Tuesday, November 29, 2011

Van Gogh, The Life: A Book Review


Splendor in the Stars















“Self-Portrait With Straw Hat” from “Van Gogh: The Life” (August/September 1887).



Letter sketches of churches at Petersham and Turnham Green from "Van Gogh: The Life" (November 1876).

Vincent VAN GOGH tends to be remembered as an art saint whose radiant paintings of sunflowers and starry skies seem somehow imbued with moral valor. He identified with the poor and marginalized, and looked upon art as a humanitarian calling. He died unknown, at age 37, and you suspect he will always be a shining hero not only to people who worship art but to those who feel their own talents remain insufficiently acknowledged by their peers — meaning, most everyone.

On the other hand, is it possible that we have him entirely wrong, that he was just a creep and selfish user who felt that a life in art basically meant never having to say “Thank you”? Such is the portrait that emerges from Steven Naifeh and Gregory White Smith’s energetic, hulking and negatively skewed “Van Gogh: The Life.” The artist, as they see him, was bitter and manipulative, more of a perpetrator than a victim. The eldest child of a minister in the Dutch Reformed Church, he grew up in a rural corner of Holland and was not exactly an easy son. For part of his adulthood, we are told, in “a campaign that seemed intended to mortify and embarrass his parents,” he moved into their parsonage in Nuenen and shocked the congregation by swearing, smoking a pipe, drinking ­Cognac from a flask, dismissing the locals as “clodhoppers” and loudly proclaiming his atheism. . .



[Book by Steven Naifeh and Gregory White Smith, Illustrated, 953 pp. Random House $40.] To read more, see below. This link does not work normally, so it's necessary to copy it and then paste it into your browser line then enter. Reminder Ctrl+C to COPY then Ctrl+V to PASTE.


http://www.nytimes.com/2011/11/27/books/review/van-gogh-the-life-by-steven-naifeh-and-gregory-white-smith-book-review.html?scp=1&sq=Van Gogh The Life&st=cse

Friday, November 11, 2011

The Wonder, Mystery of Keith--friend of John Muir, co-founder of the Sierra Club


Stinson Beach, oil on board, late 1870s or early 1880s



In 1908, Brother Fidelis Cornelius Braeg, a Swiss-born art professor and mountain climber who later joined the faculty at St. Mary's College in Moraga, called on John Muir at the great naturalist's Martinez home. That's where he first saw the majestic Sierra panoramas and pastoral Bay Area landscapes of Muir's close friend William Keith, the celebrated California painter whose spiritually imbued pictures thrilled him.

"I found them nearest to expressing the quality, mystery and wonder of any paintings I had ever scene," wrote Brother Cornelius, who began collecting the paintings that form the core of St. Mary's peerless Keith collection, and would write the definitive biography of the prolific Scottish-born artist who helped found the Sierra Club.

More than 80 of the paintings Brother Cornelius acquired are on view in "The Comprehensive Keith: A Centennial Tribute," a rich retrospective at the recently expanded St. Mary's College Museum of Art, formerly called the Hearst Art Gallery. It features 106 paintings by the masterly colorist whose precisely rendered landscapes of the late 1860s and '70s - which were encouraged by Muir and influenced by the dramatic Hudson River School painter Albert Bierstadt - gave way to moodier, subjective and more abstract images that reflect Keith's love of French Barbizon painting and his embrace of the spiritual teachings of Emanuel Swedenborg.

"Keith came to the conclusion that no artist could ever re-create what a Supreme Being had made, so the artist should try to suggest how nature made him or her feel," says Heidi Donner, St. Mary's resident Keith expert. The museum's education and publicity manager, she organized this show, which was designed and installed by museum Director Carrie Brewster.

Over the years, Keith's poetic landscapes - many painted in his San Francisco studio from sketches he made in the Sierra, around the Bay Area, in the Pacific Northwest and Alaska - have been displayed in small thematic shows in the Keith Room of the Spanish-style gallery, which was built in 1977 with funding from the Hearst Foundation. The current retrospective


Read more: http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/11/09/DD711LQRPV.DTL#ixzz1dQ7WGnt6

Thursday, November 10, 2011

Some History Museums Face Problems


Lake George, N.Y. -- Robert Flacke Sr. can remember the days when Fort William Henry's multimedia exhibit consisted of two Kodak carousel-style color slide projectors that kept breaking down.

