The Death of Paper- Based Communication
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Senior & Shopmaker Gallery
SENIOR & SHOPMAKER GALLERY Winter Selections: Prints and Drawings January 18-March 2, 2019 ROY LICHTENSTEIN (American, $24,000 1923-1997) YELLOW BRUSHSTROKE, 1985 2-color photoetching on Rives BFK (Corlett #209) Paper size: 31 x 19.875 inches 78.7 x 50.5 cm Image Size: 23 7/16 x 12 13/16 inches JUDY PFAFF (British-American, b. $18,000 1946) UNTITLED, 1979 mixed adhesive plastics on graph paper (JP1901) Paper size: 17 x 22 inches (43.2 x 55.9 cm) JUDY PFAFF (British-American, b. $18,000 1946) UNTITLED, 1980-81 mixed adhesive plastics on paper (JP1902) 17 x 22 inches (43.2 x 55.9 cm) Frame size: 24 5/8 x 29 1/2 inches (62.5 x 74.9 cm) AL HELD (American, 1928-2005) $34,000 HUDSON 12, 1989 watercolor on paper 22 1/2 x 27 3/4 inches (57.2 x 70.5 cm) Frame size: 28 x 35 inches (71.1 x 88.9 cm) 210 ELEVENTH AVENUE · 8TH FLOOR · NEW YORK NEW YORK 10001 TEL 212 213 6767 · FAX 801 640 2408 [email protected] · WWW.SENIORANDSHOPMAKER.COM LEON POLK SMITH (American, 1906 $7,500 -1996) COLOR FORMS (A), 1974 screenprint Paper size: 33 x 23 1/4 inches (83.8 x 59.1 cm) Frame size: 35 3/4 x 26 1/8 inches (90.8 x 66.4 cm) SEAN SCULLY (Irish, b. 1945) $18,000 ROOM, 1988 etching, drypoint, aquatint, soapground aquatint, spitbite aquatint, crayon resist 41 3/4 x 50 3/4 inches (106 x 128.9 cm) Image Size: 31 3/4 x 41 3/4 inches (80.6 x 106 cm) MICHAEL CRAIG-MARTIN (Irish, b. -
Reassessing Journalism 'S Global Future
Challenge & Change: REASSESSING JOURNALISM’S GLOBAL FUTURE Alan Knight Edited By CHALLENGE AND CHANGE Reassessing Journalism’s Global Future Edited by Alan Knight First published in 2013 by UTS ePRESS University of Technology, Sydney Broadway NSW 2007 Australia http://epress.lib.uts.edu.au/ © 2013 Copyright rests with the respective authors of each chapter Challenge and change : reassessing journalism’s global future Edited by Alan Knight ISBN: 978-0-9872369-0-6 The chapters in this book are peer reviewed. Table of Contents Chapter One Journalism re-defined : Alan Knight 1 Chapter Two The rise and fall of newspapers : Paolo Hooke 30 Chapter Three One World? Globalising the Media : Tony Maniaty 53 Chapter Four Reporting a world in conflict : Tony Maniaty 76 Chapter Five Networked journalism in the Arab Spring : Alan Knight 107 Chapter Six Ethics in the age of newsbytes : Sue Joseph 126 Chapter Seven Data Drive Journalism : Maureen Henninger 157 Chapter Eight Information Sources and data discovery: Maureen Henninger 185 Chapter One: Journalism Re-defined Prof. Alan Knight –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– “The future of journalism can and will be better than it’s past. We have never had a more open ecosystem for the expression of information and ideas”. Richard Gingras, Director of news and social products at Google August 9, 2012 in Chicago. (Gingras, 2012)1 Journalists were once defined by where they worked; in newspapers, or radio and television stations. Now, the internet promises everyone, everywhere can be a publisher. But not everyone has the skills or training to be a journalist; defined by their professional practices and codes of ethics. -
History and Treatment of Works in Iron Gall Ink September 10-14, 2001, 9:30-5:30 Daily Museum Support Center Smithsonian Center for Materials Research and Education
2001 RELACT Series The History and Treatment of Works in Iron Gall Ink September 10-14, 2001, 9:30-5:30 daily Museum Support Center Smithsonian Center for Materials Research and Education Instructors: Birgit Reibland, Han Neevel, Julie Biggs, Margaret Cowan Additional Lecturers: Jacque Olin, Elissa O'Loughlin, Rachel-Ray Cleveland, Linda Stiber Morenus, Heather Wanser, Abigail Quandt, Christine Smith, Maria Beydenski, Season Tse, Elmer Eusman, Scott Homolka This 3-day course (offered twice in one week for 2 separate groups of participants) focuses on one of the most corrosive media problems found on documents and works of art on paper. The 2-day workshop and 1 interim day of lectures cover the production of inks from historic recipes; historic drawing and writing