Corresponding Voices Volume 11
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Ontario Crafts Council Periodical Listing Compiled By: Caoimhe Morgan-Feir and Amy C
OCC Periodical Listing Compiled by: Caoimhe Morgan-Feir Amy C. Wallace Ontario Crafts Council Periodical Listing Compiled by: Caoimhe Morgan-Feir and Amy C. Wallace Compiled in: June to August 2010 Last Updated: 17-Aug-10 Periodical Year Season Vo. No. Article Title Author Last Author First Pages Keywords Abstract Craftsman 1976 April 1 1 In Celebration of pp. 1-10 Official opening, OCC headquarters, This article is a series of photographs and the Ontario Crafts Crossroads, Joan Chalmers, Thoma Ewen, blurbs detailing the official opening of the Council Tamara Jaworska, Dora de Pedery, Judith OCC, the Crossroads exhibition, and some Almond-Best, Stan Wellington, David behind the scenes with the Council. Reid, Karl Schantz, Sandra Dunn. Craftsman 1976 April 1 1 Hi Fibres '76 p. 12 Exhibition, sculptural works, textile forms, This article details Hi Fibres '76, an OCC Gallery, Deirdre Spencer, Handcraft exhibition of sculptural works and textile House, Lynda Gammon, Madeleine forms in the gallery of the Ontario Crafts Chisholm, Charlotte Trende, Setsuko Council throughout February. Piroche, Bob Polinsky, Evelyn Roth, Charlotte Schneider, Phyllis gerhardt, Dianne Jillings, Joyce Cosgrove, Sue Proom, Margery Powel, Miriam McCarrell, Robert Held. Craftsman 1976 April 1 2 Communications pp. 1-6 First conference, structures and This article discusses the initial Weekend programs, Alan Gregson, delegates. conference of the OCC, in which the structure of the organization, the programs, and the affiliates benefits were discussed. Page 1 of 153 OCC Periodical Listing Compiled by: Caoimhe Morgan-Feir Amy C. Wallace Periodical Year Season Vo. No. Article Title Author Last Author First Pages Keywords Abstract Craftsman 1976 April 1 2 The Affiliates of pp. -
Ecological Consequences Artificial Night Lighting
Rich Longcore ECOLOGY Advance praise for Ecological Consequences of Artificial Night Lighting E c Ecological Consequences “As a kid, I spent many a night under streetlamps looking for toads and bugs, or o l simply watching the bats. The two dozen experts who wrote this text still do. This o of isis aa definitive,definitive, readable,readable, comprehensivecomprehensive reviewreview ofof howhow artificialartificial nightnight lightinglighting affectsaffects g animals and plants. The reader learns about possible and definite effects of i animals and plants. The reader learns about possible and definite effects of c Artificial Night Lighting photopollution, illustrated with important examples of how to mitigate these effects a on species ranging from sea turtles to moths. Each section is introduced by a l delightful vignette that sends you rushing back to your own nighttime adventures, C be they chasing fireflies or grabbing frogs.” o n —JOHN M. MARZLUFF,, DenmanDenman ProfessorProfessor ofof SustainableSustainable ResourceResource Sciences,Sciences, s College of Forest Resources, University of Washington e q “This book is that rare phenomenon, one that provides us with a unique, relevant, and u seminal contribution to our knowledge, examining the physiological, behavioral, e n reproductive, community,community, and other ecological effectseffects of light pollution. It will c enhance our ability to mitigate this ominous envirenvironmentalonmental alteration thrthroughough mormoree e conscious and effective design of the built environment.” -
Programmable Image-Based Light Capture for Previsualization
ii Abstract Previsualization is a class of techniques for creating approximate previews of a movie sequence in order to visualize a scene prior to shooting it on the set. Often these techniques are used to convey the artistic direction of the story in terms of cinematic elements, such as camera movement, angle, lighting, dialogue, and char- acter motion. Essentially, a movie director uses previsualization (previs) to convey movie visuals as he sees them in his ”minds-eye”. Traditional methods for previs include hand-drawn sketches, Storyboards, scaled models, and photographs, which are created by artists to convey how a scene or character might look or move. A recent trend has been to use 3D graphics applications such as video game engines to perform previs, which is called 3D previs. This type of previs is generally used prior to shooting a scene in order to choreograph camera or character movements. To visualize a scene while being recorded on-set, directors and cinematographers use a technique called On-set previs, which provides a real-time view with little to no processing. Other types of previs, such as Technical previs, emphasize accurately capturing scene properties but lack any interactive manipulation and are usually employed by visual effects crews and not for cinematographers or directors. This dissertation’s focus is on creating a new method for interactive visualization that will automatically capture the on-set lighting and provide interactive manipulation of cinematic elements to facilitate the movie maker’s artistic expression, validate cine- matic choices, and provide guidance to production crews. Our method will overcome the drawbacks of the all previous previs methods by combining photorealistic ren- dering with accurately captured scene details, which is interactively displayed on a mobile capture and rendering platform. -