The history-heavy tourist attraction on the southern end of Lake George upgraded years ago to a video display, an improvement that looks positively futuristic amid all the aging, dusty exhibits sprinkled throughout the privately owned reconstructed French and Indian War fort and museum. Many of the displays look like they haven't changed since the place was built more than a half century ago.

In an effort to boost numbers of visitors, museum and historical sites around the country are searching for new ways to update old exhibits amid a time of economic uncertainty and declining support for museums in general and history museums in particular.

"History is tough to sell," said Flacke, president of the Fort William Henry Corp.

Updating exhibits often is one way to attract more visitors, but it's expensive, especially for smaller museums and lesser-known historic sites.

"A lot of smaller institutions are getting off the treadmill of trying to change things every few months," said Anne Ackerson, director of the Museum Association of New York. "This history museum world is kind of scratching its head, trying to find out how to make themselves relevant, bring in audiences and engage those audiences on resources that they simply don't have."

History hit hard

The problem is particularly felt by history-related museums, which make up about 40 percent of the nation's 17,500 museums of all genres. Some 850 million visits are made to American museums each year, part of the $192 billion spent annually on cultural tourism in the United States. Even with all those visitors and all that money being spent, many history museums are struggling.

"It's tough for all museums everywhere," said Ford Bell, president of the American Association of Museums, which represents nearly 3,000 nationwide. The Washington, D.C., association's annual survey of a cross-section of museums found that more than 70 percent were experiencing some type of economic distress, he said.

To keep costs down, many museums are holding off on renting traveling exhibits and instead delving into their own collections to present new displays, Ackerson said. Others are looking at innovative ways to boost funding and give their museums a fresh look.

The Wright Museum ties black history to other cultural events, including recent performances by the Dance Theatre of Harlem, subject of a featured exhibit and the highlight of a September gala that raised more than $400,000 for the museum, spokesman Ted Canaday said.

"You can't just say, 'We're a history museum' and only push the historic aspect," he said. "You have to show people how the history impacts people right now, how it impacts the choices they make, and one of the best ways to do that is through the arts."

Thursday, November 3, 2011

Who Are These Personalities? Test Yourself.

Here are some noteworthy persons. Can you name them? Answers listed below.
















































































































































































































































1. Georgia Okeeffe
2. Frida Kahlo
3. Gustav Mahler
4. Toulouse Lautrec
5. Samuel Beckett
6. Gertrude Stein
7. T. S. Eliot
8. Amelia Earhart
9. Marie Curie
10. Frido Kahlo
11. Isaac Newton
12. Annie Leibovitz
13. Louis Pasteur
14. Georgia Okeeffe
15. Camille Paglia
16. Rosa Bonheur
17. Barbara Hepworth
18. Susan Sontag

Wednesday, November 2, 2011

Cinema This Fall

Holiday Movies

It’s Gods vs. Mortals, and It Isn’t Pretty




In one scene, the Gods look down at the Earth from Olympus.

The film, one of a bevy of pictures with the memorable release date 11-11-11, is the latest from Tarsem Singh, the director behind the psychological thriller “The Cell” (2000) and the stylized adventure fantasy “The Fall” (2006).

“Immortals” tells the story of Hyperion (Mickey Rourke), an evil king who wreaks havoc throughout Greece in his search for the Epirus Bow, a weapon that would help him defeat the gods of Olympus and reign over humankind. He is challenged by Theseus (Henry Cavill), a stonemason who leads a small group of warriors in an uprising.

Two of the producers, Mark Canton and Gianni Nunnari, served the same role on “300” (directed by Zack Snyder), the historical action yarn with which “Immortals” is most likely to draw comparisons. While they are certainly hoping to mirror the box-office success of “300” ($456 million worldwide), they sought to give “Immortals” a look distinct from that film by bringing in Mr. Singh.

He has used contemporary style to pay homage to bygone eras before, whether for music videos (R.E.M.) or commercials (Pepsi). This time Mr. Singh channeled the fine arts for “Immortals.”

“Everyone is making comic strips, basically,” Mr. Singh said, referring to the style of many large-budget action films. “I was wondering what it would look like if I took ideas from paintings instead. I thought if I looked at Renaissance paintings, I could use that as the inspiration as opposed to a comic strip.” He pointed to the work of Caravaggio as a particular inspiration. That artist’s use of individuals arranged in tableau inspired some of the battle scenes.

