text:
Youth gangs in a remote Indigenous community: Importance of cultural authority and family support
The Indigenous community of Wadeye in the Northern Territory, Australia has been described as a community 'under siege from continual gang violence' (Rioting flares again at Wadeye. The Australian 7 August; Gang violence plagues Wadeye. ABC News 1 December; Wadeye worst in 50 years. NT News 2 November). The gangs appear to have emerged in the early 1980s and are generally defined through youth aligning themselves along cultural, clan and family affiliations into groups with contemporary Americanised gang characteristics, symbolic links with heavy metal music and clearly defined turf boundaries. Although they do engage in some relatively minor drug (predominately cannabis) distribution for profit, the rationale for these groups appears to be either as a provocative and offensive structure, or at other times as a defence mechanism. Despite the portrayal of gangs as the focus of criminal activity in the community, there has been little research to explore the relationship between the gangs and the criminal profile of the community. Nor has there been research that examines gang activity from the perspective of the members or within a broader community context. Without this level of understanding, it is very difficult to design interventions that meet the needs of youth in the community. This paper presents data from a survey of young people who were involved in gangs in Wadeye and interviews with gang members who were incarcerated in Darwin Correctional Centre.
Cunningham, Teresa (external author)
Ivory, Bill (external author)
Chenhall, Richard D. (external author)
McMahon, Rachel M. (external author)
Senior, Kate
1699 - OTHER STUDIES IN HUMAN SOCIETY
Trends and Issues in Crime and Criminal Justice Journal
Cunningham, T., Ivory, B., Chenhall, R., McMahon, R. & Senior, K. (2013). Youth gangs in a remote Indigenous community: Importance of cultural authority and family support. Trends and Issues in Crime and Criminal Justice, (457), 1-6.
http://ro.uow.edu.au/cgi/viewcontent.cgi?article=2503&context=sspapers
http://ro.uow.edu.au/sspapers/1504


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Microsoft Designer Crack DALL-E With Product Key Free Download Latest Version 2023
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Microsoft Designer Crack is the first real practical use of AI technology to convert text to an image using a new tool called Designer. It may seem harmless, just another PowerPoint content creation tool built into Office. But it's actually the start of a revolution: good design without designers or even an interface, thanks to AI. Microsoft is launching a simple graphic design app called Designer Product Key that will be available for free and as part of Office 365. The first version of Designer Key promises to be the future of design. At launch, Microsoft Designer Keygen appears to be trying to outdo Canva, creating designs for everything from postcards to posters to social media posts, using just AI and an interface so simple it seems like there is no interface at all.
"With Designer Product Key, you don't need to consume time on creating designs and or social media posts from scratch. And you no longer need to search through thousands of ready-made templates, ". Just begin Creation, with Almost No interface. No learning curve. No real work. You just get great instant results, even if you don't. Chances are you'll want to tweak your image to eventually get the look you want, instead of wasting your time browsing, selecting, and moving pixels around until you're satisfied, you become the curator of an endless stream of cool things to satisfy your graphics needs. If this sounds like a leap forward for design aficionados from family boutiques to office workers everywhere, it's because it is. Of course, this is only the first version of the tool. Sounds simplistic – that seems to be the point – and, like the DALL-E itself, it will certainly have flaws. But the possibilities, as AI evolves and acquires new capabilities, are frankly staggering.
Microsoft launched new creative and productivity tools for Microsoft 365, Microsoft Edge, and Bing users, the most important being Microsoft Designer Crack. This graphic design app in Microsoft 365 uses the same AI technology as DALL-E 2 to create unique invitations, digital cards, and more. "In Designer, you can simply outline the image you want to see, and the app will do all the work for you to create something completely unique." Designer is also coming to Microsoft Edge so you can create new visual effects for social media posts right in your browser without switching to another app.
You can also create images with Bing's Image Creator. The tool utilizes the same AI technology in Designer Activator to help you create new images and can be accessed online or by clicking the Image Creator icon in the Edge sidebar. Microsoft is also counting the Microsoft Clipchamp video editing tool to Office 365. "Clipchamp helps you merge video, effects, and sounds quickly and easily." The app is available with Microsoft 365 and Windows 11.
So while we all appreciate the insanity of these text-to-image AI tools, Microsoft went ahead and released a killer app. The app remains lightweight, and the opportunities for AI-based UX feel even smaller. Yes, over time they will become more powerful and sophisticated. The base interface—their non-interface—will likely remain the same. In fact, it's safe to say that as AI for text interpretation gets smarter and new features are added, such as models learning your tastes, it's getting easier to master.
