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Understanding the Value of Arts & Culture | the AHRC Cultural Value
Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska 2 Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska THE AHRC CULTURAL VALUE PROJECT CONTENTS Foreword 3 4. The engaged citizen: civic agency 58 & civic engagement Executive summary 6 Preconditions for political engagement 59 Civic space and civic engagement: three case studies 61 Part 1 Introduction Creative challenge: cultural industries, digging 63 and climate change 1. Rethinking the terms of the cultural 12 Culture, conflict and post-conflict: 66 value debate a double-edged sword? The Cultural Value Project 12 Culture and art: a brief intellectual history 14 5. Communities, Regeneration and Space 71 Cultural policy and the many lives of cultural value 16 Place, identity and public art 71 Beyond dichotomies: the view from 19 Urban regeneration 74 Cultural Value Project awards Creative places, creative quarters 77 Prioritising experience and methodological diversity 21 Community arts 81 Coda: arts, culture and rural communities 83 2. Cross-cutting themes 25 Modes of cultural engagement 25 6. Economy: impact, innovation and ecology 86 Arts and culture in an unequal society 29 The economic benefits of what? 87 Digital transformations 34 Ways of counting 89 Wellbeing and capabilities 37 Agglomeration and attractiveness 91 The innovation economy 92 Part 2 Components of Cultural Value Ecologies of culture 95 3. The reflective individual 42 7. Health, ageing and wellbeing 100 Cultural engagement and the self 43 Therapeutic, clinical and environmental 101 Case study: arts, culture and the criminal 47 interventions justice system Community-based arts and health 104 Cultural engagement and the other 49 Longer-term health benefits and subjective 106 Case study: professional and informal carers 51 wellbeing Culture and international influence 54 Ageing and dementia 108 Two cultures? 110 8. -
2019 STAAR Grade 6 Reading Rationales Item# Rationale
2019 STAAR Grade 6 Reading Rationales Item# Rationale 1 Option C is correct A simile is a figure of speech in which two objects are compared using the word “like” or “as.” In line 14, the author contrasts Zach’s normal behavior—“as active as a fly in a doughnut shop”—with his current behavior—“on his stomach sleeping quietly.” The simile is included to help the reader understand how much energy Zach typically has. Option A is incorrect Although the author does contrast Zach sleeping with his normal, active behavior, this is not meant to suggest that Zach has trouble falling asleep. Option B is incorrect The author compares Zach to “a fly in a doughnut shop” to emphasize how much energy Zach typically has; Zach did not actually eat any doughnuts. Option D is incorrect In paragraph 14, the author describes Michelle waking up “earlier than usual” and then taking a picture of her younger brother, so there is no evidence that Zach is sleeping late. 2 Option F is correct The theme of the story is that recognizing an unexpected opportunity can have surprising results. Throughout the story, Michelle is trying to capture the perfect picture of a sunset for the photo contest she has entered. However, she unexpectedly loves the photograph she takes of her sleeping brother and ends up submitting it for the contest. Option G is incorrect Michelle clearly enjoys taking photographs, but she is also interested in winning the photography contest, so this is not the story’s theme. Option H is incorrect Michelle is kind and patient toward her younger brother Zach, but the siblings’ relationship is not a central focus of the story and not significant to the theme. -
Days & Hours for Social Distance Walking Visitor Guidelines Lynden
53 22 D 4 21 8 48 9 38 NORTH 41 3 C 33 34 E 32 46 47 24 45 26 28 14 52 37 12 25 11 19 7 36 20 10 35 2 PARKING 40 39 50 6 5 51 15 17 27 1 44 13 30 18 G 29 16 43 23 PARKING F GARDEN 31 EXIT ENTRANCE BROWN DEER ROAD Lynden Sculpture Garden Visitor Guidelines NO CLIMBING ON SCULPTURE 2145 W. Brown Deer Rd. Do not climb on the sculptures. They are works of art, just as you would find in an indoor art Milwaukee, WI 53217 museum, and are subject to the same issues of deterioration – and they endure the vagaries of our harsh climate. Many of the works have already spent nearly half a century outdoors 414-446-8794 and are quite fragile. Please be gentle with our art. LAKES & POND There is no wading, swimming or fishing allowed in the lakes or pond. Please do not throw For virtual tours of the anything into these bodies of water. VEGETATION & WILDLIFE sculpture collection and Please do not pick our flowers, fruits, or grasses, or climb the trees. We want every visitor to be able to enjoy the same views you have experienced. Protect our wildlife: do not feed, temporary installations, chase or touch fish, ducks, geese, frogs, turtles or other wildlife. visit: lynden.tours WEATHER All visitors must come inside immediately if there is any sign of lightning. PETS Pets are not allowed in the Lynden Sculpture Garden except on designated dog days. -