Similarly, with the film’s landscape shots, including an image of the gods looking down from Olympus, Mr. Singh wanted to reinterpret historical artworks and make them the basis for the backgrounds. This led to a look that was more hyper-real than photorealistic. To read more: (Ctrl+C to copy, Ctrl+V to paste)
[Parental Advisory: Film contains lots of violence, gore and blood.]

http://www.nytimes.com/2011/10/30/movies/heads-are-exploding-in-tarsem-singhs-immortals.html?scp=1&sq=Immortals&st=cse

Saturday, October 29, 2011

A School That Does Not Compute

A Silicon Valley School That Doesn’t Compute


Grading the Digital School

Blackboards, Not Laptops

Articles in this series are looking at the intersection of education, technology and business as schools embrace digital learning.


Jim Wilson/The New York Times

The Waldorf School in Los Altos, Calif., eschews technology. Here, Bryn Perry reads on a desktop.


LOS ALTOS, Calif. — The chief technology officer of eBay sends his children to a nine-classroom school here. So do employees of Silicon Valley giants like Google, Apple, Yahoo and Hewlett-Packard.

But the school’s chief teaching tools are anything but high-tech: pens and paper, knitting needles and, occasionally, mud. Not a computer to be found. No screens at all. They are not allowed in the classroom, and the school even frowns on their use at home.

Schools nationwide have rushed to supply their classrooms with computers, and many policy makers say it is foolish to do otherwise. But the contrarian point of view can be found at the epicenter of the tech economy, where some parents and educators have a message: computers and schools don’t mix.

This is the Waldorf School of the Peninsula, one of around 160 Waldorf schools in the country that subscribe to a teaching philosophy focused on physical activity and learning through creative, hands-on tasks. Those who endorse this approach say computers inhibit creative thinking, movement, human interaction and attention spans.

The Waldorf method is nearly a century old, but its foothold here among the digerati puts into sharp relief an intensifying debate about the role of computers in education.

“I fundamentally reject the notion you need technology aids in grammar school,” said Alan Eagle, 50, whose daughter, Andie, is one of the 196 children at the Waldorf elementary school; his son William, 13, is at the nearby middle school. “The idea that an app on an iPad can better teach my kids to read or do arithmetic, that’s ridiculous.”

Mr. Eagle knows a bit about technology. He holds a computer science degree from Dartmouth and works in executive communications at Google, where he has written speeches for the chairman, Eric E. Schmidt. He uses an iPad and a smartphone. But he says his daughter, a fifth grader, “doesn’t know how to use Google,” and his son is just learning. (Starting in eighth grade, the school endorses the limited use of gadgets.)

Three-quarters of the students here have parents with a strong high-tech connection. Mr. Eagle, like other parents, sees no contradiction. Technology, he says, has its time and place: “If I worked at Miramax and made good, artsy, rated R movies, I wouldn’t want my kids to see them until they were 17.”

While other schools in the region brag about their wired classrooms, the Waldorf school embraces a simple, retro look — blackboards with colorful chalk, bookshelves with encyclopedias, wooden desks filled with workbooks and No. 2 pencils.

On a recent Tuesday, Andie Eagle and her fifth-grade classmates refreshed their knitting skills, crisscrossing wooden needles around balls of yarn, making fabric swatches. It’s an activity the school says helps develop problem-solving, patterning, math skills and coordination. The long-term goal: make socks.

Down the hall, a teacher drilled third-graders on multiplication by asking them to pretend to turn their bodies into lightning bolts. She asked them a math problem — four times five — and, in unison, they shouted “20” and zapped their fingers at the number on the blackboard. A roomful of human calculators.

In second grade, students standing in a circle learned language skills by repeating verses after the teacher, while simultaneously playing catch with bean bags. It’s an exercise aimed at synchronizing body and brain. Here, as in other classes, the day can start with a recitation or verse about God that reflects a nondenominational emphasis on the divine.

Andie’s teacher, Cathy Waheed, who is a former computer engineer, tries to make learning both irresistible and highly tactile. Last year she taught fractions by having the children cut up food — apples, quesadillas, cake — into quarters, halves and sixteenths.

“For three weeks, we ate our way through fractions,” she said. “When I made enough fractional pieces of cake to feed everyone, do you think I had their attention?”

Some education experts say that the push to equip classrooms with computers is unwarranted because studies do not clearly show that this leads to better test scores or other measurable gains.