I think, high-end tools may not evolve enough (or not fast enough) for this new era of AI generation. Future versions of Designer Crack Free Download and any other tools that other companies have to offer will be more and more advanced. This always happens with any software as technology advances. In traditional creative software, this culture and growth in power come at the expense of a more complex interface. Photoshop is a perfect example of this, moving from a flexible, easy-to-understand editing tool to a juggernaut that seemingly speaks a foreign language no matter how many "how to get started" tutorials Adobe has to offer.
The main difference from Microsoft is that Designer doesn't require you to look up patterns or learn anything. In fact, you don't actually have to perform work if you don't want to. Here's how it works according to the demo.
First, you write the text of what you want to communicate, like Martina's Baby Shower. The designer appears to parse this input text and automatically provides you with six graphics treatments with different orientations and aspect ratios to choose from, using images that match your idea. These layouts, which Microsoft says can also be auto-animated, can be used for anything you choose, from a poster to a postcard to a social media post.
At this point, you can either choose one or replace the images in these options with whatever you want. It can be your own photos, but more interestingly, you can type in what you want to see in another text prompt, and with the magic of the powerful DALL-E Designer, new design options appear, illustrated by synthetic images. All of them are unique thanks to the randomization of this artificial intelligence technology. In the demo, the results look very good, but we have to see how Microsoft implemented DALL-E to avoid accidental horror.
Again, you now have the option to pick a single design and be done with it, or if you prefer, you can manually edit the final design in a new window. The design seems to be completely editable: no text is implanted in the image. You can even select a new layout option from the suggestion box, which will automatically rearrange all window elements.
Designer is in closed beta, but you can join the waitlist here. After leaving this limited edition, Microsoft plans to include it in a paid subscription to Microsoft 365 Personal and Family, and as a free web application with limited functionality. However, the Redmond-based company has not announced these limited features.
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Microsoft is targeting its Designer graphic design app primarily at consumers, but perhaps the company could focus on businesses where it has more business with Office.
The service could be an alternative to proprietary Canva, which last month announced a document management tool. But Canva is not in competition with Microsoft.
The first thing is to download the Microsoft Designer Crack installation files in the given link below.
People needed something simple to create Hallmark-style social media posts announcing a wedding they don't want to go to, candle shop mailings you catatonically read while eating cornflakes, or maybe be those retreat posters that appear in the tent at night. for your own Jordan Peele horror movie.
It will be very difficult to stop this momentum, but Microsoft seems to be creating things that will challenge Canva's premise of scalability and usability. For starters, Microsoft already has Office with 365 million. But more importantly, this new tool seems to make the graphic design even easier than Canva does. This combination could alienate Canva users, the people who ironically introduced the app into the work environment after successfully using it at home.
Filed Under: designer, Microsoft Office, Tool, Windows

redpajama_set_name: RedPajamaCommonCrawl


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Middleberg gets on road to recovery with Gartner
March 05, 2001 by AIMEE GROVE
NEW YORK: Just weeks after announcing agency-wide layoffs and in the same week as losing one of its longest standing accounts, Dreyfus, Middleberg Euro RSCG has bagged the highly contested corporate PR business for Gartner Group, one of the world's leading tech research and consulting firms.
Gartner VP of PR Carol Wallace said Middleberg was selected over a number of other firms to assist the Stamford, CT-based IT research giant with a major corporate repositioning initiative.
Chairman and CEO Don Middleberg described Gartner, which has more than 1,400 consultants and analysts in more than 80 locations worldwide, as one of the most significant wins in his agency's recent history.
He confirmed that the annual budget fell 'within the high six-figures.'
Prior to this, Gartner has reportedly used Fleishman-Hillard for corporate PR, though in recent months the business had been handled in-house, according to Wallace. TSI continues to coordinate media relations for the firm's analysts.
Middleberg, like most hi-tech specialist firms, has been hurt by the recent downfall of the dot-com sector and has had to cut staff. Most recently the New York-based agency, which has handled such clients as iCast, MTVi and United.com, ended a long-standing relationship with New York mutual fund leader Dreyfus, which took its PR in-house.


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Lenovo Tab 4 8 vs iPad (2017)
When comparing Lenovo Tab 4 8 vs iPad (2017), the Slant community recommends iPad (2017) for most people. In the question"What are the best tablets for watching movies around $300?" iPad (2017) is ranked 2nd while Lenovo Tab 4 8 is ranked 4th. The most important reason people chose iPad (2017) is:
Costing just above $300 in its most basic version (the most expensive one costs $559), this iPad has a very attractive price tag for its features. It has a 9.7″ Retina display and comes with a 64-bit A9 chip that ensures a fluid performance and enough computing power for demanding games and other applications. Overall, its features and performance are equivalent to those of other tablets that cost at least $100 more.
OSAndroid
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What are the best tablets for watching movies around $300?
