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Consolidate School Loan

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By Ari S. Merretazon, M.S.CED

Since being hired in May 2006 as the ninth president of Temple University, Ann Weaver Hart, the first female president in the University’s 123 year history has initiated the devolution of its flagship community education program, the Pan-African Studies Community Education Program (PASCEP), a world class model of community education over the last 33 years, under a national eminent domain education movement, some call Community-based Learning.

Community-based Learning is a community engagement model presented as a national education movement in which universities expand their campuses into low and moderate income communities. This movement is presented as a collaborative approach to upgrading community infrastructure, businesses, housing conditions and community collaboration.

Within this model Temple is able to leverage massive amounts of development dollars based on research and socio-economic and housing data collected by professionals, most of whom are white and don’t live in North Philadelphia. This is how Temple has entered the Community-based Learning movement, much like other urban-based universities.

Granted, the concept of this movement is marketable in terms of expanding entrepreneurship, new capital improvements, and strengthening ties to its surrounding neighborhoods. Its process of implementation, however, is likened to an apartheid state or plantation administration.

Here is how it operates within well used principles of apartheid and plantation rule. A new president/administration comes in with a deceptive public relationship strategy of community engagement, collaboration, and promises of community inclusion. The vision of development is done with a standard community impact assessment; department heads are treated as 3/5ths of a human with no rights the administration is bound to respect; successful community education programs are dismantled or downsized beyond recognition under memoranda and news releases from the office of the president indicating a grand university/community vision such as “Broad Street and Beyond.”

The clearest case of this approach is the relocation/downsizing of the Temple University Pan-African Studies Community Education Program (PASCEP). This started only months after Temple’s first women president took office. She, without involving any of the current PASCEP staff in any collaborative discussion and decision-making, decided to relocate PASCEP off the main campus into a much smaller and unaccommodating facility with the distracting name of Community “Entertainment” Center. This suggests that Temple has no intention to continue PASCEP as a quality community education program.

With this apartheid and plantation handling of the director and program, the faculty, alumni association, and supporters are seeking to meet with Pres. Weaver Hart to discuss the negative impact of the relocation and downsizing with goal of keeping PASCEP on campus in Anderson Hall.

Pres. Weaver Hart has yet to give basic recognition, respect to the highly successful program or to its director. She has not responded directly to his letters and information packet about PASCEP which provided her with milestones achieved by PASCEP at its current capacity. To date supporters have received the same boiler-plate form letter response to each of their distinctly different letters of support for the program.

If the relocation proceeds in this apartheid/plantation process, the following successful programs will be terminated: The East Coast Black Age of Comics Convention. This is Philadelphia’s premiere comic book and literacy initiative; The PASCEP Black Male Development Symposium Rites of Passage Program; The PASCEP Prison Outreach; The PASCEP Community Consortiums; and the PASCEP Vendors Association. All of these vital community engagement programs with great exponential positive impact will leave Temple because of the apartheid and plantation incursion of Pres. Weaver Hart.
A vetting of Pres. Weaver Hart reveals, among other things, that she previously served as president of the University of New Hampshire and provost and vice president for Academic Affairs at Claremont Graduate University, neither similar to the Pan-African community in which Temple sets. Her prior education at every higher education level has been from the University of Utah, not nearly the multicultural environment of Temple.
Well, which way forward from here? Do the North Philadelphia community leaders know that PASCEP will never be the same if relocated? Will Pres. Weaver Hart open talks with the PASCEP director and the PASCEP faculty? When will the appropriate City Council and State Representatives intervene in this local disruption of a successful education program with a grand legacy of community-based learning and engagement for more than 33 years?
PASCEP is at a critical junction. The date set for this unjustified relocation has been set, un-officially, for fall 2008. Why must one successful community-based learning program be displaced by any new ones without a collaborative community process?
To collaborate in theory and practice is when at least two entities with similar interests come together to do something neither could do alone. As a faculty member of PASCEP, I know firsthand that Pres. Weaver Hart has not met with the director of PASCEP as a collaborative partner. If PASCEP’s director had been included in the decision-making process, perhaps there would have been a relatively seamless transition and supporters of PASCEP would not have to write such commentary and continue to oppose such apartheid/plantation approach to community-based learning.
ASM - April 29, 2008

DON’T MOVE PASCEP

Temple University has initiated the dismantling of the prestigious community education program, the Pan-African Studies Community Education Program (PASCEP), a world class model of multi cultural community education for the past 33 years.

