DOCSLIB.ORG

Optics, Aesthetics, Epistemology : the History of Photography Reconsidered

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Optics, Aesthetics, Epistemology : the History of Photography Reconsidered OPTICS, AESTHETICS, EPISTEMOLOGY: THE HISTORY OF PHOTOGRAPHY RECONSIDERED Peter Wollheim B.A., University of Rochester, 1970 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS (COWNICATION STUDIES) in the Department of Communication Studies @ Peter Wollheim 1977 SIMON FRASER UNIVERSITY November 1977 All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. Approval Name: Peter Wollheirn Degree: Master of Arts (Communication Studies) Title of Thesis: "Optics, Aesthetics, Epistemology: The History of Photography Reconsidered." Examining Committee: Chairperson: Thomas J. Mallinson J. C. Haqpr - Supervisor J. Zaslove E. Gibson EMrnal Examiner Associate Professor Department of Geography, Simon Fraser University Date Approved : November 29th.1977. PARTIAL COPYRTCHT LICENSE I hereby grant to Simon Fraser University the right to lend my thesis or dissertation (the title of which is shown below) to usere of the Simon Fraser University Library, and to marte parclai or singie copies only for. such users or in response to a request from the library of any other university, or other educational institution, on its 'own behalf or for one of its users. I further agree that permission for multiple copying of this thesis for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Title of Thesis/~issertation: "OPTICS AESTHETICS, EPISTEMOLOGY: THE HISTORY OF PHOTOGRAPHY RFXONS IDERED" Author : (signature) PETER WOLLHFIM (name) NQV: 23rd. 1977 (date) This thesis dfals with the status of "truthi' - spis+;mological, assthhetic, and psycholcgical - % r. gn~toyra~hicr~pr~:s~+r:?arltior.. Using aaterials from the sociology of art arid c1~mparativ2 epistemof ogy, the photograph is contrast+d wLzh th~medi.;val Icon, and its evolution exatnined ir, ternms of various "truthsf* 3bout natur3 and optics as def icad by scicrAtificinquiry. Th+ thlsls concfuiles by exa~ininganxieties that photography arouses in modern culturz, an:? demor.strates that they ar pdrt caf 'idrgor anthivaiences which can be investigated as the f3tishlziny of appearancss ix capitalistic society. iii As the mirror said, "It's all done uith people." --- Tom Bobbirds Thanks 3lso go tc Gary gilcox, the intrepid airo or of -----Photsqypgh~r magazine, fo: allowing me to try out a variety of ids-as in print befo~ecornmitticy +h+~to th~3sspayes; to i;ir.3.Pf:>isvrj, ui the Cuudciidzi Fokk C~n~piliyf3r p~ovidlngv?iuabi'-3 information on studio portraiture; to Rev. aensua Jones for EiblFcal refermces; ind to dss, Pam Parford, Linda Clark, and Suzie Sz+rkes fcr clerical assist2nct. I would also lik~to express my gratitude to tns Canada Council fcr thij Arts and sirncn Fra ser UniverskC.y's P~3siLif?n+,*sOffice, S~nate,and Dcan of Graduate Studies for financial support of my research. P?rsonal thanks also gs to Louis Dayuerr3, for starting it all; to U.D. ~i.12~for his madndss; and James Lsr;ikin, for the loan of his Exakta, Mcre thatks ars ?xt-?eded to ths Cralley;, anu vanccuvor Schccl of Art, for listeriing; to my parents; tc Eir,da Kowa'iski, for sharin5~the yrowth of my vision Petting me sip t5c mornixy's t~a23 silent.?-. While I accept final Table of Contents Approval i i AL-t-rnt i i i 'I" U I. * U" C Quotat ion iv Acknowledgements v Foreward viii Introduction: Photography: the Search for an Aesthetic I. The Photograph and the Icon 11. The Eye as Machinery 111. The Aesthetics of the Rational IV. Image and Essence Footnotes Bibliography vii This thesis is part of a losger wosk-ic-progress on pha+ograpftic criticisoa, the miri purpose of which is 'to Liberate photagrap+.y from ths confines cif its current ideological frameworks. The geceral aettod of that work is set forth in this thesis, and will be follovea up by accou~tscf how individual photographic artists have fought against the cofiventicnal concepts of the photograph as representation, and how the form and style of their works reflect this struggle. The reader is therefore invited to consult other reviews and articles that 1 have writteri on this topic. 