Is learning through cake fractions and knitting any better? The Waldorf advocates make it tough to compare, partly because as private schools they administer no standardized tests in elementary grades. And they would be the first to admit that their early-grade students may not score well on such tests because, they say, they don’t drill them on a standardized math and reading curriculum.

When asked for evidence of the schools’ effectiveness, the Association of Waldorf Schools of North America points to research by an affiliated group showing that 94 percent of students graduating from Waldorf high schools in the United States between 1994 and 2004 attended college, with many heading to prestigious institutions like Oberlin, Berkeley and Vassar.

Of course, that figure may not be surprising, given that these are students from families that value education highly enough to seek out a selective private school, and usually have the means to pay for it. And it is difficult to separate the effects of the low-tech instructional methods from other factors. For example, parents of students at the Los Altos school say it attracts great teachers who go through extensive training in the Waldorf approach, creating a strong sense of mission that can be lacking in other schools.

Absent clear evidence, the debate comes down to subjectivity, parental choice and a difference of opinion over a single world: engagement. Advocates for equipping schools with technology say computers can hold students’ attention and, in fact, that young people who have been weaned on electronic devices will not tune in without them.

Ann Flynn, director of education technology for the National School Boards Association, which represents school boards nationwide, said computers were essential. “If schools have access to the tools and can afford them, but are not using the tools, they are cheating our children,” Ms. Flynn said.

Paul Thomas, a former teacher and an associate professor of education at Furman University, who has written 12 books about public educational methods, disagreed, saying that “a spare approach to technology in the classroom will always benefit learning.”

“Teaching is a human experience,” he said. “Technology is a distraction when we need literacy, numeracy and critical thinking.”

And Waldorf parents argue that real engagement comes from great teachers with interesting lesson plans.

“Engagement is about human contact, the contact with the teacher, the contact with their peers,” said Pierre Laurent, 50, who works at a high-tech start-up and formerly worked at Intel and Microsoft. He has three children in Waldorf schools, which so impressed the family that his wife, Monica, joined one as a teacher in 2006.

And where advocates for stocking classrooms with technology say children need computer time to compete in the modern world, Waldorf parents counter: what’s the rush, given how easy it is to pick up those skills?

“It’s supereasy. It’s like learning to use toothpaste,” Mr. Eagle said. “At Google and all these places, we make technology as brain-dead easy to use as possible. There’s no reason why kids can’t figure it out when they get older.”

There are also plenty of high-tech parents at a Waldorf school in San Francisco and just north of it at the Greenwood School in Mill Valley, which doesn’t have Waldorf accreditation but is inspired by its principles.

California has some 40 Waldorf schools, giving it a disproportionate share — perhaps because the movement is growing roots here, said Lucy Wurtz, who, along with her husband, Brad, helped found the Waldorf high school in Los Altos in 2007. Mr. Wurtz is chief executive of Power Assure, which helps computer data centers reduce their energy load.

The Waldorf experience does not come cheap: annual tuition at the Silicon Valley schools is $17,750 for kindergarten through eighth grade and $24,400 for high school, though Ms. Wurtz said financial assistance was available. She says the typical Waldorf parent, who has a range of elite private and public schools to choose from, tends to be liberal and highly educated, with strong views about education; they also have a knowledge that when they are ready to teach their children about technology they have ample access and expertise at home.

The students, meanwhile, say they don’t pine for technology, nor have they gone completely cold turkey. Andie Eagle and her fifth-grade classmates say they occasionally watch movies. One girl, whose father works as an Apple engineer, says he sometimes asks her to test games he is debugging. One boy plays with flight-simulator programs on weekends.

The students say they can become frustrated when their parents and relatives get so wrapped up in phones and other devices. Aurad Kamkar, 11, said he recently went to visit cousins and found himself sitting around with five of them playing with their gadgets, not paying attention to him or each other. He started waving his arms at them: “I said: ‘Hello guys, I’m here.’ ”

Finn Heilig, 10, whose father works at Google, says he liked learning with pen and paper — rather than on a computer — because he could monitor his progress over the years.

“You can look back and see how sloppy your handwriting was in first grade. You can’t do that with computers ’cause all the letters are the same,” Finn said. “Besides, if you learn to write on paper, you can still write if water spills on the computer or the power goes out.”

Sunday, October 23, 2011

'Masters of Venice' show at De Young Museum


In Titian's sumptuous "Mars, Venus and Cupid" from the 1550s, the bearded war god embraces Venus' fleshy nude body as she reclines on satin cushions in a moody rural landscape. She caresses his head and kisses him as Cupid hovers above.

