Joshua I Cohen
Biographic Data
| ID | 3827847 |
|---|---|
| NAME | Joshua I Cohen |
| GIVEN NAMES | Joshua I |
| FAMILY NAME | Cohen |
| SIGNATURE | COHEN J I |
| AFFILIATIONS | City College of New York |
| ORCID | 0000-0001-8885-9781 |
| VERIFIED | Yes |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 5 |
| WORKS AS AUTHOR | 11 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1999 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 2 |
Introduction to “Art, Signs, and Cultures” (1977)
This document, translated from the original French, is an edited transcript of a conversation between the Senegalese painter Iba Ndiaye, the French art historian Jean Laude, and a moderator, Roger Pillaudin. It took place on the occasion of the Festival des arts et cultures africaines in Royan, France (March 1977), and was later broadcast on the radio channel France Culture. What stands out in the conversation is the way Laude seeks to negate Ndi…
Art, Signs, and Cultures
This document, translated from the original French, is an edited transcript of a conversation between the Senegalese painter Iba Ndiaye, the French art historian Jean Laude, and a moderator, Roger Pillaudin. It took place on the occasion of the Festival des arts et cultures africaines in Royan, France (March 1977), and was later broadcast on the radio channel France Culture. What stands out in the conversation is the way Laude seeks to negate Ndi…
Art History, Postcolonialism, and the Global Turn
When taken as a conglomerate, the postcolonial, the global, and the decolonial might signal a coordinated “decolonizing” action—one of breaking with the Eurocentric, patriarchal, and nationalist foundations of art history. Yet from a disaggregating perspective, these three terms and their respective domains cannot be seen as synonymous or entirely harmonious. What particularly demands scrutiny is the tendency to dismiss the postcolonial, or annou…
Virtually screening adults for depression, anxiety, and suicide risk using machine learning and language from an open-ended interview
It is feasible to use a virtual platform to simultaneously screen for depression, anxiety, and suicide risk using a 5-to-10-min interview. The NLP/ML models performed with good discrimination in the identification of depression, anxiety, and suicide risk. Although the utility of suicide risk classification in clinical settings is still undetermined and suicide risk classification had the lowest performance, the result taken together with the qual…
African Socialist Cultural Policy
In a speech inaugurating the colloquium on art nègre (Black art) at the Premier Festival Mondial des Arts Nègres (First World Festival of Negro Arts) in Dakar in April 1966, Senegal's first president, Léopold Sédar Senghor (1906–2001), made a case for art's centrality to social and economic development. “Black art is more than a technique,” Senghor insisted, more thanThese ideas laid a foundation for Senghor's cultural policy initiatives of the 1…
A Feasibility Study Using a Machine Learning Suicide Risk Prediction Model Based on Open-Ended Interview Language in Adolescent Therapy Sessions
Voice collection technology and associated procedures can be integrated into mental health therapists' workflow. Collected language samples could be classified with good discrimination using machine learning methods
Some Preliminary Responses to “Beyond Single Stories”
In the following responses to our Winter 2019 First Word essay, “Beyond Single Stories: Addressing Dynamism, Specificity, and Agency in Arts of Africa” (African Arts vol. 52, no. 4, pp. 1–6), Leslie Wilson, John Monroe, Salia Malé and Marguerite de Sabran, Maxime de Formanoir, and Joshua Cohen separately expand upon our thought that we must reimagine language for writing and presenting so-called historical arts of Africa to disparate audiences. T…
Modern African art and apartheid
As early as the 1920s and 1930s, some artists in Africa began attracting attention for their work in ink or paint on paper or canvas: Aina Onabolu (1882–1963) from Nigeria; John Koenakeefe Mohl (19
Harlem and Abroad
Like other intractable figures of the Harlem Renaissance, the movement’s visual artists sometimes exceeded their expected parameters, and thus their anticipated representativeness of a locality. Th
Locating Senghor's École de Dakar
In September of 1960, Léopold Sédar Senghor (1906–2001)—poet, philosopher, statesman, and cofounder of the loosely conceived Négritude movement in Paris beginning in the 1930s—became president of the newly independent Republic of Senegal. Over the next two decades, Senghor devoted considerable resources to the arts,1 including the creation of a government-supported cadre of modern visual artists known as the École de Dakar. To date, virtually all…
Stages in Transition
Les Ballets Africains, the first globally touring African performance company, debuted in the United States as a private Paris-based troupe in 1959 and toured again in 1960 as National Ballet of the newly independent Republic of Guinea. Although rarely considered in scholarship, Les Ballets Africains’ history during these years—encompassing the company’s first U.S. appearances and reflecting the influence of its founder, Fodéba Keita—are signific…
Reflections on Habermas on Democracy
Jürgen Habermas is a radical democrat. The source of that self‐designation is that his conception of democracy—what he calls “discursive democracy”—is founded on the ideal of “a self‐organizing community of free and equal citizens,” coordinating their collective affairs through their common reason. The author discusses three large challenges to this radical‐democratic ideal of collective self‐regulation: 1) What is the role of private autonomy in…
African Socialist Cultural Policy
In a speech inaugurating the colloquium on art nègre (Black art) at the Premier Festival Mondial des Arts Nègres (First World Festival of Negro Arts) in Dakar in April 1966, Senegal's first president, Léopold Sédar Senghor (1906–2001), made a case for art's centrality to social and economic development. “Black art is more than a technique,” Senghor insisted, more thanThese ideas laid a foundation for Senghor's cultural policy initiatives of the 1…
Locating Senghor's École de Dakar
