i was assigned to do a political poll thingy for my ap government class uvu
the description of the poll is as follows:
“This is a poll made for an AP US Government and Politics course. Questions focus on various political topics and subjects of debate. Please answer all questions to the best of your ability. If your optimal response is not provided, please choose the answer which you identify best with.”
i would really appreciate it if y’all could participate in the poll! all participants will remain anonymous. the only information about yourself you need to disclose is your gender (assigned at birth), your race/ethnicity, and your opinion on various political topics which are hotly debated in the USA today
please reblog this post- i’d like for our group to have as large of a sample as possible!
SO LIKE. EVENT!! i’m trying to keep it in the theme of just day-to-day gossip girl episodes ?? and as such, the MCINTIREFAMILY (or ––– parents, rather ) are hosting a gala at their penthouse on madison. it’s a fundraiser for the national parkinson’s foundation. black tie attire, tiny finger food and ridiculous blue cocktails. anyone who’s anyone on the upper east side will be attending, and anyone who’s anyone will be bringing a date. it’s the kind of stuffy gala they’ve all been raised on, an annual one hosted in the mcintire’s home. ( and anyone who’s been there before –––––– knows that the easiest way to escape the suffocating swarm of waiters and parents and congressmen is through the fire escape outside mac’s old bedroom, that has since been converted back into a guest room, and head up to the roof. )
this event will go from TUESDAY, SEPTEMBER 20TH @ 7:30 to THURSDAY, SEPTEMBER 22ND @ 7:30. just a small, twenty-four hour event that gets everyone’s characters in the same place ! please tag all starters with #646EVENT1, and get plotting !you can also post event outfits for your chars if that’s a thing that you like doing !!
When given a choice between cooperating or competing, chimpanzees choose to cooperate five times more frequently Yerkes National Primate Research Center researchers have found. This, the researchers say, challenges the perceptions humans are unique in our ability to cooperate and chimpanzees are overly competitive, and suggests the roots of human cooperation are shared with other primates. The study results are reported in this week’s early online edition of the Proceedings of the National Academy of Sciences.
To determine if chimpanzees possess the same ability humans have to overcome competition, the researchers set up a cooperative task that closely mimicked chimpanzee natural conditions, for example, providing the 11 great apes that participated in this study with an open choice to select cooperation partners and giving them plenty of ways to compete. Working beside the chimpanzees’ grassy outdoor enclosure at the Yerkes Research Center Field Station, the researchers gave the great apes thousands of opportunities to pull cooperatively at an apparatus filled with rewards. In half of the test sessions, two chimpanzees needed to participate to succeed, and in the other half, three chimpanzees were needed.
While the set up provided ample opportunities for competition, aggression and freeloading, the chimpanzees overwhelmingly performed cooperative acts – 3,565 times across 94 hour-long test sessions.
The chimpanzees used a variety of enforcement strategies to overcome competition, displacement and freeloading, which the researchers measured by attempted thefts of rewards. These strategies included the chimpanzees directly protesting against others, refusing to work in the presence of a freeloader, which supports avoidance as an important component in managing competitive tendencies, and more dominant chimpanzees intervening to help others against freeloaders. Such third-party punishment occurred 14 times, primarily in response to aggression between the freeloader and the chimpanzee that was cooperatively working with others for the rewards.
“Previous statements in the literature describe human cooperation as a ‘huge anomaly’ and chimpanzees as preferring competition over collaboration,” says Malini Suchak, PhD, lead author of the study. “Studies have also suggested researchers have to 'engineer cooperation’ during experiments rather than acknowledging chimpanzees are naturally cooperative. When we considered chimpanzees’ natural behaviors, we thought surely they must be able to manage competition on their own, so we gave them the freedom to employ their own enforcement strategies. And it turns out, they are really quite good at preventing competition and favoring cooperation. In fact, given the ratio of conflict to cooperation is quite similar in humans and chimpanzees, our study shows striking similarities across species and gives another insight into human evolution,” she continues. Suchak was a graduate student at the Yerkes Research Center at the time of the study and is now an Assistant Professor of Animal Behavior, Ecology and Conservation at Canisius College in Buffalo, NY.