"There's nothing more sexy in the 16th century than a painting like this. It's amazingly sensuous," says Lynn Federle Orr, curator of European art at San Francisco's Fine Arts Museums.

The photocopy she's looking at doesn't begin to convey the luminous colors and atmospheric effects of this and other spectacular pictures by Titian, Tintoretto, Giorgione and Veronese in "Masters of Venice: Renaissance Painters of Passion and Power From the Kunsthistorisches Museum, Vienna," which opens Saturday at the M.H. de Young Memorial Museum.

The exhibition, which is only being shown in San Francisco, features 50 works by those giants of Venetian painting and lesser-known but important artists such as Palma Vecchio, Jacopo Bassano and the early Renaissance painter Andrea Mantegna. The pictures come from the 19th century Viennese museum that houses the art and other collections assembled over the centuries by emperors and dukes of the Habsburg dynasty. The works of the seminal Venetian oil painter Giovanni Bellini, who taught Titian and Giorgione, were not deemed in a condition to travel.

Living in a spectacle-loving city built on the water, the Venetian painters were acutely attuned to the colors and shifting atmospheres of their environment, the mist and fog, the light shimmering on the water.


Read more: http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/10/20/PKSF1LH4KE.DTL#ixzz1bdNeAdX5

Maharaja at Asian Art Museum in S.F.

http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/10/27/LVH01LK0KF.DTL

Try the above link for a short video of the evening at the museum. (Ctrl+C to copy the URL and then Ctrl+V to paste it into your browser line. Then enter and find the video near the bottom of the article.

Peering past the viewer with a gaze at once purposeful and serenely self-possessed, the Maharaja Pratap Singh of Orrcha commands his realm as surely as a great actor holds the stage. His beard and mustache rise on either side of his face in two dramatic upswept waves. A filigreed turban crown sits rakishly across his brow. A mighty cape is parted to reveal his elaborate costume's silks, jewels and embroidered sashes. One white-gloved hand grips the cross-hatched hilt of a sword. The other rests lightly on the swirling scrollwork of a settee.

It's fitting that everything about this 1903 photograph, right down to a painted backdrop, should seem so theatrical. Public performance, celebrity and the power of appearances were a big part of any maharaja's appeal during the centuries these storied figures hovered over Indian life.

But as a major touring show at the Asian Art Museum sets out to demonstrate, maharajas (Sanskrit for "great kings") were anything but showy figureheads. With their political, economic, social and cultural clout, the maharajas exerted far more influence than the reductive stereotypes of conspicuous consumption and irrelevant extravagance, a commonplace of the British colonial era, suggest. Flashy as it might be, their grandeur was very real. Taxation, infrastructure, education, militias and political favors were among the things a maharaja might control in his region.

Reporter Leah Garchik describes the scene:

"At the Asian Art Museum on Wednesday, local maharajas, maharanis and royal Indian wannabes decked themselves in exquisite and bejeweled finery, and gorgeous though they were, thereby demonstrated that even the most elegant modern trappings look understated and casual when compared with the dazzle of the past. The museum was a sea of sequins, gems and brightly colored embroidered silks for the gala opening of "Maharaja: The Splendor of India's Royal Courts," but the exhibition's silver coach - the preferred means of transportation/making a grand entrance in India in 1915, when it was made - far outglittered the fleet of Mercedeses and town cars pulling up at the valet outside.

"I thought we were here to protest Wall Street," said one wisecracker, as 650 dazzling guests - I saw not one black evening gown - sat down to a three-goblet, lined-napkin (so the silk doesn't slide off one's lap) dinner, created by Taste catering and Amber India restaurants. The gala was sold out months ago.

But it's not fair to say the exhibition celebrates the rich. It's more a tribute to the embroiderers, the silversmiths, the gem cutters, sculptors and painters who created all of this, mostly in over-the-top ornamental homage to flora and fauna.

As to the art lovers there to support the museum, director Jay Xu said this, the largest such event in its history, was the beginning of engaging "all the donors," from the most generous to "everyone who comes through our door." The V neckline of Xu's lapel-less and sleek blanc de chine tuxedo echoed his museum's new graphic symbol, an upside-down A. Mathematically, he said, that upside-down A symbol means "for all," and it reflects "our new perspective, bold and confident."

At our table, we boldly and confidently wondered about the gender neutrality of a seven-strand pearl necklace designed for a man."

