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honoria in ciberspazio

gallery + reflections

21st Century Skills and the Arts
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Education Week
Published Online:
Published in Print: February 2, 2011, as Not for Art's Sake Only


The Skills Connection Between the Arts and 21st-Century Learning

Arts Education and 21st-Century Skills

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Published Online: February 1, 2011
Published in Print: February 2, 2011, as Not for Art's Sake Only
The Skills Connection Between the Arts and 21st-Century Learning
Arts Education and 21st-Century Skills
By Bruce D. Taylor
Few of us could disagree that today’s students must be taught the necessary skills to function in an increasingly complex,
conceptual, and globalized 21st-century society and economy. Students have to acquire so-called “habits of mind” that
will enable them to develop the skills of creativity, critical thinking, and problem-solving.
In addition, they must be able to communicate effectively, collaborate with people different from themselves, exercise initiative, and be self-directed.
That is a pretty tall order.

The primary purpose of education is to enable students to make a living as adults; without this capability,
everything else falls away. Yet we still teach within a basic framework established in the 19th century.
In today’s education environment, we seem to be slipping back from the future into the 19th century’s
contextual emphasis on reading, writing, and math. The consequences could be dire, even propelling us
back to a two-tiered education system: just reading, writing, and math for the disadvantaged in underresourced schools,
alongside a richer 21st-century curriculum for the country’s productive employees and future decisionmakers.
What can we do?
Consider the list of skills cited in the first paragraph. Aren’t these 21st-century skills, in reality, arts skills?
Now, stay with me here: First, we need to recognize that the very same valuable skills routinely employed
by artists and arts educators can be integrated curriculum-wide in ways that are not arts-dependent.
If this seems a revolutionary notion, it is because for more than 30 years, the well-meaning mandarins
of arts education have promoted practitioner development above all else.
We must ask ourselves, are we preparing students to function as human beings, or just as flesh-and-blood
versions of a hard drive?
What happened over that same span of time? Not only were the arts severely diminished in public education,
but the young people we supposedly reached 10, 15, even 20 years ago became parents of kids in schools
where the arts were cut. Bear in mind that these cuts were not the work of educators, but of school boards
ostensibly representing the parental community. The irony is rich, since the very skills their children will need
to be capable adults can result from arts practice.
At this point, I believe that the prevailing public perception is that arts education is only for young people
who want to be artists—“Glee” wannabes. If we applied this mindset to science, we would teach science
only to students who aspired to be chemists, biologists, or astronomers.
But the basis of this public perception is legitimate, rooted in the reality of arts education today.
The fact is, we too often teach students to perform without their actually learning anything.
Most of the time, students are simply remembering lines, notes, steps, terminology, and so on.
To be fair, the cumulative amount of instructional time an elementary music teacher has in the school
year is approximately 32 hours. This is less than the equivalent of a standard workweek to produce two
concerts with 200 or more kids. Given this time constraint, perhaps all that can be accomplished is
replication—not learning, much less understanding.
I believe that we can repair the damage done, and change public perception, by rethinking and reshaping
our approach to arts education. I propose that the critical skills of creativity, critical thinking, and
problem-solving can be developed by design—not acquired by accident or as a byproduct—
using the arts as tools. For example, teaching artists, along with arts specialists in schools,
can be rich resources for the integration of 21st-century teaching and learning into the
19th-century paradigm to which we seem to be wedded. After all, to be “creative” is to be,
by definition, artistic.
Why am I convinced that this would work? Because the arts relate to the unique ways in which
human beings think.
Marc Hauser at Harvard University postulates that there are four “key characteristics of the human mind”
that are contained in the 1 percent of our DNA that distinguishes us from our nearest primate relative, the chimp.
• Generative Computation The ability to create a limitless variety of “expressions” from a generative
catalyst of modest content. Think Beethoven’s four-note theme, which he spun into the Fifth Symphony.
• Promiscuous Combination of Ideas Mingling of different domains of knowledge, thereby creating new products,
relationships, techniques, and technologies. Think of a recipe that combines the chemistry of ingredients with
knowledge of temperature and time, along with taste, feel, and smell.
• Mental Symbols Encoding sensory experiences, both real and imagined, into complex systems of communication.
Think metaphor or analogy.
• Abstract Thought The ability to imagine what isn’t yet.
To focus on these is to enhance the very qualities that make us ... us. In other words, to be artistic is to be human.
The arts are woven throughout the fabric of our lives and the tapestry of our society. We engage with the arts every day,
all day. Artistic products envelop our daily lives, particularly those of children. They are what we listen to, watch and read,
wear, put up on our walls—they are everywhere. Artists have employed for millennia the inherently human abilities that
Hauser describes, transcending cultural and historical boundaries; now, these qualities have become crucial capabilities
for success in the 21st century.So we must ask ourselves, are we preparing students to function as human beings,
or just as flesh-and-blood versions of a hard drive?
The key connector of all these artistic artifacts in our lives is emotion—these things matter to us.
They touch us, resonate with us. Now, what is the one adjective all dropouts use to describe school?
Boring! To be bored is to be emotionally disengaged. Do our children go to school only to prep for tests
that are limited in scope and focus to the three R’s of retention, recall, and replication? Is there a difference between
“to know” and “to think?”
Of course there is a difference, and surely the mission of education is to have students think as much as it is for
them to “know.” But how do you “test” thinking? And shouldn’t teachers be asked, “What do you think?”
The key disconnect with so-called teacher reform is that teachers are not urged—not permitted—to think.
The demand is that teachers limit themselves to following prescriptions generated by people far removed
from the classroom and the school, sometimes hundreds of miles away, both literally and figuratively.
We must allow and encourage teachers to be creative (i.e., artistic) in devising ways to reach children in
a variety of circumstances, cultural frameworks, and emotional conditions, to have the flexibility to shift gears,
to create (there’s that word again) alternative methods, and to inspire in their students an emotional commitment
to attaining mastery.
All of these are hallmarks of the artistic process, and they can—and should—be employed in nonartistic contexts as well.
Bruce D. Taylor is the director of education for the Washington National Opera, in Washington, D.C.
Vol. 30, Issue 19, Pages 22,26

