#Ali Viterbi

[jasmintgrad604]

SDL: Week 3

Specific techniques and crafts 

printmaking

Liu, Y. (2022, 27-29 May 2022). Research on Intelligent Digital Printmaking Printing System based on Viterbi Algorithm. 2022 IEEE 2nd International Conference on Electronic Technology, Communication and Information (ICETCI), 

Hudson, Z., Zandt, A., Katz, A., & Graves, W. (2022, 2022/01/02). From Dirca to design: printmaking with leatherwood (Dirca mexicana) bark paper. Journal of Visual Art Practice, 21(1), 1-24. https://doi.org/10.1080/14702029.2021.1981633 

ABELL, C. (2015). Printmaking as an Art. Journal of Aesthetics & Art Criticism, 73(1), 23–30. https://doi-org.ezproxy.aut.ac.nz/10.1111/jaac.12137

Mohamed, zahira ibrahim Ibrahim. “Modern Vision for Visual Merging between Printmaking and Mixed (Media ).” Journal of Architecture, Art & Humanistic Science 7, no. 36 (November 1, 2022): 259–82. https://doi.org/10.21608/mjaf.2021.59336.2182.

“Full Article: Printmaking and Cultural Imagination in Contemporary Nigerian Art.” Accessed August 2, 2023. https://www-tandfonline-com.ezproxy.aut.ac.nz/doi/full/10.1080/02560046.2020.1856900.

Key themes, ideas and conversations

Feminism

Resnick, E. (2016). Collaborative Learning. In Developing Citizen Designers (pp. 139–188). New York: Bloomsbury Academic. Retrieved August 1, 2023, from http://dx.doi.org/10.5040/9781474274395-010

France: 1945—2000. (2020). In Margolin, V., Margolin, V. , Houze, R. , & Margolin, S. (Ed.). World History of Design: Europe and North America 1945–2000. London: Bloomsbury Academic. Retrieved August 1, 2023, from http://dx.doi.org/10.5040/9781474246224.045 

Marketing/ advertising 

David-West, H. (2016). Overview of the State of Graphic Design in Africa. In D. Huppatz (Ed.). Design: Critical and Primary Sources: Development, Globalization, Sustainability (pp. 41–47). London: Bloomsbury Academic. Retrieved August 1, 2023, from http://dx.doi.org/10.5040/9781474282888.0012 

Religion 

Blount, Taheera N., and Craig C. Brookins. “Adinkra Symbolism, Printmaking, and the Cultural Identity of Ghanaian Emerging Young Adults.” Journal of Creativity in Mental Health 17, no. 3 (July 3, 2022): 374–93. https://doi.org/10.1080/15401383.2021.1911724.

Romanenkova, Julia, Nataliia Zemlianska, and Svitlana Zaria. “Religious Genre in the Contemporary Ukrainian Ex- Libris: Schools, Techniques, Main Characteristics,” no. 13 (2021).

Specialist subject knowledge

Renaissance 

Lincoln, Evelyn. “Interactive and Sculptural Printmaking in the Renaissance. Suzanne Karr Schmidt. Brill’s Studies in Intellectual History 270; Brill’s Studies in Art, Art History, and Intellectual History 21. Leiden: Brill, 2018. Xxviii + 440 Pp. $195.” Renaissance Quarterly 73, no. 1 (April 2020): 251–53. https://doi.org/10.1017/rqx.2019.521.

“A Renaissance without Order Ornament, Single-Sheet Engravings, and the Mutability of Architectural Prints on JSTOR.” Accessed August 2, 2023. https://www-jstor-org.ezproxy.aut.ac.nz/stable/10.1525/jsah.2012.71.4.488.

Feminism 

Artes, Universidad del País Vasco / Euskal Herriko Unibertsitatea (UPV/EHU) Facultad de Bellas. “AusArt Revista para la investigación en arte.” Text. Universidad del País Vasco / Euskal Herriko Unibertsitatea (UPV/EHU). Argitalpen Zerbitzua / Servicio Editorial, 2013. https://ojs.ehu.eus/index.php/ausart.

