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Victoria's Level Crossing Removal Project Uses
VICTORIA’S LEVEL CROSSING REMOVAL PROJECT USES INEIGHT TECHNOLOGY TO BETTER MANAGE AND CONTROL PROJECT DOCUMENTS Red-faced and white-knuckled – common symptoms of rush-hour commuters in Melbourne as they waited at one of the many level crossings (or rail crossings as they’re called in the U.S.). Looking to unclog some of the city’s busiest roads, the Victorian state government has taken the bold move of eliminating 75 of these dangerous and congested level crossings, including nine between the suburbs of Caulfield and Dandenong. The Level Crossing Removal Project (LXRP) and Lendlease, a leading international property and infrastructure group that is part of an alliance responsible for level crossing removals, wanted to transform the way they approached the project. Because the project was highly complex with so many stakeholders involved, LXRP needed to develop a cutting-edge technological approach that would help increase efficiency and collaboration. It selected a collaborative document management software solution from InEight, a leading developer of capital project management software. LXRP mandated that Lendlease use the document management solution, InEight® Document, to manage, protect and control project documents throughout the Caulfield to Dandenong (CTD) project. With InEight Document, CTD project teams now have an online document repository for capturing, controlling, versioning and distributing project documents, while tracking the complete history of every project document. This includes project documents, workflows, photos, emails and their attachments. The ability to track the complete history of every project document led to improved communication and collaboration on this monumental project. This resulted in greater efficiency throughout the project. -
Durham Research Online
Durham Research Online Deposited in DRO: 24 January 2017 Version of attached le: Published Version Peer-review status of attached le: Peer-reviewed Citation for published item: Harding, J. (2015) 'European Avant-Garde coteries and the Modernist Magazine.', Modernism/modernity., 22 (4). pp. 811-820. Further information on publisher's website: https://doi.org/10.1353/mod.2015.0063 Publisher's copyright statement: Copyright c 2015 by Johns Hopkins University Press. This article rst appeared in Modernism/modernity 22:4 (2015), 811-820. Reprinted with permission by Johns Hopkins University Press. Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk European Avant-Garde Coteries and the Modernist Magazine Jason Harding Modernism/modernity, Volume 22, Number 4, November 2015, pp. 811-820 (Review) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/mod.2015.0063 For additional information about this article https://muse.jhu.edu/article/605720 Access provided by Durham University (24 Jan 2017 12:36 GMT) Review Essay European Avant-Garde Coteries and the Modernist Magazine By Jason Harding, Durham University MODERNISM / modernity The Oxford Critical and Cultural History of Modernist VOLUME TWENTY TWO, Magazines: Volume III, Europe 1880–1940. -
High Occupancy Vehicle (HOV) Detection System Testing
High Occupancy Vehicle (HOV) Detection System Testing Project #: RES2016-05 Final Report Submitted to Tennessee Department of Transportation Principal Investigator (PI) Deo Chimba, PhD., P.E., PTOE. Tennessee State University Phone: 615-963-5430 Email: [email protected] Co-Principal Investigator (Co-PI) Janey Camp, PhD., P.E., GISP, CFM Vanderbilt University Phone: 615-322-6013 Email: [email protected] July 10, 2018 DISCLAIMER This research was funded through the State Research and Planning (SPR) Program by the Tennessee Department of Transportation and the Federal Highway Administration under RES2016-05: High Occupancy Vehicle (HOV) Detection System Testing. This document is disseminated under the sponsorship of the Tennessee Department of Transportation and the United States Department of Transportation in the interest of information exchange. The State of Tennessee and the United States Government assume no liability of its contents or use thereof. The contents of this report reflect the views of the author(s), who are solely responsible for the facts and accuracy of the material presented. The contents do not necessarily reflect the official views of the Tennessee Department of Transportation or the United States Department of Transportation. ii Technical Report Documentation Page 1. Report No. RES2016-05 2. Government Accession No. 3. Recipient's Catalog No. 4. Title and Subtitle 5. Report Date: March 2018 High Occupancy Vehicle (HOV) Detection System Testing 6. Performing Organization Code 7. Author(s) 8. Performing Organization Report No. Deo Chimba and Janey Camp TDOT PROJECT # RES2016-05 9. Performing Organization Name and Address 10. Work Unit No. (TRAIS) Department of Civil and Architectural Engineering; Tennessee State University 11. -
