#By funding education in these languages and practices and incorporating them into popular media

[idkthisismyusernameiguess]

the fact that I’m still seeing clowns panic over Xinjiang in 2023

[multipleservicelisting]

Black, Deaf and Extremely Online

“I have to make sure my hands are not ashy before I sign,” Nakia Smith, who is deaf, explained to her nearly 400,000 followers.

In one of the dozens of popular videos she posted to TikTok last year, Ms. Smith compared her habit of adding a quick dab of lotion to her hands before she starts signing to the sip of water a hearing person takes before beginning to speak.

Since Ms. Smith created her account last April, the small ritual has caught millions of eyes, drawing attention to a corner of the internet steeped in the history and practice of a language that some scholars say is too frequently overlooked: Black American Sign Language, or BASL.

Variations and dialects of spoken English, including what linguists refer to as African-American English, have been the subject of intensive study for years. But research on Black ASL, which differs considerably from American Sign Language, is decades behind, obscuring a major part of the history of sign language.

About 11 million Americans consider themselves deaf or hard of hearing, according to the Census Bureau’s 2011 American Community Survey, and Black people make up nearly 8 percent of that population. Carolyn McCaskill, founding director of the Center for Black Deaf Studies at Gallaudet University, a private university in Washington for the deaf and hard of hearing, estimates that about 50 percent of deaf Black people use Black ASL.

Now, young Black signers are celebrating the language on social media, exposing millions to the history of a dialect preserved by its users and enriched by their lived experiences.

Nuances of Black ASL

Users of Black ASL are often confronted with the assumption that their language is a lesser version of contemporary ASL, but several scholars say that Black ASL is actually more aligned with early American Sign Language, which was influenced by French sign language.

Ms. Smith, whose sign name is Charmay, has a simple explanation of how the two languages differ: “The difference between BASL and ASL is that BASL got seasoning,” she said.

Compare ASL with Black ASL and there are notable differences: Black ASL users tend to use more two-handed signs, and they often place signs around the forehead area, rather than lower on the body.

“Here you have a Black dialect developed in the most oppressive conditions that somehow, in many respects, wound up to be more standard than the white counterpart,” said Robert Bayley, a professor of linguistics at the University of California, Davis.

As white deaf schools in the 1870s and 1880s moved toward oralism — which places less emphasis on signing and more emphasis on teaching deaf students to speak and lip-read — Black signers better retained the standards of American Sign Language, and some white sign language instructors ended up moving to Black deaf schools.

According to Ceil Lucas, a sociolinguist and professor emerita at Gallaudet University, many white deaf schools were indifferent to Black deaf students’ education.

“The attitude was, ‘We don’t care about Black kids,’” she said. “‘We don’t care whether they get oralism or not — they can do what they want.’ And so these children benefited by having white deaf teachers in the classroom.”

Some Black signers also tend to use a larger signing space and emote to a greater degree when signing when compared with white signers. Over time, Black ASL has also incorporated African-American English terms. For example, the Black ASL sign for “tight” meaning “cool,” which comes from Texas, is not the same as the conceptual sign for “tight,” meaning snug or form-fitting. There are also some signs for everyday words like “bathroom,” “towel” and “chicken” that are completely different in ASL and Black ASL, depending on where a signer lives or grew up.

The same way Black hearing people adjust how they speak “to meet the needs” of their white counterparts, Black ASL users employ a similar mechanism depending on their environment, according to Joseph Hill, an associate professor at Rochester Institute of Technology’s National Technical Institute for the Deaf.

As one of the first Black students to attend the Alabama School for the Deaf, Dr. McCaskill said code switching allowed her to fit in with white students, while also preserving her Black ASL style.

“We kept our natural way of communicating to the point where many of us code-switched unconsciously,” she said.

Ms. Smith said she noticed that others communicated differently from her around middle school, when she attended a school that primarily consisted of hearing students.

“I started to sign like other deaf students that don’t have deaf family,” said Ms. Smith, whose family has had deaf relatives in four of the last five generations. “I became good friends with them and signed like how they signed so they could feel comfortable.”

Remarking on how her relatives sign — her grandfather Jake Smith Jr. and her great-grandparents Jake Smith Sr. and Mattie Smith have all been featured on her TikTok — Ms. Smith notes that they still tend to use signs they learned growing up.