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Lasts for quite a while on a full battery
The Lenovo Tab 4 can last for up to 10 hours, which should be enough for a couple of days of light use.
This tablet is a great option to get with $150. It's not common to find such an affordable option with this kind of features, and the Tab 4 surely delivers on what it promises.
The Tab 4's IPS 1280 x 800 touchscreen offers good image quality for this prince range, even if it's clearly not as good as the displays found on premium tablets. Still, it's more than enough for comfortably watching shows or web browsing.
Very good for daily, light use
The Lenovo Tab 4 is ideal for users that don't need a very powerful or performant tablet, but rather a solution that works well for most daily tasks, like internet browsing, watching TV shows or movies, or undemanding gaming. Its technical features, such as the 1280 x 800 display or the Qualcomm Snapdragon 425 processor with 2GB of RAM, guarantee that it handles this type of task very well, even while multitasking or running applications in the background.
Great power for games and media
This tablet uses a 64-bit A9 chip and 2GB RAM, which ensure fluidity when gaming, watching media, or even doing some light multimedia creation tasks (in GarageBand, for example). Evidently, it doesn't perform as well as the iPad Pro, but it's very noticeable that it's more powerful than the previous iPad Air 2.
Good for a pleasant media watching experience
The 2048x1536 display, with a 264 ppi pixel density, handles content reproduction quite well. Despite missing some importante features, such as True Tone technology or anti-reflective coating, it's still a good screen that creates a pleasant experience, creating vivid and rich images. However, it's noticeable that it's not as good as the displays of the iPad Pro or of the iPad Air 2 from the previous generation.
Camera is good enough for modest photography
The iPad 2017's camera is quite decent. It's 8 MP sensor and good color reproduction capabilities allow for some good photo-taking. Still, it's not as good as the iPad Pro's 12 MP camera.
Long battery life
The iPad 2017's battery lasts up to 10 hours (while doing tasks equivalent to regular internet browsing, watching videos or listening to music). It's a lithium-polymer battery with a capacity of 8,800 mAh, which represents a great improvement from the iPad Air 2's battery, which only had 7.340 mAh.
The cameras could be better
The Tab 4 has a 5 MP rear camera and a 2 MP front camera, which many users will find subpar in terms of picture quality.
No accessory connector
There's no connector for accessories: to connect them to the tablet, Bluetooth is the only possible option.
Storage options could be better
32GB and 128GB are the only storage options available, with no possibility of expansion (via SD cards, for example). This means there's a huge gap between the lowest option, which will feel like not enough for lots of people, and the highest one, which has too much space for those same users. A 64GB version would probably be more balanced and the most suitable for the majority of users.
Takes too long to charge
This iPad's battery takes around 4 hours to completely charge, which can feel like too long in many situations where you don't have that kind of time to spare.
Asus ZenPad 3S 10 (2017)
Amazon Fire 7 (2017)
Amazon Fire HD 8 Kids Edition (2017)
Amazon Fire 7 Kids Edition


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Paul Jennings (Australian author) facts for kids
This page is about the Australian writer. For other people named Paul Jennings, see Paul Jennings.
Paul Jennings
(1943-04-30) 30 April 1943 (age 79)
Heston, Middlesex, UK
Twist ending
Paul Jennings AM (born 1943), is an English-born Australian children's book writer. His books mainly feature short stories that lead the reader through an unusual series of events that end with a twist. Many of his stories were adapted for the cult classic children's television series Round the Twist. Jennings collaborated with Morris Gleitzman on the book series Wicked!, which was adapted into an animated TV series in 2000.
Awards for titles
Paul Jennings was born on 30 April 1943 in Heston, Middlesex (now part of Hounslow in London). In 1949 his family emigrated to Australia. He first attended Bentleigh West Primary School in Bentleigh, a suburb of Melbourne, and then Caulfield Grammar School.
He graduated with a Bachelor of Education Studies from Frankston Teachers College at Monash University in 1978 and taught at Frankston State School, Kangaroo Flat State School, the Turana Youth Training Centre and the Royal Children's Hospital State School in Mount Eliza. He then went to the Lincoln Institute of Health Sciences (now part of Monash).
After graduating, he became a speech pathologist that he became a lecturer in special education at the Burwood State College and then, in 1979, Senior Lecturer in Language and Literature at Warrnambool Institute of Advanced Education (both now part of Deakin University).
In 1985, Jennings' first book of short stories, Unreal!, was published, during which he worked as a teacher, lecturer and speech therapist. In 1989, he made the decision to devote himself full-time to writing. He began writing for children when his son, aged 11, was having trouble reading.
Jennings' short stories were adapted for the first two seasons of children's television series Round the Twist in 1989 and 1992, and then later in 1998 for the only season of series Driven Crazy.