1 viii Photagraphy: the Search for ar~assthetic Despite its increasing popularity and accdptanca as a fine art, photography remaias onE of the asst pr~blematicand barren areas of serious aesthetic critiuist~. Hithic the last ten years voices as diverse as Ap~lrtuwgand Wu2.a~Photoqrg~hy have called attention %a this vacuum, but there is still no recognized and cc herent body of photographic critic is^, Or. the whole, the greatEst obstacle to the gsawth sf such criticism is the habit of rggizrdlng the carnera as a sy~tax-free and scjmeuhat passive instrumect suitabk for merely recordisg visual images. The pre-history of photographic c~iticismis tho battle for the recogcition of photography as an exprsssive wediua fought hy Alfred Steiglitz, the F/54 group, and a number of other photcgraphers, curators, editofs, art historians acd critics. To a large exte~ttheir goal has been accoiaplished aad phctography is row accepted by museums, galleries and art schools as a legitimate field of interest. But ia a short aoncgraph on The Criticism @ Photography. 2s (197(1)2, Profassor John L,bkard suggested that there is still a residual refusal, on the part of prcfessional critics, tc treat photography as soia~+.hlngother that a mechanical cperatior. sccessible to artist a~dnon- artist alike, r~garal~usof ski11 or tzaicing, Vard suggested that the general public complements this attitude by respordinq to the subject matrer of photographs rather thar, to the style of d-;piction.3 Horf recently B.D, Coleman, fcrmer critic for the Villaae Voice and gg~York Times, has cites some immwiiate anG practical obstacles to the creation ot an on-goiag discussion. As Coleman points out, there are fen public forums for the axchacg~of views aside from consuwer-oriented magazines largely dominated by the commercial interests of advestisers. This of ten engenders a cheap pseudo-criticism which either reflects the momentary idiosyccrasies of a particular reviewer, or discusses the image as an end-product of certain combinations of equipwnt. Coleman noted that the readership of these magazines uses photography primarily as a craft or hobby, and rsspords to critical writing by cft~nrequesting informa tion on cameras and lenses. Speaking from experience, Ccfl-aman deplored #'the lack of a func+,ior,al. vocabulary for the criticism of photography." The language currently applied to photographs as distinct fro@ other kicds of images is derived ~ntirely frcm the jargon of tech~ique; it is a form cf shop talk which pertains to the manufacturiny of photographs as cb jects rather than to their 5f~rkinCjsoh effects as images. Ir essence, it deals not with the creative/intelfectua1 problems of the photographer as artist and communicator, but xith the practical difficulties faced by the photographer as craftsman.* There are a number of additicnal problems which hinder critical discourse. Ccntemporary aesthetic theory relies tteavif y on definitions and distinctions, but the term "photcgraphW apppliss aqually to snapshots, photograms, x-ray acd aerial phctcgraphs, co~mrcialportraits and wedding pictures, i.d, and passport shots, and a variety of other images made for purely utilitarian pu rposes.The borderlines betuaer; some conimerciaf work - in advertisi~g,architectural cr fashion photography - ar,d '$fine arte photographs are often indistinguishable, Photomicrographs made during the course of scientific research have often beer. exhibited for their aesthetic qualities. at what point can or shculd a critic wake meaningful