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New Darden courses highlight art, writing

New Darden courses highlight art, writing

The Darden School of Business is introducing ten new courses this academic year covering a range of topics, including marketing, entrepreneurship, the entertainment industry and writing. The new courses incorporate writing skill and the study of the arts into some of the department’s offerings.

Asst. Business Administration Prof. Anthony Palomba, who is in his third year teaching at Darden, will be leading a class called “Media & Entertainment Business.” He said the course is designed to help students increase their media literacy, develop critical analytical skills and design business strategies for customers through the use of the socratic method to examine real world examples. 

Palomba’s own tagline for the class is “understanding media audiences and media firm strategies.” The class will start with a discussion about the importance of art and end with a discussion on the importance of artists as creators, according to Palomba.

“As business people, it’s incredibly important that we begin to understand why we do art,” Palomba said. “Every company today is a media company — whether it’s a law firm, whether it’s a doctor’s office, whether it’s a car company.”

Palomba said he advocated for the implementation of this class, referencing the growing relevance of art in business. 

“Why do we need art?” Palomba said. “This is something that I don’t think we spend enough time on as we’re churning out content.”

Evidently, student interest supported Palomba’s thoughts as the class has filled nearly all of its 68 slots.

One of the things Palomba said he plans to implement into the structure of his course is his own research on media consumption behaviors and generative artificial intelligence machine learning techniques, including a data analysis of art’s impact on an audience conducted through language processing.

Palomba said he had the idea for the course when he started working at Darden, but the changes that came along with COVID-19 made it hard to establish. He said he designed the class from the ground-up, implementing group activity and assigning specialized topics pertaining to each week.

First-year PhD program student Abhishek Kulkarni came from a background in stand-up comedy. Kulkarni said he decided to shift from performing arts to business because of the program’s research and professors.

“Innovation comes at the edge of this comfort zone,” Kulkarni said. “All of management theory seems like Darden’s comfort zone, so arts classes would help get to that extra innovation push.”

Steve Soltis, a lecturer at the Darden school, will be teaching a course titled “Writing for Impact and Influence” in the second quarter of this semester. The course will immerse students in hands-on writing instruction focusing on tools used in the business workplace — everything from how to write executive briefs to pitching a business to email etiquette through workshops.

“Virtually every class, we’ll have a quick conversation and we’ll be Zooming in real world practitioners,” Soltis said. “CEOs down to C-suite executives will comment on real time cases that they’ve experienced in writing.”

Soltis was asked to create a class on business writing, as a response to student requests and the implementation of similar classes in other schools — including Stanford Graduate School of Business.

Along with virtual mentors, Soltis said real professionals will come into the classroom to help workshop with the students. 

Some of these ten new classes — including Writing for Impact and Influence and Media & Entertainment Business — still have seats available for enrollment.

Prophetic Christian artists featured at Fort Worth seminary

Prophetic Christian artists featured at Fort Worth seminary
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Global Consultation on Arts and Music in Missions to display Azle and Springtown artists

Fort Worth – From Sept. 11 to Sept. 14, the Southwestern Baptist Theological Seminary in Fort Worth will be holding the 2023 Global Consultation on Arts and Music in Missions to “explore how God is drawing the nations to Himself through music and related arts.” This event will be one of the largest of its kind in the world and will not only draw international artists but also local talent from Azle and Springtown. About seven local artists will feature their art alongside international painters, musicians, sculptors, and other creative acts.

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‘I Lost Everything’: California Photographer Blames AI Bias for Instagram Ban

‘I Lost Everything’: California Photographer Blames AI Bias for Instagram Ban

That time, he was notified via email that his account would no longer be active, and with that, he lost more than 60,000 followers that he had cultivated for over five years.

“All of a sudden, one day, I lost everything,” Morton said.

His archive had more than 500 historic photographs, mostly in black and white, that captured images of cholo and African American street culture in Los Angeles.

A person wearing sunglasses stands with his hands in his pockets
‘Wolfe’ from El Hoyo Maravilla, a Mexican American street gang, in East Los Angeles, 1980. (Courtesy of Merrick Morton)

Among the notices Morton received from Instagram, one stated that his photos violated its community guidelines on violence or dangerous organizations. Those guidelines state that Instagram is “… not a place to support or praise, terrorism, organized crime, or hate groups.”

