country. Ollie Brock wrote about the novel in The Times Literary Supplement in August 2011: "Uribe has succeeded in realizing what is an ambition for many writers: a book that combines family and literature, anchored in a spoken culture but in bookishness —and all without a single note of self-congratulation", his second novel, translated into Spanish as Lo que mueve el mundo is a docu-fictional novel that tells the story of one the thousands of Basque children who left the port of Bilbao way to exile in May 1937, during the Spanish Civil War, after the bombing of Guernica.
Carmen, a girl of eight years, was hosted in the home of a translator in Ghent, Belgium. The writer’s life changes with the arrival of the child and the events lead to an unexpected ending. “A thrilling novel from the first line to the last. The vicissitudes of the young Belgian writer related to Basque war children, is a narrative tense, exemplary in its structure and that oozes authenticity” reviewed César Coca; the novel shows the cruelty and absurdity of war to some extent, it is recognized as a great work on the subject of anti-war. The Japanese translation, by Kaneko Nami, was awarded as the best translation of 2015 in Japan, his last novel, Elkarrekin esnatzeko ordua, continues in the recovery of forgotten lives to make fiction. Tells the life of Karmele Urresti, a Basque nurse who exiles to Paris in 1937, where she becomes involved with the Basque Cultural Embassy, it is there she meets her future husband, the musician Txomin Letamendi. Together they travel Europe, but when they know that Paris has fallen to the Germans, they flee to Venezuela.
In Venezuela History gets again in their lives. Txomin decides to join the Basque secret services and so the family goes back to Europe, just in the middle of World War II, he spies the Nazis until he gets arrested under a dictatorship he won't survive. Karmele will have to risk everything and part and alone, to Venezuela. JA Masoliver Ródenas wrote in La Vanguardia about the novel: «The direct and precise prose of Kirmen Uribe doesn’t have to fool us: it’s fruit of accuracy, not simplicity, his background is that of a sophisticated writer. A writer of great and real talent.» The novel was published in Basque and Catalan and won 2016 Spanish Critic’s Award and 2016 Basque Readers Academy Award. He has participated in a number of international literary festivals including: New York’s PEN World Voices Festival, the Berlin International Poetry Festival, Tai Pei International Poetry Festival and Medellin International Poetry Festival, he has given lectures and led seminars at Stanford, New York University, University of Chicago, Ohio State, California Institute of the Arts, University of California-San Diego and the University of Foreign Studies of Tokyo, among others.
His poems have appeared in international anthologies. In May 2003 The New Yorker magazine published his poem "May." Since his work has appeared in other U. S. journals as well. In 2006, the Berlin online magazine Lyrikline published a selection of ten of his poems in German translation. In 2008, the American literary critics Kevin Prufer and Wayne Millar included three of Uribe's poems in their New European Poets anthology. In 2017 he was selected for the International Writers Program in Iowa City. Bitartean heldu eskutik, Meanwhile Take My Hand. Zaharregia, txikiegia agian Bar Puerto Bilbao-New York-Bilbao Mussche
San Francisco Bay Area
San Francisco Bay Area is a populous region surrounding the San Francisco, San Pablo and Suisun Bay estuaries in the northern part of the U. S. state of California. Although the exact boundaries of the region vary depending on the source, the Bay Area is defined by the Association of Bay Area Governments to include the nine counties that border the aforementioned estuaries: Alameda, Contra Costa, Napa, San Mateo, Santa Clara, Solano and San Francisco. Other sources may exclude parts of or entire counties, or expand the definition to include neighboring counties that don't border the bay such as San Benito, San Joaquin, Santa Cruz. Home to 7.68 million people, Northern California's nine-county Bay Area contains many cities, towns and associated regional and national parks, connected by a complex multimodal transportation network. The larger combined statistical area of the region, which includes twelve counties, is the second-largest in California, the fifth-largest in the United States, the 41st-largest urban area in the world with 8.75 million people.
