Crime Offenders

The post has two assignments

1:John Neff

In his email invitation to the series, Flint paraphrased the Henry’s description of this event, available on its public website. With these events: “The general public is invited to sit alongside degree-seeking individuals studying fine art to share ideas and raise questions about contemporary art.” I hope Flint won’t mind my sharing this wisdom about artists’ talks that he included in one of our email exchanges: “I have tried to communicate to the students the two, general modes in which these sorts of talks are prepared: either rushed on planes and in hotel rooms in the days/minutes immediately prior to the event—or as archived, musty files that are opened annually and updated thoughtlessly with what might be current.” That assessment sounds about right to me…and neither option appeals to me.

In fact, although I’m a big talker with lots to say about myself and just about everything else (depending on the day and the drinks), I don’t relish giving conventional artist talks at all. (I’d rather deliver my monologues in a conversational context.) At the same time, I haven’t enjoyed a newer possibility, the “performative lecture,” from either side of the podium. So, what options remain? As Flint and I talked through his invitation, first via email and later on the phone, it occurred to me that part of our (yours and my) interface in the classroom and studio might tackle this question of remaining options.

Starting online and continuing in person after my arrival in Seattle next Wednesday evening, I’d like to discuss with you what my talk or performance at the Henry might be. Your participation is voluntary. Unless, I suppose, Flint choses to make an assignment of it. I have a few questions to jumpstart the conversation:
Who might (or should) attend the talk or performance? Who might (or should) enact the talk or performance? How about a Q&A session?
What’s desired and/or expected from an artist’s talk or performance? (Education? entertainment? moral uplift?) What’s desired and/or expected from an artist’s talk or performance in the Henry’s series? What are we discussing here: the desires and expectations of the artist, the desires and expectations of individual audience members, or the desires and expectations of the institution? All of the above? Does it matter? If so, how?
Are there elements that might (or should) be present in an artist’s talk or performance? (Anecdote? art history? biography? theory?)
How long might (or should) an artist’s talk or performance be? (As long as a pop song? a BBC Masterpiece Mystery? a Tehching Hsieh performance?)
I welcome whatever ideas – or additional questions – you have in response to these prompts. At the very least, this process will help me through a challenging obligation. At most, we may come up with a novel approach to composition within this form that also fulfills some of the desires and needs attached to the Henry’s Critical Issues in Contemporary Art series.

http://www.renaissancesociety.org/exhibitions/479/john-neff/
write a 800 words research eseeay

2:Risks of getting caught known to potential Offenders?

Identify the theory used in your answer. Provide appropriate citations

1-As a policymaker, how would you make the objective risks of getting caught known to potential offenders?

2-Biological theories often meet with great resistance in the social sciences. Why? Can you think of past historical examples of where biological theories were misused? What dangers could you foresee regarding such misuse?

3-What is social disorganization? What neighborhoods in your area do you consider socially disorganized? What factors are found in the neighborhoods that lead you to this conclusion?

crime offenders