Generational differences often emerge when Ms. Smith’s older relatives try to communicate with her friends or when they need help communicating at doctor’s appointments, she said, exemplifying how Black ASL has evolved over generations.

Much like any Black experience, Black deaf people’s experiences with Black ASL vary from person to person, and seldom neatly fit into what others expect it to be.

A language born of oppression

Similar to much of Black American history, Black ASL grew out of the immoral seeds of racial segregation.

One of the most comprehensive looks into the language comes from the Black ASL Project, a six-year research study started in 2007 that draws on interviews with about 100 subjects across six Southern states, with findings compiled in “The Hidden Treasure of Black ASL.” (Dr. McCaskill, Dr. Hill, Dr. Bayley and Dr. Lucas are authors.)

The project found that segregation in the South played a large role in Black ASL’s development.

Schools for Black deaf children in the United States began to emerge after the Civil War, according to the team’s study, with 17 states and the District of Columbia having Black deaf institutions or departments. The first U.S. school for the deaf, which later came to be known as the American School for the Deaf, opened in 1817 in Hartford, Conn., and did not initially accept Black students.

Separation led to Black deaf schools’ differing immensely from their white counterparts. White schools tended to focus on an oral method of learning and provide an academic-based curriculum, while Black schools emphasized signing and offered vocational training.

“There were no expectations for Black deaf children to be prepared for college or even continue their education,” said Dr. McCaskill, who started to lose her hearing around age 5 and attended the Alabama School for the Negro Deaf and Blind in Talladega, Ala.

In 1952, Louise B. Miller, joined by other Washington parents, sued the District of Columbia’s Board of Education for not permitting Black deaf children at the Kendall School, the city’s only school for the deaf.

The court ruled in Ms. Miller’s favor under the precedent that states could not provide educational institutions within their state for one race and not the other. Black students were permitted to attend the Kendall School in 1952, with classes becoming fully integrated in 1954 after the Supreme Court decision Brown v. Board of Education.

Desegregation wasn’t immediate in the South however, as most schools resisted racial integration until threatened with the loss of federal funding. In Louisiana, the state’s white and Black deaf schools delayed integration until 1978.

In 1968, Dr. McCaskill became a part of the first integrated class at the Alabama School for the Deaf. As a teenager in a newly integrated class, she had a daunting realization: She couldn’t understand her white teachers.

“Even though they were signing, I didn’t understand,” she said. “And I didn’t understand why I didn’t understand.”

A new generation takes ownership

With the pandemic forcing many to flock to virtual social spaces, Isidore Niyongabo, president of National Black Deaf Advocates, said he had seen online interaction grow within his organization and across the Black deaf community as a whole.

“We are starting to see an uptick with the recognition of the Black deaf culture within America,” Mr. Niyongabo said, adding that he expected it would “continue spreading throughout the world.”

Vlogs and online discussion panels — for millions, staples of pandemic life — have helped foster a more tight-knit community, he said.

In the last year, the documentary “Signing Black in America” and the Netflix series “Deaf U” introduced the stories of deaf people to wider audiences.

Similarly, Ms. Smith’s TikTok videos have captured attention across the internet, including and especially among Black audiences.

Ms. Smith said she could see herself working with other Black deaf creators online to lift up the stories of Black deaf people, contributing to the recent explosion of Black ASL content that, among other things, has experts optimistic about the future of Black ASL and its preservation.

“History is important,” she says in one video. “Am I trying to divide the language between ASL and BASL? No. I just carried the history.”

Particularly on social media, younger Black deaf generations have grown more outspoken about Black ASL, proudly claiming it as a part of their culture and their identity, Dr. McCaskill said.

“Historically, so much has been taken away from us, and they’re finally feeling that ‘this is ours,’” she said. “‘This is mine. I own something.’”

    Multiple Service Listing for Business Owners | Tools to Grow Your Local Business

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[micaramel]

Artist: Lu Yang

Venue: M Woods, Beijing

Exhibition Title: Encephalon Heaven

Date: October 28, 2017 – February 11, 2018

Click here to view slideshow

Lu Yang, Uterus Man, 2013, video, 11 min 20 sec

Full gallery of images, video, press release and link available after the jump.

Images:

Video:

Lu Yang, Delusional Crime and Punishment, 2017, video, music by GAMEFACE, 14 min 37 sec

Images courtesy of M Woods, Beijing; Videos courtesy of the artist, more here.