In 2020 Jennings' memoir, Untwisted: The Story of My Life, was published by Allen & Unwin. Jennings started writing it ten years earlier, and is his longest piece of writing. In it, he examines many aspects of his life, including harbouring feelings of guilt about not liking his cold and emotionally abusive father, and having thoughts of attacking him with a hammer.
Jennings first married aged 22. He has six children, and is a great-grandfather. His third wife is comedian Mary-Anne Fahey.
In 1992, Jennings received a Gold Puffin Award, for selling one million books in Australia.
In 1993 he won an Angus & Robertson Bookworld Award, as Australian Author – Children's Literary Medal Criteria, "Best Selling Author" and "Most Valued Author".
In 1993 Jennings was made Victorian of the Year — Western Region, presented by the Australia Day (Victoria) Committee, for services to the Victorian community.
In 1995 he was appointed Member in the General Division of the Order of Australia (AM), in the Australia Day 1995 Honours List, for service to children's literature.
In 1998 he was named Favourite Australian Author in Dymocks Children's Choice Awards.
In 2000 he was awarded the Dromkeen Medal, for significant contributions to the appreciation and development of children's literature.
In 2010 he was made a Fellow of Monash University.
In 2019 he received a Lifetime Achievement Award from the Children's Book Council of Australia.
Young Australians' Best Book Award (YABBA):
1987 Unreal! – Winner, best book for older readers;
1988 Unbelievable! – Winner, best book for older readers;
1989 Uncanny! – Winner, best book for older readers;
1989 The Cabbage Patch Fib – Winner, best book for younger readers;
1990 The Paw Thing – Winner, best book for younger readers;
1991 Round The Twist – Winner, best book for older readers;
1992 Quirky Tails – Winner, fiction for younger readers;
1992 Unmentionable! – Winner, fiction for older readers;
1993 Unbearable! – Winner, fiction for older readers;
1994 Spooner Or Later – Winner, picture book section;
1994 Undone! – Winner, fiction for younger readers;
1995 Duck For Cover – Winner, picture book section;
1995 The Gizmo – Winner, fiction for younger readers;
1996 The Gizmo Again – Winner, fiction for younger readers;
1998 Wicked! – Winner, fiction for older readers;
2002 Tongue Tied – Winner, fiction for Younger Readers.
Canberra's Own Outstanding List (COOL Award):
1991 Round The Twist – Winner, Primary Section;
1992 The Cabbage Patch Fib – Winner, Primary Section;
1993 Unreal! – Winner, Primary Section;
1995 The Gizmo – Winner, Primary Section;
1997 The Paw Thing – Winner, Secondary Section;
1998 Wicked! – Winner, Primary Section;
2001 The Paw Thing – Winner, Coolest Book of the Decade.
West Australian Young Readers' Book Award (WAYRBA):
1989 Unreal! – Winner of Special Award, Highest Ranked Australian Author, Secondary Readers Section;
1991 The Paw Thing – Winner of Hoffman Award, Highest Ranked Australian Author and Primary Readers Section;
1992 Uncanny! – Winner of Hoffman Award, Highest Ranked Australian Author and Primary Readers Section;
1994 Unbearable! – Winner of Hoffman Award, Highest Ranked Australian Author and Primary Readers Section;
1995 Undone! – Winner of Hoffman Award, Highest Ranked Australian Author and Primary Readers Section.
Kids Own Australian Literature Award (KOALA):
1990 Unreal! – Winner Secondary Readers Section;
1992 Unmentionable! – Winner Infant/Primary Readers Section;
1993 Unbearable! – Winner Infant/Primary Readers Section;
1994 Undone! – Winner Infant/Primary Readers Section;
1995 Duck For Cover – Winner Infant/Primary Readers Section;
1996 Uncovered! – Winner Senior Book.
Kids Reading Oz Choice Award (KROC):
1990 Uncanny! – Winner Most Popular Oz Book;
1991 Unbelievable! – Winner Most Popular Oz Book;
1992 Unreal! – Winner Most Popular Oz Book;
1993 Undone! – Winner Most Popular Oz Book;
1995 The Gizmo – Winner Most Popular Oz Book;
1996 Round the Twist – Winner Most Popular Oz Book;
1997 Wicked! – Winner Most Popular Oz Book;
1999 The Gizmo – Best Oz Children's Book;
2000 – No.s 1, 3, 4, 6, 7 and 10 in the Top Ten Books.
Books I Love Best Yearly (BILBY Award):
1992 Unreal! – Winner Read Alone Primary Section;
1994 Undone! – Winner Read Alone Primary Section;
1996 The Gizmo – Winner Read Australian Primary Section.
Australian Writers' Guild:
1990, AWGIE Award – Best Children's Adaptation (TV) Round The Twist;
1993, AWGIE Award – Best Children's Adaptation (TV) Round The Twist – Episode 5.
