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INSAS
17 May 2018 to 20 May 2018
Producers' Academy 3

The Producers' Academy is back for a third edition, with an international training program focused on entrepreneurship for European producers working in the performing arts.

PRODUCERS' ACADEMY 3 The 3rd edition of the Producers’ Academy proposes a global reflection on how professional producers can deploy their skills as cultural ambassadors. Throughout the programme mixing workshops, case studies and round tables, participants will be invited to question their own practice through several philosophical and political filters. This year, the sector will be specifically approached through the prism of care, one of the fundamental concept of feminism.How to define production today?Where does it stand in the cultural sector?How to put it in perspective with cultural rights of the Declaration of Human Rights?How to adapt the methods of negotiation to specific cultural contexts?What are the main problems met in production?How to work efficiently while respecting and understanding different cultural realities of the partners?These questions will be raised during 4 days of workshops devoted to international productions. Through sessions facilitated by experts and practitioners, we will approach practical aspects of international collaborations including administrative, legal and financial issues. We will also discuss the subject in a more conceptual manner, while questioning innovative production models that reinvent the global cultural landscape.The workshops will be held exclusively in English.Lunch will be served every day.Registration is free of charge, participants will be selected upon application.

Programme

The programme will be articulated around presentations by professionals, exchange and sharing of experiences sessions as well as presentations of working tools.

Programme Click on the image above to have an overview of the programme. Speakers - Judith Knight, Director; ArtsAdmin (UK)- Eva Wilsens, Coordinator Manyone (BE)- Roger Christmann, Independant consultant, Berlin (DE)- Peggy Pierrot, Les ateliers des horizons (FR)- Marine Thévenet (FR)- Elena de Federico (IT)- Marie Lesourd, On The Move (FR) Facilitator Chrissie Faniadis, Board member of Fresh Arts Coalition Europe (SWD) Venue The Producers’ Academy 3 will take place at the National Institute of Performing Arts (INSAS), one of the centres of Kunstenfestivaldesarts 2018.

Conditions

Criteria of eligibility Producers’ Academy is open to:- People from all nationalities- People who have at least five years of experience as a producer* in the performing arts sector** (particularly in relation to the international development of their organisation, company, association etc.)* Producer: supervises, supports, follows and/or finances an artist or a collective/company** Performing arts: Is excluded from this definition operatic and music-only related projects- Producers/Cultural entrepreneurs who have developed or are in the process of developing innovative way(s) to support creation in an international dimension and/or with a trans-sectorial approach (performing arts and social engagement, performing arts and climate change issues etc.)- The event will be held exclusively in English. Therefore, participants need to be able to understand, communicate and work in English.Applications will have to be submitted to CIFAS by 01 April 2018. We will request participants to motivate their application in line with the criteria and programme of this 3rd edition. A complete and updated curriculum should also be submitted. Financial conditions - Participation is free of charge (Full programme + lunches)*-For non-EU based / nationals' applicants who need a Schengen visa and/or do not have any funding for their travels in case of selection, please send your application as soon as possible, at the latest on 15.03.2018.* We can send official invitation letters to those who wish to activate ways to support their participation costs. We, and our partner On The Move, will be happy to provide advice and guidance about available mobility support programmes.