Press Release:

In late October 2017, M WOODS welcomes visitors to the world of Lu Yang, an ambitious solo exhibition comprising three new commissions and a constellation of previous works that include sculpture, video, installation, computer programming, and video games. A leading figure among a young generation of new media artists, Lu Yang’s creative practice often satirizes efforts to demystify human experience through scientific theory, dismantling them with humor and fluency in the language of popular culture. Citing knowledge gleaned from the realms of neurology and biology, her works also reflect an ongoing interest in spirituality as a state of being pursued through different forms of religion and creative expression.

Capturing a breadth of influences from hip hop to Goa trance, punk, gothic, and glam rock street styles, gaming, anime, and the practice of Otaku, Lu Yang’s mesmerizing, multisensory environments reflect the dynamic amorphism of today’s globalized cultural climate and the semi-porous understandings we use to define the current historical moment of China and beyond. Conceived in entirety by the artist, the exhibition is something of a Gesamtkunstwerk combining the neon glitz of an arcade and the ritual of a heretical temple.

Presented on the first floor, Electromagnetic Brainology represents a new direction in Lu’s video work. Unfolding in the ritual-like space of the central hall, the work incorporates motion sensor technology and a soundtrack contributed by acclaimed Japanese producer invisible manners (インビジブル・マナーズ), weaving together popular culture and pan-cultural religious iconography. Stemming from her interest in MikuMikuDance (MMD) and the internet folk culture surrounding it, Lu uses the popular freeware as a readymade to complete the “LikuLikuDance” seen within many of the videos.

The action and aesthetic of gaming recurs throughout the exhibition, from the adventures of Lu’s gender-curious superhero Uterus Man (2013), to the 8-bit nostalgia of Cancer Baby (2014). Affinities to the gaming world are equally present in Wrathful King Kong Core (2011), and a sculptural installation on the second floor inviting viewers to ‘play’ using augmented reality. Emphasis on engagement and a visual vernacular popularized by modern video games form one thread of Lu’s artistic strategy that in the show subvert the normal functions of the museum.

In LuYang Delusional Mandala (2015) and LuYang Delusional Crime and Punishment (2016), relations of violence and domination become a solipsistic theatre revolving around her own likeness. Lu’s interest in deep brain stimulation (DBS), a treatment for tremors caused by Parkinson’s disease, is taken further through the invention of a halo-like, stereotactic surgery device that short-circuits the limbic system and results in religious delusions. For Lu, these investigations into the mechanisms of the mind and spirit, as well as our abilities to visualize them, lie at the heart of identity in the twenty-first century. Regularly featuring in her own films and animations, the artist’s own identity is deconstructed and she is re-incarnated in various works as a giant sculptural kite, a lifelike but genderless, non-binary simulation, and a guardian of the gates to ‘Luyang Hell’.

Collaborating with musicians, actors, and animators, the exhibition culminates in an exorcism, writhing to a soundtrack of post-trance core. As an artist whose playful irreverence and wicked humor constantly question norms of acceptability, Lu’s last gesture raises deep polemical issues about the cathartic role art and art institutions play within society. As the artist’s first exhibition at a non-profit institution in China, and the first solo show by a Chinese artist at M WOODS, Lu Yang’s exhibition brings together many of her best-known works while pointing to new directions within her practice.

Lu Yang’s exhibition will open with a cosplay Halloween party on Saturday 28 October. To coincide with Lu Yang: Encephalon Heaven, M WOODS Shop is selling LuYang Interactive Hearse, an edition made by Lu Yang with Daata Editions

About Lu Yang Born and based in Shanghai, Lu Yang graduated from the China Academy of Art in 2010. Her works have been featured in important solo and group exhibitions at the Ullens Center for Contemporary Art (Beijing), Centre Pompidou, 56th Venice Biennale 2015 China Pavillion, the Third Istanbul Design Biennial, Liverpool Biennial 2016, Shanghai Biennale 2012, Montreal International Digital Art Biennial 2016, Musée d’art contemporain de Lyon, Momentum (Berlin), Tampa Museum of Art, Fifth Fukuoka Asian Art Triennale, and the NYU Shanghai Art Gallery among others.