techniques; identification, examination and classification of deterioration; and the execution of treatment options, including the use of calcium phytate solution. The interim day of lectures will feature local and international conservators' research into the history and treatment of works with iron gall ink. The course represents the first time iron gall ink has been the primary focus of an international gathering in the United States. Registration deadline for the full course is July 1 or until the course is filled with qualified applicants; for the interim day of lectures only, participants have until August 29 to register. Limit for Interim Day of Lectures: 30 Lunch and handouts provided Cost: $ 75.00 Registration deadline August 29 The 3-day course is fully enrolled. Places still remain for the Interim Day of Lectures. Please contact Mary Studt, [email protected] or 301-238-3700 x149 for further information and application materials. -
The Vision Unsplendid for Australian Newspapers
Hold the Presses: The vision unsplendid for _. Australian newspapers Bruce Montgomery Submitted in fulfilment of the requirements for the degree of Master of Arts University of Tasmania January 2009 Declaration of originality This thesis contains no material that has been accepted for a degree or diploma by the University or any other institution except by way of background information and is duly acknowledged in the thesis, and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due acknowledgement is made in the text of the thesis, nor does the thesis contain any material that infringes copyright. Bruce Montgomery - ii - Statement of authority of access This thesis may be made available for loan and limited copying in accordance - iii - Abstract The destiny of Australian newspapers and the journalists who work for them came into sharp focus in August 2008 when Fairfax Media announced it was cutting five per cent of its Australian and New Zealand workforce. At the same time it flagged it would be outsourcing some editorial production, notably the sub-editing of non-news pages, to private contractors. Fairfax's cost-cutting measures illustrate the extent to which the survival of some of our biggest newspapers is threatened by the modem medium of the Internet. This thesis synthesises and assesses the views of notable players in the news industry on the future of Australian newspapers. Its concern is the future of the print platform per se, not the likely structure and future output of today's newspaper companies. -
ROBERT RAUSCHENBERG a W I N G S F R O M T H E 1 9 6 0 S
Transfer Drawings from the 1960s Drawings from Transfer ROBERT RAUSCHENBERG ROBERT RAUSCHENBERG Transfer Drawings from the 1960s ROBERT RAUSCHENBERG ROBERT RAUSCHENBERG Transfer Drawings from the 1960s FEBRUARY 8– MARCH 17, 2007 41 EAST 57TH STREET, NEW YORK, NY 10022 FOREWORD For me, a roomful of Robert Rauschenberg's “Transfer” drawings from the 1960s evokes a powerful sense of dèjà vu. It's a complicated flash from the past, dense with images and newspaper headlines drawn from the events of the time. Saturn 5 rockets, Apache helicopters, ads for spark plugs, photos of astronauts mix with pictures of motorcycles, flashcubes, wristwatches and razor blades, all taken out of their original contexts and reworked into a web of startling new associations by an artist with a keen sense of popular history heightened by irony and a profound wit. Rauschenberg is like a mollusk in the sea of time, filtering and feeding upon everything that passes through his awareness and transforming it to suit his own ends, like an oyster secreting a pearl. He selects images from popular media as signifiers—telling icons of who we Americans are as a people, a nation and a culture. And the new linkages he creates make us question our assumptions about our identity: where did we come from, what do we really care about, where are we going? Rauschenberg's smart, deliberative art mirrors the American character: self-questioning and proud, defiant and wondering, but always hopeful. It is a great pleasure to re-familiarize the public with these drawings, important both artistically and historically. Many of them are being shown in the United States for the first time since they were originally exhibited in Paris at Galerie Ileana Sonnabend in 1968. -