distinctions between art and technology? S~condly,photogsaphshave become a commonplace eleiwnt in the mass media and we are exposed to dozens, if not hundreds of ~hotographsdaily in newspaFers, magazims, books, posters, an TV, billboards, caie~dars,etc. One result of this widespread usage fs that photographs have corns to b~ @oreuskd than viewed since ?hey compete with other messages for our attention. Photographers are increasingly faced with a situation nct unlike that ~xp~riencedby pcets of the early ninete~cthcentury, whsn advertising and the popular press threatened to reduce poetic dictioc to a liiggu xglqaris for selfiog insuranc~policies and diuretics,s Photography is deeply embedded in vbat is now called i*popufar culture", a sub-ject which has drawn only a minimum of scholarly interest, Critics cf Mfir,e artw have avoided the area en tire1y. 6 Photography has also blosscmed out during a particularly chaotic pzriod in the history of the arts and their criticism, As Harold Rosenberg aptly put it, the w~rkof art has become "an asxious objecta. "*Am I a masterpiece, it must ask itself, 'or ar, asscmhlage of j~ntc?*~f7With the profusiot of styles and wcvements during the last century criticisnt has become a fairly risky activity. Ore thing (has) been learned from the nstori~us mistakes of the past one hundred years, and the lesssz was thoroughly confusing. It was ehat co new work, no matter how apparently senseless, repulsive or visually vacant, could be rejected without runnirig the risk that it would turn up as a masterpiece of the era. The story cf the Ridicule Of The Badicals - ot the Impressionists, Van Gogh, Batisse, fl~digliani,Duchamp - had becom part of the folklore of painting.8 The same trend 9s evidert in the 0th~~arts acd critics saels to hav~responded by staunchly defending yesterday*^ standards, or jumpir,g cn to each new and with-it: b~rduagou, The photographic critic works in an era durirg which the barely adorried act of public masturbation has receZvcd serious attention ir a major jcusnal of the fine arts.9 Among the problems associated with this anxiety are refurbished harig-overs from the Romantic idealization of art and artist, Its photographic version reachtd a visible peak following the release of Antonioni*~Blow-TJE {1967), when phrases like cantera" and "StAg photographern received a nw supercharge.
Load more

Recommended publications
  • Echan La Culpa a Las Lluvias De Lo Caras Que Están Las Frutas
    PREMIO NACIONALDOMINGO DE PERIODISMO 1982 / 1989 / 1990 EL PERIÓDICO DEL PUEBLO ORIENTAL PUERTO LA CRUZ, Do m i ng o 27 de mayo de 2012 WW W.ELTIEMPO.COM.VE AÑO LII - Nº 2 0. 14 5 PRECIO Bs 4,00 DE P O RT E S CO N S U M O > Vendedores dicen que el mal estado de las vías contribuye al encarecimiento de productos Echan la culpa a las lluvias de lo caras El Marinos de 1991 dio inicio a la devoción que están las frutas de la fanaticada La lechosa, las naranjas y la guayaba son los rubros frutales que más han aumentado de precio en las últimas semanas. Los expendedores ubicados en el mercado municipal de Sotillo y en sus orient al +36, 37 alrededores aducen que pierden con algunos de ellos, como el melón, porque se dañan con rapidez. DRENAJES MEDIOS El Indepabis asegura que velará porque los proveedores no abusen >> 3 Por un tiempo más Hace cinco años Sotillo padecerá entró Tves y salió las consecuencias Rctv de la señal NI EL SÁBADO SE SALVAN de las lluvias del canal 2 +8 ,9 +1 6,1 7 EN CU E N T RO MUNDO Un exrehén está bajo sospecha por su presunta co l a b o ra c i ó n con las Farc +20 Niños de Anaco SALU D t u v i e ro n Clínicas plantean una jornada reanudar diálogo de pintura sobre costos con Caballito de sus servicios +30 +5 Una gran cola, de horas, se formó ayer en la vía sentido Barcelona-Puerto La Cruz, que no sólo impidió el acceso en esa dirección sino también hacia el hospital Luis Razetti.