Kabbalah, Magic & the Great Work of Self Transformation
KABBALAH, MAGIC AHD THE GREAT WORK Of SELf-TRAHSfORMATIOH A COMPL€T€ COURS€ LYAM THOMAS CHRISTOPHER Llewellyn Publications Woodbury, Minnesota Contents Acknowledgments Vl1 one Though Only a Few Will Rise 1 two The First Steps 15 three The Secret Lineage 35 four Neophyte 57 five That Darkly Splendid World 89 SIX The Mind Born of Matter 129 seven The Liquid Intelligence 175 eight Fuel for the Fire 227 ntne The Portal 267 ten The Work of the Adept 315 Appendix A: The Consecration ofthe Adeptus Wand 331 Appendix B: Suggested Forms ofExercise 345 Endnotes 353 Works Cited 359 Index 363 Acknowledgments The first challenge to appear before the new student of magic is the overwhehning amount of published material from which he must prepare a road map of self-initiation. Without guidance, this is usually impossible. Therefore, lowe my biggest thanks to Peter and Laura Yorke of Ra Horakhty Temple, who provided my first exposure to self-initiation techniques in the Golden Dawn. Their years of expe rience with the Golden Dawn material yielded a structure of carefully selected ex ercises, which their students still use today to bring about a gradual transformation. WIthout such well-prescribed use of the Golden Dawn's techniques, it would have been difficult to make progress in its grade system. The basic structure of the course in this book is built on a foundation of the Golden Dawn's elemental grade system as my teachers passed it on. In particular, it develops further their choice to use the color correspondences of the Four Worlds, a piece of the original Golden Dawn system that very few occultists have recognized as an ini tiatory tool. -
Essays on Colour
Essays on Colour ESSAYS ON COLOUR A collection of columns from Cabinet Magazine Eleanor Maclure Introduction For every issue the editors of Cabinet Magazine, an American quarterly arts and culture journal, ask one of their regular contributors to write about a specific colour. The essays are printed as Cabinet’s regular Colours Column. To date, forty-two different colours have been the subject of discussion, beginning with Bice in their first ever issue. I first encountered Cabinet magazine when I stumbled upon Darren Wershler-Henry’s piece about Ruby, on the internet. I have since been able to collect all of the published columns and they have provided a wealth of knowledge, information and invaluable research about colour and colour names. Collectively, the writings represent a varied and engaging body of work, with approaches ranging from the highly factual to the deeply personal. From the birth of his niece in Matthew Klam’s Purple, to a timeline of the history of Lapis Lazuli mining in Ultramarine by Matthew Buckingham, the essays have provided fascinating insights into a whole range of colours, from basic terms such as black and red, to the more obscure: porphyry and puce. While some focus very much on the colour in question, others diverge into intricate tales of history, chemistry or geopolitics. There are personal anecdotes, legends and conspiracies, but more than that, the essays demonstrate the sheer diversity of ways we can talk about colour. The essays gathered here have become far more than just the background reading they began as. The aim of this book is to bring together the works, as a unique representation of the different ways we relate to, experience and interpret colours. -
The Essential Reference Guide for Filmmakers
THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey. -
A Tanizaki Feast
