Read e-book online Art Works! Prevention Programs for Youth and Communities PDF

By Paula Randall

Profiles version arts-based substance abuse prevention courses for formative years & groups in various disciplines & settings. Highlighted courses comprise Tuscons undertaking Choli & previous Pascua adolescence Artists San Franciscos Vietnamese early life Dev. middle Peer source software Bronx Council at the Arts, WritersCorp CHILART Playwrights application of recent Brunswick, N.J. Little Rocks CornerStone undertaking NETworks middle Chicagos song Theater Workshop stressed sequence Iowa Citys United motion for formative years Synthesis Arts Workshop & teenager source Project/New Visions/Nueva Visiones Theater of Holyoke, MA.

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It is not really a question of perfection: technical perfection can be part of meaning, and in that case it is neither retro nor hyperrealist, it is an effect of art. Here, technical perfection is an effect of the model: it is one of the referential tactical values. In the absence of real syntax of meaning, one has nothing but the tactical values of a group in which are admirably combined, for example, the CIA as a mythological machine that does everything, Robert Redford as polyvalent star, social relations as a necessary reference to history, technical virtuosity as a necessary reference to cinema.

From there, it is necessary to speak of the cold light of television, why it is harmless to the imagination (including that of children) because it no longer carries any imaginary and this for the simple reason that it is no longer an image. By contrast with the cinema, which is still blessed (but less and less so because more and more contaminated by TV) with an intense imaginary - because the cinema is an image. That is to say not only a screen and a visual form, but a myth, something that still retains something of the double, of the phantasm, of the mirror, of the dream, etc.

Enigma of this carcass of flux and signs, of networks and circuits - the final impulse to translate a structure that no longer has a name, the structure of social relations given over to superficial ventilation (animation, self-management, information, media) and to an irreversibly deep implosion. Monument to the games of mass simulation, the Pompidou Center functions as an incinerator absorbing all the cultural energy and devouring it - a bit like the black monolith in 2001: insane convection of all the contents that came there to be materialized, to be absorbed, and to be annihilated.

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