Podcasts about Site-specific

Site Specific, um estúdio de arquitetura sediado em Lisboa. Desde a sua fundação em 2011, o Site Specific destaca-se pela sua abordagem inovadora e projetos de grande impacto.O Site Specific desenvolve projetos de diversas escalas, desde edifícios construídos de raiz até reabilitações e renovações de espaços interiores. Este atelier valoriza a individualidade e o carácter de cada projeto, equilibrando requisitos programáticos, especificidade do contexto, valores patrimoniais, disciplina da construção, orçamento e sustentabilidade.Com sólidas parcerias com engenheiros, arquitetos paisagistas e designers, garantem uma visão ampla e coordenada em todas as etapas dos projetos, resultando em soluções integradas e sustentáveis. O reconhecimento do seu trabalho é evidente, tendo sido galardoados com o Prémio FAD Interiores em 2015 e destacados em eventos como Lisboa Acts – BINA 2018 e Habitar Portugal 12-14.Em 2020, o Site Specific uniu-se aos ateliers PLCO Arquitectos e Ventura Trindade Arquitectos para criar o agrupamento VASSCO, ACE, fortalecendo ainda mais a sua capacidade de inovação. Vamos agora explorar as motivações, desafios e visões que impulsionam este atelier a redefinir os limites da arquitetura. Preparem-se para uma conversa inspiradora e enriquecedora no Feito Para Construir.Vamos conhecer as histórias, aventuras e desventuras deste escritório pela voz de um dos seus fundadores o Arquiteto Paulo CostaSegue Sérgio Vasconcelos, fundador da Microcrete nas redes Sociais: FB | Linkedin | TikTok | Site

We are thrilled to be sharing with you the show that we have on our latest Whisper in the Wings from Stage Whisper. On this episode we welcomed creator Hayley Spivey, and welcomed back performer Siobhan Carroll, who stopped by to talk about their new show, Mab. This is a fascinating piece, and the conversation was so wonderful. So make sure you tune in, and get your tickets while they last for this fabulous intimate show!MABApril 11th- April 13th@ Site Specific in Crown Heights (Details to follow after ticket purchase)Tickets and more information are available by direct messaging @nextminguteproductionsAnd be sure to follow our guests to stay up to date on all their upcoming projects and productions:Next Minute Productions: nextminuteproduciotns.com and @nextminuteproductionsHayley: hspivey.com and @hay_lyly Siobhan: @siobhan_carroll

As part of the 2025 Comprehensive Growth Management Plan update, Clark County Community Planning has been accepting site-specific comprehensive plan and zoning amendment requests. http://tinyurl.com/56b92rmw #ClarkCountyWa #2025GrowthManagement #CommunityPlanning #PlanUpdateProcess #LandUseAlternatives #DraftEnvironmentalImpactStatement #VancouverWa #ClarkCountyWa #ClarkCountyNews #ClarkCountyToday

An 800-foot-long stone path of words, KAHNOP • TO TELL A STORY is the 22nd public artwork commissioned by the Stuart Collection at UC San Diego. The text for the UC San Diego walkway draws from the writing of authors and scholars with ties to the University and its history. Organized by a spine of keywords composed by Ann Hamilton, this concordance of documents weaves together threads of thinking from many different disciplines. The piece was built line by line, rather than as a singular continuous narrative, and yet clear themes emerge and recur throughout the 1,300-line composition. A feminist narrative transcribed by two Kumeyaay scholars exists in bands situated at a regular interval throughout the entire length of the piece, creating its own cadence and rhythm within the larger whole. These juxtapositions form a field of text and an infinite number of paths to be composed and recomposed every time someone walks its surface. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 39374]

An 800-foot-long stone path of words, KAHNOP • TO TELL A STORY is the 22nd public artwork commissioned by the Stuart Collection at UC San Diego. The text for the UC San Diego walkway draws from the writing of authors and scholars with ties to the University and its history. Organized by a spine of keywords composed by Ann Hamilton, this concordance of documents weaves together threads of thinking from many different disciplines. The piece was built line by line, rather than as a singular continuous narrative, and yet clear themes emerge and recur throughout the 1,300-line composition. A feminist narrative transcribed by two Kumeyaay scholars exists in bands situated at a regular interval throughout the entire length of the piece, creating its own cadence and rhythm within the larger whole. These juxtapositions form a field of text and an infinite number of paths to be composed and recomposed every time someone walks its surface. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 39374]