DYNAMIC SOARING UAV GLIDERS by Jeffrey H. Koessler
Dynamic Soaring UAV Gliders Item Type text; Electronic Dissertation Authors Koessler, Jeffrey H. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 13:32:45 Link to Item http://hdl.handle.net/10150/627980 DYNAMIC SOARING UAV GLIDERS by Jeffrey H. Koessler __________________________ Copyright © Jeffrey H. Koessler 2018 A Dissertation Submitted to the Faculty of the DEPARTMENT OF AEROSPACE & MECHANICAL ENGINEERING In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN AEROSPACE ENGINEERING In the Graduate College THE UNIVERSITY OF ARIZONA 2018 THEUNIVERSITY OF ARIZONA GRADUATE COLLEGE Date: 01 May 2018 RIZONA 2 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Jeffrey H. Koessler 3 Acknowledgments This network of mentors, colleagues, friends, and family is simply amazing! Many thanks to... ...My advisor Prof. Fasel for enduring my arguments and crazy ideas about the dynamics of soaring. -
Table of Contents
TABLE OF CONTENTS Foreword......................................................................................................................... 3 Executive Summary........................................................................................................ 5 Planning Process and Methodology................................................................................ 9 Cultural Master Plan Vision Statement......................................................................... 11 Planning Context, Vision and Values ........................................................................... 13 Findings and Recommendations................................................................................... 15 Facilities and Parking............................................................................................ 17 Funding ................................................................................................................. 25 Leadership, Collaboration, and Coordination....................................................... 33 Image and Marketing ............................................................................................ 43 Arts Education ...................................................................................................... 51 Support for Artists................................................................................................. 57 Civic Aesthetics .................................................................................................... 63 Appendices................................................................................................................... -
Language Arts Overview
Unit 1: Language Arts Overview ............................................................................................................ 1.2 Helpful References and Resources ................................................................... 1.3 Projects In Your Own Words ................................................................................ 1.4 “Writing In Clover” ............................................................................... 1.14 Making the Connections ...................................................................... 1.18 Life Is A Stage: A Play In Three Acts ..................................................... 1.29 “Reporting Live From ...” ...................................................................... 1.30 Was Something Lost In the Translation? ............................................. 1.31 Lingua Franca ........................................................................................ 1.33 Talking With Your Hands ...................................................................... 1.36 Content Knowledge Standards ....................................................................... 1.39 © Copyright 2001 Lewis and Clark Trail Heritage Foundation 1.1 Overview The members of the Lewis and Clark expedition documented their experiences by writing with quill pens and powdered ink on the precious supply of paper they brought with them. President Thomas Jefferson’s letter of instructions to Meriwether Lewis stated: “Your observations are to be taken with great pains & accuracy, to -
Tending-Heart-Fire-BK02431R-Web