Temple’s administration without involving the director or staff of PASCEP in any collaborative discussion, decided to relocate PASCEP off the main campus. With this move, several of PASCEP’s community outreach initiatives will be terminated and many of its classes will be eliminated.

Some of the PASCEP initiatives slated for EXTINCTION:

• The East Coast Black Age of Comics Convention (ECBACC),
which is Philadelphia’s premiere comic book and literacy initiative.

• The PASCEP/BMDS Rites-of-Passage Programs.

• The PASCEP Prison Outreach will be reduced by 75%.

• The PASCEP Community Consortiums.

• The PASCEP Vendors Association.

With an average population of over 1100 students per semester, 85 classes running four nights per week, all run by volunteers, PASCEP qualifies as the 5th largest “school” under the Temple University banner. Yet they fail to respect the citizens of Philadelphia, who are its students and faculty, essentially …

PASCEP is under SEIGE!!

If you want to learn more or interested in volunteering to stop this madness,

Please e-mail us at: friendsofpascep@yahoo.com
or learn more at our blog at http://360.yahoo.com/friendsofpascep

APARTHEID MISTRUST BETRAYAL

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Diedra Krieger, Still from Baudrillard video, video, n/a

For the summer season, Projects Gallery is pleased to announce a collaboration with curators Roberta Fallon and Libby Rosof entitled “ID”. This exhibition will showcase emerging Philadelphia artists united in pushing the boundaries of myth and persona in contemporary art. Fresh from various Philadelphia-area art colleges and programs, these artists embrace the ethos of the MySpace generation. Utilizing video, performance, sculpture and photography, “ID” explores broad and self-focused concepts ranging from issues of applied identity to the id of the artist. As put succinctly by the curators, “the works are metaphorical in ways that come out of the core of who they are and what they see around them.”
Jamie Diamond, The Radissons, photographic print, 40" x 60"

True to the zeitgeist, the artists use the self to express the political, environmental and personal. Documenting the seemingly mundane of the everyday, these works morph into an escapist fantasy. As Fallon and Rosof state, “their art is questioning their relationship to their families and friends, to the past, to the city, to the camera even.” Whether fabricating an alternate persona through video, documenting a false or surrogate family through photography, or constructing impossible landscapes of impractical materials, the artists express experience via the filter of their own “ID”. Through the embrace of the self-as-subject, these young artists confront the contemporary world by retreating into one of their own creation.
Andria Bibiloni, Blaster Bike, Mixed Media with Sound, dimensions variable

Artists include from Moore College of Art and Design, Samantha Hill; from Tyler School of Art, Andria Bibiloni and Carl Marin; from The University of the Arts Jay Hardman, Alex Gartelmann and Phil Jackson; and from University of Pennsylvania Jamie Diamond, Katy Rose Glickman and Sarah Zimmer; from Vermont College of Fine Arts, Philadelphia-based artist Diedra Krieger – all representing the spectrum of the Philadelphia art experience.
Jay Hardman, Philadelphia Building, cake/frosting/plastic/aluminum/wood, 34" x 24" x 22"

ID opens First Friday, June 6th with an artist reception from 5-8 p.m. There will be a performance of artist Samantha Hill’s “Black Iconography” at 7 p.m. The reception is free and open to the public. The exhibition continues through July 26th, 2008. Summer gallery hours are Thursday and Friday 4 p.m. to 7 p.m. and Saturday noon to 7 p.m.

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This is the last full week to view Project Gallery's duel solo exhibitions Henry Bermudez's "Con la Mirada en el Cielo" and Paul Santoleri's "Subterranean / Basement"

Bermudez continues his exploration of spiritually surreal imagery, combining his unique vision of pre-Colombian and Christian iconography. The complex arrangement of interlocking lines and colors are reminiscent of intricate Persian tapestries. The dense arrangement invites us to travel further into a realm of contemplation. Bermudez’s current body of work expands upon the tradition of cut-paper assemblage, expanding his surface to monumental proportions. The impressive scale confronts the viewer, while the subtle, enigmatic imagery draws one to “gaze to the heaven”.

Utilizing the unique exhibition possibilities of Project’s lower level, Paul Santoleri presents both large and small-scale works, as well as his site-specific blacklight-responsive wall paintings. Through spontaneous and free-formed animalistic and vegetal hybrids, one is able to view the spirit of creative energy that exists in all living things. Santoleri invites us to discover an underground world of color and light and to visit a phantasmal environ of his imagination.

