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The 26Th Society for Animation Studies Annual Conference Toronto
Sheridan College SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence The Animator Conferences & Events 6-16-2014 The Animator: The 26th oS ciety for Animation Studies Annual Conference Toronto June 16 to 19, 2014 Society for Animation Studies Paul Ward Society for Animation Studies Tony Tarantini Sheridan College, [email protected] Follow this and additional works at: http://source.sheridancollege.ca/conferences_anim Part of the Film and Media Studies Commons SOURCE Citation Society for Animation Studies; Ward, Paul; and Tarantini, Tony, "The Animator: The 26th ocS iety for Animation Studies Annual Conference Toronto June 16 to 19, 2014" (2014). The Animator. 1. http://source.sheridancollege.ca/conferences_anim/1 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Book is brought to you for free and open access by the Conferences & Events at SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. It has been accepted for inclusion in The Animator by an authorized administrator of SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. For more information, please contact [email protected]. THANK YOU TO OUR SPONSORS THE ANIMATOR THEThe 26th Society forANIMATOR Animation Studies Annual Conference TheToronto 26 Juneth Society 16 to 19, 2014 for www.theAnimation animator2014.com Studies @AnimatorSAS2014 Annual Conference Toronto June 16 to 19, 2014 • www.the animator2014.com • @AnimatorSAS2014 WELCOME Message from the President Animation is both an art and skill; it is a talent that is envied the world over. Having a hand in educating and nurturing some of the finest animators in the world is something for which Sheridan is exceptionally proud. -
Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened. -
Foothills Research Institute Grizzly Bear Program 2013 Annual Report
FOOTHILLS RESEARCH INSTITUTE GRIZZLY BEAR PROGRAM 2013 ANNUAL REPORT Prepared and edited by Gordon B. Stenhouse and Karen Graham April 2014 DISCLAIMER This report presents preliminary findings from the 2013 research program within the Foothills Research Institute (FRI) Grizzly Bear Program. It must be stressed that these data are preliminary in nature and all findings must be interpreted with caution. Opinions presented are those of the authors and collaborating scientists and are subject to revision based on the ongoing findings over the course of these studies. Suggested citation for information within this report: Larsen, T, J. Cranston, G. Stenhouse, and S. Nielsen..2014. Research and applied tools to enhance forest management linkages to grizzly bear conservation and recovery in Alberta. Final Report for the Forest Resource Improvement Association of Alberta. In: G. Stenhouse and K. Graham (eds). Foothills Research Institute Grizzly Bear Program 2013 Annual Report. Hinton, Alberta. i ACKNOWLEDGEMENTS A program of this scope and magnitude would not be possible without the dedication, hard work and support of a large number of people. We would like to thank the capture crew members: Terry Larsen, Brian MacBeth, Bernie Goski, John Lee, and veterinarian Marc Cattet. Exemplary flying skills were provided by Steve Wotton of Peregrine Helicopters of Hinton. Appreciation is also extended to the summer field crew members for the various projects on the go:Leonie Brown, Lindsay Dewart, Michael Oliveira, and Amy Stenhouse whose hard work and enthusiasm ensured a successful field season. Also thanks to Joe Kermit-Wells for his support and data collection. Special thanks to Tracy McKay for all her great work in doing a bit of just about everything that a diverse project like the bear program can dish out. -
Yellowstone Grizzly Bears: Ecology and Conservation of an Icon of Wildness
YELLOWSTONE GRIZZLY BEARS ecology and conservation of an ICON OF WILDNESS EDITED BY P.J. White, Kerry A. Gunther, and Frank T. van Manen YELLOWSTONE GRIZZLY BEARS Yellowstone Grizzly Bears: Ecology and Conservation of an Icon of Wildness Editors P. J. White, Kerry A. Gunther, and Frank T. van Manen Contributing Authors Daniel D. Bjornlie, Amanda M. Bramblett, Steven L. Cain, Tyler H. Coleman, Jennifer K. Fortin-Noreus, Kevin L. Frey, Mark A. Haroldson, Pauline L. Kamath, Eric G. Reinertson, Charles T. Robbins, Daniel J. Thompson, Daniel B. Tyers, Katharine R. Wilmot, and Travis C. Wyman Managing Editor Jennifer A. Jerrett YELLOWSTONE FOREVER, YELLOWSTONE NATIONAL PARK AND U.S. GEOLOGICAL SURVEY, NORTHERN ROCKY MOUNTAIN SCIENCE CENTER Yellowstone Forever, Yellowstone National Park 82190 Published 2017 Contents Printed in the United States of