Preserving Your Memories Enjoy Your Favourite Photos Every Day with These Three Crafty Framing Projects
Handmade Preserving your memories Enjoy your favourite photos every day with these three crafty framing projects. Words and styling Sarah Heeringa. Photography Amanda Reelick Photographs top left, centre and bottom middle by Sarah Heeringa Opposite page: Project #1: Hanging photo wall A simple and cost-effective photo display, ideal for when you cannot make multiple holes in the walls. This page, bottom left: Attach your hanging photo wall strings using a large, flat surface. Clockwise from middle right: Project #3: Photo gallery Use accent colours on selected frames; use paper templates when hanging photos; seal frames using picture framing tape. Top left, middle and main image: Project #2: Upcycle an old frame Dissasemble old frames to paint and re-assemble. 74 75 Handmade PROJECT #1 PROJECT #2 PROJECT #3 Hanging Upcycling Composing a photo wall an old frame photo gallery You need: You need: You need: · up to 20 square photographs (all 10cm x · a photograph · a second-hand picture frame · coordinated photo frames · dark thread 10cm) · white card, medium thickness, cut that includes an outer frame, firm backing · Blu-Tack · spirit level · roll of newsprint, into squares (8cm x 8cm) · white string · board and a mat or mounting board · glazier brown paper or newspaper · hammer and spray adhesive or glue stick · scissors and points or tiny nails · masking tape · wide nails · picture hanging hooks or adhesive ruler · A branch or length of bamboo brown picture framing tape · small pliers hanging strips · step-ladder or stool (paint white if you wish) · 1 metre of nylon line · hammer · nylon line · D-ring or small screws · small stones (optional) · Blu-Tack · small paintbrush · dropcloth · Resene Step 1: Pick photos Summer is great for Enamacryl enamel for the frame (I used taking photos, but how many of our images Step 1: Prepare and print images Resene Breathless) and Resene SpaceCote from this season or years past lie dormant on Adjust the photographs before printing to Flat for the mat (I used Resene Black White). -
TIP: Remember, If This Is Your First Time Building a Paper Model, It Is Unlikely
BUILDING INSTRUCTIONS Building a model out of paper is really not new. It is, in fact, a lost art that used to be extremely popular before the First World War! If you take your TIP: time, you can make a Museum Quality paper model for display. You Remember, if this is should expect to spend around 2-3 hours. On the other hand, if you just want to spend some time with the kids, get your scissors out and start your first time gluing! Either way, you will have lots of fun! building a paper model, it is unlikely SUPPLIES NEEDED: that you can achieve Sheets of cardstock museum quality. If 9 >60 lb. bond paper (these may sometimes be labelled as cover weight, coverstock, cardstock etc.). you build the model 9 These papers are readily available at office supply stores. 9 These papers should run though your computer printer without one more time, I can issue, however, you should check your printer settings as it may have a 'thick paper type' for better print result. assure you the end Wooden skewers or chopsticks to use as dowel. product will be much One scrap or unneeded CD to use as base. One sturdy ruler. better because of One Craft knife 9 e.g. X-Acto© or equivalent. “Break-away” blade box cutter style your improved paper is preferred (you always should work with a sharp blade). One pair of scissors. model building skills. White PVA glue 9 Always use very sparingly! 9 Always apply glue to paper with a toothpick or unrolled paper clip, never directly from the bottle! Markers 9 Different markers color for edges of your model. -
Editorial by Nicolás Smirnoff