Identity 

“Full Article: Adinkra Symbolism, Printmaking, and the Cultural Identity of Ghanaian Emerging Young Adults.” Accessed August 2, 2023. https://www-tandfonline-com.ezproxy.aut.ac.nz/doi/full/10.1080/15401383.2021.1911724.

LGBTQ+

“Full Article: In the Making: Queer Publishing and Transpedagogies.” Accessed August 2, 2023. https://www-tandfonline-com.ezproxy.aut.ac.nz/doi/full/10.1080/00043249.2021.1960078.

Creatives working in the environmental, social, cultural, sub-cultural, and political contexts

Environmental

Karim, Maryam, Mehrdad Ghodskhah Daryaei, Javad Torkaman, Reza Oladi, and Mohammad Ali Tajick Ghanbary. “Effect of Environmental Changes (Temprature and Moisture) on Destructive Behaviour of the White Rot Fungus Trametes Versicolor on Chestnut-Leaved Oak.” Iranian Journal of Wood and Paper Industries 9, no. 1 (May 1, 2018): 75–85. 

Sub-cultural

Bruton, D. , & Radford, A. (2012). Serious play. In Digital design: A critical introduction (pp. 108–122). London: Bloomsbury Academic. Retrieved August 1, 2023, from http://dx.doi.org/10.5040/9781474294065.ch-007 

Political

Eeden, J.V. (2016). Southern African Design. In The Bloomsbury Encyclopedia of Design (pp. 239–243). London: Bloomsbury Academic. Retrieved August 1, 2023, from http://dx.doi.org/10.5040/9781472596154-BED-S085 

Social

“Perspectives on Contemporary Printmaking : Critical Writing Since 1986.” Accessed August 2, 2023. https://web-p-ebscohost-com.ezproxy.aut.ac.nz/ehost/ebookviewer/ebook?sid=40e0f963-1764-4bb2-b72b-d0e6c545bd7d%40redis&vid=0&format=EB.

Notable latino artists. (2023). In N. Kanellos, Latino almanac: from early explorers to corporate leaders. Visible Ink Press. Credo Reference: https://networkservices.aut.ac.nz/ezproxy.cgi?url=https://search.credoreference.com/content/entry/viplatino/notable_latino_artists/0?institutionId=5349 

[perry-tannenbaum]

Review: The Jewish Plays Project

By:  Perry Tannenbaum

The Jewish Plays Project, currently in its ninth season, seeks to recognize and develop new plays that freshly address contemporary Jewish life. In their annual Jewish Playwriting Contest, plays that peddle stock Jewish humor or deal directly with the Shoah are graciously discouraged. Like other playwriting contests, it solicits scripts that haven’t received professional productions and welcomes playwrights of all ethnicities. Of course, an expert panel is part of the selection process, but unlike the Pulitzers, the Tonys, or the Steinberg Awards, the JPP panel only screens the hundreds of entries and winnows them down to a group of finalists.

Cunningly, JPP invites theatre communities around the country to engage with the scripts, winnow them down to a Top 3, perform the Top 3 publicly in abbreviated staged readings, and have the live audience vote for their winner. In the 2019 cycle, Charlotte is the first of seven cities to complete its participation in the process, so the ultimate winner won’t be announced until after the Palo Alto readings on May 1 – moving on to a full production in New York this September.

The seven finalist scripts were emailed to us back in November, and I can proudly say that our reading panel in Charlotte had the most listed members, edging out Houston and New York, sharing the honor for the most populous panel with Chicago. Our panelists met at the Levine Jewish Center for a dinner powwow during the last week in January. After spirited discussions of each script, we wound up choosing In Every Generation by Ali Viterbi, The Shabbos Goy by Cary Gitter, and Dox Modern Middle by Megan Pope for the public event at Gorelick Hall, the J’s theater facility.

Last year’s national winner, Summer Night with Unicorn by David Rush, had been produced by the Levine Cultural Arts department’s JStage at the Gorelick in November, so there were people in the audience – and onstage – who had experienced last year’s playoffs and/or seen its fruit. This was the third year that Charlotte had participated in the annual contest, my second year of participating on the community panel, and my first time at the competitive readings. I was a bit taken aback by the robust turnout. Word has gotten around.