    [Show full text]
  • Impact Melt Emplacement on Mercury
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 7-24-2018 2:00 PM Impact Melt Emplacement on Mercury Jeffrey Daniels The University of Western Ontario Supervisor Neish, Catherine D. The University of Western Ontario Graduate Program in Geology A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Science © Jeffrey Daniels 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Geology Commons, Physical Processes Commons, and the The Sun and the Solar System Commons Recommended Citation Daniels, Jeffrey, "Impact Melt Emplacement on Mercury" (2018). Electronic Thesis and Dissertation Repository. 5657. https://ir.lib.uwo.ca/etd/5657 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Impact cratering is an abrupt, spectacular process that occurs on any world with a solid surface. On Earth, these craters are easily eroded or destroyed through endogenic processes. The Moon and Mercury, however, lack a significant atmosphere, meaning craters on these worlds remain intact longer, geologically. In this thesis, remote-sensing techniques were used to investigate impact melt emplacement about Mercury’s fresh, complex craters. For complex lunar craters, impact melt is preferentially ejected from the lowest rim elevation, implying topographic control. On Venus, impact melt is preferentially ejected downrange from the impact site, implying impactor-direction control. Mercury, despite its heavily-cratered surface, trends more like Venus than like the Moon.
    [Show full text]
  • Identify 6 Prospective High Court Nominees WASHINGTON (AP) - a Nent Assignment in This Re- California State Appeals Court Nixon
    Cloudy and Mild Mostly cloudy, mild today. THEDAILY Clear, mild tonight; Sunny, pleasant tomorrow and Satur- FINAL day. EDITION Monmouth County's Outstanding Home X«?wspa|»c*r 32 PAGES VOL. 94 NO. 77 BED BANK, IS J. THURSDAY, OCTOBEK M,1971 Draft Cards Rejected In War Moratorium By DOBIS KULMAN "Mr. Dilapo?" he inquired pleasantly as the two men 1 shook hands, "I'm Larry Erickson. I've wanted to meet you." RED BANK — Two young men turned in their draft cards "When you go home tonight, why not think about why you're at the Selective Service Board office on Broad St., here, as doing this?" Mr, prkkson .suggested to the board staff as he* part of 3 Moratorium Day observance yesterday while a group and Mr. Gurniak left to rejoin the demonstrators. of about 150 anti-war, anti-draft demonstrators picketed on the Mr. Erickson also, turned in the draft card of Bic Kcssler, sidewalk below. formerly of Fair Haven, which he said Mr. Kcssler had given The chant of the pickets - "no more Victnams, no more At- him for that purpose. He said Mr. Kessler is believed en route , ticas" -~ was audible through the closed windows of the board here from Boulder, Colo. offices as Lawrence D. Erickson, 22, of Long Branch, arid The draft board wasn't taken by surprise, Mr. Dilapo said. Greg Gurniak, 21, of Red Bank, dropped their draft cards on He said he had read nowspaper reports quoting Mr. Erick- the desk of Joan Dixon, a board secretary, son as saying he would return his own draft card and would j "There are demonstrators outside against the draft," Mr.
    [Show full text]
  • Kabila, Laurent-Desiré (1939–2001). Congolese Politician. a Guerilla and Bandit for 30 Years, His Forces Overthrew *Mobutu In
    1912 and 1917, he had a relationship with Felice Bauer (1887–1960). They were twice engaged but never married. (He wrote her 500 letters but they only met 17 times.) Kafka had the smallest output of any K major writer, three short novels (all unfinished), one novella, 23 short stories, diaries and five collections of Kabila, Laurent-Desiré (1939–2001). Congolese letters, almost all published posthumously. He lived politician. A guerilla and bandit for 30 years, his forces briefly with two unhappily married women. overthrew *Mobutu in July 1997 and he became The novella Metamorphosis (Die Verwandlung), President of the Democratic Republic of the Congo published in 1915, is famous for the image of the (formerly Zaire). Assassinated in January 2001 by his central character Gregor Samsa waking to find bodyguard, 135 people were tried, mostly convicted himself transformed into ‘a monstrous vermin’, which but apparently not executed. His son Joseph is usually rendered in English as an insect or beetle. Kabila Kabange (1971– ) was President of the DRC Kafka does not explain why the transformation 2001–19. In 2018, a corrupt and violent election was occurred. won by an opposition candidate Félix Tshisekedi; a bizarre result that appeared to be a democratic He suffered from tuberculosis of the larynx, died transition but was engineered to guarantee Kabila’s —essentially of starvation—in a sanatorium at continuing influence and preservation of his family’s Klosterneuburg, near Vienna, and was buried in wealth. Prague. He left instructions that his literary works be burnt, unread, but his friend and executor Max Brod Kaczyński, Jarosław (1949– ) and Lech Aleksander (1882–1968) ignored the direction and published Kaczyński (1949–2010).