Frans de Waal, PhD, director of the Living Links Center at the Yerkes Research Center, a C. H. Candler Professor of Psychology at Emory University and one of the study authors, adds, “It has become a popular claim in the literature that human cooperation is unique. This is especially curious because the best ideas we have about the evolution of cooperation come straight from animal studies. The natural world is full of cooperation, from ants to killer whales. Our study is the first to show that our closest relatives know very well how to discourage competition and freeloading. Cooperation wins!”
RP of Right after the apes get totally trashed and awkwardness ensues..oh boy!!
This wasn’t the first time Koba had
gotten flat out drunk, the bonobo knew the bottle too well. The one thing he
was not used to was having everybody else in the ape colony participate with
him. He usually hid any crates or bottles of the “horse piss” if he
came across it, especially the liquor and would just drink with his two friends.
That damned freckled chimp Grey decided to be a prankster and shared out
several of Koba’s hidden crates of the stuff right after the hunt. He found it
funny what the alcohol did to Koba so why not the others? Granted Koba found it
all rather fun at first.. But as what often would happen he would drink himself
to oblivion. Usually Stone was there to back him up and act as a bouncer. Last
night he had no idea what had gone on.
Koba found himself staring up at the
crude ceiling of his makeshift nest as usual. He could see the world spinning
around him, his stomach turned, a typical hangover. He slowly lifted his head
up and propped himself on his elbows. He looked like a sorry sight with his
hair sticking out at different angles liked some wrecked troll doll, he always
somehow got drool all over himself. He was the definition of shit-faced. He
looked over to his left and saw a familiar dark form.
Ah…Stone.. His groggy eyes told him. He rolled on his side and
wrapped his arm around the chimp’s torso and leaned against his back. Koba felt
those small tender feelings in him ebbing up, he felt like giving his partner a
tickle. The giggling bonobo reached in between Stone’s legs and ran his fingers
up and down. Usually Stone would jolt and grunt like some frog that made him
feel better. But something was wrong here, there was nothing there..Unless that
damned chimp got a real serious injury.
Koba leaned over to take a look, he
noticed right away for the first time that this chimp was much smaller than Stone
and the scent was all wrong. It was a female and telling from her rear end, she
was in heat. Oh…. On closer inspection he realized that this wasn’t
just any female but the queen herself, Cornelia. Fuck….
What the hell is she doing in my nest? Where the hell is
Stone? Koba sat up and
stared out from his nest, it was light outside but nobody was stirring, usually
somebody had to force him out of bed. Usually it was Stone with an angry Rocket
or Caesar beside him, waiting to question his drinking problem. It was not like
any of them understood anyways…
But why Cornelia? Koba let out a
long sigh. He leaned over her and sniffed at her face, he could smell the
alcohol. She probably got confused or couldn’t make it back to Caesar’s nest so
decided to crash here perhaps. Koba didn’t find that an issue, he had no real
sexual interest anyways in her and he respected Caesar. Their nest was way up
so it was better that she came here instead of possibly getting hurt. He told
all these excuses to himself.
But why do I feel so damned bothered? He never woke up with a female next to
him before. And the fact that Cornelia was in heat made him very nervous. He
knew too well how jealous and protective Caesar got around her during that
time.. Koba could never back himself up if the ape-king just happened to walk
in here and see this sight. He scratched his crotch area and felt anxious. He
had certainly done something to somebody and he stunk of estrus. Well I did
just lean up against her…
Stone rarely ever got that drunk so
Koba was assured that he watched over him. He would never allow Koba to get
into any trouble, he could always wake up one morning knowing he had not
anything completely stupid. Stone was probably around here somewhere, he most
likely went down to the river to piss and drink. Speaking of piss, Koba winced
and shoved the wet straw bedding aside, he was always too lazy to get up and
use the bathroom when necessary. He was damned disgusting and knew it too well.
He didn’t want to wake Cornelia,
just encase she might be shocked and probably accuse him of something. The
tipsy bonobo clumsily climbed down from his nest, a terrifying feat when you
are still half drunk, and made his way down to the river to freshen himself up.