About M WOODS M WOODS is an independent, not-for-profit art museum founded in 2014 by collectors Lin Han and Wanwan Lei, and co-founded by Michael Xufu Huang. The program draws predominately from the M WOODS Collection, a collection that ranges from ancient Chinese stonecarvings to international painting, sculpture, and video. This mode of collecting forgoes focus on a specific period, movement or medium, instead seeking clarity and timelessness in a pursuit to be universal, and therefore truly contemporary. Alongside the exhibitions, the museum runs an education program manifest in talks, events, film screenings, and art activities for all levels of engagement. In 2015, M WOODS received official not-for-profit status in acknowledgement of its cultural services to the public.

Link: Lu Yang at M Woods

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2GB8gRF

[fastercures]

Key Milestones in Progress Toward Patient Centricity

by Kim McCleary, Acting Executive Director, Managing Director

In 2012, digital strategist Leonard Kish declared, “If patient engagement were a drug, it would be the blockbuster drug of the century and malpractice not to use it,” a line seized by patient advocates and media alike to mark a new dawn in the patient-centricity movement. The advancements made that year through policy initiatives, collaborative efforts, and foundation-led programs opened the floodgates for the rush of activity that we are seeing in the patient-centricity movement today.

Our recent publication, From Aspiration to Application: 5 Years of Patient Centricity, provides stories of impact and milestones from the ongoing movement. This expanded timeline guides you through the events that laid the foundation for where we are today.

2012: • The Food and Drug Administration Safety and Innovation Act (FDASIA) passes (including Prescription Drug User Fee Act [PDUFA]-V), which requires the Patient-Focused Drug Development initiative and structured benefit-risk assessment that incorporates patient perspectives.

• The Patient-Centered Outcomes Research Institute’s (PCORI) “Year of Engagement” establishes priorities and initiates funding for comparative effectiveness research that meaningfully incorporates patient perspectives on outcomes that matter to them.

• The Institute of Medicine assesses the National Institutes of Health’s (NIH) Clinical and Translational Science Award program and reinforces the “value of community engagement to shortening the time between discovery and application, and to improve the uptake of research findings by the public.

• The European Union’s Innovative Medicines Initiative commences support for an academy on therapeutic innovation to empower patients to work with regulators, health-care professionals, and industry to influence medicines development for patient benefit.

2013:

• Health Affairs dedicates its February issue to the growing body of evidence that when patients are involved in their health and health care, they tend to have better outcomes at lower cost.

• The Clinical Trials Transformation Initiative (CTTI), a consortium of life sciences companies, FDA, and patient organizations, establishes a Patient Groups and Clinical Trials project to develop models for better engaging patients as partners in clinical trials. It later popularizes a chevron diagram illustrating opportunities to engage patients across the full continuum of research.

• FDA’s Center for Drug Evaluation and Research hosts first of 24 Patient-Focused Drug Development meetings, each of which results in a detailed “Voice of the Patient” report.

• FDA’s Center for Devices and Radiological Health (CDRH) launches the Patient Preference Initiative with a two-day workshop to explore ways to better incorporate patient perspectives into its regulatory decisions.

2014: • PCORI invests $250 million to create the National Patient-Centered Clinical Research Network (PCORnet), composed of Patient-Powered Research Networks and Clinical Data Research Networks, to support research that is faster, easier, less costly, and more relevant to making informed health-care decisions.

• National Health Council issues a stratification tool and guide to help patient organizations collect information about their communities that may be helpful to FDA in making benefit-risk assessments. This tool is one of the first created in response to opportunities enacted in FDASIA for more integration of patient perspectives.

• FasterCures convenes a “Benefit-Risk Boot Camp” to educate life sciences professionals, academics, and patient organizations about opportunities for patient perspectives to inform regulatory decisions about benefit-risk tradeoffs.

• Parent Project Muscular Dystrophy (PPMD) enlists more than 80 community members and stakeholders to draft the first-ever regulatory guidance submitted by a patient advocacy organization with the goal of accelerating development and regulatory review of applications for new medicines to treat Duchenne muscular dystrophy. The FDA issues formal guidance a year later, drawing heavily on PPMD’s draft.

2015: • In his State of the Union address, President Obama outlines a new Precision Medicine Initiative to “empower patients, researchers, and provider to work together toward development of individualized care.” 

• FDA approves the Maestro Rechargeable System for treatment of obesity, notable because the clinical study did not fully meet its primary endpoints but the device performed in line with patients’ stated preferences for benefit-risk tradeoffs.

• Medical Device Innovation Consortium issues a framework for integrating patient perspectives in the total product life cycle of medical devices, along with a catalog of methods for assessing patient preferences.