America All chapters are prepared solely by officers or employees of the United States Preface ix government as part of their official duties and are not subject to copyright protection Daniel N. Wenk, Superintendent, Yellowstone National Park in the United States. Foreign copyrights may apply. National Park Service (NPS) photographs are not subject to copyright protection in the United States. Foreign Introduction xv copyrights may apply. However, because this work may contain other copyrighted images or other incorporated material, permission from the copyright holder may be P. J. White, Kerry A. Gunther, and Frank T. van Manen necessary. Cover and half title images: www.revealedinnature.com by Jake Davis. Chapter 1: The Population 1 Library of Congress Cataloging-in-Publication Data P. J. White, Kerry A. Gunther, and Travis C. -
Catalogo Catalogue 2019.Pdf
IN UN MONDO CHE CAMBIA, PUOI AMARE IL CINEMA FESTA DEL CINEMA DI ROMA DA UN’ALTRA PROSPETTIVA. 17-27 Ottobre 2019 PRODOTTO DA MAIN PARTNER Promosso da Partner Istituzionali Messaggio pubblicitario con finalità promozionale. WE LOVE CINEMA In collaborazione con BNL Main Partner della Festa del Cinema di Roma, dal 17 al 27 ottobre. Seguila da un altro punto di vista, su welovecinema.it e con la nostra app. by BNL - BNP PARIBAS welovecinema.it Sponsor Uffi ciali Auto Uffi ciale La banca per un mondo che cambia Partner Partner Tecnico Main Media Partner TV Uffi ciale Media Partner Sponsor FOOD PROMOTION & EVENTS MANAGEMENT Sponsor Tecnici PRODUZIONI E ALLESTIMENTI L'APP DELLA REGIONE LAZIO CON SCONTI E PROMOZIONI PER I GIOVANI DAI 14 AI 29 ANNI su cinema, eventi, libri, concerti, teatro, sport, turismo, pub e ristoranti SCARICA L’APP DAGLI STORE SCOPRI DI PIÙ NELLO SPAZIO DELLA REGIONE LAZIO ALLA FESTA AUDITORIUM PARCO DELLA MUSICA VIVILE STAGIONI DELLE ARTI CONCERTI FESTIVAL RASSEGNE VIALE PIETRO DE COUBERTIN • 00196 ROMA INFO: 06 8024 1281 • BIGLIETTERIA: 892 101 (SERVIZIO A PAGAMENTO) PROGRAMMAZIONE E BIGLIETTI SU AUDITORIUM.COM Siamo con il CINEMA ITALIANO ovunque voglia arrivare. cinecittaluce.it festadelcinema_165 X240 .indd 1 18/09/19 09:20 esecutivo-pagina-cinema.pdf 1 17/09/2019 09:47:37 C M Y CM MY CY CMY K Lavoriamo ogni giorno per valorizzare il set più bello del mondo. Mazda CX-30 Cat FestaCinema 165x240.indd 1 01/10/19 10:13 SIAE_per_FestaCinemaRoma_2019_165x240.pdf 1 10/09/19 11:47 SOGNI IDEE ARTE EeMOZIONI 14A EDIZIONE | 14TH EDITION -
The Yodelyodel
The mountains will always be there; the trick is to make sure you are, too. —Hervey Voge TheThe YodelYodel Volume 14, Issue 4 December 2007 Keep climbing mountains and don’t slip! Spell of the Enchantments Story and photos by Dave McC. indulged ourselves in some high octane In This Issue: I recently had the opportunity to hike in treats, and passed out with smiles on our faces. I had terrible dreams of sharks —OSAT Quick Reference the Enchantments with Rik A., Nancy T., —p.3 and Bill L. I had heard of the Enchant- roasting me over a spit and nibbling on my ments, but didn’t really know much about toes, but that’s not really all that unusual —Car camp-out rages for me. by Deborah L— p.5 them, or even exactly where they were located, but I’d always heard they were We awoke on Sunday to find that Nancy —Sahale Arm beautiful. So, when Rik mentioned he had by Alexei E— p. 6 and Bill had arrived during the night, and an extra permit to go, I jumped at the were asleep in their car. I had called them chance. I imagined us hiking through the night before to let them know that the —OSAT Memoir beautiful green meadows with little lakes by Nodair R—p.7 ranger in Leavenworth had told us there and perhaps taking a swim now and again was “two feet of snow with four foot as we sang tunes from “The Sound of drifts” in the Enchantments, but what I —My Big Fat Ego Music.” No one has ever said I lack in by Louisa P. -
Frontier Forests Ecosystems & Economies on the Edge Dirk Bryant, Daniel Nielsen & Laura Tangley
THE LAST FRONTIER FORESTS ECOSYSTEMS & ECONOMIES ON THE EDGE DIRK BRYANT, DANIEL NIELSEN & LAURA TANGLEY WORLD RESOURCES INSTITUTE FOREST FRONTIERS INITIATIVE DATA COLLABORATORS: 13 WORLD CONSERVATION MONITORING CENTRE AND THE WORLD WILDLIFE FUND Major Findings 1 Board of Directors 2 World Resources Institute 3 Acknowledgments 4 Foreword 5 Introduction 6 Why Do Frontier Forests Matter? 7 What Do We Know About the World's Forests? 