    [Show full text]
  • File Type Pdf Music Program Guide.Pdf
    MOOD:MEDIA 2020 MUSIC PROGRAM GUIDE 2 Pop Adult Contemporary Hitline* ‡ Current Adult Contemporary Hits Current Top Charting Hits Sample Artists: Bebe Rexha, Shawn Mendes, Maroon 5, Niall Sample Artists: Ariana Grande, Zedd, Bebe Rexha, Panic! Horan, Alice Merton, Portugal. The Man, Andy Grammer, Ellie At The Disco, Charlie Puth, Dua Lipa, Hailee Steinfeld, Lauv, Goulding, Michael Buble, Nick Jonas Shawn Mendes, Taylor Swift Hot FM ‡ Be-Tween Hot Adult Contemporary Hits Family-Friendly, Modern Pop Hits Sample Artists: Ed Sheeran, Alessia Cara, Maroon 5, Vance Sample Artists: 5 Seconds of Summer, Sabrina Carpenter, Joy, Imagine Dragons, Colbie Caillat, Andy Grammer, Shawn Alessia Cara, NOTD, Taylor Swift, The Vamps, Troye Sivan, R5, Mendes, Jess Glynne, Jason Mraz Shawn Mendes, Carly Rae Jepsen Metro ‡ Cashmere ‡ Chic Metropolitan Blend Warm Cosmopolitan Vocals Sample Artists: Little Dragon, Rhye, Disclosure, Jungle, Sample Artists: Emily King, Chaka Khan, Durand Jones & The Maggie Rogers, Roosevelt, Christine and The Queens, Flight Indications, Sam Smith, Maggie Rogers, The Teskey Brothers, Facilities, Maribou State, Poolside Diplomats of Solid Sound, Norah Jones, Jason Mraz, Cat Power Pop Style Youthful Pop Hits Divas Sample Artists: Justin Bieber, Taylor Swift, DNCE, Troye Sivan, Dynamic Female Vocals Ellie Goulding, Ariana Grande, Charlie Puth, Kygo, The Vamps, Sample Artists: Chaka Khan, Amy Winehouse, Aretha Franklin, Sabrina Carpenter Ariana Grande, Betty Wright, Madonna, Mary J. Blige, ZZ Ward, Diana Ross, Lizzo, Janelle Monae
    [Show full text]
  • The History of Photography: the Research Library of the Mack Lee
    THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography.