Bruce D. Taylor is the director of education for the Washington National Opera, in Washington, D.C.

Vol. 30, Issue 19, Pages 22,26

Taylor, Bruce D. "The Skills Connection Between the Arts and 21st-Century Learning." Education Week. Education Week, 1 Feb. 2011. Web. 20 Apr. 2016.

Mid-Term presentation as Professional Development
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Professional Development Mid-Term Presentation: “Tell me about your work.”

Objective: As a professional in your creative career you will be called upon time and time again to talk about your work.  Your midterm project is to show 3 examples of your best drawing and talk about your work to a fellow student who is role-playing an employer.

You will work in pairs to show your work to a fellow student as if that student is a potential employer looking at your portfolio. 

Your partner will ask, “Tell me about your work.”  You will answer in a well-crafted 1-paragraph reply explaining your personal interests and the strengths of your work.  You will turn in a printed version of your 1-paragraph response.

These starter ideas are from a book that I recommend. Art-Write by V.K. Amorose.

1. Begin by introducing yourself with your full name and and your program of study.

2. To create your reply, brainstorm your ideas by using these starters. Fill in the blanks to think more deeply about your unique approach to what you are presenting to a potential employer.

I find inspiration ___________

_________________ is at the center of my art.

My work is a combination of ______________ and ______________.

I make connections between ____________ and _____________.

I was thinking about ___________ and I created _____________.

I value __________

My process ________

I am intrigued by __________

My observation of ______

My vision _________

Reflect the way of ___________

Brings focus to _____________

The question I ask myself _______________

Do not use all these starters, just the ones that fit with your personal approach to drawing.