An 800-foot-long stone path of words, KAHNOP • TO TELL A STORY is the 22nd public artwork commissioned by the Stuart Collection at UC San Diego. The text for the UC San Diego walkway draws from the writing of authors and scholars with ties to the University and its history. Organized by a spine of keywords composed by Ann Hamilton, this concordance of documents weaves together threads of thinking from many different disciplines. The piece was built line by line, rather than as a singular continuous narrative, and yet clear themes emerge and recur throughout the 1,300-line composition. A feminist narrative transcribed by two Kumeyaay scholars exists in bands situated at a regular interval throughout the entire length of the piece, creating its own cadence and rhythm within the larger whole. These juxtapositions form a field of text and an infinite number of paths to be composed and recomposed every time someone walks its surface. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 39374]

An 800-foot-long stone path of words, KAHNOP • TO TELL A STORY is the 22nd public artwork commissioned by the Stuart Collection at UC San Diego. The text for the UC San Diego walkway draws from the writing of authors and scholars with ties to the University and its history. Organized by a spine of keywords composed by Ann Hamilton, this concordance of documents weaves together threads of thinking from many different disciplines. The piece was built line by line, rather than as a singular continuous narrative, and yet clear themes emerge and recur throughout the 1,300-line composition. A feminist narrative transcribed by two Kumeyaay scholars exists in bands situated at a regular interval throughout the entire length of the piece, creating its own cadence and rhythm within the larger whole. These juxtapositions form a field of text and an infinite number of paths to be composed and recomposed every time someone walks its surface. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 38928]

An 800-foot-long stone path of words, KAHNOP • TO TELL A STORY is the 22nd public artwork commissioned by the Stuart Collection at UC San Diego. The text for the UC San Diego walkway draws from the writing of authors and scholars with ties to the University and its history. Organized by a spine of keywords composed by Ann Hamilton, this concordance of documents weaves together threads of thinking from many different disciplines. The piece was built line by line, rather than as a singular continuous narrative, and yet clear themes emerge and recur throughout the 1,300-line composition. A feminist narrative transcribed by two Kumeyaay scholars exists in bands situated at a regular interval throughout the entire length of the piece, creating its own cadence and rhythm within the larger whole. These juxtapositions form a field of text and an infinite number of paths to be composed and recomposed every time someone walks its surface. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 38928]

An 800-foot-long stone path of words, KAHNOP • TO TELL A STORY is the 22nd public artwork commissioned by the Stuart Collection at UC San Diego. The text for the UC San Diego walkway draws from the writing of authors and scholars with ties to the University and its history. Organized by a spine of keywords composed by Ann Hamilton, this concordance of documents weaves together threads of thinking from many different disciplines. The piece was built line by line, rather than as a singular continuous narrative, and yet clear themes emerge and recur throughout the 1,300-line composition. A feminist narrative transcribed by two Kumeyaay scholars exists in bands situated at a regular interval throughout the entire length of the piece, creating its own cadence and rhythm within the larger whole. These juxtapositions form a field of text and an infinite number of paths to be composed and recomposed every time someone walks its surface. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 38928]

In 2020, this community-based cancer program started laying the foundation for a disease-site specific oncology patient navigation program that would grow exponentially over the next 2 years. In addition to a rapidly growing patient caseload, nurse navigator responsibilities grew extensively, largely due to increasing physician and system support of the program and role. To date, this 3-person oncology nurse navigator team has received over 2100 referrals from more than 259 providers.  Guest: Stephanie Bonfilio, MSN, RN, OCN, ONN-CG Oncology Navigation Manager St. Elizabeth Cancer Care   “Patient experience is such a huge part of what we do in cancer care. We survey our patients who are actively being navigated to see if the care we are providing is of value to them…over 94% of our patients said that having a nurse navigator on their care team increased their overall experience.”   Read more in “Developing a Disease-Site Specific Oncology Patient Navigation Program” in Volume 38, Number 5, Oncology Issues.   Resources: ·       Population Health Navigators: An Innovative Approach for Supporting Underserved Patients ·       Increasing Clinical Trial Accrual Through the Implementation of a Clinical Trials Navigator ·       The Oncology Pharmacy Navigator ·       Developing an Acuity Tool to Optimize Nurse Navigation Caseloads

Fall is a great time of year to look ahead to next season's crop fertility needs.

