Academic literature on the topic 'Western Washington University. Dept. of Art'

Horticulture departments have been experiencing a decline of students studying pomology and the tree fruit industry suffers from a shortage of horticulturists. Wenatchee Valley College responded to the tree fruit industry's request to develop an undergraduate pomology program. The program has an industry advisory committee, is industry oriented and emphasizes the art and the science of deciduous tree fruit production. Industry and field-based instruction is a significant component of the curriculum. The fruit industry funded the development of two laboratory orchards totaling 53 acres. Industry satisfaction and student placement is high. Wenatchee Valley College's success motivated the industry to encourage the Washington State University Dept. of Horticulture and Wenatchee Valley College to join in an educational partnership. The Washington Tree Fruit Program was implemented in 1993. It is the state's first educational program cooperatively developed by two state institutions of higher education and boasts 55 degree-seeking students. The articulated curriculum has many innovations and represents a significant departure from traditional undergraduate pomology curricula.

March 26–27, 2004, in St. Louis, Missouri, the Washington University School of Law's Whitney R. Harris Institute for Global Legal Studies and the School of Art hosted the Imperialism, Art and Restitution Conference. The conference brought together many of the world's leading experts on art and antiquities law, museum policy, and the larger cultural context surrounding these fields. The conference organizers chose several particularly controversial case studies to generate debate and discussion around the issues of whether Western states and their museums should return major works of art and antiquities, acquired during the Age of Imperialism, to the countries of origin. The case studies included the Elgin/Parthenon Marbles, the Bust of Nefertiti, and objects protected by the Native American Graves Protection and Repatriation Act (NAGPRA). The format produced a lively, interdisciplinary, and sometimes passionate debate that helped crystallize issues and expose complexities but certainly produced no consensus around a simple solution of return or retain.

Jerome Silbergeld introduced an art history approach into Chinese film studies with China into Film: Frames of Reference in Contemporary Chinese Cinema in 2000. Hitchcock with a Chinese Face goes further. Like an art historian selecting three seemingly disparate paintings and demonstrating their links, Silbergeld chooses a film each from Hong Kong, Taiwan and mainland China, but argues that they pursue similar aesthetic and political directions. The result is a virtuoso display of intense textual and inter-textual exegesis, informed by an in-depth knowledge of the pre-modern Chinese arts, contemporary Chinese political culture, and globally circulated Western culture (including Hitchcock). It is also a challenge to the discipline of film studies itself.The three films Silbergeld selects for analysis are Lou Ye's 2000 film from mainland China, Suzhou River (Suzhou he); Yim Ho's 1994 Hong Kong film, The Day the Sun Turned Cold (Tianguo nizi); and the final part of Hou Hsiao Hsien's 1995 Taiwan trilogy, Good Men, Good Women (Hao nan, hao nü,). He acknowledges that the project began as a personal indulgence allowing him to explore further some of his favourite films. However, his engagement with the films leads him to argue that each one, in its own way, deconstructs the commonly circulated idea of a unified Chinese culture, engages powerfully with morality, is narratively complex and anti-commercial, mobilizes a cosmopolitan knowledge of world cinema, and displays an unusual degree of interest in individual psychology and oedipality. The latter elements help to ground the comparisons to Hitchcock (as well as to Hamlet, Dostoevsky, Faulkner and others).

- Jet Bakels, Robert Layton, The anthropology of art. Cambridge: Cambridge University Press, 1991, 258 pp. - J.M.S. Baljon, Herman Leonard Beck, De Islam in Nederland: Romancing religion? [Inaugurele rede theologische faculteit Tilburg 14.2.1992.] Tilburg: Tilburg University Press 1992. - R.H. Barnes, J.D.M. Platenkamp, North Halmahera: Non-Austronesian Languages, Austronesian cultures?, Lecture presented to the Oosters Genootschap in Nederland at Leiden on 23 May 1989, Leiden: Oosters Genootschap in Nederland, 1990. 33 pp. - Hans Borkent, Directory of Southeast Asianists in the Pacific Northwest. Compiled by: Northwest Regional Consortium for Southeast Asian Studies. Seattle, WA: University of Washington [et al.], 1990. 108 pp. - Roy Ellen, Frans Hüsken, Cognation and social organization in Southeast Asia. Verhandelingen van het Koninklijk Instituut voor Taal-, Land- en Volkenkunde 145. Leiden: KITLV Press, 1991, 221 pp. figs. tables, index., Jeremy Kemp (eds.) - C. de Jonge, Huub J.W.M. Boelaars, Indonesianisasi. Het omvormingsproces van de katholieke kerk in Indonesië tot de Indonesische katholieke kerk, Kerk en Theologie in Context, 13, Kampen: Kok, 1991, ix + 472 pp. - Nico de Jonge, Gregory Forth, Space and place in eastern Indonesia, University of Kent at Canterbury, Centre of South-east Asian Studies (Occasional Paper no. 16) 1991. 85 pp., ills. - J. Kommers, Bernard Juillerat, Oedipe chasseur. Une mythologie du sujet en Nouvelle-Guinée, P.U.F., Le fil rouge, section 1 Psychanalyse. Paris, 1991. - Gerco Kroes, Signe Howell, Society and cosmos, the Chewong of Peninsular Malaysia, University of Chicago Press, 1989, xv + 294 pp. - Daniel S. Lev, S. Pompe, Indonesian Law 1949-1989: A bibliography of foreign-language materials with brief commentaries on the law, Van Vollenhoven Institute for Law and Administration in Non-Western Countries. Nijhoff, 1992. - A. M. Luyendijk-Elshout, H. den Hertog, De militair geneeskundige verzorging in Atjeh, 1873-1904. Amsterdam, Thesis Publishers, 1991. - G.E. Marrison, Wolfgang Marschall, The Rejang of South Sumatra. Hull: Centre for South-east Asian Studies, 1992, iii + 93 pp., ill. (Occasional Papers no. 19: special issue)., Michele Galizia, Thomas M. Psota (eds.) - Harry A. Poeze, Marijke Barend-van Haeften, Oost-Indie gespiegeld; Nicolaas de Graaff, een schrijvend chirurgijn in dienst van de VOC. Zutphen: Walburg Pers, 1992, 279 pp. - Ratna Saptari, H. Claessen, Het kweekbed ontkiemd; Opstellen aangeboden aan Els Postel. Leiden: VENA, Faculty of Social Sciences, University of Leiden, P.O. Box 9555, 2300 RA., M. van den Engel, D. Plantenga (eds.) - Jerome Rousseau, James J. Fox, The heritage of traditional agriculture among the western Austronesians. Occasional paper of the department of Anthropology. Comparitive Austronesian Project. Research school of Pacific studies. Australian National University, Canberra, Australia, 1992. 