Partners

CIFAS The International Centre for Training in the Performing Arts, CIFAS, was born thirty years ago, in order to provide performing artists and professionals with the opportunities to develop their practice by meeting and confronting internationally renowned artists and cultural operators. The current project CIFAS, initiated in 2009, intends to continue this legacy, adapted to the changing contemporary arts scene, in particular by extending its activities to all the arts and opening access to creative artists. CIFAS develops a training programme in the performing arts (theatre, dance, circus, live art, playwriting, in situ work, production...) aimed at artists – creators and performers – as well as cultural operators. This in-service training programme mainly takes the form of workshops, symposiums or seminars led by international artists and operators. CIFAS also organises SIGNAL, a yearly event to discuss and discover the complex relations between art and public space, and edits an electronic magazine called Klaxon about the relation between living art and the city. Keen Women’s Koven Wp Low Rise Hiking Boots Grey 7 W US Raven/Hot Coral 0PsEJhgHR
MoDul MoDul is a new Belgian artist support organisation travelling all around the world with theatre, dance and street art projects. Interdisciplinary by nature, flexible by choice: MoDul is a resource centre for creators and companies. It thinks, produces, distributes, communicates, invents and reinvents the “thousand ways” to make an artistic project happen. True swarm of production professionals, MoDul is also a platform for exchange of knowledge, training and circulation of information on the performing arts sector. Based in Brussels and in Wallonia, it also offers rehearsals spaces for residencies and consulting sessions for any artist working in Belgium. www.modulasbl.be On the Move On the Move is the cultural mobility information network active in Europe and worldwide.On the Move posts on a free, regular and updated manner funding opportunities for the mobility of artists and cultural professionals – all disciplines covered – in Europe and worldwide. Thanks to its members’ and partners’ expertise, On the Move also shares information on key challenges related to cultural mobility (eg. visas, social protection, taxation, environmental issues).Beyond this information channel, On the Move facilitates training, workshop and/or makes public presentations on cultural mobility issues. It also advises on internationalisation of practices and organisations in partnership with cultural bodies, agencies, networks, foundations etc. The On the Move network has recently started to work on evaluations and impacts’ studies related to artists’ mobility.On the Move is one of the partners of the EU funded project, Creative Tracks together with KEA European Affairs, Visiting Arts, Inovamais, Addict, Librios, Roberto Cimetta Fund and Baltan Laboratories. www.on-the-move.org Kunstenfestivaldesarts Kunstenfestivaldesarts is an international arts festival dedicated to contemporary creations: theatre, dance, performance, film, and visual arts. It takes place every year in May, showing Belgian and international performances in 20 theatres and arts centres, as well as in public spaces throughout Brussels: many creations which present new visions of the world to an audience who is invited to broaden its perspective. The Kunstenfestivaldesarts is a cosmopolitan city festival. Part of a complex network of communities, it serves to increase the porosity of territorial, linguistic, and cultural divides. The Kunstenfestivaldesarts happens in Brussels, the only city in Belgium inhabited by the country’s two largest language communities. Fundamentally conceived as a bilingual undertaking, the festival contributes to encouraging dialogue. LADIES WOMENS LAURA EYELET DETAILED BLOCK HEEL THIGH HIGH LACE ZIP UP BOOT Taupe 2742 doGRKV

Free of charge, under application (see conditions above).
Producers, bookers, administration managers, tour managers, cultural entrepreneurs
English
Rue Jules Bouillon, 1
Thursday 17 May: 9:30 > 19:30 Friday 18 May: 9:30 > 19:30 Saturday 19 May 2018: 9:30 > 19:30 Sunday 20 May 2018: 9:30 > 14:00

If you do not receive an email confirming we have received your application, please contact Cifas: cifas@cifas.be

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College of Arts and Sciences

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Phone: 216.368.4257Patricia Princehouse, Program Director patricia.princehouse@case.edu

The Evolutionary Biology Program is designed to provide students with knowledge of macro- and micro-evolutionary processes underlying the evolution and diversification of life on Earth and an understanding of the meta-scientific issues involved in this unique field of study.

The program includes grounding in the history and philosophy of evolutionary thought and alternative conceptualizations of the mechanisms, patterns, and processes of evolution. It emphasizes evolutionary theory, foundations of ecology and genetics, focused study of particular organisms or groups of organisms, and the dynamics of evolutionary principles in scientific inquiry.

Program Faculty

Patricia Princehouse, PhD

Radhika Atit, PhD

Cynthia M. Beall, PhD

Michael Benard, PhD

Darin Croft, PhD

Yohannes Haile-Selassie Ambaye, PhD

Emmitt Jolly, PhD

Bruce Latimer, PhD

Peter McCall, JD, PhD

Scott Simpson, PhD

Mark Willis, PhD

Peter A. Zimmerman, PhD

Undergraduate Programs

Major

Evolutionary biology is a second major, to be pursued in conjunction with a conventional disciplinary major. Up to 12 credits in required and elective courses taken by students for their first major may be applied to their evolutionary biology major.

The 30-credit interdisciplinary major in evolutionary biology consists of:

The approved electives may include additional philosophy/history of science courses from the list below. In consultation with a major advisor, students will tailor intensive study to suit particular interests within the major.

Minor

The 15-credit interdisciplinary minor consists of three foundation courses and two approved electives. In consultation with a minor advisor, students will tailor intensive study to suit their particular interests.

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Nor is there any reason to believe that, even if the direction of his state-controlled system is towards lower greenhouse gas emissions, the means chosen will be efficient, or the solutions innovative. Corbyn is in effect arguing that to supply everyone with decent food, the best way is to nationalise the supermarkets. Would that be a good idea?