Virginia Wong See relaunched her practice as architecture@altitude in 2011 to focus on cool climate energy efficient building design and architect-designed kitchens from our new studio in Armidale in the New England Tablelands of NSW, 1000 metres above sea level.She talks about how her projects are very much client and site driven with a focus on sustainability through design principles and appropriate material choices.In this interview, Virginia also explains how her approach is to allow enough time for each project to be done efficiently & economically. "A good design." she is, "requires a degree of fermentation time.  We like to work with a simple and appropriate palette of materials and treat them with respect."This podcast is brought to you in association with AWS, proud sponsors of our 2023  Sustainable series of podcasts

Der Sommer ist vermutlich die beste Jahreszeit für Entschleunigung. Die Hitze legt das Hirn ohnehin lahm und wer zu schnell geht, fängt an zu schwitzen. Warum also nicht einen Gang runterschalten? Flanieren statt laufen, die Seele baumeln und den Geist schweifen lassen. In dieser Folge «NZZ Megahertz» sitzt Host Jenny Rieger ausnahmsweise nicht im Studio, sondern flaniert mit ihren Podcastgästen durch Basel. Anouk Gyssler und Maja Bagat haben sich durch das Theater kennengelernt und den «Verein der Flaneure» gegründet, ein Plädoyer für Achtsamkeit im städtischen Alltag. Gemeinsam haben sie Spaziergänge und Theaterstücke im öffentlichen Raum veranstaltet, bei denen sich Inszenierung und Stadtleben miteinander vermischen. Im Podcast erzählen sie, warum Flanieren nicht das Gleiche ist wie Spazieren, wie wir vertraute Ecken der Stadt mit neuen Augen sehen lernen und weshalb Nichtstun im Alltag Platz haben sollte. Hörerinnen und Hörer von «NZZ Megahertz» lesen die NZZ online oder in gedruckter Form drei Monate lang zum Preis von einem Monat. Zum Angebot: nzz.live/podcastmegahertz

One of the things you can do when you are able to express soil water content as a depth of water, and vice versa, is to express the water loss rate from the soil divided by the reference evapotranspiration. Now you've got a rough estimate of a site specific crop coefficient.I explained how to do that in this post: https://www.asianturfgrass.com/post/hourly-evapotranspiration-soil-water-content-and-crop-coefficient/Read more about all kinds of turfgrass topics at https://www.asianturfgrass.com/Get ATC newsletters at https://subscribepage.com/atc_newslettersTurfgrass information and decision-making tools at https://www.paceturf.org/PACE Turf YouTube channel at https://www.youtube.com/user/paceturfATC's YouTube channel at https://www.youtube.com/asianturfgrasscenterListen to the ATC Doublecut with Micah Woods podcast at https://doublecut.asianturfgrass.com/Listen to the ATC Office Hours podcast at https://office-hours.asianturfgrass.com/

PENNSYLVANIA TURFGRASS: Maxim J. Schlossberg, Ph.D. Email responses I receive from PTC members are the most rewarding part of contributing to Pennsylvania Turfgrass Magazine. Which shouldn't come as a surprise given the above-average mean aptitude of Pennsylvania Turfgrass magazine's readership. Well above average. These enlightening interactions support and facilitate direction to my ongoing efforts (so [...] The post Pennsylvania Turfgrass Council – Site-Specific Plans & PA Act 83 Compliance appeared first on The Turf Zone.