89 pp. - Oscar Salemink, Gehan Wijeyewardene, Ethnic groups acrss National boundaries in mainland Southeast Asia. Singapore 1990, Institute of Southeast Asian studies (Social issues in Southeast Asia series). x + 192 pp. - Henk Schulte Nordholt, U. Wikan, Managing turbulent hearts. A Balinese formula for living, Chicago: University of Chicago Press. 1990, xxvi + 343 pp. photos. - Mary Somers Heidhues, Claudine Salmon, Le moment ‘sino-malais’ de la litterature indonesienne. [Cahier d’Archipel 19.] Paris: Association Archipel, 1992. - Heather Sutherland, J.N.F.M. à Campo, Koninklijke Paketvaart Maatschappij; Stoomvaart en staatsvorming in de Indonesische archipel 1888-1914, Hilversum: Verloren, (Erasmus Universiteit Rotterdam, Publikaties van de Faculteit der Historische en Kunstwetenschappen III), 1992, 756 pp., tables, graphics, photographs. - Gerard Termorshuizen, Robin W. Winks, Asia in Western fiction. Honolulu: University of Hawaii Press, 1990. x + 229 pp., James R. Rush (eds.) - John Verhaar, Lourens de Vries, The morphology of Wambon of the Irian Jaya Upper-Digul area. Leiden: KITLV Press, 1992, xiv + 98 pp., Robinia de Vries-Wiersma (eds.) - Maria van Yperen, Cornelia N. Moore, Translation East and West: A cross-cultural approach, Honolulu: University of Hawaii Press. xxv + 259 pp., Lucy Lower (eds.) - Harvey Whitehouse, Klaus Neumann, Not the way it really was: constructing the Tolai past. Honolulu: University of Hawaii Press, 1992.

The intent of this study is not to defend a preconceived notion that either the market or the public sector is more defensible, but to inform the reader of the public support of the arts. The issue at hand, is whether or not public support of art activities can generate economic development and revenue in an urban regional economy. The scope of this paper will concentrate on the performing and visual artists.Before proceeding into the investigative background, it is important to establish a protocol statement as to “What Art Is.” In western societies, it has been argued that the core of art includes literature, the media, performing and visual art. The fundamental difference in the performing artist and the visual artist is that the former is rewarded with abundance, where the latter by scarcity. There are several reasons why art would be supported. They are as follows:1. Art is not necessarily a daily part of our conscious lives. However, large amounts of primary satisfaction received from art can lead to abstractions and ideas that are distributed and used in all parts of the economy. For example, the influence color tones may have on a particular advertising campaign of a particular product line.2. Art is basic to all human endeavors, collectively and individually. It is a link with the past, present and future. Art thus acts as education does—to influence, move, stimulate, and sustain us.3. If in fact art plays such an important part of our cultural heritage, we do not want our society to experience a deficit in art supply.Baumol and Bowen, in Performing Arts: The Economics Dilemma, make the argument that the labor intensity of the performing arts and its production cannot maintain the proper tempo with the continuous increase in technology in an industrial economy. Thus the performing arts face the stoic reality that operating costs will continue to be above earned revenue. They maintain that investments in performing arts tend to be labor intensive, therefore having the effect of widening the gap between earned revenue and operating costs.Barton Weisbrod, of the University of Illinois, claims that economics of the arts yield an “option value.” He defines “option value” as the value assigned to an option to consume, which we may not plan to consume in the near future. This creates a scenario that art works and products would have value to a person who may not personally participate. The myopia nature of the market mechanism may very well fail to allocate and distribute works, which would share these characteristics.Cultural capital, like real capital, is a stock variable and is subject to depletion. Art is a part of cultural capital, but must be preserved and replenished. Art as cultural capital can and does stimulate cultural tourism. Thus, cultural capital can and should be used as a possible generator of economic activity.A Heuristic database will be established showing the impact of cultural capital on the growth of art activities, jobs, spending and tourism in urban areas. It is particularly interesting to note that cultural activities may flourish in urban areas while the urban area itself may not flourish economically.Demand and supply economies such as those generated by cultural capital can generate economic development through broadening the economic base of an urban area. A recent study showed the impact of forty-five art organizations in Washington, D.C. These organizations accounted for $619 million dollars or for every one dollar invested, the art community returned an estimated five dollars and ninety cents into the economy. Thus the art community, and support for it, act as an incubator of broad-based demand and supply economies.Public support of cultural capital may very well be providing funds for high participation rates in art endeavors, as well as seed monies for low participation rates of art endeavors. The dilemma for the funding of cultural capital in the arts industry is that there has been a significant cut at the federal, state and local levels. This has forced the arts industry to face the need for expanding viewership and private funding. It can be argued that the lure of a clean, productive and community enhancing industry, such as the arts industry, would certainly be aggressively sought by any urban economics development agency.