    [Show full text]
  • Finding Aid for The
    1 FINDING AID FOR THE ANSEL ADAMS ARCHIVE AG31 Center for Creative Photography The University of Arizona Tucson, AZ 85721-0103 For further information about the archives at the Center for Creative Photography, please contact the Archivist: phone 520-621-6273; fax 520-621-9444 TABLE OF CONTENTS page number Description, Provenance, Restrictions 2 Scope and Content 2-3 Organization of the Collection 3-4 Correspondence 5-25 Correspondence Index 25-30 Biographical materials 30-33 Music related materials 34-36 Activity Files 36-97 Clippings 97 Publications 97-101 Audio-visual Materials 101-106 Memorabilia 106-107 Photographic Materials 107-118 Photographic Equipment 118-122 Appendix A: Periodicals and miscellaneous, by and about Adams Appendix B: Monographs by and about Adams Appendix C: Personal library: monographs by others Appendix D: Index to photographs in the Ansel Adams Archive Ansel Adams Archive, Center for Creative Photography, The University of Arizona 1 2 DESCRIPTION Papers, photographic materials, and memorabilia, 1920s -1984, of Ansel Adams (1902 - 1984), photographer, author, teacher and conservationist. Includes correspondence (1906 - 1984) between Adams and his family, friends, business associates, and other artists; activity files documenting his commercial projects (1930s - 1977); exhibitions (1936 - 1983); his associations with the Sierra Club (1937 - 1984), Friends of Photography (1967 - 1984), and Images and Words Workshop (1967 - 1972); writings, lectures, and interviews (1931 - 1982); publications with Morgan and Morgan (1950 - 1975), 5 Associates (1952 - 1979), and New York Graphic Society (1973 - 1983); photographic materials including work, reproduction, and exhibition prints; printed materials including reproductions of his work in periodicals and a portion of his personal library; audio and visual materials relating to interviews with him; and memorabilia including awards, certificates, equipment, and clothing.
    [Show full text]
  • Tidal Deformation of Planets and Satellites: Models and Methods for Laser- and Radar Altimetry
    Tidal Deformation of Planets and Satellites: Models and Methods for Laser- and Radar Altimetry vorgelegt von Diplom Physiker Gregor Steinbr¨ugge geb. in Berlin von der Fakult¨atVI { Planen Bauen Umwelt der Technischen Universit¨atBerlin zur Erlangung des akademischen Grades Doktor der Naturwissenschaften - Dr. rer. nat. - genehmigte Dissertation Vorsitzender: Prof. Dr. Dr. h.c. Harald Schuh Gutachter: Prof. Dr. J¨urgenOberst Gutachter: Prof. Dr. Nicolas Thomas Gutachter: Prof. Dr. Tilman Spohn Tag der wissenschaftlichen Aussprache: 27.03.2018 Berlin 2018 2 Contents Title Page 1 Contents 3 List of Figures 7 List of Tables 9 1 Introduction 15 1.1 Structure of the Dissertation . 16 1.1.1 Icy Satellites . 17 1.1.2 Mercury . 20 1.2 Theory of Tides . 21 1.2.1 Tidal Potentials . 21 1.2.2 Response of Planetary Bodies to Tidal Forces . 23 1.3 Measuring Tidal Deformations . 25 1.3.1 Measurement Concepts . 25 1.3.2 Laser Altimetry . 25 1.3.3 Radar Altimetry . 26 1.4 Missions and Instruments . 27 1.4.1 REASON and the Europa Clipper Mission . 27 1.4.2 GALA and the JUICE Mission . 28 1.4.3 BELA and the BepiColombo Mission . 29 2 Research Paper I 31 2.1 Introduction . 32 2.2 Instrument Performance Modeling . 32 2.2.1 Link Budget . 32 2.2.2 Signal-to-Noise Ratio . 33 2.3 Expected Science Performance . 37 2.3.1 Topographic Coverage . 37 2.3.2 Slope and Roughness . 37 2.4 Tidal Deformation . 40 2.4.1 Covariance Analysis . 40 2.4.2 Numerical Simulation .