Saturday, October 8, 2011

New at Cantor Center: Rodin


"Rodin and America: Influence and Adaptation, 1876-1936,"

just opened at Stanford's Cantor Arts Center, does everything an exhibition organized by a teaching museum ought to do. Examining a little-studied moment in American art - the immediate impact here of Auguste Rodin's work and myth - it will inform and surprise even the most prepared visitor.

Names almost as famous as Rodin's add luster to the project - John Singer Sargent, Georgia O'Keeffe, Edward Steichen, Alfred Stieglitz, Alexander Calder - but much of the work displayed represents artists familiar only to specialists in the period.

Friday, September 30, 2011

Acorns: California's Original Cuisine




It's acorn season. They're falling by the barrel-load into our yards and parks, littering the ground with squirrel food. But Jolie Lonner Egert doesn't see this as a nuisance. She calls acorns the "original California cuisine." And the Fairfax-based ethnobotanist is betting that they'll be the next locavore sensation. "I think in 10 years, you'll be able to walk into any farm-to-table restaurant and order acorn pancakes," she said.

Egert runs Go Wild, an ecological education company that offers classes on foraging and preparing edible wild plants. . .



Read more: http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/09/27/DDPN1L7GQU.DTL#ixzz1ZS4FvLfv

Friday, September 23, 2011

Human Migration Leading Toward North America



Long, long ago, a bold race of early modern humans left Africa and migrated across vast stretches of southern Asia to Australia - a mass migration of humankind that was followed thousands of years later by a second wave of African migrants who would settle all of Europe and the northern reaches of the Eurasian continent.

This new tale of humanity's movements out of Africa and around the world comes from an international team of geneticists who report they have traced the record of that first migration by sequencing the DNA from a single lock of hair of an unknown Australian Aborigine that had lain for nearly a century in a British museum.

The scientists maintain that instead of one human wave out of Africa, as has been traditionally believed, there must have been two. The first migration across southern Asia established the first Australians, the continent's Aboriginal population; the second migration, much later, saw modern humans, and, for a while, the Neanderthals, spread all across Europe and ultimately Asia.

That earlier migration took place more than 70,000 years ago, according to the geneticists, placing it at least 24,000 years before the second wave of humans that would later populate Europe, Asia and, eventually, America.

A report on this elaborate feat of genetic detective work was published online Thursday in the journal Science Express by a group of nearly 60 scientists led by geneticists Eske Willerslev and Morten Rasmussen of the University of Copenhagen.

The original work determining the sequence of DNA in the aboriginal hair was accomplished by Danish and Chinese scientists at their joint genomics center in Shenzhen, China, and was compared with DNA sequences from 79 individuals from Asia, Europe and Africa. The results were then sent to a group at UC Berkeley's Center for Theoretical Evolutionary Genomics.

[Haggin Museum: The notable mystery here is how they traveled across stretches of ocean since there is no existing evidence of what type of boat might have been used. Or, did they use some other means? This study opens up a new thread of argument which directly affects what anthropologists believe and teach. Scientific Method leads us to believe that there will be argument and counter-argument with no firmly established agreement at this point. And, in a related story from the San Francisco Chronicle, researchers also report that modern humans have inherited immune system traits and other genetic characteristics of the Neanderthal group, which co-existed with modern humans and apparently inter-bred with a the Neanderthals whom most would assume have nothing to do with living human beings today. In fact, it can be argued that many Neanderthal characteristics appear regularly in humans. To read more, see
http://www.blogger.com/post-create.g?blogID=1579119358443732517

Read more: http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/09/22/BABJ1L7NSO.DTL#ixzz1YoaVzQOE

Monday, September 19, 2011

Freeway On and Off Ramps to Be Closed Near Haggin Museum

New I-5 surface will be built to last 40 years


STOCKTON - Not all roads are created equal, and the $122.1 million project to improve Interstate 5 is building a type of surface that is rare in California and expected to last a long time.

Made from concrete reinforced with steel, the new pavement is estimated to last 40 years, according to the California Department of Transportation.

It's a concrete road, not asphalt, but that's not what makes it different.

Concrete roads in the state are more commonly built with breaks - called joints - that help keep the surface from cracking as the concrete changes shape. Using reinforcing steel makes this project different.

"It's one, continuous smooth pour," said Martha Dadala, design manager with Rajappan and Meyer, a San Jose engineering company working on the project. "There are no joints, so it is a smooth ride."

http://www.recordnet.com/apps/pbcs.dll/article?AID=/20110919/A_NEWS/109190308

Monday, September 12, 2011

What Works In Homework and the Classroom?