<p class="MsoNormal" style="text-align: justify; margin: 0in 0in 0pt; mso-pagination: none;"><span style="font-size: x-small;"><span style="font-family: Times New Roman;">The intent of this study is not to defend a preconceived notion that either the market or the public sector is more defensible, but to inform the reader of the public support of the arts.<span style="mso-spacerun: yes;">&nbsp; </span>The issue at hand, is whether or not public support of art activities can generate economic development and revenue in an urban regional economy.<span style="mso-spacerun: yes;">&nbsp; </span>The scope of this paper will concentrate on the performing and visual artists.</span></span></p><p class="MsoNormal" style="text-align: justify; margin: 0in 0in 0pt; mso-pagination: none;"><span style="font-size: x-small;"></span></p><p class="MsoNormal" style="text-align: justify; margin: 0in 0in 0pt; mso-pagination: none;"><span style="font-size: x-small;"><span style="font-family: Times New Roman;">Before proceeding into the investigative background, it is important to establish a protocol statement as to <strong style="mso-bidi-font-weight: normal;">&ldquo;What Art Is.&rdquo;</strong><span style="mso-spacerun: yes;">&nbsp; </span>In western societies, it has been argued that the core of art includes literature, the media, performing and visual art.<span style="mso-spacerun: yes;">&nbsp; </span>The fundamental difference in the performing artist and the visual artist is that the former is rewarded with abundance, where the latter by scarcity.<span style="mso-spacerun: yes;">&nbsp; </span>There are several reasons why art would be supported.<span style="mso-spacerun: yes;">&nbsp; </span>They are as follows:<span style="mso-spacerun: yes;">&nbsp; </span>First, art is not necessarily a daily part of our conscious lives.<span style="mso-spacerun: yes;">&nbsp; </span>However, large amounts of primary satisfaction received from art can lead to abstractions and ideas that are distributed and used in all parts of the economy.<span style="mso-spacerun: yes;">&nbsp; </span>For example, the influence color tones may have on a particular advertising campaign of a particular product line.<span style="mso-spacerun: yes;">&nbsp; </span>Second, art is basic to all human endeavors, collectively and individually.<span style="mso-spacerun: yes;">&nbsp; </span>It is a link with the past, present and future.<span style="mso-spacerun: yes;">&nbsp; </span>Art thus acts as education does&mdash;to influence, move, stimulate, and sustain us.<span style="mso-spacerun: yes;">&nbsp; </span>Third, if in fact art plays such an important part of our cultural heritage, we do not want our society to experience a deficit in art supply.<span style="mso-spacerun: yes;">&nbsp; </span>Baumol and Bowen, in <span style="text-decoration: underline;">Performing Arts: The Economics Dilemma</span>, make the argument that the labor intensity of the performing arts and its production cannot maintain the proper tempo with the continuous increase in technology in an industrial economy.<span style="mso-spacerun: yes;">&nbsp; </span>Thus the performing arts face the stoic reality that operating costs will continue to be above earned revenue.<span style="mso-spacerun: yes;">&nbsp; </span>They maintain that investments in performing arts tend to be labor intensive, therefore having the effect of widening the gap between earned revenue and operating costs.</span></span></p><p class="MsoNormal" style="text-align: justify; margin: 0in 0in 0pt; mso-pagination: none;">&nbsp;</p><p class="MsoNormal" style="text-align: justify; margin: 0in 0in 0pt; mso-pagination: none;"><span style="font-size: x-small;"><span style="font-family: Times New Roman;">Barton Weisbrod, of the University of Illinois, claims that economics of the arts yield an &ldquo;option value.&rdquo;<span style="mso-spacerun: yes;">&nbsp; </span>He defines &ldquo;option value&rdquo; as the value assigned to an option to consume, which we may not plan to consume in the near future.<span style="mso-spacerun: yes;">&nbsp; </span>This creates a scenario that art works and products would have value to a person who may not personally participate.<span style="mso-spacerun: yes;">&nbsp; </span>The myopia nature of the market mechanism may very well fail to allocate and distribute works, which would share these characteristics.&nbsp; </span></span></p><p class="MsoNormal" style="text-align: justify; margin: 0in 0in 0pt; mso-pagination: none;">&nbsp;</p><p class="MsoNormal" style="text-align: justify; margin: 0in 0in 0pt; mso-pagination: none;"><span style="font-size: x-small;"><span style="font-family: Times New Roman;">Cultural capital, like real capital, is a stock variable and is subject to depletion.<span style="mso-spacerun: yes;">&nbsp; </span>Art is a part of cultural capital, but must be preserved and replenished.<span style="mso-spacerun: yes;">&nbsp; </span>Art as cultural capital can and does stimulate cultural tourism.