3. Here are some terms that may help you compose a professionally-sounding dynamic short discussion of your work.
Read more...Collapse )

4. Write a rough draft and practice reading it to your partner. 
5. Use your partner’s feedback to craft a smooth-sounding, professional paragraph to use in your mid-term presentation.

SXSWedu 2016 Reflections
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SXSWedu 2016
CPE Continuing Professional Education Attendance 4 1-hour workshops I attended offered CPE credits.
Overall SXSW edu was full of dedicated education professionals from all over the states and some international participants. Universally the participants were seriously engaged in improving education from the student perspectives.
I attended 2 sessions on improv techniques. The first session was facilitated by a group who used theatre prompts and improv to address sexual health with teens.  The workshop built trust and communication. The second session was more about group dynamics and icebreaker ideas.  Both sessions were fun and lively.  Both had useful concepts for the classroom.  For example, I can use improv techniques for students to be more aware of the model’s pose and position in space.  I can use the techniques of improv to increase the concept of empathy for a character that the student is developing through drawings.  I can use improv techniques to increase the honesty of critiques.
I attended several gasification sessions.  Most of the sessions were focused on video games in the classroom and how the games intensified student engagement, especially for geeky quiet kids.  The most useful session on games was Jane McGonigal’s keynote called, “Think and Learn like a Futurist” that had the audience of about 500 interacting and playing an online game based on hashtags and cell phones.  This session was useful for techniques to connect students to their own futures. One technique is to do close observation of the present for things that seem out of place and then analyzing them to determine if they are early clues to changes that are already starting and that will grow into meaningful future aspects of our lives.
Personalization was another theme of the conference.  Giving students more authority over their learning is a trend that manifests itself by introducing student themes such as hiphop into the classroom.  The hip hop panel offered student-driven ideas on incorporation freestyle and graffiti into curriculum contexts.  In addition student advisory boards are a trend across schools to ensure learner-focused approaches to learning.  Temple Grandin in her keynote noted that certain types of learners should not be barred from higher levels because of the prerequisites of a course that are not relevant. For example, algebra as a pattern thinker’s area of strength, should not be a prerequisite for biology which is a visual thinker’s area of strength.
Fashion Technologist from Kent State who might have some interesting connections for my fashion drawing classes.
Adobe Tacy who said she’d connect to simple curriculum for color theory.
Anne Kraybill from Crystal Bridges Museum of American Art who has online educational units we can use.
Michael Ellsworth Designer at who facilitates brilliant brainstorming activities!