He was sure nobody had seen him leave the nest, he will just take his recovery
elsewhere out of sight until Stone would find him…
For me, Artist and Educator are not simply professional titles, they are world views— which at their core require framing, distilling, condensing and establishing contexts for ideas, information, and abstract concepts in order to engage an audience in dialog.
The Westminster Kennel Club show started Monday morning and, to the owners of the 2,711 pooches set to take part, it’s the Super Bowl, World Series and Daytona 500 of dogdom in the United States, one giant bark
in the park.
The finale of the Westminster Dog Show is February
17, when one dog will be named Best in Show at Madison Square Garden.
Here is a collection of portraits of some of the participants. (AP)
Being an Artist Means Dealing with Information that makes the Rest of our Culture Uncomfortable: Alexis Rockman in Conversation with Bryan Anthony Moore
Evolution, 1992, oil on wood, 96 x 288 in
Alexis Rockman received a BFA in Fine Arts at SVA in 1985. In the thirty years since, he has been creating figurative paintings depicting natural history in its past, present and future tenses. These works convey the epic story of life on Earth and humanity’s callous yet dependent relationship with it, a keen knowledge of art history, and an obvious concern for raising awareness of environmental issues. Alexis is currently a mentor for SVA’s MFA Art Practice program.
BRYAN ANTHONY MOORE A lot has been written about your mother working at the American Museum of Natural History while you were growing up and how formative your frequent childhood visits to the museum were. What do you see as the role of the natural history museum?
ALEXIS ROCKMAN In our increasingly urban and technological landscape, they are a sort of doorway or a gateway for a lot of kids, and for a lot of people to understand what’s left of the biodiversity on earth and humans’ historical relationship to it.
It’s an introduction to the world that used to exist and still exists in pockets, and the relationship of human activity to that.
BAM You and I have discussed filmmakers and animators such as Stanley Kubrick and Ray Harryhausen. In your work some of the large pieces have a cinematic feel. Can you discuss how cinema and animation have influenced your work? What are your favorite films? Are there any films that you feel were formative or influential to your practice?
AR Those are several very different questions that you just asked.
Let’s talk about formative films. I was attracted to a lot of seemingly disparate things that would include, as you mentioned, Ray Harryhausen, not so much Kubrick when I was very young; I probably didn’t get it when I was a ten year old. As a child I loved Willis O’Brien’s films, Harryhausen, Warner Brothers cartoons and even Disney stuff, you know, typical stuff. I found it a very vivid and exciting world to escape into; feeling that I had a sort of lonely childhood being an only child, and so on and so forth.
In terms of my big paintings, I think that they deal with cinema on a certain level, but film time and painting time are so different that I don’t see that there is much of a connection besides the anamorphic format. I love the idea of making paintings that are bigger than the human body, like cinema, but I don’t really see them having that much in common. But to contradict myself, the idea that admitting that you’re a storyteller on some level in painting, at this point in history, is kind of a dirty word. Working with Ang Lee on Life of Pi and seeing how he dealt with my ideas and integrated them into the movie taught me a lot about simplicity and how to say things that are very complicated in a simple way, and that you only need to say it once.
That’s not to say that my work stopped being sort of Baroque and very rich iconographically, or shall we say, dense, but I learned a lot about how to tell a story.
BAM Let’s talk more about the scale of some of your work. Your paintings often have this epic scale that’s evocative of a history painting, yet they frequently take place in a future tense.
AR Right now I’m working on a painting that goes back 12,000 years and is probably in the future several hundred years; so it can be all things simultaneously. It’s a time-line from left to right.
I’d say the one thing that I’ve noticed over the years — and it’s the difference between what I’ve been doing and continue to do, and sort of normal painting and normal history painting — is there’s a sense of insane intimacy in the work, [in] the paintings that I make, no matter how big they are. You can fall into them in a way that I haven’t really seen so much in enormous paintings. There are a lot of much broader strokes.
I was just looking at the Thomas Hart Benton cycle at the Met, which was fascinating. Thomas Hart Benton is someone that growing up, even though I violently opposed Clement Greenberg, I always believed of Thomas Hart Benton, that all he was good for, was being Jackson Pollock’s reactionary (laughing) mentor. He’s never been high on my list.