<span style="mso-spacerun: yes;">&nbsp; </span>Thus, cultural capital can and should be used as a possible generator of economic activity.&nbsp; </span></span></p><p class="MsoNormal" style="text-align: justify; margin: 0in 0in 0pt; mso-pagination: none;">&nbsp;</p><p class="MsoNormal" style="text-align: justify; margin: 0in 0in 0pt; mso-pagination: none;"><span style="font-size: x-small;"><span style="font-family: Times New Roman;">A Heuristic database will be established showing the impact of cultural capital on the growth of art activities, jobs, spending and tourism in urban areas.<span style="mso-spacerun: yes;">&nbsp; </span>It is particularly interesting to note that cultural activities may flourish in urban areas while the urban area itself may not flourish economically. </span></span></p><p class="MsoNormal" style="text-align: justify; margin: 0in 0in 0pt; mso-pagination: none;"><span style="font-size: x-small;"></span></p><p class="MsoNormal" style="text-align: justify; margin: 0in 0in 0pt; mso-pagination: none;"><span style="font-size: x-small;"><span style="font-family: Times New Roman;">D</span></span><span style="font-size: x-small;"><span style="font-family: Times New Roman;">emand and supply economies such as those generated by cultural capital can generate economic development through broadening the economic base of an urban area.<span style="mso-spacerun: yes;">&nbsp; </span>A recent study showed the impact of forty-five art organizations in Washington, D.C.<span style="mso-spacerun: yes;">&nbsp; </span>These organizations accounted for $619 million dollars or for every one dollar invested, the art community returned an estimated five dollars and ninety cents into the economy.<span style="mso-spacerun: yes;">&nbsp; </span>Thus the art community, and support for it, act as an incubator of broad-based demand and supply economies. </span></span></p><p class="MsoNormal" style="text-align: justify; margin: 0in 0in 0pt; mso-pagination: none;"><span style="font-size: x-small;"></span></p><p class="MsoNormal" style="text-align: justify; margin: 0in 0in 0pt; mso-pagination: none;"><span style="font-size: x-small;"><span style="font-family: Times New Roman;">P</span></span><span style="font-size: x-small;"><span style="font-family: Times New Roman;">ublic support of cultural capital may very well be providing funds for high participation rates in art endeavors, as well as seed monies for low participation rates of art endeavors.<span style="mso-spacerun: yes;">&nbsp; </span>The dilemma for the funding of cultural capital in the arts industry is that there has been a significant cut at the federal, state and local levels.<span style="mso-spacerun: yes;">&nbsp; </span>This has forced the arts industry to face the need for expanding viewership and private funding.<span style="mso-spacerun: yes;">&nbsp; </span>It can be argued that the lure of a clean, productive and community enhancing industry, such as the arts industry, would certainly be aggressively sought by any urban economics development agency.</span></span></p>

05–32Allen, Linda Quinn (Iowa State U, USA). Implementing a culture portfolio project within a constructivist paradigm. Foreign Language Annals (New York, USA) 37.2 (2004), 232–239.05–33Al-Sehayer, Khalid (Riyadh, Saudi Arabia). ESL readers' perceptions of reading in well structured and less structured hypertext environment. CALICO Journal (TX, USA) 22.2 (2005), 191–212.05–34Barcroft, Joe (Washington U, USA). Second language vocabulary acquisition: a lexical input processing approach. Foreign Language Annals (New York, USA) 37.2 (2004), 200–208.05–35Bateman, Blair E. (Brigham Young U, USA). Achieving affective and behavioural outcomes in culture learning: the case for ethnographic interviews. Foreign Language Annals (New York, USA) 37.2 (2004), 240–253.05–36Chen, Tsai Yu & Chang, Goretti B. Y. (Ming Hsin U of Science and Technology, Taiwan). The relationship between foreign language anxiety and learning difficulties. Foreign Language Annals (New York, USA) 37.2 (2004), 279–289.05–37Csizér, Kata (Eötvös U, Hungary; weinkata@yahoo.com) & Dömyei, Zoltán (Nottingham U, UK; Zoltan.Dornyei@nottingham.ac.uk). The internal structure of language learning motivation and its relationship with language choice and learning effort. The Modern Language Journal (Madison, Wl, USA) 89.1 (2005), 19–36.05–38DeCapua, Andrea (Dept. of Teaching and Learning, New York, USA; adecapua@optonline.net) & Wintergerst, Ann. C. Assessing and validating a learning styles instrument. System (Oxford, UK) 33.1 (2005), 1–16.05–39De Florio-Hansen, Inez (U of Kassel, Germany). Wortschatzerwerb und Wortschatzlernen von Fremdsprachenstudierenden. Erste Ergebnisse einer empirischen Untersuchung [Acquisition and learning of vocabulary by university students of modern foreign languages: the first results from an empirical investigation]. Fremdsprachen