MYP winners! Academic honesty film competition. In 2016, we invited students from the Middle Years Programme (MYP), Diploma Programme (DP) and Career-related Programme (CP) to take part in the Academic Honesty Competition.
Students were asked to submit a poster or short film either individually or as part of a team. The results were outstanding and the standard of films and posters was exceptional. Choosing the winners was a very difficult task for our panel of judges but we are delighted to share with you the winning entries along with an interview with those winners. A huge thank you to all those students who participated in this competition with such enthusiasm. We spoke to four students Hanna Jean, Hind Melouah, Leena Aissaka and Madina Khaleque, MYP students from the King Fahad Academy (United Kingdom), and winners of the MYP film category, to see what they thought about winning and why they felt academic honesty was an important topic. Why did you decide to take part in this competition? Do you enjoy being creative? ‘The Painting Must Go’: Hannah Black Pens Open Letter to the Whitney About Controversial Biennial Work.
Parker Bright protesting Dana Schutz’s Open Casket.
Despite initially receiving semi-positive notices, mainly from white critics, a Dana Schutz painting in the Whitney Biennial generated controversy this weekend. This past Saturday, the artist Parker Bright held a protest in front of the work, which is titled Open Casket and depicts an abstracted version of the famed photograph of Emmett Till’s open-casket funeral. Bright wore a grey T-shirt, with “BLACK DEATH SPECTACLE” written in Sharpie on the back of it, and reportedly said, “She has nothing to say to the black community about black trauma.” Writers, curators, and artists took note of the protest online and responded. Now, the artist and writer Hannah Black has issued an open letter addressed to the Whitney Biennial’s curators, Christopher Y.
Korean age explained.:Why a baby born on Dec. 31 turns two years old the next day — Quartz. Being wealthy has become so passé that rich people are increasingly choosing not to display that wealth—that’s the theory behind a new book exploring the changing consumption habits of rich people in the West.
In 1899, the American economist and sociologist Thorstein Veblen published the classic polemic The Theory of the Leisure Class. Veblen’s book was among the first to examine how the wealthy used purchasing decisions to demonstrate their class. To describe this behavior, Veblen coined the term “conspicuous consumption”—defined as spending on publicly observable goods like clothing and accessories. Veblen argued, as an example, that the main point (pdf) of wearing high-heel shoes or a top hat for the rich was to demonstrate that you could not possibly do any manual labor.
The book became well-known as an early criticism of the excesses of capitalism. Almost 120 years later, sociologist Elizabeth Currid-Halkett has taken the baton from Veblen—but with a modified target. 1. 2. Comments. 111 Ways NOT to say "turn to page XYZ and answer the questions" when Teaching History - FlippingHistory.net.
Could Mikhail Gorbachev Have Saved the Soviet Union? Cuban missile crisis was a triumph of diplomacy, not brinksmanship. Why Authoritarians Attack the Arts - NYTimes.com. In 1937, ascending leaders of the Third Reich hosted two art exhibitions in Munich.
One, the “Great German Art Exhibition,” featured art Adolf Hitler deemed acceptable and reflective of an ideal Aryan society: representational, featuring blond people in heroic poses and pastoral landscapes of the German countryside. The other featured what Hitler and his followers referred to as “degenerate art”: work that was modern or abstract, and art produced by people disavowed by Nazis — Jewish people, Communists, or those suspected of being one or the other. The “degenerate art” was presented in chaos and disarray, accompanied by derogatory labels, graffiti and catalog entries describing “the sick brains of those who wielded the brush or pencil.” Hitler and those close to him strictly controlled how artists lived and worked in Nazi Germany, because they understood that art could play a key role in the rise or fall of their dictatorship and the realization of their vision for Germany’s future.