Commentary by Dr. Valentin Fuster

This episode is also available as a blog post: https://thecitylife.org/2023/05/10/dancer-salma-kiuhan-performs-site-specific-dance-for-the-art-sculpture-xoxo-on-governors-island/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

You're probably reading the title of this episode and thinking “site-specific choreography? Aren't most screendances site-specific?” You are certainly right, listener! You must be a screendance fan!As you know, site-specific episodes have been a recurring topic on the show. As we've segmented the dropped pins over the years, we've built an understanding of what the director may be conveying through movement within the landscape. The camera allows dance audiences to go on a journey that they may not be able explore on a live proscenium stage. The beauty of these films is that they push the boundaries of what these spaces can do. Art is experimentation and experimentation allows curiosity to run wild, and yet make all sense with it in the end.In this episode, we'll be picking apart the art of creating a site-specific dance film including many questions going from the very start of location scouting– Why do you want to create a film in/on/around this location? What is the significance of this space? What can you create in this space and what are your limitations? How do you want viewers to see and understand this environment? Along with all of that, we drop some useful advice that may help future makers well prepared for their next big film shoot. Press play and find out!–Check out Studiobinder for all your planning needs!Crash course on location scouting from the folks at Aputure!5 week online course from 2014: Site specific dance / choreography Stephan Koplowitz / CalArts– Follow us on Instagram @frameformpod–Got a question? Send us an email! Please reach out anytime at frameformpodcast@gmail.com

Artist Kari Cahill joins us in this edition of the NeighbourFood podcast. Kari is a site-responsive visual artist, natural paint smith, and an all-around great person. During our chat, she shares her unique methods of creating site-specific artwork using nature and how food can be used to make paint. Kari talks about her relationship with art and food and provides insights into her toolbox and current projects. Don't miss Jack's challenge to create an artwork inspired by his favourite meal! Not a mean feat. Kari's expertise, experiences and passion are a beautiful insight into her world, methods of working and the intersection of art, nature, and food. We hope you enjoy listening. Links:https://www.karicahill.com/https://www.instagram.com/karicahill.studio/https://www.layoftheland.ie/https://www.instagram.com/layofthelandproject/#NeighbourFoodPodcast #KariCahill #SiteSpecificArtwork #NaturalPaintSmith #ArtAndFood #FoodArt #NatureInspired #PodcastRecommendation #NewEpisodeAlert #ArtistInterview #CreativeProcess #ArtInspiration #ArtChallenge #FoodInspired #PaintMaking #ArtMaterials #ArtInNature #CreativeCommunity Hosted on Acast. See acast.com/privacy for more information.

In this podcast, Frank Davis, John Surma, and David Walston, members of Ogletree's Workplace Safety and Health Practice Group, discuss the Occupational Safety and Health Administration's (OSHA) Site-Specific Targeting (SST) program whereby the agency randomly selects employers for “wall-to-wall, floor to ceiling” inspections without identifying an accident or hazard. The speakers review data indicating that OSHA inspections, citations, and penalties are on the rise, and offer insights into the reasons for the increase, particularly in Texas, Louisiana, Arkansas, Oklahoma, and Alabama.

This episode is also available as a blog post: https://thecitylife.org/2023/02/15/nicolas-party-to-create-site-specific-mural-at-the-frick/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

Co-hosts Christina and Demetrius Wren discuss New Year's resolutions and how they pertain to filmmaking. Re-living their process of creating the short film series, America (A Love Song), they talk about the short film as a creative sketch pad, making art-for-art's-sake and finding creative palate cleansers - and how just getting the process started can propel you into an exciting journey.

Morgan is joined by Simer Virk, a precision ag specialist and assistant professor at the University of Georgia. In this episode, Morgan and Simer cover the latest precision ag technology, including spray nozzle technology, satellite imagery, variable rate application, and more.  Show Notes:https://www.precisionagreviews.com/post/ep-55-spray-technology-site-specific-crop-management-simer-virk Connect with: Precision Ag Reviews - Twitter or Facebook Morgan Seger - Twitter Simer Virk - Twitter

Regardless of the preparation and planning that goes into a crop, it's weather that ultimately turns a struggling crop into a winner, or inhibits a crop from ever reaching its full potential. Jay Whetter, editor of Canola Digest for the Canola Council of Canada (CCC), says this year's canola yields were dramatically impacted by the... Read More