WWW.PRENSARIO.TV WWW.PRENSARIO.TV //// EDITORIAL BY NICOLÁS SMIRNOFF CEE: ups & downs at the new digital era Central & Eastern Europe is going forward through the new digital era with its own tips. The region has suffered a deep crisis from 2008 to 2017- 2018, with many economies Prensario just standing up. This has International meant rare investment pow- er and long-term plans, but at the same time the change ©2018 EDITORIAL PRENSARIO SRL PAYMENTS TO THE ORDER OF moves fast and comparing to EDITORIAL PRENSARIO SRL other territories, CEE shows OR BY CREDIT CARD. REGISTRO NACIONAL DE DERECHO strong digital poles and de- DE AUTOR Nº 10878 velopment appeals. Argentina: In favor, most of the biggest broadcast- OTT platforms? It is what main broadcasters Las Casas 3535 ers are group of channels that include many of the world are doing, to compete better in CP: 1238 the new converged market and to generate Buenos Aires, Argentina countries, so it is easier to set up cross region- Tel: (+54-11) 4924-7908 al plans and to generate high-scale moves. proper synergies. If content business moves Fax: (+54-11) 4925-2507 On the opposite, there are many different to franchise management, it is important to USA: languages and audiences, so it is difficult to be flexible enough to any formula. 12307 SW 133 Court - Suite #1432 spread solutions that work to every context. This Natpe Budapest? It promises to be bet- Miami, Florida 33186-USA Phone: (305) 890-1813 Russia is a big Internet pole and now it is ter than last ones, with the region going up Email: [email protected] also a big production hub for international and the need of pushing more and more col- Website: www.prensario.tv companies setting up studios or coproduc- laborations. -
Fine Art Papers Guide
FINE ART PAPERS GUIDE 100 Series • 200 Series • Vision • 300 Series • 400 Series • 500 Series make something real For over 125 years Strathmore® has been providing artists with the finest papers on which to create their artwork. Our papers are manufactured to exacting specifications for every level of expertise. 100 100 Series | Youth SERIES Ignite a lifelong love of art. Designed for ages 5 and up, the paper types YOUTH and features have been selected to enhance the creative process. Choice of paper is one of the most important 200 Series | Good decisions an artist makes 200SERIES Value without compromise. Good quality paper at a great price that’s economical enough for daily use. The broad range of papers is a great in determining the GOOD starting point for the beginning and developing artist. outcome of their work. Color, absorbency, texture, weight, and ® Vision | Good STRATHMORE size are some of the more important Let the world see your vision. An affordable line of pads featuring extra variables that contribute to different high sheet counts and durable construction. Tear away fly sheets reveal a artistic effects. Whether your choice of vision heavyweight, customizable, blank cover made from high quality, steel blue medium is watercolor, charcoal, pastel, GOOD mixed media paper. Charcoal Paper in our 300, 400 and 500 Series is pencil, or pen and ink, you can be confident that manufactured with a traditional laid finish making we have a paper that will enhance your artistic them the ideal foundation for this medium. The efforts. Our papers are manufactured to exacting laid texture provides a great toothy surface for specifications for every level of expertise. -
Sustainable Alternatives to Industrial Printing Practices: a Case Study Analysis of Esquire Magazine and Electronic Paper Display
Sustainable Alternatives to Industrial Printing Practices: A Case Study Analysis of Esquire Magazine and Electronic Paper Display Christopher Moore, Concordia University, Montreal, [email protected] Abstract In October 2008, Esquire magazine became the first commercial publisher to utilize electronic paper display technology (EPD) for mass production and distribution of printed ephemera. Initially developed at the MIT Media Lab in 1997, E Ink displays have been integrated into a variety of hardware devices, including the Amazon Kindle and Sony Reader. However, the Esquire cover represents a milestone achievement in the evolution of a more sustainable, paperless print solution due to the medium’s flexible nature, low power consumption, and limited circuitry requirements. 