KQED reached out to Meta’s press office multiple times through email to request comment. Meta did not respond in time for publication.

Morton bristles at the idea that his photography belongs in the same category as terrorist organizations and hate groups like white supremacists. He defines his work as “fine art” and says his images have been displayed in many art galleries.

He said it’s also journalism. His work on street gangs has been published internationally. Morton’s goal is that he wants his photographs available to archivists, students, activists and historians. It captures a unique time and place in Southern California that the mainstream media has mostly ignored.

“I think I’m the only photographer in the ’80s who had the cholo culture, who also captured the Black culture and also captured the interactions with the police and these communities,” Morton said.

He’s seen how his photographs provoke discussions about ending the deadly warfare between rival street gangs in Los Angeles. His photos also raise questions about the fraught relationship between the police and the communities they patrol.

But someone — or some machine — has decided these historic snapshots needed to come down, and Morton can’t get an explanation from Meta, Instagram’s parent company. These experiences have left Morton to wonder if the problem stems from the skin tone of the people he features.

Making community and connections

Before Instagram took down his photos, Morton was building relationships with the friends and families of his subjects.

“I had people communicating with me through Instagram. Family members, I was getting back to them,” he said.

A few years ago, he reconnected with Charles “Bear” Spratley whom he met on the set of the 1988 movie Colors. Directed by Dennis Hopper, the film starred Robert Duvall as a Los Angeles Police Department veteran at odds with his rookie partner, Sean Penn, over how to manage their relationships with the Black and cholo street gangs whose territory they patrolled.

A screen shot of a photo of a man wearing sunglasses surrounded by other people making signs with their hands.
Director Dennis Hopper surrounded by East Coast Crips
on the set of his film ‘Colors.’ This photograph was taken down by Instagram. (Courtesy of Merrick Morton)

Spratley was an active member of the 89 East Coast Crips during filming. Through Morton, he was hired as an extra and received on-screen credit for working in the art department.

A few years ago, Spratley found Morton on Instagram.

“I had been looking for a way to get in touch with whoever was involved in those pictures for years. They were memories for us, you know,” Spratley said.

Once reunited, Morton learned that many of Spratley’s friends, whom Morton had met and photographed for Colors, had died on the streets. According to Spratley, the ones who are still alive have left gang life.

“A lot of these guys, if they made it through living, they are changed. They have changed their lives,” Spratley said.

After attending hundreds of funerals for young men from his community, Spratley founded an organization called B.A.B.Y., or Brothers Against Banging Youth, that works to prevent young people from joining gangs.

Morton, who currently earns a living as a set photographer for film and television, has helped Spratley find union entertainment jobs for young men who have gone through B.A.B.Y.’s programs.

Algorithmic bias in content moderation

For Morton, Instagram at its best connects people, challenges systems and creates opportunities. But at its worst, it perpetuates social biases against people of color. He suspects his photographs were swept up by artificial intelligence applications because of the skin color of his subjects.

To prove his point, Morton cites this side-by-side comparison: On the left, is a photograph he took that was removed by Instagram. On the right, is a photograph of the Hells Angels, a group that federal law enforcement calls “a criminal threat on six different continents.” The Anti-Defamation League has linked them to white supremacists.

Screen shots from two different Instagram accounts: outlawarchive of the left and marrickmortonphoto on the right.
OutlawArchive (right) is currently up on Instagram. (Courtesy of Merrick Morton)

When a machine moderates content, it evaluates text and images as data using an algorithm that has been trained on existing data sets. The process for selecting training data has come under fire as it’s been shown to have racial, gender and other biases.

Joy Buolamwini, a digital activist at the MIT Media Lab, has written that facial analysis software was unable to recognize her until she put on a white mask. She further demonstrated how artificial intelligence had trouble identifying three famous Black women: Oprah Winfrey, Serena Williams and Michelle Obama. Obama, for instance, was identified by artificial intelligence as a young man with a toupee in this video.

Buolamwini argued that “when technology denigrates even these iconic women, it is time to re-examine how these systems are built and who they truly serve.”