Contents Foreword by Sally Kempton Introduction PART ONE Tending the Heart Fire: Our Firekeeping Ancestors and the Evolution of Our Energetic Heart CHAPTER ONE Envisioning the Heart Fire: From Ancient Wisdom to Cutting-Edge Science CHAPTER TWO Embodying the Cosmos: From the Primordial Fire to the Inner Heart Altar CHAPTER THREE Embodying the Heart Fire: The Science of the Energetic Heart PART TWO Meditations for Tending the Heart Fire CHAPTER FOUR Movement Meditation: Connecting to the Source of Movement CHAPTER FIVE Yoga Alchemy: Energetic Vinyasa and the Flow of Rasa CHAPTER SIX Heart Fire Meditations and Life Practices PART THREE Living in Rhythm v TENDING THE HEART FIRE CHAPTER SEVEN Tending the Fire of Creation—Ayurveda and Inner Firekeeping CHAPTER EIGHT Living Vinyasa: Cycles of Rhythm and Flow CHAPTER NINE Time out of Time: Sacred Retreats for Energy Regeneration PART FOUR Living Vinyasa: The Solar-Lunar Mandala of the Year CHAPTER TEN Winter Solstice: Rebirth of Light CHAPTER ELEVEN Spring Equinox: Reemergence of Life CHAPTER TWELVE Summer Solstice: Peak of the Light CHAPTER THIRTEEN Fall Equinox: The Sacred Return Expressions of Deep Gratitude Notes Resources Art Credits About the Author About Sounds True Copyright CONTENTS vi Introduction WHEN I WAS SEVENTEEN, I left my home in Memphis, Tennessee, and traveled via Belgium, Greece, and Egypt to Kenya. I had saved all of my work money to pay for my expenses on a nine-month volunteer trip in village development before I was to enter my freshman year at New York University. I ended up staying in Kenya for a year and a half, postponing college indefinitely; it was a pivotal period that changed the course of my life. -
The Fragment As a Manifestation of Non-Finito in Auguste Rodin's
The Fragment as a Manifestation of Non-Finito in Auguste Rodin’s Oeuvre A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of the Arts By Sarah Bartram May, 2016 Thesis written by Sarah Bartram B.A., The University of Akron, 2014 M.A., Kent State University, 2016 Approved by _____________________________________ Albert Reischuck, MA, Advisor ____________________________________ Christine Havice, Ph.D., Director, School of Art _____________________________________ John R. Crawford-Spinelli, Ed.D., Dean, College of Arts TABLE OF CONTENTS LIST OF FIGURES…………………………………..…………………………………..iv ACKNOWLEDGEMENTS...……………………………………………………………vii I. INTRODUCTION……………..………………………………………………………..1 II. NON-FINITO, MICHELANGELO, AND RODIN’S WORKSHOP………………….6 III. THE AMPUTATED FORM……………………………………..………………..…19 IV. THE ISOLATED BODY PART.…………………………………………………....30 V. ASSEMBLAGES………………………………..……………………………………39 VI. CONCLUSION………………………………………………………………………55 BIBLIOGRAPHY………………………………………………………………………..56 FIGURES……………………………………………………………………..………….61 iii LIST OF FIGURES Figure Artist, Title, Date Page 1. Auguste Rodin, The Walking Man,1907,………………………………………...…..60 2. Auguste Rodin, Danaïd,1889. ……………………………………………………....60 3. Auguste Rodin, Fugit Amor, ca. 1885, Marble carved ca. 1892-1894………..…......61 4. Auguste Rodin, I Am Beautiful, modeled 1885……………………………………...61 5. Auguste Rodin, St. John the Baptist, 1878……………………………………..……62 6. Auguste Rodin, The Shade, modeled 1881-1886…………………………………….62 -
Perspectives on Art As a Source of Knowledge (2012 Forum
Perspectives on Art As a Source of Knowledge Proceedings of the 2012 Company of Ideas Forum of The Jeffrey Rubinoff Sculpture Park Published in Canada. All rights reserved. Contents To obtain reproduction permission please contact the publisher: Preface 4 Copyright © 2013 The Jeffrey Rubinoff Sculpture Park 2750 Shingle Spit Road, Hornby Island, British Columbia, Canada. 2012 Forum Topic: Art as a Source of Knowledge 11 www.rubinoffsculpturepark.org [email protected] 2012 Forum Participants 14 +1 250 335 2124 Dr. James Fox Other publications can be found at Introduction to the 2012 Forum 17 www.rubinoffsculpturepark.org/publications.php Dialogue on the Forum Introduction 30 Authors Dr. James Fox, Shahana Rajani, Jenni Pace Presnell, Shahana Rajani David Lawless, Jeremy Kessler and Jeffrey Rubinoff The Significance of the Relationship of Jeffrey Rubinoff’s Sculpture to its Environment 39 Editor Karun M Koernig Dialogue on Rajani presentation 44 Catalogue-in-Publication Data Jenni Pace Presnell Library and Archives Canada Cataloguing in Publication In Advance of Resignation Stated as Defiance 51 Company of Ideas Forum of the Jeffrey Rubinoff Sculpture Park (5th : 2012) Dialogue on Pace Presnell presentation 71 Perspectives on art as a source of knowledge : proceedings of the 2012 Company of Ideas Forum of the Jeffrey Rubinoff Sculpture Park / [editor, David Lawless Karun M. Koernig ; authors, James Fox ... et al.]. On the Evolutionary Origin of Artistic Development in the Chauvet Cave Paintings 84 Includes bibliographical references. Dialogue on Lawless presentation 96 ISBN 978-0-9917154-0-4 Jeremy Kessler The Search for a Nuclear Conscience 104 1. Art and society--Congresses. -
Physical Limits of Flight Performance in the Heaviest Soaring Bird