One of the things I realized, and this was probably my gateway drug into all of this, was someone like Grant Wood, who, if you only know American Gothic, it’s an iconographic painting, but let’s face it, who cares, right? But his insane spatial games with his landscapes are so fascinating and that got me thinking that Thomas Hart Benton might be more interesting than I thought. There’s a cycle of capitalism [Benton’s America Today Murals] at the Met, which is fascinating in terms of its design, very art deco. It was part of the New School, he did it basically for free meals during the depression and to see it restored and in a very glamorous context and to see it taken seriously made a lot of sense right now. And I thought, I’m starting this five painting cycle about the history and future of the Great Lakes. I’ve been dealing with time and capitalism. There’s a lot more overlap than we care to admit in the past. I love the history of history painting but there are a lot of things that I want to do differently.
BAM Last week a study was published about what researchers think are bacterial, fungal, viral, and protist genes that have been horizontally transferred into the human genome and the genomes of other complex animals throughout our evolutionary history. This immediately started me thinking about your paintings that depict a pig fucking waterfowl or different species of animals mating. There is definitely a sense of humor that comes through in your work. Can you talk about the role of humor in your work?
AR Humor is one of the great escape valves for anxiety. Humor can always tell the truth, sneak the truth in through the back door, so to speak, in a way that is probably much more palatable. Humor and horror are flip sides to the same coin and I’m attracted to horror as well. I just think it’s a great way to get at ideas, to be over the top. You can disarm people with a sense of frankness that is not that common in our culture. There is obviously a long tradition of people like Mel Brooks in Blazing Saddles, the way he dealt with racism, the way The Producers dealt with the legacy of Nazi Germany, Richard Pryor, Key and Peele, and so on and so forth. There are ways of dealing with serious ideas that are much more — You attract more sympathy and identification through humor.
The Trough, 1992, oil on wood panel, 40 x 48 in
BAM Can you talk about the role that travel and documentation play in your artwork?
AR The thing I’m doing about the Great Lakes is about these field trips. It’s an attempt to have authenticity. How can you make paintings about a place unless you know what’s going on? At least, on a most superficial level, you have to go there. I’ve been in the jungle for two months and I’ve been on multiple trips to the Great Lakes for a week here and there. I go as much as I can handle in terms of the rest of my life, until I’m really sick of it and have to start the project. I feel like if I know anything more I’m just going to get confused.
BAM That’s a good way to think about it.
AR I’m going to Toronto next week, someone said to me, “Do you want to talk to any scientists”? I said “Hell no! I don’t want to get confused now. I know what I’m doing”.
BAM Right. So your travel does have a documentarian aspect. In a way is your travel in the tradition of someone like Audubon?
AR Alexander Von Humboldt, the adventurer-traveler, you know. Obviously if you’re staying at the Best Western it’s a little cushier than, you know, It has it’s own grind (laughing), Lewis and Clark. It’s by no means the type of hardship that these people had to deal with. I’ve been on very tough trips like the ones to South America or Madagascar but I tend to do those less and less the older I get. I don’t need to — you know The River of Doubt? I just finished reading it. Teddy Roosevelt sort of put himself through this ordeal to find the River of Doubt and it almost killed him, and it did eventually kill him a couple of years after he got back. I got to the point of [realizing] how hard those things are and I appreciate the people who’ve done them, but I think making art is hard enough.
BROMELIAD: Kaieteur Falls, 1994, oil and lacquer on wood, 40 x 32 in
BAM Right. I don’t know exactly how to phrase what I want to ask but …
AR Just go for it.
BAM I know that you’re not going someplace that no Westerner has ever been, but in a way aren’t you continuing that documentarian tradition because it’s such a different time and there are huge man-made changes happening to the planet?