Opinion

The Trouble With Homework

Annie Murphy Paul is the author of “Origins,” who is at work on a new book about the science of learning.

Here are some excerpts from her opinion in the New York Times, Sunday Sept 11.

"In recent years, neuroscientists, cognitive scientists and educational psychologists have made a series of remarkable discoveries about how the human brain learns. They have founded a new discipline, known as Mind, Brain and Education, that is devoted to understanding and improving the ways in which children absorb, retain and apply knowledge."

Spaced repetition” is one example of the kind of evidence-based techniques that researchers have found have a positive impact on learning. Here’s how it works: instead of concentrating the study of information in single blocks, as many homework assignments currently do — reading about, say, the Civil War one evening and Reconstruction the next — learners encounter the same material in briefer sessions spread over a longer period of time. With this approach, students are re-exposed to information about the Civil War and Reconstruction throughout the semester.

It sounds unassuming, but spaced repetition produces impressive results. Eighth-grade history students who relied on a spaced approach to learning had nearly double the retention rate of students who studied the same material in a consolidated unit, reported researchers from the University of California-San Diego in 2007. The reason the method works so well goes back to the brain: when we first acquire memories, they are volatile, subject to change or likely to disappear. Exposing ourselves to information repeatedly over time fixes it more permanently in our minds, by strengthening the representation of the information that is embedded in our neural networks."

"A second learning technique, known as “retrieval practice,” employs a familiar tool — the test — in a new way: not to assess what students know, but to reinforce it. We often conceive of memory as something like a storage tank and a test as a kind of dipstick that measures how much information we’ve put in there. But that’s not actually how the brain works. Every time we pull up a memory, we make it stronger and more lasting, so that testing doesn’t just measure, it changes learning. Simply reading over material to be learned, or even taking notes and making outlines, as many homework assignments require, doesn’t have this effect."

"Another common misconception about how we learn holds that if information feels easy to absorb, we’ve learned it well. In fact, the opposite is true. When we work hard to understand information, we recall it better; the extra effort signals the brain that this knowledge is worth keeping. This phenomenon, known as cognitive disfluency, promotes learning so effectively that psychologists have devised all manner of “desirable difficulties”

http://www.nytimes.com/2011/09/11/opinion/sunday/quality-homework-a-smart-idea.html?pagewanted=2&sq=Homework&st=Search&scp=1

Sunday, September 11, 2011

Art as An Agent of Change: Some Arguments



". . . as Picasso put it, art can be "the lie that makes us realize truth." The artist, as Howard Zinn wrote in "Artists in Time of War" in the wake of 9/11, "thinks, acts, performs music, and writes outside the framework that society has created." In doing so, "the artist is telling us what the world should be like, even if it isn't that way now." Powerful as that can be, Zinn believed that artists could and should go further. Citing Mark Twain, Langston Hughes, Bob Dylan and others, he argued for an art that not only transcends received wisdom and conventional thinking but also actually changes it."

"If art can alter the course of human history, it's a difficult case to prove. Has a symphony ever led to the overthrow of a repressive regime? Can a movie affect an outcome at the ballot box? Do novels make readers more compassionate and generous people? "Socially critical artistic creation," writes Paul von Blum in "The Critical Vision: A History of Social and Political Art in the United States," "has rarely resulted in direct and immediate political change."

"But that's not the standard that art should have to meet. Art doesn't stand on a street corner barking out its message. Its true medium is not paint or notes or words on a page. It speaks to us from and through the deepest wells of human consciousness, the source points of our thoughts and feelings, invoking our moral natures while acknowledging our dark recesses. It demands nothing of us - no direct social action, no contribution to a political party, no picketing on the streets. Instead it summons us, as nothing else does, to see ourselves and the world we share in the broadest possible way, to fully acknowledge our connectedness - to each other, to history and the future, to the beauties and terrors of a flawed and striving world.

The poet Wilfred Owen said that "all a poet can do today is warn." At one level, that's a concession of how limited and ineffectual art is. At another, it's a call to act - to listen and attend as closely as possible, to hear and see as fully as we can." -from an essay by freelance writer, Steven Winn.