Cubism in America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop most important revolution in the history of ment of what came to be called Cubism art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance. -
Alice Neel/Erastus Salisbury Field
Painting the People Alice Neel/Erastus Salisbury Field Fig. 1: Erastus Salisbury Field (1805–1900) Fig. 2: Erastus Salisbury Field (1805–1900) Julius Norton, ca. 1840 Sarah Elizabeth Ball, ca. 1838 Oil on canvas, 35 x 29 inches Oil on canvas, 35⅛ x 29¼ inches Bennington Museum, Bequest of Mrs. Harold C. Payson (Dorothy Norton) Mount Holyoke College Art Museum, South Hadley, Massachusetts Photograph by Petegorsky/Gipe by Jamie Franklin rastus Salisbury Field (1805–1900) and Alice Neel (1900–1984) were masters of the portrait within their respective periods and cultural settings. Though separated by a hundred years and working in distinct styles and contexts, the portraits painted by Field, one of America’s best known nineteenth-century itinerant artists, and Neel, one of the most acclaimed portrait painters of the twentieth century, have a remarkable resonance with one another. Alice Neel/Erastus Salisbury Field: Painting the People, an exhibition at the Bennington Museum in Vermont, examines the visual, historic and conceptual relationships between the paintings of these two seemingly disparate artists. Critics, curators, biographers, friends of the artist, and the artist herself, have referenced the relationship between “folk” or “primitive” painting and Neel’s portraits. However, this is the first exhibition to examine this facet of Neel’s work directly. By looking closely at Field’s and Neel’s political, social, and artistic milieus and the subjects depicted in their portraits, the exhibition seeks to reexamine the relationship between modernism and its romantic notions of the “folk,” while providing us with a more nuanced understanding of these important artists and their work. -
The Logic of Modernism Author(S): Adrian Piper Source: Callaloo, Vol
The Logic of Modernism Author(s): Adrian Piper Source: Callaloo, Vol. 16, No. 3 (Summer, 1993), pp. 574-578 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/2932257 . Accessed: 15/09/2011 20:27 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to Callaloo. http://www.jstor.org THE LOGIC OF MODERNISM* ByAdrian Piper There are four interrelated properties of Euroethnic art that are central to understand- ing the development of modernism, and in particular the development of contemporary art in the United States within the last few decades: 1) its appropriative character;2) its formalism; 3) its self-awareness; and 4) its commitment to social content. These four properties furnish strong conceptual and strategic continuities between the history of European art-modernism in particular-and recent developments in American art with explicitly political subject matter. Relative to these lines of continuity, the peculiarly American variety of modernism known as Greenbergian formalism is an aberration. Characterized by its repudiation of content in general and explicitly political subject matter in particular, Greenbergian formalism gained currency as an opportunistic ideo- logical evasion of the threat of cold war McCarthyite censorship and red-baiting in the fifties. -
Explaining MBTA Commuter Rail Ridership METHODS RIDERSHIP
TAKING THE TRAIN? Explaining MBTA Commuter Rail Ridership INTRODUCTION RIDERSHIP BY STATION RESULTS The MBTA Commuter Rail provides service from suburbs in the Boston Metro Area to Boston area stations, with terminal Commuter Rail Variables stations at North Station and South Station. While using commuter rail may be faster, particularly at rush hour, than using a Distance to Boston, distance to rapid transit, price of commuter rail, commuter rail time, transit time, and drive time are all personal vehicle or other transit alternatives, people still choose not to use the Commuter Rail, as can be demonstrated by the highly correlated. This makes sense as they all essentially measure distance to Boston in dollars, minutes and miles. high volume of people driving at rush hour. For the commuter rail variables analysis, trains per weekday (standardized