ABPA Joyce Nicholson Award:
1993, Spooner Or Later – winner, best designed children's book of the year.
Wilderness Society Environment Award for Children's Literature:
1994, Picture Book – The Fisherman and the Theefyspray.
Prix Jeunesse Award:
1994 – Winner Round The Twist (Television Series).
Australian Publishers Association — Book Industry Awards:
1997 – Peoples Choice Award for Children's Books for Come Back Gizmo.
Christian Schools' Book Award:
1998 – awarded to Paul Jennings and Jane Tanner for The Fisherman and the Theefyspray.
Dymocks Children's Choice Awards:
1998 – Favourite Australian Younger Reader Book, Sink The Gizmo;
1998 – Favourite Australian Older Reader Book, Wicked.
Queensland Premiers Literary Award:
1999 – Best Children's Book Unseen!.
Round The Twist (1990/2001)
Driven Crazy (1998)
Wicked! (2000-2001)
Paul Jennings (Australian author) Facts for Kids. Kiddle Encyclopedia.
This page was last modified on 26 November 2022, at 12:10. Suggest an edit.


Sarah Thompson, curator at the Museum of Fine Arts, Boston (MFA), gives a preview of the popular exhibition currently on view at the Museum. Hokusai (1760-1839) was Japan's first internationally recognized artist, rising to fame on the crest of The Great Wave. Hear about the artist's ingenuity and versatility over his long and productive career.
"Hokusai" is on view through August 9, 2015, at the MFA.
SPONSOR CONTENT	Have You Caught the Wave?


Tamilnadu is the 11th largest state in India and 7th largest in population.This state has been the home to the Tamil People since almost 1500 BC.Since this is a rather long post, you can read more details about this state here so that I can continue with the cuisine.
Tamilnade is the house of several well known and lesser known cuisine like the famous Chettinad cuisine,Nanjilnaadu cuisine [Kanyakumari district],Kongunaad cuisine, etc. You can read more about it here.
Cornmeal Dosa-Praise worth every bite!!


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Matter & Light (2019, 7 minutes, UK)
Matter & Light is inspired by the painter Turner and by French Impressionism, with most images filmed in Margate in the UK and at the Bay of the Somme in France.
It deals with contemporary environmental issues affecting an overflowing, falling-apart world, using low compression and self-produced imagery to achieve a melting painterly look echoing sustainability and poetry. The work experiments with making video art that continues ideas developed in the field of painting. Painterly traditions are applied to moving digital form to reflect on the current world.
AI art works galleries: https://makersplace.com/gulisilb/gallery/created
https://foundation.app/@gulisilb
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SOMEWHERE WE LIVE IN LITTLE LOOPS - SPECIAL EDITION
A limited edition on Sedition Art
2020, UK, 5'00''
A machine-learning based video-prediction technology learns and then re-creates a string of nature scenes and human life images. Woven together in a rhythmic, hypnotic pace, visual snippets and motion patterns appear, reborn and fall apart. The video segments begin "normally" and are then being continued by the computing process to become a "new normal". The result is surprising, eerie and poetic, raising both concerns and wonder regarding human-machine relationships, and future effects.
Best experimental film - Calcutta International Short Film Festival 21.12.20
Best experimental film, Hong Kong Arthouse Film Festival 26.6.20
Grand Prize - Festival international Signes de Nuit, the Italian version in Urbino Italy 30.11.19
Best experimental film a - Venice Film Week 3.9.19
GULI SILBERSTEIN
STUFF AS DREAMS
2016, UK, 5'52''
Panicked news reports from scenes of terror that may or may not have happened, and family and travelling images that might have been a dream or maybe not, are intertwined into a painterly collage breaking-up and collapsing into itself, exploring both personal and public perceptions of an increasingly fractured world.
Best experimental film, Short Movie Club, Minsk Belarus, 23.7.17
Best experimental film, New York Film Week, 11.7.17
Best experimental film, Sydney World Film Festival, 26.6.17
3rd place award, International Videoart Festival of Camaguey, Cuba 9.4.17
FIELD OF INFINITY
Inspired by both Italian renaissance paintings and contemporary news broadcasts from Gaza protests at the border with Israel - the work processes human gestures and figures in landscape into a dark and colourful scramble. Following Deleuze and Guattari's concept of 'Plane of immanence', the work aims to open up an array of reflections, including concerns about the political image, image of the political, the politics of the image, and the image of image.
Excerpt from Guli Silberstein on Vimeo.