It is clear why policymakers are afraid to take effective measures: because they are afraid these will be unpopular with voters

True, the private sector will not “automatically” deliver lower greenhouse gas emissions. But to call this a “market failure” does not make sense.

The release of greenhouse gas emissions is an unfortunate by-product of the use of fossil fuels. It is a form of pollution in the sense that it affects the environment we all live in. This cannot be controlled by any individual producer or user of fossil fuels. It requires society, governments, to step in and take measures to limit or stop. It does not require nationalisation of economic activities, but effective rules and regulations. For example, a carbon tax. Or strict emission limits.

These are exactly the measures policymakers are failing to take, if we consider that the Paris Climate Agreement is merely a non-binding and still inadequate commitment.

This is policy failure , not market failure.

And, if we look at the UK and other western countries for a moment, it is clear why policymakers are afraid to take effective measures: because they are afraid these will be unpopular with voters. (I am ignoring the politicians who deny that there is a problem in the first place.)

Corbyn is no exception. His call for nationalisation of the energy sector may sound oh so radical and ambitious, but it is, in fact, a clever way to avoid real responsibility, to avoid having to step up and advocate measures that would be much less popular than a promise of “free energy” at “no net cost to the taxpayer”.

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Karel Beckman is editor-in-chief of Energy Post.

Joannes Berque says

Publicly owned grid and competing electricity vendors may be a good middle of the road solution.

For competition to work well though, customers must have the possibility to make informed choices. This is not the case in my view because of the infinite variety of payment conditions offered – the 200 € for switching is a good example: OK, you get a bonus at first, how is that compensated in kWh rates afterwards, there are night rates, day rates, how do you compare your cost of energy with that of the other vendor? To know which vendor has the best offer takes a long and tedious examination of different options.

Most people have better things to do than doing such homework – and indeed, a system that requires people to do such homework to make the best decision is wasting society’s time. So in effect, competition is not working well. Customers make poorly informed decisions, and society is wasting time.

IF regulations were such that customers could easily make well informed decisions, competition between vendors would be good. This would only require a simplified and unified pricing system.

But this has not occurred at the moment and it simply doesn’t seem to occur for markets like energy or banking. Perhaps there are politically connected special interests that prevent it.

So in societies as they are now, I am not sure how well the system of competing private vendors works for electricity.

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Learn more about 18th-century studies

Links to important websites and other resources for 18th-century studies.

New ECF special issue: “Georgian Theatre in an Information Age: Media, Performance, Sociability.”

E-subscriptions to Eighteenth-Century Fiction journal always cost less than print.

Links to important websites and other resources for 18th-century studies.

New ECF special issue: “Georgian Theatre in an Information Age: Media, Performance, Sociability.”

E-subscriptions to Eighteenth-Century Fiction journal always cost less than print.

A McMaster University journal

(ECF) publishes academic research articles on literature and culture of the period 1660-1830.

Submit your essay

Send manuscripts of 6,000 to 8,000 words for consideration: Submissions LINK for ECF manuscripts

Contacts: ECF Editor Eugenia Zuroski , Managing Editor Jacqueline Langille , ecf@mcmaster.ca, 1-905-525-9140, x.27123.

Vous pouvez lire ce texte en français: http://ecf.humanities.mcmaster.ca/accueil/

The ECF Syllabus Treasury: http://ecf.humanities.mcmaster.ca/syllabus/

ASECS and V21 For the 2018 ASECS conference program, Katarzyna Bartoszynska and Eugenia Zuroski circulated a call for contributions to a roundtable responding to the V21 Collective’s intervention in nineteenth-century studies and the possibilities it presented for reflecting on current problems and critical approaches in eighteenth-century studies.The roundtable featured brief talks by five scholars —...

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Links to important websites and other resources for 18th-century studies. Dr Martens Brown Aztec Shoe Size 11 PeMp1gphy8

The Council of Editors of Learned Journals http://www.celj.org(CELJ) has awarded Eighteenth-Century Fiction the CELJ 2017 Voyager Award for excellence in any journal covering the period 1500–1800!ecf.humanities.mcmaster.ca ECF Editor Eugenia Zuroski, McMaster University: “The CELJ judges were especially impressed by special issue Mediating Richardson, guest editors Sören Hammerschmidt and Louise Curran. Read “Mediating Richardson” on Project...

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The ECF Editors ask authors to allow four months from the date of submission to get through the peer review process. The ECF Editors do not send every manuscript to external peer reviewers; for some submissions, the editors provide in-house peer review. For 2017, the average response time has been about two months from the...

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