beta=.536, p=.000), drive time at 8AM This study seeks to understand the personal vehicle and public transit alternatives to the MBTA Commuter Rail at each stop (standardized beta=.385, p=.000), peak on time performance (standardized beta=-.206, p=.009) and the terminal station to understand what options people have when deciding to use the Commuter Rail over another mode and what characteristics (p=.001) were found to be significant. Interestingly, all variables calculated for the area a half mile from commuter rail sta- tions (population, jobs and median income) were not significant. of the alternatives may inspire people to choose them over Commuter Rail. Understanding what transit and driving alterna- tives are like at each Commuter Rail stop may offer insight into why people are choosing or not choosing Commuter Rail for Transit Variables their trips to Boston, and how to encourage ridership. -
Bischof Associate Professor of History and Chair Department of History and Political Science, University of Southern Maine
Elizabeth (Libby) Bischof Associate Professor of History and Chair Department of History and Political Science, University of Southern Maine 200G Bailey Hall 59 Underhill Dr. 37 College Ave. Gorham, Maine 04038 Gorham, Maine 04038 Cell: 617-610-8950 [email protected] [email protected] (207) 780-5219 Twitter: @libmacbis EMPLOYMENT: Associate Professor of History, with tenure, University of Southern Maine, 2013-present. Assistant Professor of History, University of Southern Maine, 2007-2013. Post-Doctoral Fellow, Boston College, 2005-2007. EDUCATION: August 2005 Ph.D., American History, Boston College. Dissertation: Against an Epoch: Boston Moderns, 1880-1905 November 2001 Master of Arts, with distinction, History, Boston College May 1999 Bachelor of Arts, cum laude, History, Boston College RESEARCH AND TEACHING INTERESTS: Nineteenth-century US History (Cultural/Social) American Modernism History of Photography/Visual Culture Artist Colonies/Arts and Crafts Movement New England Studies/Maine History Popular Culture/History and New Media PUBLICATIONS: Works in Progress/Forthcoming: Libby Bischof, Susan Danly, and Earle Shettleworth, Jr. Maine Photography: A History, 1840-2015 (Forthcoming, Down East Books/Rowman & Littlefield and the Maine Historical Society, Fall 2015). “A Region Apart: Representations of Maine and Northern New England in Personal Film, 1920-1940,” in Martha McNamara and Karan Sheldon, eds., Poets of Their Own Acts: The Aesthetics of Home Movies and Amateur Film (Forthcoming, Indiana University Press). Modernism and Friendship in 20th Century America (current book project). Books: (With Susan Danly) Maine Moderns: Art in Seguinland, 1900-1940 (New Haven: Yale University Press, 2011). Winner, 2013 New England Society Book Award for Best Book in Art and Photography Peer-Reviewed Articles/Chapters in Scholarly Books: “Who Supports the Humanities in Maine? The Benefits (and Challenges) of Volunteerism,” forthcoming from Maine Policy Review: Special Issue on the Humanities and Policy, Vol. -
Before Zen: the Nothing of American Dada
Before Zen The Nothing of American Dada Jacquelynn Baas One of the challenges confronting our modern era has been how to re- solve the subject-object dichotomy proposed by Descartes and refined by Newton—the belief that reality consists of matter and motion, and that all questions can be answered by means of the scientific method of objective observation and measurement. This egocentric perspective has been cast into doubt by evidence from quantum mechanics that matter and motion are interdependent forms of energy and that the observer is always in an experiential relationship with the observed.1 To understand ourselves as in- terconnected beings who experience time and space rather than being sub- ject to them takes a radical shift of perspective, and artists have been at the leading edge of this exploration. From Marcel Duchamp and Dada to John Cage and Fluxus, to William T. Wiley and his West Coast colleagues, to the recent international explosion of participatory artwork, artists have been trying to get us to change how we see. Nor should it be surprising that in our global era Asian perspectives regarding the nature of reality have been a crucial factor in effecting this shift.2 The 2009 Guggenheim exhibition The Third Mind emphasized the im- portance of Asian philosophical and spiritual texts in the development of American modernism.3 Zen Buddhism especially was of great interest to artists and writers in the United States following World War II. The histo- ries of modernism traced by the exhibition reflected the well-documented influence of Zen, but did not include another, earlier link—that of Daoism and American Dada. -