Radiant, raging 11 year old Ahed Tamimi is punching the empty space in front of her. A computer algorithm roughly cuts her out of the surroundings, struggling to contain her, with her enemies rubbed off the frame. Gradually, more fragments of the scene are revealed, and the context is made clearer. The processing of the 2012 video found on YouTube highlights the documented scene as an image, both of a fight for freedom and a media event.
- Best experimental film award - 15th Un festival c'est trop court ! In Nice, France
2008, Israel, 4'35''
One excerpt from a flow of Internet video news: a family is hiding behind a wall in a neighborhood that turned into a warzone. The compressed video is slowed down, enlarged, and accompanied by a new soundscape, revealing additional dimensions in the scene. The image is transformed into a psychedelic landscape, creating a troubling contrast between imagery and content, questioning video as medium, leading to an uneasy affect: anxiety deconstructed into pixels.
The Devil Had Other Plans (2020, 13 minutes, UK)
A gut reaction to the Coronavirus apocalypse, made in the first months of isolation and confusion in March-June 2020, echoing the shocking, eerie and surreal experience of the pandemic. The classic Zombie film 'Night of the Living Dead' (1968) is processed by a mix of machine-learning colorization, datamosh techniques, re-cutting and sound work, unveiling visions of the invisible. A post-horror experimental film/series in three acts. This is Act I - SHOCK.
LAYERS OF COGNITION
2005, Israel/THE NETHERLNADS, 5'12''
The video depicts a dark and obscure world of perception, trying to capture the intangible, breaking away from the concrete notion of sight and sound, and creating an amplitude of cognitions, where attention is diverted to unexpected places: 'As we move from the more conscious aspects of interpreting messages toward the more unconscious processes of perception we seem to be shifting our levels of abstraction from the more concrete towards the more abstract' (Gregory Bateson).
Layers of Cognition from Guli Silberstein on Vimeo.
SCHIZOPHRENIC STATE
2001, USA/Israel, 5'26''
First project, initially made in M.A studies in Media Studies program at New School University, NYC, USA, 2000, and was completed in Israel 2003. Two images on the TV screen: An Israeli soldier being lynched in Ramallah. A Palestinian child and his father being fired at in Gaza. How can horror be constructed in words? The work continues in a string of images and sounds, sourced both from TV and Internet found footage and personal MiniDV recordings, de-constructing image and language, challenging them as tools for human expression in the face of horror..
MACHINIC PHYLUM
A symbiosis of human and nature forms, by direct manipulation of video code, purposely damaging it in 'glitch' process, creating rich explosions of colour and form. The images, a little girl in a flower field, Earth from space and bits of satellites, become vibrant substance, where the girl and the environment interact in a constant process of mutual consumption, reflecting poetic perception of existence.
"The machinic phylum is materiality, natural or artificial, both simultaneously; it is matter in movement, in flux, in variation".
Gilles Deleuze and Félix Guattari, "A Thousand Plateaus".
Bio, CV, Highlights, Filmography
Screenings & Exhibitions
Publications, Presentations, Interviews
The Schizophrenic State Research Project
The Devil Had Other Plans series
Image of Perception feature film
NFTs & Limited Editions


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It's the beginning of another semester, and I am teaching a new class this fall.
Ladies and Gentleman, I give you … Terrorism and Extremist Movements. Ta-Da!
The reaction that this has caused in a few people has been … well, probably predictable.
If there were one thing I would say that I didn't think through on this one, it's that maybe the semester I'm trying to finish writing and start revising my dissertation wasn't the best time to also try and teach a brand-new class on material that I am not intimately familiar with.
I can do 20th century Middle East or the Rise of Islam in my sleep. However, that's also the reason why I didn't want to teach either of those courses again.
As an adjunct, I don't get to innovate. I actually wouldn't mind coming up with a class on The Middle Eastern Front in World War I, for example. There's a lot of stuff to unpack there.
The issue is that I'm teaching a general education course under the topic "Challenges of Globalization." For two semesters I taught a course on the 20th century Middle East in which I framed the topic question of whether it's fair to blame the Skyes-Picot Treaty and European imperialism for the state of the region today (in two semesters, my students never quite figured out that this question…printed front, center, and top on the syllabus…would also be their final exam prompt).
However, it was the aforementioned ability to recite this material in my sleep that, it turned out, was the problem. I realized about four weeks into my first semester of teaching that the problem wasn't my students, it was me. I assumed a lot of background knowledge. Way too much background knowledge.
Here I was talking about the inner workings of the Ottoman Empire when I knew from years of experience that the Texas world history curriculum barely mentioned the Ottoman Empire…at all. (Trust me, I know.) I was speaking in shorthand and my students didn't have the answer key.
I quickly went into revision mode, changing my approach for the rest of the semester. The next semester, I revised the curriculum further, tightening the focus and narrowing the amount of material covered.