100,000 copies were sold on newsstands for the regular cover price of $5.99 USD, proving both the economic viability and flexible application of the technology, which is impervious to ambient lighting conditions and adaptable to multiple modalities. This paper outlines the key features and benefits of E Ink, as well as the critical challenges impeding widespread adoption of EPD. Keywords Sustainable design (primary keyword); design and society; eco-design; communication and information; case study/studies In response to political and consumer pressures, traditional print industries have increasingly adapted production methods to utilize more ecologically conscientious practices. Transitions to vegetable dyes, post-consumer fibres and dissolved air flotation de-inking processes have contributed to reduced environmental consequences from the paper and printing industries, but the overall output of ephemera has remained largely unchanged. The secondary carbon offset resulting from energy consumption and chemical disposal in the recycling and transportation of printed matter needs to be reconciled with advancements made in material technologies, and our cultural desire for tangible media. -
(12) United States Patent (10) Patent No.: US 8,980,523 B2 Williams Et Al
US00898.0523B2 (12) United States Patent (10) Patent No.: US 8,980,523 B2 Williams et al. (45) Date of Patent: Mar. 17, 2015 (54) IMAGING PARTICULATES, PAPER AND (58) Field of Classification Search PROCESS, AND IMAGING OF PAPER USING USPC ............................................... 430/138,270.1 DUAL WAVELENGTH LIGHT See application file for complete search history. (71) Applicant: International Paper Company, (56) References Cited Memphis, TN (US) U.S. PATENT DOCUMENTS (72) Inventors: Richard C. Williams, Loveland, OH (US); Richard D. Faber, Memphis, TN 3,042,515 A 7, 1962 Wainer (US); Oleg Grinevick, Holland, OH 3,282,693. A 11/1966 Sagura et al. (US); John Malpert, Maumee, OH 3,390,994 A 7, 1968 Cescon (US); Alexandre Mejiritski, Bowling (Continued) Green, OH (US); Douglas C. Neckers, Perrysburg, OH (US) FOREIGN PATENT DOCUMENTS CN 1875424 12/2006 (73) Assignee: International Paper Company, DE 4109239 9, 1992 Memphis, TN (US) (Continued) (*) Notice: Subject to any disclaimer, the term of this OTHER PUBLICATIONS patent is extended or adjusted under 35 U.S.C. 154(b) by 0 days. G. A. Smook, Handbook for Pulp and Paper Technologiest, 2nd edition, 1992 p. 2-8, p. 225, p. 285, p. 286-88, p. 283-86. (21) Appl. No.: 14/082,461 Primary Examiner — Amanda C. Walke (22) Filed: Nov. 18, 2013 (74) Attorney, Agent, or Firm — Thomas W. Barnes, III Prior Publication Data (65) (57) ABSTRACT US 2014/0080044 A1 Mar. 20, 2014 The present invention provides dual wavelength imaging Related U.S. Application Data compositions, processes for forming dual wavelength imag ing compositions, methods for forming images using dual (63) Continuation of application No. -
Andy Higgins, BA
Andy Higgins, B.A. (Hons), M.A. (Hons) Music, Politics and Liquid Modernity How Rock-Stars became politicians and why Politicians became Rock-Stars Thesis submitted for the degree of Ph.D. in Politics and International Relations The Department of Politics, Philosophy and Religion University of Lancaster September 2010 Declaration I certify that this thesis is my own work and has not been submitted in substantially the same form for the award of a higher degree elsewhere 1 ProQuest Number: 11003507 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11003507 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract As popular music eclipsed Hollywood as the most powerful mode of seduction of Western youth, rock-stars erupted through the counter-culture as potent political figures. Following its sensational arrival, the politics of popular musical culture has however moved from the shared experience of protest movements and picket lines and to an individualised and celebrified consumerist experience. As a consequence what emerged, as a controversial and subversive phenomenon, has been de-fanged and transformed into a mechanism of establishment support.