Programs and Communities

Hybrid system models - those devised from two or more disparate sub-system models - provide a number of benefits in terms of conceptualization, development, and assessment of dynamical systems. The decomposition approach helps to formulate complex interactions that are otherwise difficult or impractical to express. However, hybrid model development and usage can introduce complexity that emerges from the composition itself.

To improve assurance of model correctness, sub-systems using disparate modeling formalisms must be integrated above and beyond just the data and control level; their composition must have model specification and simulation execution aspects as well. Poly-formalism composition is one approach to composing models in this manner.

This dissertation describes a poly-formalism composition between a Discrete EVent System specification (DEVS) model and a Cellular Automata (CA) model types. These model specifications have been chosen for their broad applicability in important and emerging domains. An agent-environment domain exemplifies the composition approach. The inherent spatial relations within a CA make it well-suited for environmental representations. Similarly, the component-based nature of agents fits well within the hierarchical component structure of DEVS.

This composition employs the use of a third model, called an interaction model, that includes methods for integrating the two model types at a formalism level, at a systems architecture level, and at a model execution level. A prototype framework using DEVS for the agent model and GRASS for the environment has been developed and is described. Furthermore, this dissertation explains how the concepts of this composition approach are being applied to a real-world research project.

This dissertation expands the tool set modelers in computer science and other disciplines have in order to build hybrid system models, and provides an interaction model for an on-going research project. The concepts and models presented in this dissertation demonstrate the feasibility of composition between discrete-event agents and discrete-time cellular automata. Furthermore, it provides concepts and models that may be applied directly, or used by a modeler to devise compositions for other research efforts.

The demand for interdisciplinary and cross campus courses has increased substantially over the past few years resulting in increased program offerings and modifications to existing coursework in universities across the nation. This is very clearly evident in the arts realm. However, there is no clear agreement of knowledge, skills and abilities deemed important to the success of selfemployed artists and arts entrepreneurs. This essay presents qualitative data collected from personal conversations and other data collected over the past several years from students and faculty members engaged in lessons learned from The Coleman Foundation Faculty Fellows Program, a national initiative of The Coleman Foundation. Building upon the lessons learned from this initiative a framework is presented to embed entrepreneurship content across several arts subjects. Suggestions for conceiving and designing entrepreneurship course content are portrayed. The “modules” approach to the infusion of entrepreneurship within the arts and other disciplines are presented. Assessment methods to measure the impact of using such modules to infuse entrepreneurship are explained. Pedagogical constructs and pedagogical resources are presented. The implications for future research are postulated and suggested.

This essay looks at pedagogies that can be deployed to teach the habits of mind that support arts entrepreneurship through the lenses of frameworks developed by Gardner, Duening, and Costa & Kallick for conceptualizing ways of thinking. It draws a network of connections between these frameworks for ways of thinking on which are mapped various pedagogies for teaching arts entrepreneurs as employed in educational programs and as described in recent literature. After first briefly summarizing each of these frameworks, I graphically describe the ways these various frameworks may overlap and then offer examples of pedagogies that support the development of entrepreneurial habits of mind for artists and others.

In this essay, I investigate the relationship between local political context and entrepreneurship in the arts, specifically entrepreneurship by cultural institutions, which I refer to as “cultural entrepreneurship.” I look at cultural entrepreneurship as a discourse and discuss one locus in particular, the city of Utrecht in The Netherlands. The discourse on cultural entrepreneurship in the Dutch context is influenced by diminishing government responsibility for financial support of the arts. Entrepreneurship is seen in that context as finding new sources of income. Entrepreneurial values such as curiosity and experimentation are dominant in the routine relationship between cultural organizations and their subsidizing administrations but are not incorporated in the understanding of cultural entrepreneurship. After applying these considerations to the observation of the culture-political practice in the city of Utrecht, I suggest a framework that allows us to understand the discourse on the relationship between cultural entrepreneurship and political context along two axes. One axis moves between risk acceptance and aversion, and the other between the private and public interests.

This article argues that the current economic design of the US not-for-profit arts sector, specifically theatre, fails to support the long-term wellness of the cultural worker and the cultural commons. As a solution, we propose a global, commons-based alternative economy and complementary currency called Culture Coin that creates new wealth, abundance, and virtuous social behaviors by matching unmet needs with underutilized resources that our current economy fails to circulate. The current design of our arts economy results in generative artists being disproportionately poorer, unjust disparities in how resources are distributed, and social behaviors in the nonprofit sector that mimic for profit, commercial enterprises. The arts sector has an over-dependence on uncompensated or undercompensated “sweat equity” and volatile philanthropic funding. We detail the value and characteristics of a commons framework for entrepreneurial activity and describe internet-enabled peer production as a way to build cultural commons as well as the most effective way to collectively co-create and deploy the Culture Coin project.