Lehren und Lernen (Tübingen, Germany) 33 (2004), 83–113.05–40Derwing, Tracey M. (U of Alberta, Canada; tracey.derwing@ualberta.ca), Rossiter, Marian J., Munro, Murray J. & Thomson, Ron I. Second language fluency: judgments on different tasks. Language Learning (Oxford, UK) 54.4 (2004), 655–679.05–41Donato, Richard & Brooks, B. Frank (U of Pittsburgh, USA). Literary discussions and advanced speaking fucntions: researching the (dis) connection. Foreign Language Annals (New York, USA) 37.3 (2004), 183–199.05–42Ecke, Peter (U of Arizona, USA). Die Schlüsselwort-Mnemonik für den fremdsprachigen Wortschatzerwerb: Zum Stand der Forschung [The mnemonic keyword method and the acquisition of foreign language vocabulary: state of the art research]. Fremdsprachen Lehren und Lernen (Tübingen, Germany) 33 (2004), 213–230.05–43Erlam, Rosemary (U of Auckland, NZ; r.erlam@auckland.ac.nz). Language aptitude and its relationship to instructional effectiveness in second language acquisition. Language Teaching Research (London, UK) 9.2 (2005), 147–171.05–44Félix-Brasdefer, J. César (Indiana U, USA; cfelixbr.@indiana.edu). Interlanguage refusals: linguistic politeness and length of residence in the target community. Language Learning (Oxford, UK) 54.4 (2004), 587–653.05–45Fonder-Solano, Leah & Burnett, Joanne (Pennsylvania State U, USA). Teaching literature/reading: a dialogue on professional growth. Foreign Language Annals (New York, USA) 37.3 (2004), 459–469.05–46Guion, Susan G., Harada, Tetsuo & Clark, J. J. (U of Oregon, USA; guion@uoregon.edu). Early and late Spanish-English bilinguals' acquisition of English word stress patterns. Bilingualism: Language and Cognition (Cambridge, UK) 7.3 (2004), 207–226.05–47Hardison, Debra M. (Michigan State U, USA). Contextualised computer-based L2 prosody training: evaluating the effects of discourse context and video input. CALICO Journal (TX, USA) 22. 2 (2005), 175–190.05–48Jones, Randall (Brigham Young U, USA). Corpus-based word frequency analysis and the teaching of German vocabulary. Fremdsprachen Lehren und Lernen (Tübingen, Germany) 33 (2004), 165–175.05–49Jung, Euen Hyuk (Sarah) (Yonsei U, South Korea; junge@yonsei.ac.kr). Topic and subject prominence in interlanguage development. Language Learning (Oxford, UK) 54.4(2004), 713–738.05–50Lamb, Martin (U of Leeds, UK; m.v.lamb@education.leeds.ac.uk). ‘It depends on the students themselves’: independent language learning at an Indonesian state school. Language, Culture and Curriculum (Clevedon, UK) 17.3 (2004), 229–245.05–51Li, Xuemei & Girvan, Anita (Queen's U, Canada). The “Third Place”: investigating an ESL classroom interculture. TESL Canada Journal (Burnaby, Canada) 22.1 (2004), 1–15.05–52Li, Via (U of Alberta, Canada). Learning to live and study in Canada: stories of four EFL learners from China. TESL Canada Journal (Burnaby, Canada) 22.1 (2004), 25–43.05–53Mason, Beniko & Krashen, Stephen (Shitennoji International Buddhist U, Japan; benikonankimason@hotmail.com). Is form-focused vocabulary instruction worthwhile?RELC Journal (Singapore) 35.2 (2004), 179–185.05–54Nakatani, Yasuo (Nakamura Gakuen Junior College, Japan; nakatani@nakamura-u.ac.jp). The effects of awareness-raising training on oral communication strategy use. The Modern Language Journal (Madison, Wl, USA) 89.1 (2005), 76–91.05–55Nitta, R. & Gardner, S. (U of Warwick, UK). Consciousness-raising and practice in ELT course books. ELT Journal (Oxford, UK) 59.1 (2005), 3–13.05–56Radwan, Adel Abu (Sultan Qaboos U, Oman; radwan@squ.edu.om). The effectiveness of explicit attention to form in language learning. System (Oxford, UK) 33.1 (2005), 69–87.05–57Rieder, Angelika (U of Vienna, Austria). Der Aufbau von Wortbedeutungswissen beim Lesen fremdsprachiger Texte: ausgewählte Fallstudienergebnisse [The development of word comprehension during reading of texts in a foreign language: results from empirical case studies]. Fremdsprachen Lehren und Lernen (Tübingen, Germany) 33 (2004), 52–71.05–58Rifkin, Benjamin (U of Wisconsin-Madison, USA; brifkin@wisc.edu). A ceiling effect in traditional classroom foreign language instruction: data from Russian. The Modern Language Journal (Madison, Wl, USA) 89.1 (2005), 3–18.05–59Sayer, P. (U Autónoma Benito Juarez de Oaxaca, Mexico). An intensive approach to building conversation skills. ELT Journal (Oxford, UK) 59.1 (2005), 14–22.05–60Schmidt-Rinehart, Barbara C. & Knight, Susan, M. (Ashland U, USA). The homestay component of study abroad: three perspectives. Foreign Language Annals (New York, USA) 37.2 (2004), 254–262.05–61Shen, Helen H. (U of Iowa, USA; helen-shen@uiowa.ed). An investigation of Chinese-character learning strategies among non-native speakers of Chinese. System (Oxford, UK) 33.1 (2005), 49–68.05–62Wayland, Ratree P. (U of Florida, USA; ratree@ufl.edu) & Guion, Susan G. Training English and Chinese listeners to perceive Thai tones. Language Learning (Oxford, UK) 54.4 (2004), 681–712.

What are the possibilities of a body? This is a question that is answered best by thinking prosthetically. After all, the possibilities of a body extend beyond flesh and bone. Asked another way, one might query: what are the affective capacities of bodies—animal or otherwise? Philosophers Gilles Deleuze and Félix Guattari focus on affectivity as capacity, on what the body does or can do; thinking through Baruch Spinoza’s writing on the body, they state, “we know nothing about a body until we know what it can do, in other words, what its affects are, how they can or cannot enter into composition with other affects” (257). If bodies are defined by their affective capacities, I wonder: how can prosthetics be used to alter dominant and dominating relationships between the human and the non-human animal, particularly as these relationships bear on questions of race? In this essay, I forward a contemporary media installation, “The Slug Princess”, as a productive site for thinking through the prosthetic possibilities around issues of race, animality, and aesthetics. I contend that the Degenerate Art Ensemble’s installation works through uncommon prosthetics to activate what Deleuze and Guattari describe as becoming-animal. While animality has historically been mobilized to perpetuate Orientalist logics, I argue that DAE’s becoming-slug rethinks the capacities of the body prosthetically, and in so doing dismantles the hierarchy of the body normativity.The Degenerate Art Ensemble (DAE) is a collective of artists with international showings co-directed by Haruko Crow Nishimura, originally from Japan, and Joshua Kohl, from the United States. The ensemble is based in Seattle, Washington, USA. The group’s name is a reference to the 1937 Degenerate Art Exhibition in Munich, Germany, organized by Adolf Ziegler and the Nazi Party. The exhibition staged 650 works from what Nazi officials referred to as “art stutterers”, the pieces were confiscated from German museums and defined as works that “insult German feeling, or destroy or confuse natural form or simply reveal an absence of adequate manual and artistic skill” (Spotts 163). DAE “selected this politically charged moniker partly in response to the murder in Olympia [Washington] of an Asian American youth by neo-Nazi skinheads” (Frye). DAE’s namesake is thus an embrace of bodies and abilities deemed unworthy by systems of corrupt power. With this in mind, I argue that DAE’s work provides an opportunity to think through intersections of prostheticity, animality, and race.“The Slug Princess” is part of a larger exhibition of their work shown from 19 March to 19 June 2011 at the Frye Art Museum in Seattle. The installation is comprised of two major elements: a crocheted work and a video projection. For me, both are prosthetics.A Crocheted Prosthetic and Orientalist AnimalityThe crocheted garment is not immediately recognizable as a prosthetic. It is displayed on a mannequin that stands mostly erect. The piece, described as a headdress, is however by no means a traditional garment. Yellow spirals and topographies flow and diverge in tangled networks of yarn that sometimes converge into recognizable form. The knit headdress travels in countless directions, somehow assembling as a wearable fibrous entity that covers the mannequin from head to ground, spreading out, away, and behind the figuration of the human. In slumped orbs, green knit “cabbages’ surround the slug princess headdress, exceeding the objects they intend to represent in mass, shape, and affect. In this bustling excess of movement, the headdress hints at how it is more than a costume, but is instead a prosthetic.The video projection makes the prosthetic nature of the crocheted headdress evident. It is a looped performance of Nishimura that runs from ceiling to floor and spans the semi-enclosed space in which it is displayed. In the video, Nishimura walks, then crawls – slowly, awkwardly – through a forest. She also eats whole cabbages, supporting procedure with mouth, foot, and appendage, throwing the function of her body parts into question. The crocheted element is vital to her movement and the perception of her body’s capacities.As Nishimura becomes slug princess, the DAE begins to intervene in complex regimes of racial identification. It is imperative to note that Nishimura’s boy gets caught up in interpretive schemas of Western constructions of Asians as animals. For example, in the early diaspora in the United States, Chinese men were often identified with the figure of the rat in 19th-century political cartoons. Mel Y. Chen points to the ways in which these racialized animalities have long reinforcing the idea of the yellow peril through metaphor (Chen 110-111). These images were instrumental in conjuring fear around the powerfully dehumanizing idea that hordes of rats were infesting national purity. Such fears were significant in leading to the Chinese exclusion acts of the United States and Canada. Western tropes of Asians find traction in animal symbolism. From dragon ladies to butterflies, Asian femininity in both women and men has been captured by simultaneous notions of treachery and passivity. As Nishimura’s body is enabled by prosthetic, it is also caught in a regime of problematic signs. Animal symbolism persists throughout Asian diasporic gender construction and Western fantasies of the East. Rachel C. Lee refers to the “process whereby the human is reduced to the insect, rodent, bird, or microbe” as zoe-ification, which she illustrates as a resolute means of excluding Asian Americans from species-being (Lee Exquisite 48). DAE’s Slug Princess, I argue, joins Lee’s energies herein by providing and performing alternative modes of understanding animality.The stakes of prosthetics in becoming-animal lie in the problem of domination through definition. Orientalist animality functions to devalue Asians as animals, ultimately justifying forms of subordination and exclusion. I want to suggest that becoming-slug, as I will elaborate below, provides a mode of resisting this narrow function of defining bodies by enacting prosthetic process. In doing so, it aligns with the ways in which prosthetics redefine the points of delineation against normativity. As Margarit Shildrick illuminates, “once it is acknowledged