The Bay Area's population is ethnically diverse: for example half of the region's residents are Hispanic, African American, or Pacific Islander, all of whom have a significant presence throughout the region. The earliest archaeological evidence of human settlements in the Bay Area dates back to 3000 BC. In 1769, the Bay Area was inhabited by the Ohlone people when a Spanish exploration party led by Gaspar de Portolà entered the Bay – the first documented European visit to the Bay Area. After Mexico established independence from Spain in 1821, the region was controlled by the Mexican government until the United States purchased the territory in 1846 during the Mexican–American War. Soon after, discovery of gold in California attracted a flood of treasure seekers, many using ports in the Bay Area as an entry point. During the early years of California's statehood, state legislative business rotated between three locations in the Bay Area before a permanent state capital was established in Sacramento.
A major earthquake leveled the city of San Francisco and environs in 1906, but the region rebuilt in time to host the 1915 Panama-Pacific Exposition. During World War II, the Bay Area played a major role in America's war effort in the Asiatic-Pacific Theater, with San Francisco's Fort Mason acting as a primary embarkation point for American forces. In 1945, the United Nations Charter was signed in San Francisco, establishing the United Nations, in 1951, the Treaty of San Francisco ended the U. S.'s war with Japan. Since the Bay Area has experienced numerous political and artistic movements, developing unique local genres in music and art and establishing itself as a hotbed of progressive politics. Economically, the post-war Bay Area saw huge growth in the financial and technology industries, creating a vibrant and diverse economy with a gross domestic product of over $800 billion, home to the second highest concentration of Fortune 500 companies in the United States. Despite its urban character, the San Francisco Bay is one of California's most ecologically important habitats, providing key ecosystem services such as filtering pollutants and sediments from the rivers, supporting a number of endangered species.
The region is known for the complexity of its landforms, the result of millions of years of tectonic plate movements. Because the Bay Area is crossed by six major earthquake faults, the region is exposed to hazards presented by large earthquakes; the climate is temperate and very mild, is ideal for outdoor recreational and athletic activities such as hiking. The Bay Area is host to seven professional sports teams and is a cultural center for music and the arts, it is host to several institutions of higher education, ranging from primary schools to major research universities. Home to 101 municipalities and nine counties, governance in the Bay Area is multifaceted and involves numerous local and regional actors, each with wide-ranging and overlapping responsibilities; the borders of the San Francisco Bay Area are not delineated, the unique development patterns influenced by the region's topography, as well as unusual commute patterns caused by the presence of three central cities and employment centers located in various suburban locales, has led to considerable disagreement between local and federal definitions of the area.
Because of this, professor of geography at the University of California, Berkeley Richard Walker claimed that "no other U. S. city-region is as definitionally challenged."When the region began to develop during and after World War II, local planners settled on a nine-county definition for the Bay Area, consisting of the counties that directly border the San Francisco, San Pablo, Suisun estuaries: Alameda, Contra Costa, Napa, San Francisco, San Mateo, Santa Clara and Sonoma counties. Today, this definition is accepted by most local governmental agencies including San Francisco Regional Water Quality Control Board, Bay Area Air Quality Management District, the San Francisco Bay Restoration Authority, the Metropolitan Transportation Commission, the Association of Bay Area Governments, the latter two of which partner to deliver a Bay Area Census using the nine-county definition. Various U. S. Federal government agencies use definitions that differ from their local counterparts' nine-county definition.
For example, the Federal Communications Commission which regulates broadcast and satellite transmissions, includes nearby Colusa and Mendocino counties in their "San Francisco-Oaklan
Ann Hamilton (artist)
Ann Hamilton is a visual artist who emerged in the early 1980s known for her large-scale multimedia installations. After receiving her BFA in textile design from the University of Kansas in 1979, she lived in Banff and Montreal, Canada before deciding to pursue an MFA in sculpture at Yale in 1983. From 1985 to 1991, she taught on the faculty of the University of California at Santa Barbara. Since 2001, Hamilton has served on the faculty of the Department of Art at the Ohio State University, she was appointed a Distinguished University Professor in 2011. Ann Hamilton was born on June 1956 in Lima, Ohio, she grew up in a tight-knit family, was close to her grandmother. She has memories of sitting on the couch with her, reading and doing needlepoint together, she resides in Columbus, Ohio with her husband Michael Mercil an artist. Though Hamilton studied textile design throughout her undergraduate career, she pointedly decided to focus on sculpture instead of weaving as a concentration in graduate school.