Unlike the staged reading festivals presented in the past by Actor’s Theatre of Charlotte and the defunct Charlotte Rep, the Levine’s Jewish Playwriting Contest maintained its professionalism without stuffiness or excessive formality. If you were an actor, you weren’t warned against the impropriety of wearing a color or dressing for your part, but you did lay your script on a lectern as you performed. If you bought a ticket, you could grab a free nosh at the back of the hall and schmooze with your fellow cognoscenti before David Winitsky, the founder and director of JPP, moved up front to issue welcomes and thanks. Then he explained the JPP and the Contest before testing the technology that would be used for the individual playwright intros and the voting. Directing all three entries, he also read the stage directions during the readings.

Old schoolers could vote on paper ballots as God intended, or if you had a smart phone, you could text your vote to a prescribed number. My first two test votes, before and after the first play reading, were for macaroons and Bernie (who lost to Midge). While writing this review, I texted “LEAVE” to the number we had been given and received an answer, my first real assurance that my votes had counted. So the technology worked, the format for the evening had been exhilarating, and theoretically, my vote may have been decisive. Yet I did not drive home feeling that the format had been completely fair.

Gitter’s The Shabbos Goy led off the readings, probably the easiest of the three to summarize. Seth, a divorced Orthodox Jew, has a crisis of faith because he has fallen in love with Angie, an Italian-American art gallery curator who recently moved into an apartment down the hall. Not knowing she had moved in, Seth had knocked on her door, thinking he would call on his Shabbos goy to do something for him that Orthodox Jews are forbidden to do on the Sabbath – like turning on a lamp or an oven. Angie readily agrees to help this nerdy knish maker. He’s such an unlikely candidate for her affections that, when he asks her out, she doesn’t immediately grasp what he’s doing, by which time he’s apologizing.

Seth’s sister Rachel, his partner in the Lower East Side knish store, is more devoutly opposed to her brother’s wishes – she’s not Jewish! – but Sophia, Angie’s folksy grandmother, has an open mind. In the scenes excerpted for the reading, Seth (Jordan Ellis) told Angie (Karina Caporino) about his spiritual crisis. His confession went better than Fitzwilliam Darcy’s, acting as an aphrodisiac. Afterwards, Angie had a couple of heart-to-hearts with Sophia (Jackie Fishman) and Rachel (Susan Cherin Gundersheim).

  If the allusion strikes home, you’ll already know that Viterbi’s In Every Generation has something to do with Passover. Not only is the Passover seder the instrument of fulfilling the biblical commandment of telling your children about the exodus from slavery in Egypt, it is the gateway for fulfilling man’s obligation “to see himself as if he personally went out of Egypt.” Viterbi divides her play into four parts, a very apt number for Passover, and links three generations of a family across three seders, beginning with 2018 in LA, then flashing back 65 years to 1953, and then zipping forward to 2048. After three seders with this family, Viterbi thinks we’re ready to visualize her family in 1416 BCE after leaving Egypt, celebrating Passover and yearning for the Promised Land.

In the first excerpted scene, we saw all three generations gathered at the 2018 seder. Drawing most of our attention were two squabbling siblings, Yael Katz (Caporino) and her adopted Chinese older sister, Devorah (Vivian Howell Tong), who is studying to be a rabbi. It is she, therefore, who expounded on the number four in the Passover Haggadah. Their mom, Valeria (Stephanie DiPaolo), tried to keep order, but her difficulties were compounded by her octogenarian parents, Davide Levi (David Catenazzo), who coukd no longer speak due to ALS, and Paola (Fishman), who kept lapsing into Italian. Our second excerpt took us to 1953, shortly after Davide and Paola had immigrated to America. Davide could talk at that seder – smoothly enough to convince Paola that Passover might be a great time to start their squabbling unborn family.