Physical limits of flight performance in the heaviest soaring bird H. J. Williamsa,b,1, E. L. C. Sheparda,1,2, Mark D. Holtonc, P. A. E. Alarcónd, R. P. Wilsona, and S. A. Lambertuccid aDepartment of Biosciences, Swansea University, SA2 8PP Swansea, United Kingdom; bDepartment of Migration, Max Planck Institute of Animal Behaviour, 78315 Radolfzell, Germany; cDepartment of Computing Science, Bay Campus, Swansea University, SA1 8EN Swansea, United Kingdom; and dGrupo de Investigaciones en Biología de la Conservación, Universidad Nacional del Comahue-CONICET, Quintral 1250, R8400FRF Bariloche, Argentina Edited by Robert E. Ricklefs, University of Missouri–St. Louis, St. Louis, MO, and approved June 8, 2020 (received for review May 3, 2019) Flight costs are predicted to vary with environmental conditions, absolutely necessary. Large soaring birds are most likely to flap and this should ultimately determine the movement capacity and to remain airborne or increase speed at times when they are distributions of large soaring birds. Despite this, little is known unable to soar. Knowing the extent to which aerial conditions about how flight effort varies with environmental parameters. We force large birds to use powered flight is key to understanding deployed bio-logging devices on the world’s heaviest soaring bird, how their movements and space-use are constrained by the the Andean condor (Vultur gryphus), to assess the extent to which physical environment (12). these birds can operate without resorting to powered flight. Our Examining when and where obligate soarers resort to flapping records of individual wingbeats in >216 h of flight show that should also provide insight into the particular conditions that condors can sustain soaring across a wide range of wind and ther- might have supported the flight of the largest birds ever to have mal conditions, flapping for only 1% of their flight time. -
Henry James, Fredric Jameson, and the Social Art of Sculpture
Henry James, Fredric Jameson, and the Social Art of Sculpture By David J. Alworth, Harvard University In 1915, writing in his capacity as chairman of the American Volunteer Mo- tor Ambulance Corps, Henry James began an article on Fredrick MacMonnies. The chairman wanted to express his gratitude to the sculptor, who had made a monetary donation to the Corps, and the arrival of a catalogue, documenting the exhibition from whose proceeds the donation had been drawn, was the impetus for the article. “I lose myself in the perusal of the catalogue,” James confessed, “for a just apprecia- tion of the artist’s activity and generosity, and have therewith the delightful sense of a confidence excited and an experience renewed” (HJC 3). This sense was prompted by memory: “My recollection is a matter of days, old Paris days, considerably past, when I envied the sculptor, more than I can say, his ideas and his results, his inspirations and his problems, his questions and his company.” Suddenly made palpable by the look and feel of the catalogue, James’s envy was both historical and aesthetic. Just as he longed for a “golden age of innocence,” before the onset of the war, indeed before the arrival of “a smoke-smothered world, where every light save that of battle burn[ed] so low as scarce to be discernable,” so too he could see, through the green eyes of his younger self, “the range and variety of the artist’s power of projection.” While James went on to praise MacMonnies’s sculptural achievements—“ex-President Roosevelt as a Colonel of Rough Riders,” “a concentrated Shakespeare,” “that breathing Bac- chante of the Luxembourg Museum”—he never completed the article. -
Imaging Maths − Unfolding Polyhedra
Imaging maths − Unfolding polyhedra • about Plus • support Plus • subscribe to Plus • terms of use search plus with google • home • latest issue • explore the archive • careers library • news © 1997−2004, Millennium Mathematics Project, University of Cambridge. Permission is granted to print and copy this page on paper for non−commercial use. For other uses, including electronic redistribution, please contact us. November 2003 Features Imaging maths − Unfolding polyhedra by Konrad Polthier Paper Model Imaging maths − Unfolding polyhedra 1 Imaging maths − Unfolding polyhedra Not only do paper models of geometric shapes decorate the ceilings of the mathematics department where I work, but they are also visual representations of geometric inventions. For example, the paper model shown to the left is the polyhedral version of the "Boy surface" which has the least number of vertices among all polyhedral realizations consisting of triangles. At the time of its original discovery [1], constructing a physical paper model was still a tedious process: any minor inaccuracies in the drawing and cutting process would surely have spoiled the model. To imagine the effort required, have a look at the original drawing [2] of the cutting lines of this paper model. A planar unfolding of the Boy Surface View the animated version(565K) Nowadays software has advanced and allows us to produce "cut drawings" by automatically computing the unfolding of geometric shapes: to the right you can see the unfolding of the Boy model, or view an animation. But even with modern software tools, a number of unsolved geometric problems remain. Unfolding is the process of cutting a polyhedral surface along certain curves and then flattening the surface onto the plane, without overlaps and without distorting the individual faces.