She claims that, when making that decision, she was “interested in the relationships between things in space. And more important than the things themselves is the way they come into relation.” While in Canada, while teaching at UC Santa Barbara, Hamilton began connecting her experience with textiles to photography and performance, creating an interdisciplinary artistic dialogue, evident in her work, which "weaves" different elements together into one image or includes textiles like pressed shirts or work uniforms. In addition to her educational background, her personal identity and interests directly inform her artistic creation, she identifies herself as a reader: of space, of objects, of literary criticism, of poetry, of dictionaries. Her work explores themes of humanity, from gender and the body to suffering and power; as a Conceptual artist working with video and interactive installation, the elements of time and decay play roles in her work. Hamilton's installations are meant to be experienced with all the senses incorporating elements like sound and smell that urge the viewer to connect with and engage the work on a multi-sensory level.
Her works often respond to the spaces and cities in which they are created, using objects that reflect the history and identity of the culture. Suitably positioned One of Hamilton’s first installations, suitably positioned, 1984, set the tone for her works, encompassing many of her artistic methods: installation, object-making and performance. For this piece, she toothpicks, she stood, wearing the suit, for the duration of the installation within the studio with viewers walking around the artist without interacting with her. The suit was made as a part of a work titled room in search of a position, after exhibition, Hamilton believed didn't reach pictorial success and decided to rethink her use of these made objects. However, Hamilton incorporated the toothpick suit into an installation titled suitably positioned, which created a connection between the object, a suit, the figure, herself within the suit; this installation was directly associated with her body object series.body object series While working on suitably positioned, Hamilton began to think about her subject matter differently, hoping to create an installation that "demonstrates a relation instead of making a picture of a relation."
This thinking led Hamilton to begin creating her body object series, a collection of photographs first produced in 1984 with further editions produced in 1987, 1994, 2006. Working with photographer Bob McMurtry on the series, Hamilton shot photographs of herself wearing constructed objects like her toothpick suit; the coverings of the body in these photographs represent what Hamilton calls, "the articulation of the self at the boundaries of the body."privation and excesses In San Francisco, Hamilton exhibited privation and excesses as a part of the Capp Street Project in 1989. The artist used $7,500 worth of pennies to cover a large portion of the gallery floor stuck to the surface by a thin coating of honey. In a chair on the edge of the field of honey and pennies, a figure sat, wringing their hands in a hat full of honey.palimpsest In collaboration with Kathryn Clark, the palimpsest installation was part of a group exhibition at The New Museum of Contemporary Art, New York, "Strange Attractors: Signs of Chaos" in 1989.
The installation was organized into two zones, one that demonstrated memory lost and the other memory experienced. The first was in the museum's street-side window-display space, whose back and side walls were covered with block-printed texts, using shoe polish as ink. On a tall stool, under a broken strand of nichrome wire, a felt hat sat upended covered in beeswax and graphite; the second part of the installation was a room that visitors could enter, filled with the scent of beeswax and the sound of paper fluttering. The inner walls of the enclosed space were covered with small pieces of faded newsprint with handwritten memories, each attached with a single tack rustling from a fan affixed above the doorway. In the center of the room stood a vitrine made of steel and glass, inside which there were two cabbages, reminiscent of cerebral hemispheres, being devoured by a colony of snails. Indigo blue indigo blue, one of Hamilton's best-known works was first exhibited in a garage near the public market in Charleston, South Carolina in 1991.
She created the piece as a commissioned work as a part of the Places with a Past exhibition within the Spo