The pitfalls of content moderation

Despite his account being permanently banned, Morton believes that if he could get in touch with an actual human being at Instagram, he could explain why his archive should remain accessible to the public.

He did, however, manage to locate someone through his network who knew someone who worked at Instagram, and his original account was restored then. Once his images were back, Morton received a brief apology email from the Facebook Team on behalf of Instagram. (Meta owns and operates Facebook, Instagram, WhatsApp and more.)

Smartphone Photography Just The Way It Should Be: We Review the ASUS

Smartphone Photography Just The Way It Should Be: We Review the ASUS

Smartphone cameras have evolved in the past decade from merely being tools for documentation to being actual devices that can be used for art. With most smartphones getting bigger, what does this small phone actually have to offer?

No matter what kind of photography you do and your level of expertise, having a capable smartphone camera is a great way to keep yourself creative and inspired every day. Smartphone cameras are made to be portable and most of the time, are already in our hands, but they often have inevitable optical limitations that every smartphone manufacturer has been trying to surpass. At the end of the day, it is how the cameras on smartphones can make the creative process as simple and casual as possible but still deliver the best achievable quality of images that make them great tools for both casual photographers and even serious hobbyists. The ASUS Zenfone 10 was designed to be a small and easy-on-the-hands smartphone for users who would prefer it over large and often oversized screens. However, its size definitely does not represent its capabilities both as a productivity tool and a portable creative outlet.

Build and Design

The ASUS Zenfone 10 comes as a 68.1 mm x 146.5 mm slate with a width of 9.4 mm and weighs 172 grams. The front panel is almost entirely occupied by the 5.92” FHD+ AMOLED screen with a maximum brightness of 1,100 nits covered in Corning Gorilla Glass Victus and a small 4 mm hole for the front-facing camera. On the right side are volume buttons followed by a multi-function power button with a built-in fingerprint sensor for instant unlock when pressed with a registered finger (ideally the right thumb). At the bottom is a USB type-C port for charging and data, to its right is an accessory port for phone straps, while the Nano-SIM card slot is on the left.

The back is covered by a matte hard plastic surface that come in “Midnight” Black, “Starry” Blue, “Aurora” Green, “Eclipse” Red, and “Comet” White. This matte rear panel surface provides a unique yet comfortable grip experience compared to usual glossy glass panels found on most smartphones. On the top left corner are two 2 cm circular camera modules along with a small circular flash on the side.

Technical Specifications

The Zenfone 10 is equipped with a Snapdragon 8 Gen 2 processor and comes in three variants that differ in memory and storage combinations. The base variant comes with 8 GB of RAM and a 128 GB storage, the middle variant comes with 8 GB of RAM and 256 GB of storage, and the top-tier variant comes with 16 GB of RAM and 512 GB of built-in storage. There is, however, no removable memory card slot on any of the variants.

This small smartphone runs on a 4,300mAh battery that is capable of up to 30 W wired fast charging and 15 W Qi wireless charging. Alongside this, the Zenfone 10 is equipped with Wi-Fi 7 technology, Bluetooth 5.3, NFC, a Gyro sensor, an ambient light sensor, and a 3.5mm TRRS (headphone) port.

User Experience

The focus of the ASUS Zenfone 10’s design is providing a smartphone that can be comfortably held and operated with one hand. At the onset, turning the phone on and instantly unlocking the screen with the fingerprint sensor provides a seamless and hassle-free experience. Right-handed users ideally will have to use their right thumb as the registered fingerprint, while left-handed users technically can use any of the four fingers on the right side of the phone.

The phone runs Android 13 on a Qualcomm Snapdragon 8 Gen 2 Octa-core processor and Adreno 740 GPU. This particular variant has a 16 GB RAM and 512 GB storage, which has provided more than enough processing capabilities for day-to-day communications and social media usage as well as photo editing on Adobe Lightroom mobile and video editing on Adobe Premiere Rush. For such use, the phone’s battery has lasted remarkably long, with even extra battery life by the end of the day.