SXSW Interactive 2016
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Reflections on SXSW Interactive 2016
Started out with an Art Installation of projection.
Anima is an experience. A large, floating orb beckons its visitors closer with an array of color-changing ripples that make its smooth surface appear textured, even up close. As a person approaches, the waves become more animated, drawing on the visitor’s energy or running from it. A loud, persistent hum encourages thoughtful silence. The art installation at SXSW Interactive, created by Dutch artist Nick Verstan, tracks people’s positions in the darkened room using a Microsoft Kinect and other motion sensors to manipulate the display. An algorithm powers the images projected into the inflated sphere, ensuring smooth transitions from deep bold blues to metallic purples to fiery oranges. To visit Anima is to meet a nonhuman entity that knows you’re there.
****  Why Art Needs Science: Fashion and Tech's Future *****
Coco Rocha, Kate Parker, Madison Maxey, Piera Gelardi
How can innovations in tech change the way that the fashion industry constructs, creates, and markets clothing? Conversely, how can the arts influence the tech space, especially when it comes to educating future innovators and inspiring more young women to be the makers of tomorrow?
After this session I asked Coco Rocha to give a brief video interview for my fashion drawing students to embrace technology.  And she didJ When I showed the students the videos I followed up by getting them to download Sketchbook onto their phones and draw fashion inspired by food.  The students really enjoyed helping each other figure out ways to use the 3 free layers and create fun garments such as the enchilada jumpsuit with green sauce and the udon noodle soup separates.
Hidden in Plane View: Discovering Low-Fi Magic
Kelli Anderson
Design and Development Track
Using strategies like origami, technology labs are seeking ways to make complex problems tangible—to open then up to physical intuition. We may universally think best when we think with our hands. By physically engaging with abstractions, designers can find surprising possibilities."
Dark times for Dark Patterns: Ethical Alternatives
Neil Dawson and Cristina Vigano
Design and Development Track
Presenters pointed out that business goals can encourage deceiving users. Design solutions alternatives to infamous and common dark patterns are options for designers. Presenters focused on using psychological principles and persuasive design techniques to meet goals through encouragement rather than deception.
Next was an amazing interview of President Obama by Evan Smith.
President Obama called on the tech industry to help solve some of Washington's thorniest problems. The president was funny and smart and got a few laughs.
Queer Style: Visual Activism and Fashion Frontier
Aja Aguirre, Sonny Oram, Anita Dolce Vita, Leon Wu
SXStyle Track
This panel explored queer style as an enigmatic art form that is the new fashion frontier. Also examined queer style as visual activism for positive social change. Professional tips on how to succeed in this growing market using approaches that are effective and culturally competent.
Breaking Beauty: Disruptive Technology and Cosmetics
Adrianna Coppola
SXStyle Track
Technology is smashing 'the beauty myth' by helping to empower women, making beauty more personal and allowing more diverse expressions of beauty in society.
Fair Fashion: Profitability and Sustainability
Laurent Claquin, Cara Smyth, Frank Zambrelli
SXStyle Track
A $2.5T industry, fashion is the 2nd largest user of water and 2nd highest polluter, contributing 10% of carbon emissions. Globally, one in six people work in apparel and women represent 80% of the supply chain. While this scale and global integration propel fashion to a top rank on any impact index, it is its nature of constant reinvention that also becomes its opportunity for rapid reevaluation and transformation. Panel discussed  efforts to revaluate ecosystems,] and promote economic and social well-being with market-based solutions reconciled to the bottom line.
How Virtual Reality will Change Fashion
Kevin Cornish,(film) Ssteven Sebring, (Photography) Anarghya Vardhana (Venture Capital)
SWStyle Track
With the fashion industry survival demands being at the forefront of adopting new technology. VR will have a major impact on the fashion world. Exploring VR branding, virtual retail spaces and immersive e-commerce, experts spanning the topics of VR production, fashion photography and virtual reality venture investments The panel explored VR impact that is coming to the fashion world.
Keynote: Daring Greatly
Dr. Brene Brown
Dr. Brené Brown dispels the cultural myth that vulnerability is weakness and argues that it is, in truth, our most accurate measure of courage.  When we step back and examine our lives, we will find that nothing is as uncomfortable or dangerous as standing on the outside of our lives and wondering what it would be like if we had the courage to show up and let ourselves be seen.