Watch this episode at https://youtu.be/la1ulEIgVT0Jason Haines is the golf course superintendent at Sunshine Coast Golf and CC in British Columbia, Canada. We discussed this post from the ATC website: https://www.asianturfgrass.com/post/clipping-volume-growth-ratio/Jason's blog: https://fusariummy.blogspot.com/The turfgrass speedo (or growth ratio): https://fusariummy.blogspot.com/2018/12/turfgrass-speedo.htmlProductivity files (spreadsheets): https://fusariummy.blogspot.com/p/jason-productivity-files.htmlShort Grammar of Greenkeeping book: https://leanpub.com/short_grammar_of_greenkeepingDissolving urea: https://youtube.com/shorts/oXETrSSDdS8?feature=share1 g N dissolves in less than a minute: https://youtube.com/shorts/5wM8ZD_iZQw?feature=shareA hypothesis about the most sustainable grass: https://www.asianturfgrass.com/post/a-hypothesis-about-the-most-sustainable-grass/It is easy to know when the grass grows too slow: https://www.asianturfgrass.com/post/dangerous-grow-too-slow/Read more about all kinds of turfgrass topics at https://www.asianturfgrass.com/Find turfgrass information and decision-making tools at https://www.paceturf.org/See the PACE Turf YouTube channel at https://www.youtube.com/user/paceturfSee the ATC newsletters at https://subscribepage.com/atc_newslettersListen to the ATC Doublecut with Micah Woods podcast at https://atc-doublecut.transistor.fm/Listen to the ATC Office Hours podcast at https://atc-office-hours.transistor.fm/

A conversation with artist John Gerrard. The Irish-born artist has spent more than twenty years using the latest in technology to create virtual worlds. Unlike video art, Gerrard's work is generated from a handwritten computer program while viewing and no two viewing experiences are ever the same. The content of his work typically asks the viewer to deeply consider the attributes and consequences of the environment they are viewing.https://www.pacegallery.com/artists/john-gerrard/https://www.instagram.com/johngerrard.inst/?hl=en

We talk with the artist, Karmimadeebora McMillan, about why she chose Freedom House, and the power of site-specific artwork. We're also joined by Charla Jones, board member of Now + There, an organization focused on curating public art.

This episode is also available as a blog post: https://thecitylife.org/2022/08/03/artist-michael-lin-creates-first-site-specific-installation-for-the-mets-great-hall-escalator-drawing-inspiration-from-chinese-ceramics/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

Dorian Golriz, Scripps Institution of Oceanography In the first part of this talk, I will present a new method to determine the earthquake’s coseismic time window using a combination of seismic and GNSS data. Current practice is to use daily GNSS positioning for static offsets determination and finite slip models. When using high-rate (1-5 Hz) GNSS positioning for this purpose, it is a common practice to take a single time window across all the affected stations (typically a few minutes). Since the postseismic phase starts immediately after the earthquake, in a continuous manner, these static offsets include early postseismic deformation that occurs minutes to hours after the earthquake. Here I show the differences between these offset estimates, and how they can affect coseismic slip models. In the second part the talk, I will show how we can use this coseismic time window to estimate earthquake magnitude for tsunami warning purposes. The Pacific Tsunami Warning Center (PTWC) uses a variety of tools to issue a tsunami warning based on the size and location of the earthquake. However, current methods that rely on seismic data alone suffer from magnitude saturation or not timely enough for coastal communities located closest to the earthquake’s rupture. The combination of GNSS and strong-motion data using a Kalman filter yields both broadband velocity and displacement waveforms that do not clip and are sensitive to the entire spectrum of ground motions. We can use this combination to rapidly determine earthquake magnitude. Replaying seismogeodetic data for a number of tsunamigenic earthquakes around the Pacific basin, we show that useful and reliable estimates can be obtained before the end of rupture. Additionally, our method does not rely on empirical relationships derived from historical earthquakes, making it suitable for local tsunami warning systems and shows promise for earthquake early warning.

To fully appreciate the work Pyxis Oncology is doing in its development of site-specific ADCs for a number of oncological indications under the leadership of Lara Sullivan, M.D., you need to understand the work that shaped her leadership style. On this episode of the Business of Biotech, Dr. Sullivan shares the science and technology driving progress at Pyxis, but she also serves up a master class on change management, honed during her tenure managing high-stakes product portfolios at Pfizer. If you want to be a better leader, don't miss this one. And for more on Dr. Sullivan's journey, read this recent feature story at Life Science Leader magazine.