    [Show full text]
  • ABT, Needing Space, to Move to Glenview
    - 5mw. k' i -A'ri t; -A' _ ILESand '1-;;; j0 r MORTON GROVE 0 att toms nema. I is I d&mn.e.dwA!hr ; . 13db R ale Apto! N 05 011(1 PIgLIO LIBRARY U.S. leosluge 6960 DARTUN IT. e A II) tILES IL 60714 BogIe News o CENTS . PER COPY 7451) WAUKEGAN lSD NILES, IL (,0114 THURSDAY, JUNtO I, 2000 VOL, 43, NO, 49 Morton Grove to lose area's largest appliance retailer; Niles joins O'Hare New location will be on Milwaukee Ave. south of Lake St. Noise Commission byLis AohkornoCroko Aftcr months of negotiations vilk, DosPlainos. Park Ridge, hetweenactivist gronpr and trus- and Resalte. space, tec.s, the Nibs Village Beard vet. ABT, needing Trastee Robert Caliere acid ed -te join the O'Hare Meise Ébat the Cemmissiee will attempt CoetpattbilityCotensitsiee. to detrrreteereite compatibili- . Pnnded by the City etChicage, lyand adeire Cbiaage on noise tite Commission includes repte- reductien pragtatns lee OHere. tomoveto Glenview teetntives from cemmunities and Acceedieg la ae intorgeeern- public school districts concerned mental agrceetenl regardieg the tu cltttout offictrt.After re- tandseepingplans,which oho tiret he declined le vete boccone ebeet the level efneioe pollutior Coterninsien, such teceetreendo- ceieieg approval from the Glen- fools should melado a proper net- minoren from the Plan Commit- coming (rem air trefIle al OHcre tient include the use ofnew tech- creee Village Beard, Abt LIce- hack frew Milwaukee Averen. rions May 9 hearing where rési- AtTore.therearccceeoetty colegies and flight patterns. pref- tvttiusis ero step closerin TecnIco Jolts Crawford told C entinon 4 un l'age 38 twelvemunicipalitiesivthe orential mnway osege, the tracing frew iln Motten Grove Commisstee, ieclading Benscn- Contieuntt on Page 38 lircility en Wenkegan Raed.
    [Show full text]
  • Navidson Record
    MARK Z. DANIELEWSKI’S HOUSE OF LEAVES by Zampanô with introduction and notes by Johnny Truant 2nd Edition Pantheon Books New York Copyright © 2000 by Mark Z. Danielewski All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Pantheon Books, a division of Random House, Inc., and simultaneously in Canada by Random House of Canada Limited, Toronto. Pantheon Books and colophon are registered trademarks of Random House, Inc. Permissions acknowledgments and illustration credits appear on pages 707—708. Library of Congress Cataloging-in-Publication Data Danielewski, Mark Z. House of leaves I Mark Z. Danielewski. p. cm. ISBN 0-375-70376-4 (pbk) ISBN 0-375-42052-5 (hc) ISBN 0-375-41034-1 (hclsigned) I. Title. PS3554.A5596H68 2000 813’.54—dc2l 99-36024 CIP Random House Web Address: www.randomhouse.com www houseofleaves.com Printed in the United States of America First Edition 10 9 8 7 6 5 4 3 2 1 This novel is a work of fiction. Any references to real people, events, establishments, organizations or locales are intended only to give the fiction a sense of reality and authenticity. Other names, characters and incidents are either the product of the author’s imagination or are used fictitiously, as are those fictionalized events and incidents which involve real persons and did not occur or are set in the future. — Ed. Contents Foreword ………. vii Introduction………. xi The Navidson Record ………. 1 Exhibits One - Six ………. 529 Appendix: Zampanô ………. 537 A — Outlines & Chapter Titles ………. 538 B — Bits ………. 541 C —… and Pieces ………. 548 D — Letter to the Editor ……….