In September of 1960, Léopold Sédar Senghor (1906–2001)—poet, philosopher, statesman, and cofounder of the loosely conceived Négritude movement in Paris beginning in the 1930s—became president of the newly independent Republic of Senegal. Over the next two decades, Senghor devoted considerable resources to the arts,1 including the creation of a government-supported cadre of modern visual artists known as the École de Dakar. To date, virtually all…
Some Preliminary Responses to “Beyond Single Stories”
In the following responses to our Winter 2019 First Word essay, “Beyond Single Stories: Addressing Dynamism, Specificity, and Agency in Arts of Africa” (African Arts vol. 52, no. 4, pp. 1–6), Leslie Wilson, John Monroe, Salia Malé and Marguerite de Sabran, Maxime de Formanoir, and Joshua Cohen separately expand upon our thought that we must reimagine language for writing and presenting so-called historical arts of Africa to disparate audiences. T…
Reflections on Habermas on Democracy
Jürgen Habermas is a radical democrat. The source of that self‐designation is that his conception of democracy—what he calls “discursive democracy”—is founded on the ideal of “a self‐organizing community of free and equal citizens,” coordinating their collective affairs through their common reason. The author discusses three large challenges to this radical‐democratic ideal of collective self‐regulation: 1) What is the role of private autonomy in…
Stages in Transition
Les Ballets Africains, the first globally touring African performance company, debuted in the United States as a private Paris-based troupe in 1959 and toured again in 1960 as National Ballet of the newly independent Republic of Guinea. Although rarely considered in scholarship, Les Ballets Africains’ history during these years—encompassing the company’s first U.S. appearances and reflecting the influence of its founder, Fodéba Keita—are signific…
Locating Senghor's École de Dakar
In September of 1960, Léopold Sédar Senghor (1906–2001)—poet, philosopher, statesman, and cofounder of the loosely conceived Négritude movement in Paris beginning in the 1930s—became president of the newly independent Republic of Senegal. Over the next two decades, Senghor devoted considerable resources to the arts,1 including the creation of a government-supported cadre of modern visual artists known as the École de Dakar. To date, virtually all…
Harlem and Abroad
Like other intractable figures of the Harlem Renaissance, the movement’s visual artists sometimes exceeded their expected parameters, and thus their anticipated representativeness of a locality. Th
A Feasibility Study Using a Machine Learning Suicide Risk Prediction Model Based on Open-Ended Interview Language in Adolescent Therapy Sessions
Voice collection technology and associated procedures can be integrated into mental health therapists' workflow. Collected language samples could be classified with good discrimination using machine learning methods
Some Preliminary Responses to “Beyond Single Stories”
In the following responses to our Winter 2019 First Word essay, “Beyond Single Stories: Addressing Dynamism, Specificity, and Agency in Arts of Africa” (African Arts vol. 52, no. 4, pp. 1–6), Leslie Wilson, John Monroe, Salia Malé and Marguerite de Sabran, Maxime de Formanoir, and Joshua Cohen separately expand upon our thought that we must reimagine language for writing and presenting so-called historical arts of Africa to disparate audiences. T…
Modern African art and apartheid
As early as the 1920s and 1930s, some artists in Africa began attracting attention for their work in ink or paint on paper or canvas: Aina Onabolu (1882–1963) from Nigeria; John Koenakeefe Mohl (19
African Socialist Cultural Policy
In a speech inaugurating the colloquium on art nègre (Black art) at the Premier Festival Mondial des Arts Nègres (First World Festival of Negro Arts) in Dakar in April 1966, Senegal's first president, Léopold Sédar Senghor (1906–2001), made a case for art's centrality to social and economic development. “Black art is more than a technique,” Senghor insisted, more thanThese ideas laid a foundation for Senghor's cultural policy initiatives of the 1…
Introduction to “Art, Signs, and Cultures” (1977)
This document, translated from the original French, is an edited transcript of a conversation between the Senegalese painter Iba Ndiaye, the French art historian Jean Laude, and a moderator, Roger Pillaudin. It took place on the occasion of the Festival des arts et cultures africaines in Royan, France (March 1977), and was later broadcast on the radio channel France Culture. What stands out in the conversation is the way Laude seeks to negate Ndi…
Art, Signs, and Cultures
This document, translated from the original French, is an edited transcript of a conversation between the Senegalese painter Iba Ndiaye, the French art historian Jean Laude, and a moderator, Roger Pillaudin. It took place on the occasion of the Festival des arts et cultures africaines in Royan, France (March 1977), and was later broadcast on the radio channel France Culture. What stands out in the conversation is the way Laude seeks to negate Ndi…
Art History, Postcolonialism, and the Global Turn
When taken as a conglomerate, the postcolonial, the global, and the decolonial might signal a coordinated “decolonizing” action—one of breaking with the Eurocentric, patriarchal, and nationalist foundations of art history. Yet from a disaggregating perspective, these three terms and their respective domains cannot be seen as synonymous or entirely harmonious. What particularly demands scrutiny is the tendency to dismiss the postcolonial, or annou…
Virtually screening adults for depression, anxiety, and suicide risk using machine learning and language from an open-ended interview
It is feasible to use a virtual platform to simultaneously screen for depression, anxiety, and suicide risk using a 5-to-10-min interview. The NLP/ML models performed with good discrimination in the identification of depression, anxiety, and suicide risk. Although the utility of suicide risk classification in clinical settings is still undetermined and suicide risk classification had the lowest performance, the result taken together with the qual…
Political science (7 works) · Art (6 works) · Law (6 works) · African history and culture studies (5 works) · Philosophy (5 works) · Sociology (5 works) · The arts (5 works) · Aesthetics (4 works) · Cultural Identity and Heritage (4 works) · Visual arts (4 works)