AR Yeah, you know, one of the things that I really feel I can offer, being an artist at this point, it is kind of a nebulous term, what does that [artist] mean? But one of the things that I’m fascinated by, is dealing with information or ideas that make the rest of our culture uncomfortable; and obviously the biodiversity crisis, climate change, all of these serious issues that, I mean, not to give myself too much credit, but I’ve been thinking about this stuff since the mid-80’s and making work about it. I saw it as the most important thing, I’ve always believed that, and now it’s become clear that most of the intelligent humans on planet Earth think that these are serious issues that have to be dealt with. So, I’m despairing in being right but I’m also gratified that I was there early and I’ve been thinking about it, terrified, about these ideas and issues for many many years. One of the things that’s just so bizarre — it reminds me of a conversation that I heard on NPR this morning, about Greek life on college campuses and a woman who wrote an article for The Atlantic, “The Dark Power of Fraternities,” about Greek life in colleges. She is 53 years old and she said that as a college student going to school in the South — she wasn’t specific about which school — she was very aware of how powerful and frightening these fraternities were and how much of a problem rape was then, 30 years ago. She found it inconceivable that it would be worse thirty years later. How is that possible? I thought, “That’s completely terrible”! I have two college age sons. One of them is a freshman and he’s attracted to fraternities on a certain level. I don’t think he quite understands the dark legacies that they have but that’s for him to figure out for himself. I was thinking, that is terrible and who would think that forty years after Earth Day that all of these crises would be far worse than we could ever comprehend; just when we felt that forty years ago — the first wave of eco-consciousness in America, that climate change would become a major issue, 15 years ago people would be aware of it, across the board. And there was still the lack of political will to do anything about it. I think that this is, if you can even imagine, an even greater travesty and tragedy than the huge and very serious tragedy of what’s going on in fraternities. There’s a lot of inertia when it comes to the inability to do anything collectively that might have some push back from very powerful forces.
Is that sort of symptomatic of the plague of our times where it seems that you have this upper echelon …
AR It’s a historical issue. The history of Earth is, in terms of human history, littered with extinct cultures and societies. It’s nothing new.
BAM I think what I’m asking is, in your opinion, in some sense, is grassroots activism failing us because there’s so much wealth and power concentrated into so few individuals now?
AR Well, you could say that but social media is pretty powerful.
AR I mean, I think that we live in a culture where there’s not a lot of political consciousness. There are so many factors; I can’t get into that.
BAM There’s a lot of apathy.
AR There’s a lot of apathy and there’s a lot of inertia because people have a certain amount of economic resources and they’re very placated by the media. Not to point a finger at corporate conglomerates, which of course, one should, but who wants to think about this stuff when they can look at instagram?
BAM What are you currently working on?
AR I’m working on a five painting cycle about the history and the future of the Great Lakes region. The work references the geology, ecology and anthropology of the area. The project was instigated by The Grand Rapids Art Museum and will be exhibited in 2018 followed by a travelling exhibition of the work at multiple venues.
We Are Together In This: A Conversation with Leah Foster by Allison Hewitt Ward
This Friday, Leah Foster (MFA AP14) and her collaborator, Dr. Unami Mulale, will park the Barona Bus, a traveling container for social engagement and conversations about healthcare, at the Open Engagement conference in Queens after two months on the road hosting events across the country. The bus is just one part of a larger collaboration between Leah and Una through which they hope to build the first pediatric hospital in Botswana,a hospital in which art is valued alongside medicine as vital to well-being.
In anticipation of their presentation of the bus this weekend, Leah spoke with AP staff member Allison Hewitt Ward about her transdisciplinary practice, the shifting terrain of artist and viewer and creating spaces of shared ownership and concern.
Mining Narratives: A Conversation with Dana Osburn by Allison Hewitt Ward
I think that narrative is important in my work because that’s the way I enjoy media. I enjoy a good story. I want to tell a good story.
Art Practice Participant Dana Osburn is an explorer, demolitionist, architect and annotator in the field of media and culture. Her work has untangled the narratives at work in television archetypes, small town politics and the persona of “the artist”. Dana took a break from preparing for her third and final summer in the MFA Art Practice program to talk with AP Staff Member Allison Hewitt Ward about her work, world of media and technology that informs it, and how it’s changed since she began her MFA studies.
The Power of Speech vs the Originality of Language: David Joselit in conversation with MFA Art Practice
During our Summer 2013 residency period, scholar and critic David Joselitdelivered a lecture about themes in his recently published book, After Art. Afterward, he stayed for a discussion with Chair David A. Ross, faculty members Robin Winters and Mark Tribe, and current Art Practice participants. Here’s the transcript from that discussion: