We Are All Africans

Svante Pääbo once said, “We are all Africans, either living in Africa or in recent exile from Africa.”

It is now abundantly clear that Africa was the “cradle of humanity,” with multiple waves of hominins arising on that continent and spreading across the old world, eventually being effectively displaced by our own species, which also arose in Africa.

Given these facts, it is not surprising that the strong emphasis of anthropogeny is on the continent of Africa with wide-ranging studies including genetic, paleontological, archeological, primatological, climatological, sociocultural and more.

This CARTA symposium focuses on the contributions of scientists and scholars of anthropogeny who live and work in Africa.

Browse more programs in Anthropogeny: The Perspective from Africa.

Women in Leadership 2019

“Where on an imagined clock of equality do we now stand?” asks veteran journalist Lynn Sherr at the start of this year’s Women in Leadership panel.

Listen in as Sylvia Acevedo, Chelsea Clinton, Jedidah Isler answer that question and share their thoughts on the present and future of the role of women in America. Each panelist reflects on her road to leadership and details the support mechanisms and mindsets needed to get there when faced with adversity.

This is the second annual Women in Leadership panel – convened to celebrate and honor the legacy of Sally Ride, the first American woman to fly in space.

Watch — A Conversation with Sylvia Acevedo, Chelsea Clinton, Jedidah Isler, and Lynn Sherr

Ann Patchett

Contributed by John Menier

8232Listed by Time magazine as one of the world’s 100 most influential people in 2012, Ann Patchett is a true woman of letters: novelist, essayist, anthologist, and co-owner of Parnassus Books in Nashville. Patchett is also a frequent and accomplished public speaker, noted for her anecdotes about the literary life, her insights into the creative process, and her wry wit.

One of Patchett’s favorite topics is the ever-changing relationship between readers and books. As an example she cites her own evolution reading (and re-reading) the works of John Updike, Leo Tolstoy, Pearl Buck, Ta-Nehisi Coates, and others, noting that “the books don’t change, but we do.” Put another way, the reader’s evaluation of a particular book is shaped as much by the reader’s life experience and circumstances as by the work’s innate qualities. As such our appreciation (or lack thereof) for a particular title may change over time, but the consistent commonality among the books we treasure is that they never fail to evoke a strong response. Patchett believes the writer’s primary task is to elicit that response by inviting the reader to become an active participant in their story.

Patchett’s approach to the reading public is refreshingly un-elitist. She stresses the importance of what she calls “gateway drugs,” books of dubious literary worth that may encourage readers to explore other authors and genres. She applauds the success of “trashy” pop novels such as “Fifty Shades of Gray” and “Twilight,” no matter their pedigree, for their role in re-vitalizing book sales and energizing the publishing community. What matters most to Patchett as both author and bookstore owner is that the reading habit is fostered and encouraged, and in that endeavor, there’s no place for snobbery.

Click here to watch An Evening with Ann Patchett

Click here for more programs from The Library Channel

New Series Explores the Spread of HIV in Tijuana

8232Every once in awhile, we work on a project that touches our soul. Such is the case of HIV/SIDA, a four-part series that brought us in contact with people whose paths we otherwise would not have crossed.

In the two years of field reporting, we saw many acts of kindness — the glamorous physician who washes the feet of Tijuana’s poor, the compassionate medical student who worries about a sex worker’s UTI, the transgender woman who overcomes her fear of mockery and reveals her HIV status, the ex-heroin addict who walks the Tijuana River Canal, urging residents to protect themselves by using clean needles, and the Tijuana cop who is teaching his fellow police officers to see addiction as a sickness, not a crime. These are among many featured in this series HIV/SIDA: The Epidemic in Tijuana.

We’ll show you what UC San Diego researchers and others are doing to stop the spread of HIV and how those most affected by the epidemic are coping under difficult conditions. And, we’ll share some of our favorite moments of empathy, moments of hope for humanity, the kind that stick with you, long after the reporting is done.

Watch HIV/SIDA: The Epidemic in Tijuana.

Submitted by Shannon Bradley, UCTV Producer of HIV/SIDA: The Epidemic in Tijuana

Pay Attention – New Documentary Features UCSD’s Stuart Collection

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An eternal question: What is “public art?”

The definition of public art continues to evolve, but at its most basic level public art can be defined as “work created by artists for places accessible to and used by the public.” In other words, there’s no velvet rope ‘twixt the art and the patron. It’s worth noting that the art/public art field distinguishes between “public art” and “art in public places.” The former term implies a contextual, often collaborative approach to the creation of art that takes the site and other local factors into account, while the focus of the latter is on the art itself, not where it will be sited. Put another way, “public art” is site-specific, or designed for a particular environment – for instance, a university campus.

“UCSD may not have a football team, but it does have the Stuart Collection.”
– A UC San Diego student

Established in 1982 by retired businessman James Stuart DeSilva, the Stuart Collection of public art at UC San Diego is unique in several respects:

Commissioned Works

Whereas other collections – for example, UCLAs Murphy Sculpture Garden – consist of acquisitions, all works in the Stuart Collection are commissioned; prominent contemporary artists are invited to survey the campus and develop proposals based on their site selection. Proposals are reviewed and approved by an Advisory Board, and most of the works are constructed on-site rather than in a studio.

Self-Funded

The Collection also differs in its funding model. Other collections, such as the J. Michael Bishop Art Collection at UCSF Mission Bay, typically rely on a percentage of construction budgets (1% is common) allocated for public art, but the Stuart Collection is entirely self-funded by grants and donations.

Variety of Forms

An unusual emphasis on variety is another hallmark of the Stuart Collection. Unlike a conventional sculpture garden the works span a variety of forms, materials, genres, etc., and are often “one of a kind” in relation to the artist’s body of work. As the pieces are varied, so too are the artists themselves, ranging from painters (Elizabeth Murray) to installation artists (Nam June Paik) to composers (John Luther Adams). Several of the artists who’ve created pieces for the Collection are not otherwise known for public art (John Baldessari, William Wegman, Terry Allen).

However varied in their form and function, all of the pieces in the Stuart Collection share a common goal. They don’t proselytize or attempt to define “good art” but, in the words of artist Bruce Nauman, they do ask the viewer to “pay attention,” to regard their familiar environment in a different way and, in the process, perhaps see themselves in a new way as well.

Watch Pay Attention: The Stuart Collection at UC San Diego, then browse more programs that explore UCSD’S Stuart Collection.