    [Show full text]
  • Caloris Impact Basin: Exterior Geomorphology, Stratigraphy, Morphometry, Radial Sculpture, and Smooth Plains Deposits
    Earth and Planetary Science Letters 285 (2009) 297–308 Contents lists available at ScienceDirect Earth and Planetary Science Letters journal homepage: www.elsevier.com/locate/epsl Caloris impact basin: Exterior geomorphology, stratigraphy, morphometry, radial sculpture, and smooth plains deposits Caleb I. Fassett a,⁎, James W. Head a, David T. Blewett b, Clark R. Chapman c, James L. Dickson a, Scott L. Murchie b, Sean C. Solomon d, Thomas R. Watters e a Department of Geological Sciences, Brown University, 324 Brook Street, Box 1846, Providence, RI 02912, USA b Johns Hopkins University Applied Physics Laboratory, 11100 Johns Hopkins Road, Laurel, MD 20723, USA c Southwest Research Institute, 1050 Walnut St. (Suite 300), Boulder, CO 80302, USA d Department of Terrestrial Magnetism, Carnegie Institution of Washington, 5241 Broad Branch Road, NW, Washington, DC 20015, USA e Center for Earth and Planetary Studies, National Air and Space Museum, Smithsonian Institution, Washington, DC 20013, USA article info abstract Article history: The Mariner 10 flybys revealed the eastern third of the Caloris basin and demonstrated its importance as a Accepted 15 May 2009 chronostratigraphic marker for the geological history of Mercury. Uncertain after that mission were the size Available online 24 June 2009 of the basin, the full distribution of materials deposited or modified during the impact process, and the stratigraphic and age relationships between Caloris and surrounding terrain. Images obtained during Keywords: MESSENGER's January 2008 flyby of Mercury revealed that the Caloris basin is ∼15% larger than previously Mercury estimated and moderately elliptical (∼1525 by ∼1315 km). Basin-related sculpture and secondary craters are MESSENGER fi fi Caloris basin dispersed widely in areas surrounding the basin, con rming the widespread signi cance of this event as a stratigraphy stratigraphic marker.
    [Show full text]
  • 1540 002 St Rbe Glendora Llc and 1203 0.8635 0.9086 12.3163
    CITY OF SANTA MONICA STORMWATER MANAGEMENT USER FEE REPORT FISCAL YEAR 2009/2010 PARCEL ADDRESS OWNER USECODE ACRES RUNOFF PBU x RATE = FEE 4291028026 1540 002 ST RBE GLENDORA LLC AND 1203 0.8635 0.9086 12.3163 36.00 443.39 4275014006 1556 020 ST CF SANTA MONICA OFFICE III LP 1702 0.3294 0.9086 4.6985 36.00 169.15 4292024021 801 2ND ST BB AND K SANTA MONICA INC 0500 0.5165 0.8553 6.9350 36.00 249.66 4292025059 804 2ND ST HABIF,DAVID M TR 010C 0.0344 0.8194 0.4425 36.00 15.93 4292025002 808 2ND ST, APT 0011 AKHAVAN,BABAK AND MITRA TRS 0500 0.1721 0.8553 2.3108 36.00 83.19 4292025003 814 2ND ST SHORELAND PLAZA LLC 0500 0.0343 0.8553 0.4605 36.00 16.58 4292024018 817 2ND ST, APT 0101 RME INVESTMENTS LLC AND 0500 0.2238 0.8553 3.0050 36.00 108.18 4292025080 826 2ND ST, 101 826 2ND STREET SM LLC 010E 0.0164 0.8194 0.2110 36.00 7.60 4292025081 826 2ND ST, 102 826 2ND STREET SM LLC 010E 0.0164 0.8194 0.2110 36.00 7.60 4292025082 826 2ND ST, 103 PADAWER,JEREMY M AND 010E 0.0164 0.8194 0.2110 36.00 7.60 4292025083 826 2ND ST, 201 NEMAZEE,MAHMOUD AND 010E 0.0164 0.8194 0.2110 36.00 7.60 4292025084 826 2ND ST, 202 826 2ND STREET SM LLC 010E 0.0164 0.8194 0.2110 36.00 7.60 4292025085 826 2ND ST, 203 CANTLEY,KELLY 010E 0.0164 0.8194 0.2110 36.00 7.60 4292025086 826 2ND ST, 204 826 2ND STREET SM LLC 010E 0.0164 0.8194 0.2110 36.00 7.60 4292025087 826 2ND ST, 205 GREENWAY LLC 010E 0.0164 0.8194 0.2110 36.00 7.60 4292025088 826 2ND ST, 206 826 2ND STREET SM LLC 010E 0.0164 0.8194 0.2110 36.00 7.60 4292025089 826 2ND ST, 301 826 2ND STREET SM LLC 010E
    [Show full text]