that a human body is not a discrete entity ending at the skin, and that material technologies constantly disorder our boundaries, either through prosthetic extensions or through the internalization of mechanical parts, it is difficult to maintain that those whose bodies fail to conform to normative standards are less whole or complete than others” (24). DAE’s Slug Princess transmutates how animality functions to Orientalize Asians as the degenerate other, heightening the ways in which prosthetics can resist the racialized ideologies of normative wholeness.Why Prosthetics? Or, a Comparative Case in Aesthetic AnimalityDAE is of course not alone in their animalistic interventions. In order to isolate what I find uniquely productive about DAE’s prosthetic performance, I turn to another artistic alternative to traditional modes of Orientalist animality. Xu Bing’s performance installation “Cultural Animal” (1994) at the Han Mo Art Center in in Beijing, China can serve as a useful foil. “Cultural Animal” featured a live pig and mannequin in positions that evoked queer bestial sexuality. The pig was covered in inked nonsensical Roman letters; the full body of the mannequin was similarly tattooed in jumbled Chinese characters. The piece was a part of a larger project entitled “A Case Study of Transference”. According to Xu’s website, “the intention was both to observe the reaction of the pig toward the mannequin and produce an absurd random drama—an intention that was realized when the pig reacted to the mannequin in an aggressively sexual manner” (Xu). The photographs, which were a component of the piece, indeed evoke the difficulty of the concept of transference, imbricating species, languages, and taboos. The piece more generally enacts the unexpected excesses of performance with non-scripted bodies. The pig at times caresses the cheek of the mannequin. The sensuous experience is inked by the cultural confusion that images the seeming sensibility of each language. Amidst the movement of the pig and the rubbings of the ink, the mannequin is motionless, bearing a look of resigned openness. His eyes are closed, with a slight furrowing of the brow and calm downturned lips. The performance piece enacts crossings that reorient the historical symbolic force of racialization and animality. These forms of species and cultural miscegenation evoke for Mel Y. Chen a form of queer relationality that exemplifies “animalities that live together with race and with queerness, the animalities that we might say have crawled into the woodwork and await recognition, and, concurrently, the racialized animalities already here” (104). As such, Chen does the work of pointing out how Xu destabilizes notions of proper boundaries between human and animal, positing a different form of human-animal relationality. In short, Xu’s Cultural Animal chooses relationality. This relationality does not extend the body’s capacities. I argue that by focusing in on the pivotal nature of prosthesis, DAE’s slug activates a becoming-animal that goes beyond relationship, instead rethinking what a body can do.Becoming-Slug: Prosthetics as InterventionBy way of differentiation, how might “The Slug Princess” function beyond symbolic universalism and in excess of human-animal relations? In an effort to understand this distinction, I forward DAE’s installation as a practice of becoming-animal. Becoming-animal is a theoretical intervention in hierarchy, highlighting a minoritarian tactic to resist domination, akin to Shildrick’s description of prosthetics.DAE’s installation enacts becoming-slug, as illustrated in an elaboration of Deleuze and Guattari’s concept they argue: “Becoming-animal always involves a pack” “a multiplicity” (Deleuze and Guatttari 239). The banner of becoming-animal is “I am legion”. DAE is and are a propagation of artists working together. They enact legion. Led by a pack of collaborators, DAE engage a range of artists in continual, ongoing, and fluctuating process. Their current collaborators include (and surpass): architect/designer Alan Maskin, costume designer ALenka Loesch, dancer/singer Dohee Lee, performance artist/expressionist/songwriter/shape-shifter Okanomodé, and sound/installation artist Robb Kunz. For the broader exhibition at the Frye, they listed the biographies of fifteen artists and the names of around 200 artists. Yet, it is not the mere number of collaborators that render DAE a multiplicity – it is the collaborative excess of their process that generates potential at the intersection of performance and prosthetic. Notably, it is important that the wearable prosthetic headpiece used in “Slug Princess” was created in collaboration. “The contagion of the pack, such is the path becoming-animal takes” (Deleuze and Guattari, 243). Created by Many Greer but worn by Nishimura, it weighs on Nishimura’s body in ways that steer her performance. She is unable to stand erect as the mannequin in the exhibition. The prosthetic changes her capacities in unpredictable ways. The unexpected headdress causes her to hunch over and crawl, pushing her body into slow contact with the earth. As the flowing garment slows her forward progress, it activates new modes of movement. Snagging, and undulating, Nishimura moves slowly over the uncertain terrain of a forest. As Greer’s creation collides with Nishimura’s body and the practice of the dance, they enact becoming-slug. This is to suggest, then, following Deleuze and Guattari’s affective understanding of becoming-animal, that prosthetics have a productive role to play in disrupting normative modes of embodiment.Further, as Deleuze and Guattari indicate, becoming-animal is non-affiliative (Deleuze and Guattari 238). Becoming-animal is that which is “not content to proceed by resemblance and for which resemblance, on the contrary, would represent an obstacle or stoppage” (Deleuze and Guattari 233). Likewise, Nishimura’s becoming-slug is neither imitative (305) nor mimetic because it functions in the way of displaced doing through prosthetic process. Deleuze and Guattari describe in the example of Little Hans and his horse, becoming-animal occurs in putting one’s shoes on one’s hands to move, as a dog: “I must succeed in endowing the parts of my body with relations of speed and slowness that