Can Austin rule the AI world?
Amir Husain, Doreen Lorenzo, Akshay Sabhikhi, Manoj Saxena
The panelists were in agreement that the world and Austin have only begun to realize the potential that artificial intelligence offers. Saxena said,  “The real power of machine intelligence is in telling you things you don’t know you don’t know,” he said.
Amir Husain, CEO of Sparkcognition Inc., said for many people, the words “artificial intelligence” arouse feelings of worry about machines replacing or harming humans. “I don’t think people should be worried at all,” Husain said. “If you think about it, you should be worried about other things killing you sooner than AI will kill you.”
SCIWARS: Dark Side Tactics to Fight for Science
Jayde Lovell
Art, Science and Inspiration Track
Calls for need for job of “Science Communicator”
This session draws on the latest case studies to deconstruct the communication tactics of the anti-science lobby. It also arms evidence-based organisations with strategies to positively persuade the public whilst maintaining scientific accuracy and integrity.
What’s buzzing at SXSW Interactive 2016
Hugh Forrest
Director of the conference reflected on the big trends, changes, and surprises, especially President Obama’s visit.
Live Coding with Stephen Wolfram
Stephen Wolfram
Design and Development Track
Live and unscripted: see Stephen Wolfram do a new kind of coding – that's powering a new generation of startups and letting anyone turn ideas into reality with code like never before. Stephen has spent three decades building the technology stack that makes possible the Wolfram Language –which powers Wolfram|Alpha and many other things, and is now freely accessible in the cloud. Expect to see Stephen think in public, creating code and answering requests from the audience.
Interactive Dynamic Design: Fashion and Architecture
Behnaz Farahi
Art, Science and Inspiration Track
Designer, USC/Autodesk
Behnaz Farahi is an architect, and interaction designer, exploring the potential of interactive environments and their relationship to the human body. In particular she is interested in the implementation of emerging technologies in contemporary art/architecture practice. Her goal is to enhance the relationship between human beings and the built environment by implementing design/motion principles inspired by natural systems. Application areas include architecture, fashion and interaction design. She also specializes in additive manufacturing and robotic technologies.
Recent advances in interactive design technologies are changing the way in which we engage with the world around us by influencing our perception, ways of communication, and awareness. This presentation explores the different scales at which our bodies are connected with the environment, ranging from an intimate scale and the world of wearable computing and interactive fashion, through to an architectural scale and the world of ubiquitous computing and interactive spaces through series of interactive projects. The ultimate goal here is to enhance the relationship between users and their surrounding environments by implementing design/motion principles inspired by natural systems.
Augmented Reality without the rose-colored glasses
John Rousseau
Design and Development Track
The very nature of reality is about to change. Augmented reality devices will soon be capable of erasing the line between human perception & digital presentation; rendered against the canvas of my consciousness—borderless, pervasive, ubiquitous interfaces that could alter my view of the world, what it means, & who brings it to me. This is a profound human-centered design challenge, with the potential to impact behavior, society & culture. This talk outlines the ethical imperative of applying outcomes-based thinking to augmented reality and draws from from multiple domains of knowledge, to present a new set of design principles capable of guiding the future of AR design.
Subtle Interfaces: Designing calm tech
Peter Bennett, Verity McIntosh, Chloe Meineck, Tom Metcalfe
Design and Development Track
Some of the world’s best technologies do one thing brilliantly. This panel brings together leading UK creatives and researchers who are developing products and experiences that are calm, slow and often magical. When we let go of trying to be all things to all people, we make space for imaginative interfaces and disruptive ideas.
Bruce Sterling Rant
Traditional end-of-the-conference wrap.
Intelligent Future Track
World traveler, science fiction author, journalist, and future-focused design critic Bruce Sterling spins the globe a few rounds as he wraps up the Interactive Conference with his peculiar view of the state of the world from a global perspective, as one who lives in Turin, Belgrade, and Austin.
Tags: ,