Friday, September 9, 2011

Edgar Degas Appreciated






IN 1903, when ballet had been a prolific subject of Edgar Degas for over 30 years, an American collector, Louisine Havemeyer, asked him, “Why, monsieur, do you always do ballet dancers?” His quick reply was, “Because, madame, it is all that is left us of the combined movements of the Greeks.



The Dance Class” (around 1873) — part of “Degas's Dancers at the Barre: Point and Counterpoint,” a show coming to the Phillips Collection in Washington — operates on several levels.

This already said much: in ballet he had found a modern source of classicism. Yet Degas’s body of work shows that he had found far more. His views of dance — in oil, sculpture, pastel, gouache, lithographs and other mediums — include those who aren’t dancing, those who can’t dance well yet, those who once danced but can do so no longer, and a great many of those who can but happen not to be doing so just now.

We need not argue about whether Degas (1834-1917) surpasses Matisse — some of Degas’s late paintings may well point the way to Matisse’s bold Modernist masterpiece “La Danse” — or Picasso, who designed ballets and drew dancers. But certainly no great artist has ever returned to the mechanics and sociology of the professional dancer’s art more often than Degas or has understood them so well. And no artist has ever depicted ballet more truthfully — or more variously.

This fall brings the opportunity to home in on his ballet work with two different exhibitions. At the Phillips Collection in Washington “Degas’s Dancers at the Barre: Point and Counterpoint” (Oct. 1 to Jan. 8) concentrates on the backstage life to which Degas had access. Centering on one late painting, “Dancers at the Barre” (around 1900), and showing his treatments of ballet as successive variations on certain themes, the exhibition emphasizes his process: the work that this painter of workers put into his art.

At the Royal Academy of Arts in London “Degas and the Ballet: Picturing Movement” (Sept. 17 to Dec. 11) focuses on his relentless scrutiny of the human body in motion, not only in his painting, prints and sculpture but in the context of the photography of the late 19th century (including some images by Degas himself) and early film technology (in which he was keenly interested).

To read more:

http://www.nytimes.com/2011/09/04/arts/dance/degass-ballet-at-the-phillips-collection-and-royal-academy.html?_r=1&scp=2&sq=Edgar%20Degas&st=cse

Tuesday, September 6, 2011

He Was Afraid of the Telephone

Alfred Kroeber, Professor Anthropology & Ishi

1911

SF Chronicle on Sept. 6: In return for his first lessons in civilization, giving his own language and the customs of his people, Ishi, lone survivor of the Southern Yahi Indian who once roamed the forests of Tehama County, is a guest at the anthropological department of the Affiliated Colleges. Professors A.L. Kroeber and T.T. Waterman, who brought him from Oroville, where he was being kept in jail for his own safety, are tutoring him. "He is without doubt the most uncontaminated aboriginal in the known world today," said Kroeber. "Even in the interior of Africa or Australia, it is doubtful if such a specimen of man could be found." The last of his people has vanished. He alone is left of the Yahi. Civilization is luring to Ishi. Until Monday he has never worn the garb of the white man. Skins of animals have been his covering when he desired warmth. At other times he preferred to roam the forests as God made him. Yesterday when photographers wished him garbed in his original costume, he refused indicating in sign language that he liked the overalls, shirt and especially the necktie, which had been given him. He is a mere child so far as knowledge of this world is concerned. A tin whistle interests him more than a locomotive. A plate of window glass is to him a strange thing. The telephone he is afraid of. He imagines it something uncanny. He seems willing to eat anything given for food and has learned to use a spoon. {sbox}

Tuesday, August 30, 2011

Photography: Pictures of Different Days, Different Places

Just what are they teaching our kids in school these days?

- In France. Provence.
- Outdoor dining in Provence.
Here, Ronda Sanders demonstrates exactly how she likes to arrange the table for the Acorn Pounding activity when Haggin docents travel to the Third Grade classrooms. Ask her about her system.

Little Scientists: These children are attending the first annual UCSF summer science camp where kids learn basic concepts of the scientific laboratory. In this case, how gases behave.




Wednesday, August 17, 2011

Janet Men Prints--Reception Vernissage

Janet attracted a large group of docents to her art show.

Janet Men opened her show of prints on Friday August 12th. Here, in front of prints.
At the San Joaquin County Law Library, 22 N. Sutter St. Stockton

As part of the downtown Art Walk, food bits are served.

Judy McGrew. She brought food too.

A newly acquired print for Sheila Beauchamp, new docent. The show will be in place for one or two months. At 22 Sutter St, The San Joaquin Law Library.