I also realized that it might be best to get away from the material for a bit. After two semesters of teaching it (and the extra hours both doing prep work as well as writing a dissertation), I was bored with the material and recognized the dangers of what this might mean in terms of my attention to the class and my propensity to shorthand.
What might help, I thought, would be a new subject entirely.
First, I dumped the long academic course name with the colon (yes, I did that. Rookie mistake).
Then, I decided to focus on student expectations. My university has a strong criminology program, as well as a strong political science program. How do I appeal to those majors?
So … the idea of doing a course on terrorism sprang to mind. (I honestly don't remember why). It would be comparative; after all, despite popular memes to the contrary, terrorism is not just a Middle Eastern phenomenon. I wanted it to be global in focus. But, other than South Asia, in which I do (terrifyingly) have the requisite number of credit hours to pass myself off as an expert … was I qualified to teach a globally focused class?
Then I had an idea: what if I didn't teach the entire class? What if the class, working in groups, each took responsibility for a particular movement in a particular global region, and contributed to the learning environment? The more I thought about this, the more I liked it; and others that I shared the idea with were enthusiastic.
So, I put a proposal together and it went on the course schedule and I did what pretty much everyone does: I forgot about it until about two months beforehand when the campus bookstore started prodding me for my textbook choice.
Despite what seemed like insurmountable odds and a few nights of lost sleep, I produced a syllabus and guidelines for a class that I hope will be not only be successful but also interesting to my students.
I was honest with my students the first day: this is an experiment, and if this isn't what you're looking for in a course and you're not on my roster at the end of the week, no hard feelings. I lost a couple, but the vast majority stayed put.
So, here's to an experiment. I look forward to sharing how it goes.
No, not that kind of safe space. Well, maybe not that kind of safe space.
Let me begin at the beginning. Hello! I teach classes about the Middle East to undergraduates who often have taken few, if any courses on the region.
For the last two years, I've taught a required junior-level elective (the course number is required; my particular course is one of around 16 offered under said course number), and on the first day of class, I've asked the students to tell me why they've enrolled ("because I have to in order to graduate" not being an option). Most of them tell me that they know little to nothing about the region, and that's whey they're there. (The second time I offered this course, I also took that explanation off the table, although it was not as satisfactory an exercise as I wanted it to be).
Then I go into my rules for class, and the first thing I say is, simply this: this is a safe space.
I did public scholarship–the term we used was "outreach" but nowadays we'd call it public scholarship–for 18 years as a full time job, based out of a university, traveling around the state of Texas, working with teachers who wanted to know more about the Middle East — usually so that they felt smarter than their students. The textbooks that the state assigns are pretty bad, and when it comes to describing the browner, non-Christian parts of the world, some of them are downright awful.
I'd been doing this for a couple of years when I noticed that, at these sessions, there was always a group of people who would prevent me from running to the bathroom at breaks because they had lots of questions. Questions are good.
As any professor, lecturer, TA, teacher, trainer, or educator of any variety quickly learns, the questions are what keeps the job interesting. I have literally found myself compiling grocery lists and writing emails in my head while talking out loud, so checked out am I from the content I'm giving. The questions are what change every time, what keeps me on my toes. What keeps it interesting for me after I have delivered the joke about taking the water buffalo out for a walk for what seems like the four hundredth time in a given week (from a lecture about the geography of Egypt).
And, honestly, a lot of these inter-session questions were good. Insightful. Well thought out.
I didn't ask because I was afraid my question would be offensive.
I get it. No one wants to have a room full of people turn to them with hot eyes and tight lips and facial expressions that ask, How dare you?
On the other hand, I've noticed that people who aren't concerned about being offensive have no such qualms. Like the day I asked a group if they knew what defines someone as an Arab, and one participant responded, "They're ragheads." (For the record: the answer I was looking for is their first language is Arabic because Arab as an ethnicity is actually defined culturo-linguistically).
That one…took me a moment to recover from.
So, my question then became How do I get these questions out in front of anyone? Even the "Ragheads" comment had its value. Okay, now we have a base level of understanding in the group … in this case, one that's fairly low … that we can begin to build on. If I had blathered on about cultural-linguistic identities and not engaged with the remark ("Where do stereotypes come from?") I would have lost the audience entirely because I was operating on a completely different level than they were. (And, yes, for the record, the fact that I was in a room full of teachers who are educating the next generation was not lost on me. Some things you just can't let bother you in the moment or you'll freeze up, or at least that's what my therapist told me at our following session).