Design Talk by Jon Kolko
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Situationism and Futurism
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Futurism and the Technological Imagination.
(Avant-Garde Critical Studies)Nov 30, 2009
by Gunter Berghaus

I bet UT art library has this book.

Stories for boxes of Flaneuse paintings
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Color Mammal Box
Flaneuse Exhibition
Spellerberg Projects in Lockhart, TX

Zen Chicken Box
The zen chickens are inspired by the great and fun zen calligrapher, Alok Hsu Kwang-han.  Alok's videos inspire me to create and meditate in Sumi ink.  Another inspiration is Expressive Drawing by Steven Aimone.  I am inspired by chickens themselves, and my favorite breed of chicken is the silkie.

The Fashion Box
Croquis are elongated and idealized figures.
Fashion gives croquis a reason to be.
Fashion projects or hides who we are inside.

Pacific Ocean Box
The Pacific beaches are dramatic places with big waves, rocks, cliffs, and spray.
The Pacific shore pulls you towards it, even as it shows you a strong element of danger.
I sit by the Pacific on the beach or above, on the cliffs, and let paint react to the changing moods of the ocean.

Atlantic Ocean Box
The Atlantic shores on the coast of middle and southern Florida are restful and joyful.
The Atlatic Ocean paintings are summer vacationy and engage in Latin rhythms.
The Atlantic Ocean work includes the bright pastels typical of my home town, Miami.
I paint with sea water and pelican feathers.

The Grid Box
Grids beat a rhythm of repeated shapes.
Inside the shapes different colors of soluble pigments flow together to form poetic combinations within each shape in the grid.
You could say that the combination of rhythm and poetry make a color song.

In design the grid is a key tool used to customize layouts on and off the web.

The Abstract Box
The word abstract means to separate something from something else.
Abstract art doesn't represent a person or an object.
However, abstract art can represent or evoke an emotion or mood. .
Abstract painting is like haiku, you distill and take away until the composition is complete.

You may recognize a thing or figure in the Abstract Box.
But what you recognize is really in your imagination as much as in the painting.
Ask another visitor if they see what you see in an abstract painting.

The Flowers Box
Walk around your neighborhood with India ink or a marker.
Draw the little plants you find all around you.
In spring the plants bloom.
Many other artists, in many cultures, in many styles, have painted flowers.
My favorite flower-painting artist is Emile Nolde.
Nolde's poppies and anenomes are beyond belief.

Young Corn Box
The young corn was growing in a field in Elgin.
I set up in the field and drew all these paintings in 2 sessions in 2014.
The corn grows so quickly.
My goal is to capture the vitality of the crop in its youthful plantlife.

Color Mammals Box
Color mammals explore different combinations of watercolors as they diffuse into each other in short strips.
Paint strips of colors next to each other in a stack.
What if you add legs, neck, head, and tail?
Some of the mammals look like skinny llamas and others look like giraffes.
They are simply color mammals.

The Birds Box
I grew up in Florida surrounded by water and water birds.
My Uncle Laddie (James McGibbon Brown) taught me to paint.
Uncle Laddie painted the waterfowl of the everglades and was especially into egrets.
I have waterfowl and watercolor in my heritage.
These waterfowl paintings question the interactions of positive and negative space, like seeing things in the murk of the swamp.

Rock Art Box
Visit the Pecos Seminole Canyon.
I used powdered pigment and thick texture medium to capture the texture of the rock walls of the pictographs.
The meanings of the original paintings are buried with the people who painted them.
My paintings are interpretations, not copies.

The Circles Box
A circle is a completion.
A zen circle is a meditation.
Circles connect or bubble-bounce against each other.

Animals from the sea and the land.
Animals from the zoo.
Pets in the homes of my friends.

Big Bend Box
I use the colors, shapes, and textures we find in Big Bend.
I am also inspired by the art community in Marfa and the minimalist art in the galleries.
Yes, I saw and painted the Marfa Lights.

Galveston Beach Box
Hot sand and waves.
Sea birds.
Nearby the International Space Station is guided.

SXSW Interactive Box
Every year thousands of people come to Austin to explore and promote the next networked thing.
I make art-notes inspired by the interconnected energies converging at the convention.

iPad Drawings Box
Paper53 is a drawing app.
Did you know your tablet and your smart phone is also a sketchbook?
Download a drawing app today!
Send illustrated texts filled with lively lines, shapes, and colors.

The Marty Mix Box
Spellerberg Projects asked for a collection of images to use to create invitation post cards.
These images were scanned and 10 of them printed.
200 postcards went out to you and you came to the show.

The Uncategorized Box
This box holds drawings and paintings that don't fit into the other categories.
Look for animals and ghost chairs.

The Over-Size Box
This box holds a mix of paintings.
What do they have in common?
They are larger than 5x7 inches.