Radio Ghost is a 70-minute, interactive and immersive audio piece for three people that’s site-specific to a mall. It’s meant to unpack the unseen stories

Site-specific performances have the possibility to truly make all the world a stage. To produce site-specific and devised theatre performances in the United States and abroad, artists must engage with the questions of the politics of any space, what communities inhabit or use it, and who is invited into it. Sahar Assaf, a Lebanese theatremaker and the new artistic director of Golden Thread Productions, and Zeina Daccache, an actor, director, and the founder of Catharsis: Lebanese Center for Drama Therapy come together to talk about site-specific and devised theatre pieces in Lebanon, the rest of the MENA world, and the United States.

Site-specific performances have the possibility to truly make all the world a stage. To produce site-specific and devised theatre performances in the United States and abroad, artists must engage with the questions of the politics of any space, what communities inhabit or use it, and who is invited into it. Sahar Assaf, a Lebanese theatremaker and the new artistic director of Golden Thread Productions, and Zeina Daccache, an actor, director, and the founder of Catharsis: Lebanese Center for Drama Therapy come together to talk about site-specific and devised theatre pieces in Lebanon, the rest of the MENA world, and the United States.

This functional, polished, granite drinking fountain is an exact replica in granite of commercial metal fountains typically found in schools, business offices and government buildings. Instead of its usual context as interior office furniture, the fountain is placed monument-like on a grass island in the center of UC San Diego's Town Square. The siting of his work is fundamental to its meaning; it is counter posed with a tall American flag and a granite marker commemorating Camp Matthews, a World War II training center and artillery and rifle range which occupied the land on which UCSD now stands. Asher's work projects several cultural references into one modest object, and it is a play on sculpture's historic role as representation. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 37814]

John Baldessari decided first to transform the main doors of UCSD's iconic Geisel Library and then to incorporate the entire lobby space, choosing students as his subject. The existing clear glass of the doors was replaced with glass in primary colors, perhaps suggesting primary sources of information. As the doors open and close, the colored panes cross over each other, visually mixing into new colors. Above the doors the words READ, WRITE, THINK and DREAM echo the exhortation Baldessari gave his students to remember that beyond the day-to-day grind comes the chance to contemplate the unexpected and envision new worlds. Baldessari, once again, has absorbed the culture around him, using the latest techniques to create a collage juxtaposing photographs, words, and colors, which all loop back on each other to spark new associations and thoughts. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 37820]

The female figure atop "Standing" calls forth thoughts of human strength and frailty, and both the power and the limits of medicine. Serene and ageless, she stands in a Madonna-like pose that is both vulnerable and generous. Ribbons of water - the source of life - flow from her hands into the rock-lined pond below, with a soothing sound. The skin surface of the body itself is violated to reveal the musculature and tendons of arms and calves, reflecting Kiki Smith's interest in such anatomical illustrations and models. A "necklace" of starfish-headed pins, placed in the shape of the constellation Virgo, pierces the flesh, calling up a profusion of associations, from acupuncture to dissection to martyrdom. With these tiny starfish like a veil of Virgo gems, the delicate pins call up at once the oceanic and the celestial, in an image that speaks of mind and body, of flesh and healing. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 37819]

"Red Shoe" has brought to life a formerly forgotten corner of campus. It is an alluring place for children to climb, its smooth exterior giving way to a roughly hull-like interior, hinting at the enclosure of a nest or fort. Narratives come to mind as fantasy evokes the resonance of childhood rhymes and tales. In the words of Robert Storr, Dean of the Yale University School of Art, "Reason presides over universities; it remains for artists to give substance to those areas of consciousness that reason has not and perhaps cannot articulate." Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 37818]

Do Ho Suh's work explores the notions of home, cultural displacement, one's perception of space and how one builds a memory of it. What is home, after all? A place? An idea? A sentiment? A memory? A small cottage has been picked up, as if by some mysterious force, and “landed” atop Jacobs Hall at UC San Diego, where it sits crookedly on one corner, cantilevered out over the ground seven stories below. A lush roof garden of vines, flowers and vegetables, frequented by birds and bees, is a small gathering place with panoramic views of the campus and beyond. Upon entering the house it becomes apparent that the floor and the house itself are at different angles, causing a sense of dislocation – some would say vertigo. One must adjust both physically and mentally in order to accommodate a whole new view of the world. The surroundings are familiar but the feeling is not. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 37823]