A Tanizaki Feast Michigan Monograph Series in Japanese Studies Number 24 Center for Japanese Studies, The University of Michigan A Tanizaki Feast The International Symposium in Venice Edited by Adriana Boscaro and Anthony Hood Chambers Center for Japanese Studies The University of Michigan Ann Arbor, Michigan, 1998 Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. 1998 The Regents of the University of Michigan Published by the Center for Japanese Studies, The University of Michigan, 202 S. Thayer St., Ann Arbor, MI 48104-1608 Distributed by The University of Michigan Press, 839 Greene St. / P.O. Box 1104, Ann Arbor, MI 48106-1104 Library of Congress Cataloging in Publication Data A Tanizaki feast: the international symposium in venice / edited by Adriana Boscaro and Anthony Hood Chambers. xi, 191 p. 23.5 cm. — (Michigan monograph series in Japanese studies ; no. 24) Includes index. ISBN 0-939512-90-4 (cloth : alk. paper) 1. Tanizaki, Jun'ichir5, 1886—1965—Criticism and interpreta- tion—Congress. I. Boscaro, Adriana. II. Chambers, Anthony H. (Anthony Hood). III. Series. PL839.A7Z7964 1998 895.6'344—dc21 98-39890 CIP Jacket design: Seiko Semones This publication meets the ANSI/NISO Standards for Permanence of Paper for Publications and Documents in Libraries and Archives (Z39.48-1992). Published in the United States of America ISBN 978-0-939512-90-4 (hardcover) ISBN 978-0-472-03838-1 (paper) ISBN 978-0-472-12816-7 (ebook) ISBN 978-0-472-90216-3 (open access) The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ Contents Preface vii The Colors of Shadows 1 Maria Teresa Orsi The West as Other 15 Paul McCarthy Prefacing "Sorrows of a Heretic" 21 Ken K. -
The Coming Museum of Glass Newglass Review 23
The Coming Museum of Glass NewGlass Review 23 The Corning Museum of Glass Corning, New York 2002 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made between der Voraussetzung ausgewahlt, dass sie zwi- October 1, 2000, and October 1, 2001. schen dem 1. Oktober 2000 und dem 1. Okto- ber 2001 entworfen und gefertig wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass please contact: Rew'ewkonnen angefordert werden bei: The Corning Museum of Glass Buying Office One Museum Way Corning, New York 14830-2253 Telephone: (607) 974-6821 Fax: (607) 974-7365 E-mail: [email protected] To Our Readers An unsere Leser Since 1985, New Glass Review has been printed by Seit 1985 wird New Glass Review von der Ritterbach Ritterbach Verlag GmbH in Frechen, Germany. This Verlag GmbH in Frechen, Deutschland, gedruckt. Dieser firm also publishes NEUES GLAS/NEW GLASS, a Verlag veroffentlicht seit 1980 auBerdem NEUES GLAS/ quarterly magazine devoted to contemporary glass- NEW GLASS, eine zweisprachige (deutsch/englisch), making. vierteljahrlich erscheinende Zeitschrift, die iiber zeitge- New Glass Review is published annually as part of the nossische Glaskunst weltweit berichtet. April/June issue of NEUES GLAS/NEW GLASS. It is Die New Glass Review wird jedes Jahr als Teil der Mai- also available as an offprint. Both of these publications, ausgabe von NEUES GLAS/NEW GLASS veroffentlicht. as well as subscriptions to New Glass Review, are avail Sie ist aber auch als Sonderdruck erhaltlich. -
IMAGERS: the Adventure of Echo the Bat Teacher's Guide
IMAGERS: The Adventure of Echo the Bat Teacher’s Guide Unit 1: Understanding Light http://imagers.gsfc.nasa.gov Teacher's Guide Introduction to Teacher’s Guide ............................ 3 IMAGERS: UNIT I Understanding Light ................. 4 LESSON 1 - The Primary Colors of Light ................................ 5 LESSON 2 - What Color is it? ................................................. 12 LESSON 3 - The Electromagnetic Spectrum ........................ 21 Understanding Light Resources ........................................... 26 IMAGERS: Unit II Remote Sensing....................... 27 LESSON 1 - What are we looking at?..................................... 28 LESSON 2 - What are satellites? ............................................ 32 LESSON 3 - The Adventure of Echo the Bat.......................... 38 LESSON 4 - How do satellites work? ..................................... 45 LESSON 5 - Interpreting satellite images ............................ 50 Remote Sensing Resources .................................................. 57 IMAGERS: Unit III Biodiversity ............................. 58 LESSON 1: Introducing Habitats and Biodiversity ............. 59 LESSON 2 - Introducing NatureMapping ............................. 62 Biodiversity Resources .......................................................... 70 Related Science Standards ............................ 71 Introduction to Teacher’s Guide Welcome to the IMAGERS Adventure of Echo the Bat Teacher’s Guide! The Adventure of Echo the Bat is an interactive web site featuring -
A Review of the Malaysian Film Industry: Towards Better Film Workflow