Reduced to a bare-bones 20-minute sampling, In Every Generation had to shed its last two parts – and the English subtitles that are supposed to help us understand Paola’s Italian when she arrived in LA back in 1953. Shabbos Goy suffered to a lesser extent from Winitsky’s radical abridgement, losing one of its characters, a dashing young artist whose work Angie would love to display at her gallery. Young and sexy Blake, Angie’s arrogant quarry, expected to combine business with pleasure. Pope’s Dox Modern Middle was perhaps the most disadvantaged by Winitsky’s excerpting. It would have been helpful, for starters, if the playwright, the director, or the reading had explained what the title meant.

Amid some healing chanting and a spectral appearance of Fathermother, representing her parents and her Orthodox Jewish heritage, the excerpt began with 17-year-old Raphaela (Arella Flur) arriving in Israel. She was greeted by her Aunt Caroline (DiPaolo), a longtime Israeli who knew more about Raphaela than the girl thought. Caroline already knew, for instance, that her upfront 16-year-old neighbor Gil (Rixey Terry) would be the perfect companion to show Raphaela around – because he is gay, she is lesbian, and that’s why she was sent away from Brooklyn by her “Dox” parents. In later excerpts, we learned that there’s an LGBTQ nightclub in Jerusalem that will welcome both Gil and Raphaela, with queerness to burn. A quartet of glittery queens emerged from the audience, voguing and preening. More seriously, the club’s bartender, Pop Tart Girl, took an interest in Raphi, evoking memories of Ani (Caporino in both roles), her previous paramour back in Brooklyn.

When the votes were tallied, Winitsky announced that The Shabbos Goy had been our audience favorite. Audience members who have become attached to Seth and Angie, rooting for their romance, can go to JewishPlaysProject.org and see how Gitter’s romantic comedy is doing in the standings. With the two points that Shabbos Goy earned at the Charlotte playoffs, it is now tied with In Every Generation for first place. Next in the standings, trailing the leaders by two points, is Dox Modern Middle. As exciting as the contest was, I’d be more comfortable if the readings were extended to 40-45 minutes each. Lacking that, audiences should get a full summary of each contestant. That’s what I’m voting for.

Jewish Playwriting Contest Dramatically Involves Charlotte Audience in Selecting a New Play for a New York Production Review: The Jewish Plays Project By:  Perry Tannenbaum The Jewish Plays Project, currently in its ninth season, seeks to recognize and develop new plays that…

[lecameleontv]

La pièce de théâtre In Every Generation (2022) avec l’acteur Paul Dillon.

Lieu : Théâtre Victory Gardens          2433 N. Lincoln Avenue          Chicago, IL 60614 Dates : du 02 avril 2022 au 01 mai 2022

Ecriture :  Ali Viterbi

Cette pièce avait remporté en 2019 le prix National Jewish Playwriting Contest.

L’année 2022 signe le retour de l’acteur, qui apparaîtra également dans l’Ep. 10.14 de la série TV Chicago Fire, ainsi que dans le film à venir Abandoned .

sources : @Chicago_Reader et @victorygardensvancouver​

Alias Angelo dans la série Le Caméléon (V.O. : The Pretender)

[misterboho]

“Do we even have a right to ‘own’ things?” —Ethan

Dr. 2 diagnoses Patient Deadheads, by Ali Viterbi

[scienceblogtumbler]

Can humans and artificial intelligence come together to predict the future?

It could be argued that scientists create superpowers in their labs. If Aram Galstyan, director of the Artificial Intelligence Division at the USC Viterbi Information Sciences Institute (ISI) had to pick just one superpower, it would be the ability to predict the future. What will be the daily closing price of Japan’s Nikkei 225 index at the end of next week? How many 6.0 or stronger earthquakes will occur worldwide next month? Galstyan and a team of researchers at USC ISI are building a system to answer such questions.

For the past two years, Galstyan has led a group of researchers at ISI on a project named Synergistic Anticipation of Geopolitical Events, or SAGE, to attempt to predict the future using non-experts. The SAGE project relies on human participants to interact with machine learning tools to make predictions about future events. Their goal is for the forecasts borne from the combination of human + AI to be more accurate than those of humans alone.