• CTTI publishes recommendations for effectively engaging patients in the development and conduct of clinical trials.

• CDER issues guidelines for FDA participation in externally led Patient-Focused Drug Development meetings to expand impact beyond 24 conditions selected under PDUFA-V.

2016: • European Union Patient Academy for Therapeutic Innovation (EUPATI) releases the “Toolbox on Medicines R&D” in seven languages, attracting more than 110,000 visitors within the first year.

• CDRH names partnering with patients as one of three strategic priorities for 2016-2017 and issues final guidance on how FDA may consider patient preference information in the assessment of the benefit-risk profile of certain medical devices.

• 21st Century Cures Act (P.L. 114-255) passes the Senate on Dec. 7, 2016, and is signed into law on Dec. 13, expanding opportunities for patient input to be factored into regulatory decisions.

2017: • Reauthorization of PDUFA and the Medical Drug User Fee Amendments (MDUFA) contain key provisions to enhance the science of patient input.

• FDA proposes the creation of a central Office of Patient Affairs to be housed within the Office of the Commissioner.

• FasterCures and Avalere release version 1.0 of the Patient Perspective Value Framework and methodology designed to assess the patient perspective on the value of medical products and health-care services. 

• The People-Centered Research Foundation is launched to provide long-term sustainability for PCORnet and to pioneer novel methods for generating evidence that leads to better care and patient health. 

• NIH launches the beta phase of the “All of Us” cohort of the Precision Medicine Initiative, enrolling the first group of individuals who will form the million-person research community of citizen scientists and academic researchers.

• The Food and Drug Administration Reauthorization Act, including PDUFA and MDUFA provisions enhancing the science of patient input, is signed into law on Aug. 18, 2017.

• FDA convenes the Patient Engagement Advisory Committee, the first committee dedicated to helping the agency increase integration of patient perspectives into regulatory decision-making. 

Through FasterCures' work in our Patients Count program, we will strive to build on these accomplishments and foster patient-centric policies and practices that enable greater patient participation in decision-making.

[sfaioffical]

As the founders of Oakland’s Aggregate Space Gallery (ASG), Conrad and Willis Meyers (MFA, 2008) have cultivated a space for experimentation and community. Celebrating their fifth anniversary, the two reflect on the beginnings and future of ASG—always rooted in serving the Bay Area’s community of artists, writers, filmmakers, and art supporters.

Tell us a bit about yourselves as artists and community advocates.

Willis Meyers is currently an arts organizer, tech specialist, and advocate for the visual arts in the San Francisco Bay Area. She is the Board President of Aggregate Space Gallery (ASG), where her primary roles are managing the board, marketing director, web designer, and volunteer manager. Willis is also an IT administrator who has worked with numerous clients, including the Children’s Creativity Museum, Snibbe Interactive, Bay Area Video Coalition, Ticketfly, Minted, and Root Division.

Conrad Meyers is an artist, educator, and arts organizer in Oakland. He currently serves as ASG’s Executive Director, directing gallery programming, hosting the artist talk series, and curating the film series. Currently Conrad teaches animation as a visiting faculty member at the University of California Davis, and is a contract fabricator for several Bay Area art institutions, including SFMOMA.

Together you run Aggregate Space Gallery, an alternative gallery/nonprofit based in Oakland. How did the gallery start?

We met in graduate school at SFAI. Our first exhibition we worked on together was in the Diego Rivera Gallery (see image above) in February 2008. The recession began and the economy tanked right as we were graduating. As teaching opportunities and hiring froze, and experimental spaces around us closed, we knew we wanted to eventually start a space that served the community and supported artists.

In 2010 we began renting over 4,000 square feet of empty space in Oakland before the real-estate climate changed. The warehouse gave us the flexibility to create sculptural work, and an opportunity to build out the raw space for a gallery, lofts, and artist studios. We founded ASG in late 2011 with the belief that art and exhibitions should uphold the artist, rather than focus on selling. Very quickly our individual art practices merged with the gallery to help other artists make incredible work. We risked the initial self-funded buildout of the space without any outside monetary support. It has been worth the hardship and investment to present work that excites us beyond belief. The gallery filled an immediate need in 2011, and continues to do so, supporting and nurturing a growing community of Bay Area visual artists.