Edith Halpert & Her Artists
Telling Stories: Edith Halpert & Her Artists October 9 – December 18, 2020 Charles Sheeler (1883-1965), Home Sweet Home, 1931, conte crayon and watercolor on paper, 11 x 9 in. For Edith Halpert, no passion was merely a hobby. Inspired by the collections of artists like Elie Nadelman, Robert Laurent, and Hamilton Easter Field, Halpert’s interest in American folk art quickly became a part of the Downtown Gallery’s ethos. From the start, she furnished the gallery with folk art to highlight the “Americanness” of her artists. Halpert stated, “the fascinating thing is that folk art pulls in cultures from all over the world which we have utilized and made our own…the fascinating thing about America is that it’s the greatest conglomeration” (AAA interview, p. 172). Halpert shared her love of folk art with Charles Sheeler and curator Holger Cahill, who was the original owner of this watercolor, Home Sweet Home, 1931. The Sheelers filled their home with early American rugs and Shaker furniture, some of which are depicted in Home Sweet Home, and helped Halpert find a saltbox summer home nearby, which she also filled with folk art. As Halpert recalled years later, Sheeler joined her on trips to Bennington cemetery to look at tombstones she considered to be the “first folk art”: I used to die. I’d go to the Bennington Cemetery. Everybody thought I was a queer duck. People used to look at me. That didn’t bother me. I went to that goddamn cemetery, and I went to Bennington at least four times every summer…I’d go into that cemetery and go over those tombstones, and it’s great sculpture. -
Oral History Interview with Edith Gregor Halpert, 1965 Jan. 20
Oral history interview with Edith Gregor Halpert, 1965 Jan. 20 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview HP: HARLAN PHILLIPS EH: EDITH HALPERT HP: We're in business. EH: I have to get all those papers? HP: Let me turn her off. EH: Let met get a package of cigarettes, incidentally. [Looking over papers, correspondence, etc.] This was the same year, 1936. I quit in September. I was in Newtown; let's see, it must have been July. In those days, I had a four months vacation. It was before that. Well, in any event, sometime probably in late May, or early in June, Holger Cahill and Dorothy Miller, his wife -- they were married then, I think -- came to see me. She has a house. She inherited a house near Pittsfield, Massachusetts, and on the way back they stopped off and very excited that through Audrey McMahon he was offered a job to take charge of the WPA in Washington. He was quite scared because he had never been in charge of anything. He worked by himself as a PR for the Newark Museum for many years, and that's all he did. He sent out publicity releases that Dana gave him, or Miss Winsor, you know, told him what to say, and he was very good at it. He also got the press. -
Federal Highway Administration Wasikg!N3gtq[S!;, D.C
FEDERAL HIGHWAY ADMINISTRATION WASIKG!N3GTQ[S!;, D.C. 20590 REMARKS OF FEDERAL HIGHWAY ADMINISTRATOR F. C. TURNER FOR DELIVERY AT THE MID-YEAR CONFERENCE OF THE AMERICAN TRANSIT ASSOCIATION AT MILWAUKEE, WISCONSIN, MARCH 30, 1971 "LET US FORM AN ALLIANCE" The winds of change are sweeping the Nation more powerfully today than they have in many a decade. Change is everywhere. Values have changed. Priorities have changed. Our concerns have changed. I think it is safe to say that, consciously or subconsciously, most of us have changed to some degree in the past few years. This is natural, for change is inevitable. While the effects of change often are temporarily painful and sometimes difficult to adjust to -- change in itself is desirable. It prevents stagnation and atrophy it generates new ideas, new philosophies. As with other aspects of our national life, the highway program, -more - too, has changed. We are doing things differently -- and better -- than we used to do. We have new goals, and new philosophies as to the best way of attaining them. One of these new philosophies is the emphasis we are placing now on moving people over urban freeways, rather than merely vehicle We feel it is essential that the greatest productivity be realized from our investment in urban freeways. It is from this standpoint that I come here today to urge, as it were, a "grand alliance" between those of you who provide and operate the Nation's transit facilities and those of us who are concerned with development of the Nation's highway plant.