Their research has proved quite useful and people’s predictions largely on target. ISI’s Fred Morstatter, a USC Viterbi research assistant professor of computer science, said that non-experts accurately predicted in April that North Korea would launch its missile test before July; North Korea launched in May.

It was the country’s first missile launch in seven months, taking place just days after the question appeared on SAGE. “That was something I don’t think any of us thought was going to happen,” Morstatter said.

SAGE is funded by the Intelligence Advanced Research Projects Activity (IARPA), which invests in high-risk, high payoff research projects to benefit the U.S. intelligence community.

IARPA is interested in developing forecasting technology that makes predictions, based on a large set of human users, that are more accurate and faster than a single human subject expert. Having the ability to predict geopolitical events could potentially help the intelligence community make better, more informed national security decisions.

The agency has hosted many competitions related to forecasting, including the Aggregative Contingent Estimation project, which crowdsourced humans to make predictions.

SAGE expands on this previous study, instead asking people to make predictions based on information provided by various machine learning methods.

In 2017, the ISI team received a four-year, multimillion-dollar grant under IARPA’s Hybrid Forecasting Competition, a new project encouraging researchers to combine human forecasting with machine learning models to generate more accurate predictions than either method could on its own. ISI and Raytheon’s BBN Technologies are the finalists.

Users, known as “forecasters,” self-select what they’d like to predict. Topics range from the geopolitical, “Will any G7 nation engage in an acknowledged national military attack against Syria before 1 December 2018?” to economic, “How much crude oil will Venezuela produce in October 2019?” Users can also ask questions to fellow forecasters on discussion boards, comment on forecast results, and view the leadership rankings, which are decorated with digital badges users can earn by making accurate forecasts.

The non-expert forecasters recruited to participate on SAGE have accurately predicted real-life, geopolitical events, Morstatter said. “We believe that’s the case because the numbers we’re seeing indicate we are outpacing a system that uses only humans.”

Indeed this was verified in a competition held last year to test the accuracy of forecasting systems. Throughout 2019, SAGE was tested against two competing systems. All systems were given the same set of over 400 forecasting questions. SAGE was able to generate forecasts for these questions that were more accurate than those from the competing systems.

The first word in SAGE’s acronym, “synergistic,” hints at how this human forecasting relates to machine learning. Synergy describes how two or more objects — in this case human and machine — come together to create something greater than the sum of its parts. The SAGE team is determined to find out how to combine crowdsourced predictions with machine learning tools to generate more accurate predictions.

Teaching non-experts how to make accurate predictions with the help of machine learning is one of the project’s main goals, and it’s working.

“Thanks to the machine models we have in our system,” Morstatter said. “Forecasters are doing better than the control system which only has human forecasters.”

SAGE features some interesting machine models on its site for users to make informed forecasts. This includes time series charts– a series of historical data points to show trends, along with a machine-made prediction — to help with quantitative predictions, such as the value of a stock over time. By combining human- and machine-generated forecasts on the SAGE platform, ISI researchers have discovered the benefits of hybridization, Galstyan said.

In addition to ISI’s Galstyan and Morstatter, the team includes Pedro Szekely, a USC Viterbi research associate professor of computer science, who knows how to store all of SAGE’s data; Professors Emilio Ferrara and Ali Abbas; research programmer Gleb Satyukov, who develops the front-end, or what users see on the SAGE website; computer scientist Andres Abeliuk, whose expertise in bias and computer science complements the work of postdoc Daniel Benjamin; and project manager Lori Weiss, the team’s first line of defense when users have questions about the platform. The team also includes external members from University of California at Irvine, Columbia University, Stanford University, and Fordham University.

So far, they’ve been able to show that mixing machine intelligence and human decision making does generate lower Brier scores than human forecasters alone, he added. “We’re outperforming what has been done in the past.”

Said Morstatter: “SAGE works because humans have one side of the coin, and machines have the other side.”

But it isn’t just intelligence analysts that could find predictive technology useful. Who wouldn’t like to predict the future?

source https://scienceblog.com/515691/can-humans-and-artificial-intelligence-come-together-to-predict-the-future/