Cameras

The main camera is a 50-megapixel 1/1.56” sensor camera with an aperture of f/1.9 and has a built-in hybrid gimbal stabilizer inside the camera module that physically moves to hold and maintain camera position against unintentional movement from handheld shooting. The secondary camera is a 13-megapixel ultra-wide angle camera with an aperture of f/2.2 and roughly the equivalent perspective of a 12mm lens on a 35mm sensor. The front camera uses a 32-megapixel R GBW sensor for better low-light performance.

Photography Experience

Photography with the Zenfone 10 seems like it was absolutely intended by the brand to bring most of the things that a serious smartphone photographer would want to do into its capabilities and make it as hassle-free as possible to do so.

The native camera application offers the usual standard photo and video modes, portrait mode with manual depth of field simulation options, time-lapse, and slow motion video. At the same time, it offers a dedicated night photography mode along with full manual photo and video modes for absolute control of exposure settings.

However, the unique aspect of the user experience in smartphone photography with this phone is perhaps brought about by two factors, which are the AI processing and the hybrid gimbal. When using the basic photo mode, the AI Object Sense feature identifies the kind of subject or environment being photographed and identifies challenges in the lighting scenario. Given this information, it is able to adjust the exposure (and color) separately among the segments to achieve better balanced and detailed exposures.

In terms of using a bit more advanced effects, the “light trails” mode uses the camera’s gimbal to try and keep the camera steady to simulate a long exposure shot. However, instead of taking an actual long exposure that would be more prone to shake and might need an ND filter, the camera takes multiple exposures and automatically stacks them together to create a similar effect. There are various modes for traffic trails, waterfalls, and even stars that vary in the duration of the sequence.

Aside from the user experience, it was quite remarkable to see simply the level of detail that the main camera is able to deliver. While it will still have limitations in low-light situations (simply because of the compact sensor size), when shooting with enough available light, the output can be quite impressive. Using the Pro camera mode also offers a raw DNG output, which offers considerably more flexibility when it comes to details.

Video Experience

The Pro video mode on the Zenfone 10 has quite a number of options to offer. It can shoot as big as 8K at 24p, 4K at 24p or 60p, and FHD at 30p or 60p. It also allows full control of adjustable exposure settings through shutter speed, ISO, or the EV compensation shift. However, what truly makes this a convenient video camera is how the gimbal works both physically and electronically to keep the footage as steady as possible amidst any motion. When recording at FHD, you have the option to use “Adaptive Stabilization,” which detects how much movement is happening to the camera to determine whether it will have to crop the image to stabilize the footage or alternatively, the “HyperSteady” mode does a straightforward crop of about 20% of the image to prioritize keeping the footage smooth while also making smooth pan adjustments within the field of view to simulate how a gimbal pans and tilts when dealing with a lot of motion.

Conclusion

The Zenfone 10’s camera features bring together extended photography and videography capabilities, while still keeping the shooting process and the user experience as casual as possible. Smartphone cameras (in my opinion) are meant to keep photography as convenient and casual as possible, while still aiming to provide more options that will allow the owner to use it as a creative tool. With the combination of good processing algorithms and unique camera capabilities, the Zenfone 10 keeps smartphone photography fun and simple while giving the mobile photographer more room to be creative.

What I Liked

  • Big processing features in a small device
  • AI functions for better exposure and stabilization
  • Hybrid gimbal for steady shooting

What Can Be Improved

  • A possible variant with a telephoto camera
  • Physical customizable buttons on the empty left side

A Heartbreaking Documentary Follows Mohamad Hafez as He Processes the Indelible Imapcts of the Syrian War

A Heartbreaking Documentary Follows Mohamad Hafez as He Processes the Indelible Imapcts of the Syrian War



“This knob here is a radio switch, but what I see in it is an exploded engine,” says Mohamad Hafez (previously) in the opening of a new short film. The project of Jimmy Goldblum for The New Yorker Documentary series, “A Broken House” is a heartbreaking glimpse of the artist’s life and work and the horrific impacts of the Syrian war.