Today ASG is a nonprofit that has affected the lives of nearly 400 artists and writers and 10,000 visitors over five years. The walls that exist in the once empty warehouse at 801 West Grand were built to make Aggregate Space—now including a gallery with 16-foot walls, a screening room with cinema quality projection equipment, a fabrication shop, a second level with office spaces—plus a darkroom/wet lab.

Beyond exhibitions, your gallery programming is also a platform for films, lectures, and performances—tell us more about this.

No matter the format—whether an exhibition, lecture, performance—our end goal is always to provide emerging and mid-career artists with opportunities to take great risks and, in so doing, engage viewers in new and dramatic ways. Few art spaces are so willing to prioritize the vision and imagination of an ambitious artist if doing so means the artwork produced isn’t easily “sell-able” and / or the projects require dramatic alterations of the exhibition space. ASG encourages bold projects of this kind, and then helps make them possible by enlisting our team’s technical knowledge in service of the artist’s vision.

Started in 2011, the Featherboard Writing Series was a platform for emerging writers—launched by writer Steffi Drewes. During the closing reception of each exhibition, Drewes curated two or three writers to read from their work. As the Featherboard tagline states: “We like art. We like language. And we like to mix the two.” The series has since ended, and now we are working to create and launch a similar series that focuses on innovative performance works.

Conrad has also curated the three ASG film series, which have each been months-long weekly double features connected by lectures on cinema history and its popular cultural significance. The films in each series are all linked by genre, from science fiction and westerns to film noir.

You just celebrated 5 years—congratulations! How has the space evolved over the years?

Aggregate Space has grown beyond its original vision. Every year, ASG has produced five to six solo exhibitions, two to three group exhibitions, and a number of special lectures, film screenings, literary events (including an acclaimed poetry series), and performances. For each exhibition, we have at least four public events/receptions. ASG runs at least 32 gallery-related events that are free and open to the public.

In recent years, we’ve carved out a strategic path for the future focused on organizational design, management models, funding, finance, and marketing. We successfully incorporated as a 501(c)3 organization in 2015, which enabled us to build an inaugural leadership team with our founding board of directors and Advisory Committee. In 2016 we launched a membership campaign, and also worked with Oakland performance venue, Flight Deck, in their Launchpad program, which supports small, community-based arts organizations in becoming job creators.

The benefits of us working within the community has brought focus and clarity of direction, resulting in this goal that will guide Aggregate Space Gallery in the future: Provide emerging artists access to critical resources and expertise, allowing them to create work that fuels critical dialogue and makes immersive conceptual art experiences a valuable and accessible part of everyday life.

With all of this amazing growth and change, ASG has still been in a state of displacement for over four and a half years. Right now we are looking to stabilize the institution’s brick and mortar with a longer-term lease, along with balancing a 60% rent increase and upgrading the safety and accessibility of the building. The organization is on a path to develop and support the new programming necessary to sustain the organization for the duration of the new lease by growing our earned income structures and securing foundational support.

What are some upcoming exhibitions?

Our current exhibition, SURVEY: Artist-run Space of Oakland, presents a sample of the less tangible work that percolates in Oakland. It shines a light on a small cross-section of organizers and curators of artist-run spaces past and present. The concept is a collaboration with Great Wall of Oakland, called “The Oakland Congress of Experience-based Art”, and stemmed from our mutual frustration about others offering suggestions for sustainability as “can’t you just sell more work?” The exhibition is supported in part by Commonfield—a network for visual arts organizers in contemporary, experimental, and noncommercial artist-run and -centered spaces and initiatives. There is also a living portion of the exhibition where we are collecting video stories and responses to questions such as: What role do you think artist-run spaces play in Oakland? How do we continue to support artists? Why is supporting the creation of art important? All Bay Area artists and art supporters can share their story at ASG Fridays and Saturdays from 1-5pm through March 18—and hear the story of others in the theater.

The next exhibition, Fata Morgana: A Site-Specific Experience, features Dimitra Skandali, Oliver Leach, and Amelia Konow. The exhibition will run April 7 through May 6, 2017. The vision for the exhibition can be described as: “Dark water twisting from the depths of the sea of her memory; shimmering, swirling fortean anomalies in a clear blue sky: sun dogs, daylight constellations, ball lightning, and kaleidoscopic visions.” Fata Morgana is a complicated form of mirage that is seen in a narrow band where sea and sky meet. It is here, when the sun is just right, elaborate visual distortions appear. Aggregate Space Gallery presents this immersive sculpture, video, and experimental visual event, where illusory structures manifest themselves in projected images and altered light.  