Both Con La Mirada en el Cielo and Subterranean / Basement conclude May 31st, 2008. Gallery hours are Tuesday through Thursday noon to 5 p.m. and Friday and Saturday noon to 7 p.m.

Above is a shot of several of the volunteers hard at work at a POP planting at 8/Poplar on the 19th. It was a gorgeous day and a ton of volunteers showed up from POP, Teens 4 Good and Greater Philadelphia Federation of Settlements. Young and old alike picked up wheel barrows, shovels, rakes and loads of dirt to plant a multitude of trees, berries and vines. I had my cousin in town for a last minute visit so I couldn't stick around for too long, but I was there for an hour documenting part of the process of planting a small orchard.

Learn more about the project here. You can donate, via PayPal or check, via the website as well. It's a very cool project and I was there for the initial meeting. My job at PhillyCarShare didn't allow me to do much last year, but now that I'm free of that place, I can take photos and get my hands into the dirt with the rest of the gang.

A flickr set up starting here of the afternoon's planting.

Artist's Studio, photo credit Peter Camburn

In his second solo show at Projects Gallery, Henry Bermudez presents “Con La Mirada en el Cielo”. Bermudez continues his exploration of spiritually surreal imagery, combining his unique vision of pre-Colombian and Christian iconography. The complex arrangement of interlocking lines and colors are reminiscent of intricate Persian tapestries. The dense arrangement invites us to travel further into a realm of contemplation. Bermudez’s current body of work expands upon the tradition of cut-paper assemblage, in some cases expanding his surface to monumental proportions. The impressive scale confronts the viewer, while the subtle, enigmatic imagery draws one to “gaze to the heaven”.

The Cross of the 7 Sons, 8'H x 4'W, mixed media on cut paper

An internationally exhibited artist, Bermudez’s work is in numerous museum and private collections throughout the world. He was the Venezuelan representative to the 1985 Venice Biennale. A solo exhibition of his work is scheduled at the National Museum of Catholic Art and History in New York City in 2009.

The Cross, 4ft x 4ft, mixed media on cut paper

Con La Mirada en el Cielo opens First Friday, May 2nd with artist receptions from 5-8 p.m. The exhibition continue through May 31st, 2008. The reception is free and open to the public. Gallery hours are Tuesday through Thursday noon to 5 p.m. and Friday and Saturday noon to 7 p.m. A preview of works may be viewed on the gallery’s website at www.projectsgallery.com. For more information, please contact Projects Gallery at 267-303-9652 or info@projectsgallery.com.

Anemone, 30"H x 40"W, acrylic on canvas

Utilizing the unique exhibition possibilities of Project’s lower level, Paul Santoleri presents Subterranean / Basement. Featuring both large and small-scale works, as well as his site-specific wall paintings, the artist will be presenting for the first time a body of work created with day-glow paint. Through spontaneous and free-formed animalistic and vegetal hybrids, one is able to view the spirit of creative energy that exists in all living things. Santoleri invites us to discover an underground world of color and light and to visit a phantasmal environ of his imagination.


Untitled, 30"H x 40"W, acrylic on canvas

An international muralist, Santoleri’s studio work is in many public and private collections throughout Europe, Latin America and the U.S., including the Philadelphia Museum of Art. He also has a con-current exhibition at the Thomas Eakins House in Philadelphia, which runs through June.

BasementSubteranean, 3FT X 3FT, acrylic on canvas

Subterranean / Basement opens First Friday, May 2nd with artist receptions from 5-8 p.m. The exhibition continue through May 31st, 2008. The reception is free and open to the public. Gallery hours are Tuesday through Thursday noon to 5 p.m. and Friday and Saturday noon to 7 p.m. A preview of works may be viewed on the gallery’s website at www.projectsgallery.com. For more information, please contact Projects Gallery at 267-303-9652 or info@projectsgallery.com.

Elizabeth Bisbing, The Geisha, 6.66"H x 4.5"W, gouache on paper collage

Projects Gallery proudly presents Elizabeth Bisbing in her first Philadelphia solo exhibition entitled People / Places / Paper. Known for her skillful cut-paper assemblages that pay homage to familiar classical works, Bisbing creates delicately layered miniatures. For this exhibition, she creates interiors inspired by the works from the Dutch Golden Age as well as a series of figures from the wider body of art history. Expanding on the concept of a Victorian parlor game, Bisbing has removed or hidden most of the faces in these postcard-size portraits. Male and female saints, a geisha, and figures borrowed from Vermeer to Klimt all become featureless, teasing with the concept of what is hidden and revealed. The scenes of these recognizable images take on a new dimensionality and an intimate approachable scale through the artist’s sure hand. Through her interpretation of these precise cut-paper works, the art historical images take on a modern vitality.