Jackie Ferrara designed a series of three distinct spaces at UCSD's Cellular and Molecular Medicine Facility. Each area is paved with a similar linear pattern of green, red, and black slate and surrounded by compacted gravel. Each has a unique character, but the terraces flow into one another becoming one continuous space. She has placed Australian willows and benches in lines that echo the grid of the slate and the lines of the low walls. The cloistered intimacy of the terraces, with their suggestion of early or monumental architecture, provides a space of contemplation for the scientists who work in the center, and articulates and emphasizes the architectural motifs of the building itself. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 37813]

A 199-foot tall metal flag-pole-like sculpture is mounted with a flashing light which playfully spells out “What Hath God Wrought” in Morse Code. The titular phrase is notably the first message Samuel Morse tested and transmitted across 41 miles in 1844. The sculpture reflects both the origins of the university as well as the origins of present-day communications: Morse Code is at the root of our contemporary era of information exchange, where communication travels instantaneously. Morse's good-humored, secular message is interpreted thoughtfully by Mark Bradford and aligned with the artist's expansive work depicting communities and reflecting on our shared cultural history. With this epic artwork, Bradford explores the physical means behind past and present-day communication that underlines his greater practice. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 37825]

Bruce Nauman's "Vices and Virtues" for the Stuart Collection at UC San Diego consists of seven pairs of words superimposed in blinking neon, which run like a frieze around the top of the Charles Lee Powell Structural Systems Laboratory. Seven vices alternate with seven virtues: FAITH/LUST, HOPE/ENVY, CHARITY/SLOTH, PRUDENCE/PRIDE, JUSTICE/AVARICE, TEMPERANCE/GLUTTONY, and FORTITUDE/ANGER. The virtues flash sequentially clockwise around the building at one rate; and the vices circulate counterclockwise at a slightly faster rate. At brief intervals, all seven virtues and all seven vices flash together. The progression of the two repeating cycles playing off each other allows all possible combinations of the words to be displayed. This complicated performance, generated by the mechanical sequencing of a simple moral dichotomy, dramatizes the instability of any ethical judgment. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 37810]

Terry Allen's diverse talents and experiences are highlighted in his first outdoor project, "Trees," for the Stuart Collection. He remarks upon the continual loss of natural environment at UC San Diego by salvaging three eucalyptus trees from a grove razed to make way for new campus buildings. Two of these trees stand like ghosts within a eucalyptus grove between the Geisel Library and the Faculty Club. Although they ostensibly represent displacement or loss, these trees offer a kind of compensation: one emits a series of recorded songs and the other a lively sequence of poems and stories created specifically for this project. At the entrance to the Geisel library the third tree of Allen's installation remains silent - perhaps another form of the tree of knowledge, perhaps a reminder that trees must be cut down to print books, perhaps a dance form, or perhaps noting that one can acquire knowledge both through observation of nature and through research. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 37807]

This week's podcast, sponsored by Montag Manufacturing, features Steven Mirsky, a research ecologist with the USDA's Agricultural Research Service. In 2020, he received the Arthur S. Fleming award for his outstanding achievements in applied science and engineering. Among his many accomplishments, he co-led the establishment of the Northeast Cover Crops Council and has been instrumental in developing the Cover Crop Decision Support Tool. For this podcast, Mirsky discusses some of the cover crop research projects he's involved in, how cover crops increase the drought tolerance of cash crops, what he sees in the future of cover crop genetics, the impact of covers on herbicide resistance and more.

Finlay created a one-word poem installed at one edge of the north playing field at UC San Diego. "UNDA" consists of five stone blocks into which are carved, in various sequences, the letters U, N, D, A, and an S-like mark which is the editor's notation for "transpose these letters." The letters on each block in the sequence carry out the transpositions indicated by this curved mark so that regardless of the order of the letters, each block ultimately spells out UNDA. In the course of the multi-part sculpture, the wave sign rolls through UNDA, the Latin word for wave, while the tops of the stones are aligned with the distant horizon of ocean. A literary cycle is identified with the cycle of the natural wave, an association that the artist relates to the velocity and flow of language. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 37809]