9 WRI's Frontier Forests Assessment 10 Falling Frontiers 12 Today's Threats 15 Destruction's Roots 17 The Frontier Forest Index 19 Regional Overviews 22 The Closing Frontier: A Call to Action 34 Technical Annex 37 Notes 41 Box 1: Definitions Used in This Study 11 Box 2: Frontier Forest Myths 14 Box 3: Different Ways of Ranking Countries 18 Box 4: Restoring Frontier Forest: the Guanacaste Example 34 Box 5: A New Vision of Frontier Forest Stewardship 35 Box 6: Plan Piloto: Sustainable Forest Development 36 Basemap data from ArcWorld. Assistance in data preparation, mapping, and analysis provided by $& World Wildlife Fund & 1§ World Conservation Monitoring Centre. FRONTIER FORESTS YEARS AGO Data sources i.) Forest cover data provided by World Conservation Monitoring Centre, ii.) Frontier forests data derived through expert assessment and from other sources. 8,000 FRONTIER FORESTS TODAY: [~| CURRENT NON-FRONTIER FORESTS: large, intact natural forest ecosystems that are secondary forest, plantations, degraded forest, relatively undisturbed and large enough to and patches of primary forest not meeting this WORLD RESOURCES -
2016 Tacoma Mountaineers Intermediate Climbing Manual
TACOMA MOUNTAINEERS Intermediate Climbing Manual 2016 Table of Contents Welcome to the Tacoma Mountaineers _______________________________________________________________________ 3 Course Information _______________________________________________________________________________________________ 5 Course Description _________________________________________________________________________________________________ 5 2016 Intermediate Course Roster _______________________________________________________________________________ 7 Course Policies and Requirements _____________________________________________________________________________ 11 General Notes __________________________________________________________________________________________________________________ 11 Late for Lecture / Absenteeism Policy _______________________________________________________________________________________ 11 Conservation Requirement ___________________________________________________________________________________________________ 11 Winter Overnight Requirement ______________________________________________________________________________________________ 11 Basic Climbing Field Trip Teaching Requirement __________________________________________________________________________ 12 Mentor Program ___________________________________________________________________________________________________ 13 Rope Leader, Climb Leader, & Graduation Policies __________________________________________________________ 15 Rope Lead Process ____________________________________________________________________________________________________________ -
Okanogan and Wenatchee National for Ests INSIDE
OOkanogankanogan aandnd WWenatcheeenatchee NNationalational FForor eestssts FFREE!REE! IINSIDENSIDE SSpecialpecial FFireire IInformationnformation SSectionection SSalmonalmon FFestivalestival FFireire aandnd FFloodsloods BBeautifuleautiful EEchocho RRidgeidge 4400 YYearsears ooff WWildernessilderness HHistoricistoric SSitesites PProtectedrotected WWhyhy AArere tthehe TTreesrees TTurningurning BBrown?rown? SSaturdayaturday iinn tthehe PParkark aatt LLakeake WWenatcheeenatchee MMadad RRiveriver aandnd DDevilsevils BBackboneackbone TTrailrail RRidingiding AAndnd MMuchuch MMoreore IInformationnformation AAboutbout YYourour LLocalocal NNationalational FForestsorests CCascadeascade LLookoutookout A PPublicationublication ooff tthehe UU.S..S. FForestorest SServiceervice — 22004004 OOkanogankanogan aandnd WWenatcheeenatchee NNationalational FForestsorests t is my pleasure to share a few words and The most important of the threats is dealing A NNoteote ffromrom tthehe thoughts with the readers of this, the 7th with fi re and fuels. Wildfi re has been an important Iedition of the Cascade Lookout. I be- issue for the residents of north central Washington came Forest Supervisor for the Okanogan and for many years. Most recall the devastating fi res FForestorest SSupervisorupervisor Wenatchee National Forests in October, 2003. of 1994, 2001, 2002, and the summer of 2003 in Prior to moving here, I was the Forest Supervi- which several hundred forested acres burned. The sor for the Sierra National Forest, in California, center pages of this newspaper have been devel- for the previous 18 years. oped to be “pulled out” and stand alone as a fi re I am replacing Sonny J. O’Neal, who has retired information sheet. These pages address the con- after a distinguished Forest Service career includ- tinuing threat of wildfi re and Forest Service plans ing 16 years as supervisor of the Okanogan and for fuels reduction on overcrowded forests. -
Allison Schulnik's Hobo Clown