Elizabeth Bisbing, Golf, 11.25"H x 7.25"W, gouache on paper collage

Bisbing is a graduate of Moore Collage of Art and Design and received her MFA from Vermont College. Her work has been reviewed in New York Magazine and The Sun.
People / Places / Paper opens First Friday, April 4th with an artist reception from 5-8 p.m. and continues through April 26, 2008. The reception is free and open to the public.

Elizabeth Bisbing, Saint Veronica, 6.66"H x 4.5"W, gouache on paper collage

Projects Gallery is located at 629 N. 2nd St. in Philadelphia’s Northern Liberties section. Gallery hours are Tuesday through Thursday noon to 5 p.m. and Friday and Saturday noon to 7 p.m. A preview of works may be viewed on the gallery’s website at www.projectsgallery.com. For more information, please contact Projects Gallery at 267-303-9652 or info@projectsgallery.com

Florence Putterman, Year of the Comet, 17.5"H x 23.5"W, etching

Projects Gallery is pleased present its second solo exhibition of Florence Putterman. Known for her textural paintings and bold, earthy colors, Noir et Blanc features works in only black and white, focusing the exhibition on Putterman’s keen image-making. Utilizing etching and woodcuts, these works on paper continue to explore an imaginative world of whimsy and humor. Expressive and figurative, these prints are companion pieces to her often large-scale paintings that have been the benchmark of this artist’s extensive body of work. Through these narrative prints, we are invited to explore both land and seascapes where humans interact with the animals and nature as a benevolent observer and caretaker. Putterman has the ability to interpret dreams and fantasy with charm and an almost child-like touch. Frogs and elephants, stars and moons all weave a tale of adventure with no certain meaning but a sense of nocturnal déjà vu.

Florence Putterman, Ancestral Kinship, 17.5"H x 23.5"W, etching

Putterman has had an extension exhibition history, and her works are included in many private and public collections, including the Metropolitan Museum of Art, the Brooklyn Museum and the Philadelphia Museum. In 1988 she received the Distinguished Alumni Award from the Pennsylvania State University.

Noir et Blanc opens First Friday, April 4th with an artist reception from 5-8 p.m. and continues through April 26, 2008. The reception is free and open to the public.

Florence Putterman, Nocturnal Encounter, 17.5"H x 23.5"W, etching

Projects Gallery is located at 629 N. 2nd St. in Philadelphia’s Northern Liberties section. Gallery hours are Tuesday through Thursday noon to 5 p.m. and Friday and Saturday noon to 7 p.m. A preview of works may be viewed on the gallery’s website at www.projectsgallery.com. For more information, please contact Projects Gallery at 267-303-9652 or info@projectsgallery.com

"Arcane Explosion: The damage cap for area of effect damage on this spell has been increased by approximately 50%.runescape gold.

Arcane Fortitude now increases your armor by an amount equal to 100% of your Intellect, up from 50%.runescape money.

Blink, Slow, and Spellsteal have all had their mana cost reduced.

Improved Blink: This talent no longer reduces the mana cost of Blink.sell wow gold.
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Using low ranks of Fire Ward and Frost Ward spell will now be penalized the same way healing spells are penalized.

Frostbite: When a frost spell is reflected back at a Mage, it is now possible for the Mage to suffer from the Frostbite effect.or wow.

Ice Barrier: Using low ranks of this spell will now be penalized the same way healing spells are penalized.

Icy Veins no longer stacks with Bloodlust, Heroism, or Power Infusion.

Improved FireWard has become Molten Shields.

Mana Shield: This spell will now get a percentage of the Mage’s bonus to spell damage as an additional effect.

New Talent: Molten Shields will cause your Fire Ward to have a 10/20% chance to reflect Fire spells while active.
In addition, your Molten Armor has a 50/100% chance to affect ranged and spell attacks.

Permafrost: This talent will now correctly increase the movement slowing effect of frost Armor instead of the attack speed slow.

Spellsteal will no longer overwrite a longer duration buff.
"
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