Born in Damascus, Hafez originally came to the U.S. on a single-entry visa to study architecture. After the September 11, 2001, attacks, travel restrictions changed, and he realized that he had to stay in the U.S. or risk not being able to return to complete his degree. Hafez missed weddings, funerals, and births and an immense homesickness grew. At one point asked himself, “If you can’t get home, why don’t you make home?” That prompted what’s now a mainstay of his practice, which involves constructing architectural miniatures of his native city using found objects. “I wanted to build the Damascus of my memories,” he says.

 

Although “A Broken House” begins with the artist’s studio in New Haven, Connecticut, the majority of the documentary follows the aftermath of the civil war. Goldblum and Hafez visit a refugee camp and speak with a father living there, and they spend time with the artist’s mother in Beirut, who refuses to leave her home in Syria, because it’s the closest city Hafez can travel to without being ensnared in the war.

Ultimately, the film highlights how the war has caused an immense loss of life and destroyed important cultural and historical sites. Hafez reflects this damage in his miniatures, which often feature dust-coated rubble, chipped paint, and fragments of bombed-out buildings. “If something did not look right,” the artist says about his work, “I took a hammer to it, and I snapped it, and I would throw ash on it, and I would burn it.” Although Hafez is intent on humanizing refugees, he tends to leave the ruins devoid of people to instead focus on the grim aftermath of war without blood or bodily harm.

Learn more about the artist in this conversation with Colossal from a few years back, and explore his latest works on Instagram.

 

the artist walking with a refugee in a camp

a still of one of the artist's miniatures

the artist in a bombed out building

the artist's sketchpad

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article A Heartbreaking Documentary Follows Mohamad Hafez as He Processes the Indelible Imapcts of the Syrian War appeared first on Colossal.

WAM artist talk introduces exhibit highlighting local Native artists

WAM artist talk introduces exhibit highlighting local Native artists

When Daniel Pewewardy isn’t working at the Wichita Public Library, he’s busy making memes about manifest destiny, murder and his family’s history. While his meme account is one of the ways he expresses his creativity, he also devotes himself to other artistic work. Best known for his stand-up comedy, Pewewardy also works in filmmaking, and is otherwise involved in the local art community. 

His latest project involves an exhibit at the Wichita Art Museum (WAM) titled “Twice Removed: Native American Life After Relocation” and features work from contemporary Native artists, with a focus on highlighting what life looks like for Native Americans today. The exhibit was introduced to the public in Cessna Gallery as part of WAM Nights, an initiative that features artist talks and performances every Friday evening at the Wichita Art Museum.

“I think what’s really important is just kind of pushing the idea that Native Americans are still here,” Pewewardy said in his presentation. “We’re in the 21st century. We’re not living in teepees.” 

The exhibit includes a video project that Pewewardy collaborated on, photography, several folding chairs, which Pewewardy terms “powwow chairs,” painted with the names of the Kiowa Six, and ledger art. Ledger art is an evolution of traditional paintings from various Great Plains tribes, which were originally done on buffalo hides. In his presentation introducing the exhibit, Pewardy explained the significance of this type of art and why he chose to feature it.

“They wanted to find ways to defeat us, so they just killed our food supply because it was easier. So hides became harder to use to continue our artistic traditions,” Pewewardy, who is Comanche, said. “So, you see Plains natives start using paper and it’s called ledger art.”

Pewewardy also chose ledger art for its accessibility to everyone, regardless of artistic education or experience.

“I wanted to find a medium in the native art world that was contemporary, not necessarily traditional and open to all tribes,” he said.

Multiple Native American artists contributed to the ledger art on display in the exhibit. Pewewardy found these artists with the help of Harvester Arts,a nonprofit community art organization partnered with the Wichita Art Museum to recruit local artists. 

“They really are a conduit for us to the local artists community,” Molly McFerson, the museum’s director of learning, engagements and partnerships said. “They work with so many local artists and we have opportunities here through this community gallery.”

Pewewardy says it is important to support artists like the ones whose ledger art is featured in “Twice Removed”.

“Following the artists, finding their Instagram, looking them up online, buying their art and supporting their art is I think the most important thing anyone can take away from the show is to continue supporting the native community in their artwork,” he said.

“Twice Removed: Native American Life After Relocation” will be at the Wichita Art Museum through November 26. Museum admission is free to the public and featured exhibitions are free to Wichita State students with a student ID.