Learn more about Aggregate Space Gallery and how to get involved »

Image credits: 1) KunstCapades, In Residence at ASG, 2016; 2) Jamil Hellu, 2016; 3) Ann Schnake, Mobile In Tent, 2014; 4) Minji Sohn, Again And Again, 2015; 5) Shisi Huang, 2016; 6) Brynda Glazier, The Other Side of the Lake, 2013; 7) Alex Oslance, Hypertrophic Distress, 2016; 8) Diego Rivera Gallery Exhibition, 2008; 9) Empty Space, June 2010; 10) ASG Gallery Wall, May 2011; 11) Darrin Martin, 2015; 12) Video courtesy of Aggregate Gallery Space. All media courtesy of Aggregate Gallery Space.

[payment-providers]

New Post has been published on Payment-Providers.com

New Post has been published on https://payment-providers.com/headline-news-from-paymentsnews-com-february-21-2017/

Headline News from PaymentsNews.com - February 21, 2017

Headline News is brought to you by Glenbrook Partners. Glenbrook provides payments strategy consulting and education services to payments professionals worldwide!

ON THE WEB

Episode 48 – APIs, ACH, and Faster Money – Dwolla – Glenbrook’s Payments on Fire podcast – “Sometimes a change in direction is the way forward. Network aspirant Dwolla has recently pivoted its work toward the product and development teams inside financial institutions. Instead of being a system operator, Dwolla now offers a broad set of APIs designed for those FIs to take advantage of the ACH’s overnight and Same Day ACH services. Dwolla’s shift also comes as the company and the US anticipates the impact of new immediate funds transfer systems Zelle, The Clearing House, and likely others.”

EBA to relax controversial PSD2 authentication rules – Finextra – “In a speech in London on the EU’s revised Payments Systems Directive (PSD2), which is set to come into force in January 2018, EBA chairman Andrea Enria said that the proposed standards would be modified to raise the threshold to EUR30 for remote consumer transactions, although there would be no exemption for corporate payments. Firms which use ‘transaction risk analysis’ to keep a lid on fraud will also be offered a get-out clause, as will payments at unattended terminals, such as parking meters or transport tickets. The use of transaction risk techniques will be monitored over an 18-month period to ensure that safeguards are working to reduce fraud rates. “

NPCI, Mastercard and Visa unveil standardised QR code mobile payments for India – NFC World – “Indian consumers can now make QR code-based mobile payments using BharatQR, a “low cost, interoperable mobile acceptance solution” backed by the Indian government and developed by Mastercard, Visa and National Payments Corporation of India (NPCI). The service is supported by American Express and 14 national banks.”

Ant Financial to Invest $200 Million in South Korea’s Kakao Pay – Wall Street Journal – “Ant Financial Group, which is seeking to challenge global payment powerhouses Visa Inc. and MasterCard Inc., will invest $200 million in Kakao’s payments unit, with the two expected to form Kakao Pay Corp. as a subsidiary of Kakao by early April. Already this year Alibaba has made deals with U.S.-based money-transfer company MoneyGram International Inc. and the Philippines’ Globe Telecom, adding to existing arrangements in North America, Europe and across Asia.”

Visa and IBM Watson commit to putting payments inside cars and wearable devices – Venture Beat – ““We share a vision of commerce-based IoT where any device, from a watch, ring, an appliance, or car, can be used to make a purchase. Our goal is to enable commerce on any connected device anywhere,” said IBM Watson general manager Harriet Green during a press conference.”

Facebook Messenger Now Lets You Send Money With Transferwise – Bloomberg – “International money transfer service TransferWise Ltd. has announced an integration with Facebook Inc.’s Messenger that will let people set up foreign exchange transactions over the chat service. London-based TransferWise launched the technology as a bot — a piece of automation software that understands natural language — baked within Messenger. The bot, which is free to use and doesn’t affect prices or rates offered, will talk users through the process of arranging an international money transfer with TransferWise.”

Apple buys Israel’s facial recognition firm RealFace – report – Times of Israel – “Apple Inc. has acquired Israel’s Realface, a cybertechnology startup whose facial recognition technology can be used to authenticate users. This is Apple’s fourth acquisition in Israel, the financial website Calcalist reported Sunday, and the deal is estimated to be worth a couple of million of dollars.”