will make it become dog, in an original assemblage proceeding neither by resemblance nor by analogy” (258). The headdress engages an active bodily process of moving as a slug, rather than looking like a slug. Nishimura’s body begin as her body human begins, upright, but it is pulled down and made slow by the collaborative force of the wearable piece. As such, DAE enacts “affects that circulate and are transformed within the assemblage: what a horse [slug] ‘can do’” (257). This assemblage of affects pushes beyond the limited capacities of the screen, offering new productive entanglements.The Stuplime Loop as ProstheticTo the extent that conceiving of a headdress as a collaborative bodily prosthetic flows from common understandings of prosthetic, the medial interface perhaps stirs up a more foreign example of prosthesis and becoming-animal. The medial performance of DAE’s “The Slug Princess” operates through the video loop, transecting the human, animal, and technological in a way that displaces being in favor of becoming. The looping video creates a spatio-temporal contraction and elongation of the experience of time in relation to viewing. It functions as an experiential prosthetic, reworking the ability to think in a codified manner—altering the capacities of the body. Time play breaks the chronological experience of straight time and time as mastery by turning to the temporal experience as questioning normativity. Specifically, “The Slug Princess” creates productive indeterminacy through what Siane Ngai designates as “stuplimity”. Ngai’s punning contraction of stupidity and sublimity works in relation to Deleuze’s thinking on repetition and difference. Ngai poses the idea of stuplimity as beginning with “the dysphoria of shock and boredom” and culminating “in something like the ‘open feeling’ of ‘resisting being’—an indeterminate affective state that lacks the punctuating ‘point’ of individuated emotion” (284). Ngai characterizes this affecting openness and stupefying: it stops the viewer in their/her/his tracks. This importation of the affective state cannot be overcome through the exercise of reason (270). Departing from Kant’s description of the sublime, Ngai turns to the uglier, less awe-inspiring, and perhaps more debase form of aesthetic encounter. This is the collaboration of the stupid with the sublime. Stuplimity operates outside reason and sublimity but in alliance with their processes. Viewers seem to get “stuck” at “The Slug Princess”, lost in the stuplimity of the loop. Some affect of the looping videos generates not thoughtfulness or reflection, but perhaps cultural stupidity – the relative and temporary cessation or abatement of cultural logics and aesthetic valuations. The video loop comes together with the medial enactment of becoming-slug in such a manner that performs into stuplimity. Stuplimity, in this case, creates an opening of an affectively stupid or illegible (per Xu) space/time alternative being/becoming. The loop is, of course, not unique to the installation and is a common feature of museum pieces. Yet, the performance, the becoming-slug itself, creates sluggishness. Ngai posits that sluggishness works out the boredom of repetition, which I argue is created through the loop of becoming-slug. The slug princess’ slowness, played in the loop creates a “stuplimity [that] reveals the limits of our ability to comprehend a vastly extended form as totality” (271). That is, the loop, by virtue of its sluggishness, opens up becoming-animal not as a finite thing, but as an ongoing, cycling, and thoughtlessly tedious process. DAE’s installation thus demonstrates an attempt to adopt prosthetics to rethink the logics of control and power. In his writing on contemporary shifts in prosthetic function, Paul Preciado argues that digitalization is a core component of the transition from prosthetics to what emerge as “microprosthetic”, in which “power acts through molecules that incorporate themselves into our [bodies]” (78-79). I would like to consider the stuplime loops of becoming-slug to counter what Preciado describes as an “ensemble of new microprosthetic mechanisms of control of subjectivity by means of biomolecular and multimedia technical protocols” (33). Emerging in the same fashion as microproesthetics, which function as modes of control, the stuplime loops instead suspend the logics of control and power enabled by dominant modes of microprosthetic technologies. Rather than infesting one’s body with modes of control, the stuplime loops hijack the digital message and present the possibility of thinking otherwise. In her writing on queer cyborgs, Mimi Nguyen argues that “as technologies of the self, prostheses are both literal and discursive in the digital imaginary. They are a means of habitation and transformation, a humanmachine mixture engaged as a site of contest over meanings – of the self and the nonself” (373). Binaries perhaps structure a thinking between human and animal, but prosthetics as process goes beyond the idea of the cyborg as a mixture and maps a new terrain altogether.ReferencesChen, Mel Y. Animacies: Biopolitics, Racial Mattering, and Queer Affect. Durham: Duke University Press, 2012.Frye. “Degenerate Art Ensemble.” Frye Museum. 2017. <http://fryemuseum.org/exhibition/3816/>.Lee, Rachel C. The Exquisite Corpse of Asian America: Biopolitics, Biosociality, and Posthuman Ecologies. New York: New York University Press, 2014.Ngai, Sianne. Ugly Feelings. Cambridge: Harvard University Press, 2005. Nguyen, Mimi. “Queer Cyborgs and New Mutants: Race, Sexuality, and Prosthetic Sociality in Digital Space.” American Studies: An Anthology. Eds. Janice A. Radway, Kevin K. Gaines, Barry Shank, and Penny Von Eschen. Chichester: Wiley-Blackwell, 2009. 281-305.Preciado, Beatriz [Paul]. Testo Junkie: Sex, Drugs, and Biopolitis in the Pharmacopornographic Era. Trans. Bruce Benderson. New York: The Feminist Press at the City University of New York, 2013.Shildrick, Margarit. “‘Why Should Our Bodies End at the Skin?’: Embodiment, Boundaries, and Somatechnics.” Hypatia 30.1 (2015): 13-29.Spotts, Frederic. Hitler and the Power of Aesthetics. New York: Harry N. Abrams Publishers, 2003.Xu, Bing. “Cultural Animal.” 2017. <http://www.xubing.com/index.php/site/projects/year/1994/cultural_animal>.