A REVIEW OF THE MALAYSIAN FILM INDUSTRY: TOWARDS BETTER FILM WORKFLOW ABDUL RIEZAL DIM A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education University of the West of England, Bristol September 2016 ABSTRACT This thesis investigates the existing film workflow processes in Malaysia and aims to explore, review and reflect on the expectations, experiences, preferences and problems experienced by practitioners. In-depth examination of real practices of colour film workflow, investigating the common myth among Malaysian filmmakers that environmental colour temperature affects the image quality of Malaysian films. Analysis of this myth may help to establish why many Malaysian films have been processed through foreign laboratory. Evidences from film industry were recorded through qualitative video documentation, alongside quantitative data from filmstrip test. This mixed action research method forms the main approach collectively with participatory action research as a tool to narrate the development of the research. In justifying the data, an explanatory mixed method design has been applied. The cooperation with expert witnesses in finding a solution to the research problem brought to the circle of practice-based research processes that validated the research. This validation becoming a central of investigation about the Malaysian film workflow complication. The initial technique (pursing the myth of colour temperature variation) proved inadequate, and, consequently, a broader action research methodology was adopted. As such, the filmstrip test data were used more as a tool to enhance the contributions of the expert witnesses, thereby shifting the direction and strengthening the research findings. -
American Art
American Art The Art Institute of Chicago American Art New Edition The Art Institute of Chicago, 2008 Produced by the Department of Museum Education, Division of Teacher Programs Robert W. Eskridge, Woman’s Board Endowed Executive Director of Museum Education Writers Department of American Art Judith A. Barter, Sarah E. Kelly, Ellen E. Roberts, Brandon K. Ruud Department of Museum Education Elijah Burgher, Karin Jacobson, Glennda Jensen, Shannon Liedel, Grace Murray, David Stark Contributing Writers Lara Taylor, Tanya Brown-Merriman, Maria Marable-Bunch, Nenette Luarca, Maura Rogan Addendum Reviewer James Rondeau, Department of Contemporary Art Editors David Stark, Lara Taylor Illustrations Elijah Burgher Graphic Designer Z...ART & Graphics Publication of American Art was made possible by the Terra Foundation for American Art and the Woman’s Board of the Art Institute of Chicago. Table of Contents How To Use This Manual ......................................................................... ii Introduction: America’s History and Its Art From Its Beginnings to the Cold War ............... 1 Eighteenth Century 1. Copley, Mrs. Daniel Hubbard (Mary Greene) ............................................................ 17 2. Townsend, Bureau Table ............................................................................... 19 Nineteenth Century 3. Rush, General Andrew Jackson ......................................................................... 22 4. Cole, Distant View of Niagara Falls .................................................................... -
Gcr-21-Spring 2009.Pdf
Global City Review Nothing is Simple j QIQIG ISSUE NUMBER TWENTY-ONE »SPRING/SUMMER 20 FOUNDING EDITOR Linsey Abrams SENIOR AND MANAGING EDITOR Robin Blair POETRY EDITOR Michelle Valladares FICTION EDITOR Edith Chevat CONTRIBUTING EDITORS Rebecca Allard, Susan D 'A loia, Peggy Garrison, Greta Herzenszat, Alex Maurice a n d Laura Schofer COVER DESIGN Mona Jimenez EVENTS COORDINATOR Adrienne Anifant SUBSCRIPTIONS & CIRCULATION Rebecca A lla rd and Laura Schofer INTERN Ana Mercedes Ortiz GLOBAL CITY REVIEW Nothing is Simples s p r i n g /s u m m e r 2009 NUMBER TWENTY-ONE COPYRIGHT © 2009 BY GLOBAL CITY PRESS ALL RIGHTS REVERT TO AUTHORS UPON PUBLICATION. G lobal City Review is published twice yearly. ALL CORRESPONDENCE SHOULD BE SENT TO: GLOBAL CITY REVIEW THE SIMON H. RIFKIND CENTER FOR THE HUMANITIES THE CITY COLLEGE OF NEW YORK 138™ STREET AND CONVENT AVENUE n e w Y o r k , n y 10031 w e b s i t e : w w w .w e b d e l s o l .c o m /globalcityreview subscriptions : $16 FOR ONE YEAR / $30 FOR TWO YEARS international : $25 / $45 institutions : $25 / $50 INDIVIDUAL COPIES: $8.50 MAKE CHECKS PAYABLE TO GLOBAL CITY REVIEW. ISBN: 1-887369-23-6 ISSN: 1068-0586 GLOBAL CITY REVIEW IS PUBLISHED WITH THE ONGOING SUPPORT OF THE SIMON H. RIFKIND CENTER FOR THE HUMANITIES AND OF INDIVIDUAL CONTRIBUTORS. DESIGN BY CHARLES NIX Contents Editor’s Note v Introduction vi MEMOIRS An Apology to Lisa Minnelli by Sara W hitney Williams 15 Cat of Nine Tales by Helen Boyd 40 PHOTO ESSAY Photographing in Harlem by Lewis Watts 49 POEMS The Voice of the Courtyard at the American Colony Hotel by Elana Greenfield 1 A Turncoat by Ann Lauinger 14 Cortes 26 California 27 by Cynthia Cruz The Playwright 37 Happiness 38 by Michael Klein science by Jacklyn Janeksela 5 2 PUZZLE Nothing is Simple by Janice M.