Russian mobile network MTS launches first phase of Money Wallet payments, transfer and loyalty service – NFC World – “Russian mobile network operator MTS has launched MTS Money Wallet, an online payments and money transfer service that incorporates loyalty points, offers and discounts, and is to be expanded to transport and in-store payments via NFC, SMS and USSD technologies later this year.”

Swift is Recruiting Banks for Blockchain Tests – Coindesk – “According to Swift, recruits will include banks with strong liquidity practices for its proof of concept (PoC), which is aimed at replacing the antiquated nostro and vostro account system of settling cross border payments. The theory is that, by eliminating the dormant foreign exchange reserves held on the books of other banks, participants in the PoC will see a higher rate of return to shareholders since they are able to put the nostro/vostro capital into interest-earning assets.”

Ingenico Readies Its POS App Marketplace for U.S. Merchants And Acquirers – Digital Transactions News – “The app store, dubbed the Marketplace, works with France-based Ingenico’s Telium line, which includes the Telium Tetra operating system, countertop, mobile and multilane POS terminals, access to more than 2,500 payment applications, and a device-management service. It launched in 2014, and has been available in some international markets. Its U.S. entry was delayed by the migration to EMV acceptance. With that under way, the time is right to bring Telium to the United States, Ben Wagner, director of product solutions for Ingenico Group North America, tells Digital Transactions News.”

Walgreens integrates rewards program into Android Pay – Mobile Commerce Daily – ““Integrating our Balance Rewards loyalty program with Android Pay on all of the Equinox checkout terminals in our stores nationwide is another example of how we are always looking to enhance our customers’ in-store experience,” said Abhi Dhar, chief digital officer of Walgreens Boots Alliance & CIO at Walgreens. “It was evident just last month during the holiday shopping season that many of our Balance Rewards members enjoy the benefits of linking our loyalty program with mobile payments.”

Facebook on course to be the WeChat of the West, says Gartner – TechCrunch – “It’s the beginning of the end for smartphone apps as we have known and tapped on them, reckons Gartner. The analyst is calling the start of a “post-apps” era, based on changes in consumer interactions that appear driven, in large part, by the rise of dominant messaging platforms designed to consume more and more of mobile users’ time and attention. It figures messaging apps will become more popular than social media apps within the next two years.”

ON THE WIRES

Gulf Oil Announces New Gulf Pay Mobile App – “Gulf Oil today announced the launch of a new mobile payment application, Gulf Pay. The new offering, powered by P97’s PetroZone® mobile commerce platform, will enable Gulf customers to navigate to the nearest Gulf gas station, pay for fuel at the pump, and purchase products inside the convenience store utilizing fast, simple, and secure mobile payment technology.”

Radial and Klarna Partner to Integrate a Seamless Financing Option at Checkout, Driving Ease for Customers and Order Value for Retailers – “Klarna, one of Europe’s leading payments providers, and Radial, the leader in omnichannel commerce technology and operations, today announced a new partnership to further expand Radial’s payment options. The integration of Klarna with Radial’s Payment platform enables clients and prospects to offer a financing option at checkout to give customers more choice and could give retailers a 58 percent higher order value.”

Shopgate Joins Salesforce Partner Program to Drive Customer Success with Salesforce Commerce Cloud – “Shopgate today announced that it has joined the Salesforce Partner Program in support of Salesforce Commerce Cloud, the fastest path to unified commerce. Commerce Cloud enables brands to provide personalized experiences for shoppers that span web, mobile, social and in-store. And now, as part of the world’s #1 CRM platform – Salesforce – brands can deliver completely unified experiences for customers that extend beyond commerce to include marketing, customer service and more.”

GLENBROOK PAYMENTS EDUCATION EVENTS

The next Glenbrook Payments Boot Camp is March 7-8, 2017 in San Jose, CA. On March 9, still in San Jose, will be our Digital Payments Insight Workshop. Following that, our next public Boot Camp and Insight Workshop combination will be in New York City in April followed by Atlanta in May. Check out our spring schedule here. We hope to see you there!

Bring your colleagues along! Group discounts are available. For more information or to learn about our private workshops conducted at your location, contact Glenbrook’s Russ Jones.

UPDATES FROM GLENBROOK

Note: Headline News is compiled by Glenbrook Partners. Throughout the day, as we spot interesting developments, this post is updated. Do you have news to share? Tell us here: gotnews@paymentsnews.com!

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