Press Release Draft - Comments welcome
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Honoria Starbuck
Spellerberg Projects

Flaneuse: Wander Art of Honoria Starbuck
January 16 – March 12, 2015
By appointment
Artist’s reception 
Saturday, January 16, 5pm
Spellerberg Projects is proud to present Flaneuse, a dynamic installation of small-format paintings by American artist Honoria Starbuck.
The works in this exhibition are the product of the artist as flaneuse, maneuvering through contemporary life and art history. Starbuck’s inspiration flows from the earliest of mark-making gestures, prehistoric cave painting, through art history to present day practices such as digital painting via tablet computers. The pieces explore color, shape and the interaction of materials, with subjects ranging from observed nature, abstract forms and fashion.
Paintings by Honoria Starbuck
The exhibition is a site-specific dynamic installation, conceived by the artist for the storefront gallery at Spellerberg Projects. Gazing in the windows of the gallery, the viewer sees dozens of small-format artworks displayed on a rail along the gallery walls. Upon entering the space, she encounters a cabinet containing hundreds of paintings, organized by theme. A white-gloved attendant invites her to select a set of work to display, then replaces the paintings on the rail with those of her choosing. This installation format is inspired by that of the Lithuania Pavilion of the 54th Venice Biennale, held in 2011.
"Visitors select boxes of art to display. I never know what will be shown in the gallery space at any given time. There are thousands of possible configurations directed by visitor choice," Starbuck observes.
The artist’s choice of the 5 × 7 inch postcard-sized format derives from her long-term engagement with Mail Art, a populist artistic practice centered on sending small scale works through the postal service. Originally practiced by the Fluxus artists of the 1950s and 60s, Mail Art has since developed into a thriving global movement.
About Honoria Starbuck
Honoria Starbuck received an interdisciplinary Ph.D in communications, fine arts, and education from the University of Texas, Austin. She has been a member of the global Mail Art Network for over twenty five years and her work has shown in festivals, museums, galleries and private settings around the world. She teaches at the Art Institute of Austin, and has taught art and design with the Austin Museum of Digital Art and the Art Institute of Pittsburgh. Starbuck serves on the advisory board of SXSW Edu and the programming board of SXSW Interactive.
Related Program
This exhibition is complemented by New Year, New Color!, a family-friendly art-making experience in which Starbuck will lead participants in making their own 5 × 7 inch postcard-sized paintings.
What is a Flaneuse?
The word flâneur refers to the nineteenth century French man depicted by writers such as Balzac and Baudelaire. He was a dashing young gentleman whose literary prowess allowed him to describe and analyze social customs, commerce and politics in the modernizing city. The idea of being a flâneur, someone who walks the streets observing city life, is key to our understanding of the urban, and of art, from the late nineteenth century onwards.
Historians typically portray the flâneur as an exclusively male identity. Nineteenth century urban women were assumed to have been passive, objectified, and exploited; not active participants in the burgeoning capitalist marketplace. For example, author Amantine-Lucile-Aurore Dupin had to disguise herself as a man and use the pseudonym “George Sand” in order to walk the streets of Paris freely. But even today’s women discover obstacles when stepping off the well-trodden paths of career, marriage, children. Because of this, a flaneuse is more than just the feminine equivalent of a flâneur, she’s also a feminist.
(Definition credit to Dana Goldstein and Lauren Elkin.)
Spellerberg Projects
103 South Main St.
Lockhart TX
About Spellerberg Projects
Spellerberg Projects is a new contemporary art space in Lockhart, Texas. Featuring local, national and international artists, it’s a “project space” where exhibitions and activities are driven by each artist’s unique practice.
Honoria Starbuck, Ph.D.
Teaching Artist
My mission is to live and to share a deeply creative life.