This is why I decided that, when I went into the college classroom and found myself on the other side of the podium, that I had to encourage such questions. The painful ones. The ones that students are struggling to address. The ones that they don't want to ask because they're not sure if it might be offensive, or that they're using the right word, or name, or whatever else. This sets the pace for me as an educator. Where do I need to start? What expectations or stereotypes do I need to address? If the question isn't asked, I assume they know. And experience has shown me I'm usually wrong.
So, I start off by explaining that the classroom is a safe space. I ask students not to rush to judgement when questions are asked. Let's hear our colleagues out. A question asked from a place of honesty needs to be addressed in a like fashion–without fear that classmates are going to jump on you if you don't phrase it in just the right way.
This extends to me as well. I admit, I've had a couple of students whose English is weak who have made comments in class and actually been saying the opposite of what I thought. This happened just last semester, and, when I realized I was having a negative reaction to a comment from a student that I had misunderstood, I actually stopped myself and told the class what was happening.
"I'm having a strong reaction because I misunderstood what [x] was saying. Remember when I said this class was a safe space? Well, that applies to me, too." And I took a beat, refocused, and continued by addressing what the student had actually said.
Part of this arrangement, I tell students, is that if they are offended by something a classmate says, is that I want them to bring it to my attention – it doesn't have to be in front of everyone, they can stop me after class, or send me an e-mail.
Every campus has an office that exists to deal with student concerns–and I'm certainly not trying to circumvent that established process if the situation calls for it.
I think here of a colleague who taught a course on Modern Egypt, who assigned as one of his texts The Yacoubian Building, an Egyptian novel by Alaa Al-Aswany that became the Peyton Place of early 2000s Egypt. The book is notable in that it was a bestseller in Egypt–and it includes a gay character. The characterization is clunky (al-Aswany was a dentist before taking up writing; the novel isn't exactly fine literature), and he meets a bad end at the end of the book – but the point is that even this was revolutionary for Egypt, something my colleague wanted to discuss. However, a student, on reading the novel, reported my colleague for assigning homophobic material.
Hence, my plea was: if there is an issue about the suitability of course material or course discussion, please bring it to my attention first. After all, I do occasionally assign problematic material because I want students to appreciate why it's problematic.
In this case, the student making the observation did have a point. Rather than singling out the other student, I made an announcement at the beginning of the next class, not as a reprimand, but just a clarification that terms are important, and, now that we were discussing post-1948 Israel, when discussing Israeli actions and policies, students should distinguish between "Israeli" and "Jewish" in order to clarify their meaning. This worked: in class that day the student corrected themself in mid sentence, and that was that.
As an educator, I can't help students learn or grow if they don't trust me. And I have to learn to trust them (which, believe me, is harder than I expected). It's a work in progress that I refine a little bit each semester.
After all, even though I'm (probably) months away from having those coveted initials after my name … I'm still learning, too.


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Pure Cycle Corporation to attend the 13th Annual Midwest IDEAS Investor Conference on November 17th in Dallas, TX
Thursday, November 11, 2021 3:55 PM
Pure Cycle Corporation
DENVER, CO / ACCESSWIRE / November 11, 2021 / Pure Cycle Corporation (NASDAQ:PCYO) announced today that Mark W. Harding, President and CEO of Pure Cycle, will present at the Midwest IDEAS Investor Conference on November 17, 2021 at the Westin Dallas Downtown in Dallas, TX. Pure Cycle Corporation's presentation will begin at 2:15pm CT. Mr. Harding's presentation about Pure Cycle's operations and strategic plans will be webcast live and may be accessed through the conference host's site (www.IDEASconferences.com) as well as the investor relations section of Pure Cycle's website (www.purecyclewater.com).
The IDEAS Conferences provides independent regional venues for quality companies to present their investment merits to an influential audience of investment professionals. Unlike traditional bank-sponsored events, IDEAS Investor Conferences are "SPONSORED BY INVESTORS FOR INVESTORS" and for the benefit of regional investment communities. Conference sponsors collectively have more than $200 billion in assets under management. The IDEAS Investor Conferences are held annually in Boston, Chicago and Dallas and are produced by Three Part Advisors, LLC. Additional information about the events can be found at www.IDEASconferences.com. If you are interested in participating or learning more about the IDEAS conferences, please contact Lacey Wesley at [email protected].
Pure Cycle is a diversified water resource and land development company. At our core we are an innovative and vertically integrated wholesale water and wastewater service provider which also develops land we own into master planned communities, to which we will continue to provide water and wastewater services as well as operate long-term rental properties.
Additional information, including our recent press releases and SEC filings are available at www.purecyclewater.com, or you may contact our President, Mark W. Harding, or our CFO, Kevin B. McNeill, at 303-292-3456 or at [email protected]. Be sure to follow Pure Cycle on Twitter @purecyclecorp.
SOURCE: Pure Cycle Corporation