Allison Schulnik’s Hobo Clown: grotesque resistance, storytelling metamorphosis and Franz Kafka by william boyd fraser, sculptor A Major Research Paper presented to OCAD University in partial fulfillment of the requirements for the degree of Master of Arts in Contemporary Art, Design and New Media Art Histories Toronto, Ontario, Canada, April, 2015 © william boyd fraser, 2015 ii Author’s Declaration i hereby declare that i am the sole author of this thesis. this is a true copy of the thesis, including any required final versions, as accepted by my examiners. i authorize OCAD University to lend this thesis to other institutions or individuals for the purpose of scholarly research. i understand that my thesis may be made electronically available to the public. i further authorize OCAD University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. iii Abstract Allison Schulnik’s Hobo Clown clay stop-motion film is analyzed using a rhetorical triangulation of persuasion. A hybrid method alternates Schulnik, reader and an imaginary Other for three points of view providing comparisons of story perspective. Franz Kafka’s The Metamorphosis provides an exemplary third person narrative style. A history of stop-motion animation, hobos and clowns, along with animation theory of metamorphosis contribute to a hypothetical null questioning of Schulnik’s grotesque as a constructive identity resisting expectation. Mise-en-scène of staging and music provide sensory, visual and auditory description along with primary source materials and theoretical insight for describing a reading of the film’s grotesque transformations. -
The Grizzly, February 15, 1994
Ursinus College Digital Commons @ Ursinus College Ursinus College Grizzly Newspaper Newspapers 2-15-1994 The Grizzly, February 15, 1994 Erika Compton Ursinus College Hope Rinehimer Ursinus College Alina C. Morawski Ursinus College Amanda Finch Ursinus College Cynthia Babcock Ursinus College See next page for additional authors Follow this and additional works at: https://digitalcommons.ursinus.edu/grizzlynews Part of the Cultural History Commons, Higher Education Commons, Liberal Studies Commons, Social History Commons, and the United States History Commons Click here to let us know how access to this document benefits ou.y Recommended Citation Compton, Erika; Rinehimer, Hope; Morawski, Alina C.; Finch, Amanda; Babcock, Cynthia; Lampe, Barb; Leiser, Mark; Scoville, Satsuki; Crowers, Kelly; Woll, Fred; Richter, Richard P.; Rubin, Harley David; Mastrangelo, Tom; Markowski, Ed; Diamond, Jen; Zelley, Elaine; and Siggelakis, T. J., "The Grizzly, February 15, 1994" (1994). Ursinus College Grizzly Newspaper. 330. https://digitalcommons.ursinus.edu/grizzlynews/330 This Book is brought to you for free and open access by the Newspapers at Digital Commons @ Ursinus College. It has been accepted for inclusion in Ursinus College Grizzly Newspaper by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. Authors Erika Compton, Hope Rinehimer, Alina C. Morawski, Amanda Finch, Cynthia Babcock, Barb Lampe, Mark Leiser, Satsuki Scoville, Kelly Crowers, Fred Woll, Richard P. Richter, Harley -
Integrated Ocean Drilling Program Expedition 327 Preliminary Report
Integrated Ocean Drilling Program Expedition 327 Preliminary Report Juan de Fuca Ridge-Flank Hydrogeology The hydrogeologic architecture of basaltic oceanic crust: compartmentalization, anisotropy, microbiology, and crustal-scale properties on the eastern flank of Juan de Fuca Ridge, eastern Pacific Ocean 5 July–5 September 2010 Expedition 327 Scientists Published by Integrated Ocean Drilling Program Management International, Inc., for the Integrated Ocean Drilling Program Publisher’s notes Material in this publication may be copied without restraint for library, abstract service, educational, or personal research purposes; however, this source should be appropriately acknowledged. Core samples and the wider set of data from the science program covered in this report are under moratorium and accessible only to Science Party members until 5 September 2011. Citation: Expedition 327 Scientists, 2010. Juan de Fuca Ridge-flank hydrogeology: the hydrogeologic architecture of basaltic oceanic crust: compartmentalization, anisotropy, microbiology, and crustal- scale properties on the eastern flank of Juan de Fuca Ridge, eastern Pacific Ocean. IODP Prel. Rept., 327. doi:10.2204/iodp.pr.327.2010 Distribution: Electronic copies of this series may be obtained from the Integrated Ocean Drilling Program (IODP) Scientific Publications homepage on the World Wide Web at www.iodp.org/scientific- publications/. This publication was prepared by the Integrated Ocean Drilling Program U.S. Implementing Organization (IODP-USIO): Consortium for Ocean Leadership,