Teach Web at the Art Institute of Austin
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The Art Institute of Austin is currently identifying qualified candidates to teach classes in the Web Design program. A master's degree in the field is required for consideration.
Must have the following skills and abilities:

Apply at:

  • Amazing Web Authoring abilities with Edge Code / Animate, Muse, and HTML 5

  • Superb Web Scripting abilities with jQuery, Javascript, MySQL, CSS 3, PHP and HTML 5

  • Charismatic Content Management with Drupal, Moodle and WordPress

  • Ability to guide students from UX/UI design through production

    Job Summary

    The part time instructor facilitates meaningful learning of the course competencies in the curriculum and proactively supports all facets of the learning environment. S/He provides education through learning-centered instruction that will enable graduates to fulfill the evolving needs of the marketplace. S/He encourages a culture of learning that values mutual responsibility and respect, life-long learning and ethics as well as personal and professional development. This position is part time/adjunct only. Incumbent must assure that the EDMC philosophy: quality services to clients; development, growth, involvement, and recognition of employees; sound economic principles; and environment which is conducive to innovation, positive thinking and expansion - is considered in carrying out the duties and responsibilities of this position.

    Key Job Elements

    • Provides competency-based education which aligns with the EDMC model of curricula as well as supports the EDMC style of system delivery.

    • Designs and delivers class instruction through the development of instructional plans to meet course competencies, the development of activities which support lesson objectives, and (in the case of online instructors ONLY) delivers the instruction as approved.

    • Enables the achievement of pre-described exit competencies for student achievement and evaluation of learning by providing instruction which fosters competencies and establish student performance criteria and evaluation.

    • Delivers learning-centered instruction by establishing a classroom environment conducive to learning and student involvement as well as effectively planning and preparing for classes and student success.

    • Promotes student success by showing flexibility in style and work schedule as well as exhibiting a passion for teaching and students and engaging students in the learning process.

    • Manages the learning environment through keeping accurate records, submitting grades and other reports on time, and enforcing school/campus academic and attendance policies.

    • Contributes to a learning culture by participating on curriculum and system task forces, supporting local campus events such as orientation and graduation, and participating in various other workshops and meetings.

    • Relates professional/life/industry experience to learning by the continuation of professional/technical skills development, the introduction of industry perspective into courses, and the active awareness of professional/industry trends and opportunities.

    Reports To:
    Academic Director
    Directly Supervises:
    Interacts With:
    Academic affairs department, other school/campus functional areas, curriculum task force and other committees, other faculty, and students

    Job Requirements


    • Master's degree in a field related to the classes to be taught.

    • Three to five years experience in instruction or formalized education process, preferably in a post-secondary or college institution.

    • Membership in a professional association tied to area of instruction preferred.


    • Excellent verbal and written communication skills including the ability to build successful relationships with student populations.

    • Outstanding conflict resolution skills.

    • Demonstrated time management and detail-oriented skills

    • Computer based skills (i.e., software, analytical, and report writing skills )


    • Ability to work effectively under pressure and to meet frequently occurring deadlines.

    • Ability to develop a professional rapport with diverse school/campus constituents.

    • Ability to develop and complete projects without continued direct supervision

    • Ability to learn from students' participation, demonstrates fair and consistent behavior in all matters, and shows compassion without being ineffectual

Work Environment & Notice
Work Environment
The work environment characteristics described here are representative of those an employee encounters while performing the essential functions of this job. Reasonable accommodations may be made to enable qualified individuals with disabilities to perform the essential functions. The term "qualified individual with a disability" means an individual with a disability who, with or without reasonable accommodation, can perform the essential functions of the position. While performing the duties of this job, the employee is regularly required to communicate professionally in person, over the telephone, through email and other electronic means, move about the office or school, handle various types of media and equipment, and visually or otherwise identify, observe and assess. The employee is occasionally required to lift up to 10 pounds unless otherwise specified in the job description.

The intent of this job description is to provide a representative and level of the types of duties and responsibilities that will be required of positions given this title and shall not be construed as a declaration of the total of the specific duties and responsibilities of any particular position. Employees may be directed to perform job-related tasks other than those specifically presented in this description. Education Management Corporation is an Equal Opportunity Employer and embraces diversity as a critical step in ensuring employee, student and graduate success. We are committed to building and developing a diverse environment where a variety of ideas, cultures and perspectives can thrive.


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