The Scottish Arts Council Is Likel Y Imagine Ourselves Without It

Total Page:16

File Type:pdf, Size:1020Kb

The Scottish Arts Council Is Likel Y Imagine Ourselves Without It R f~~ fe Co Thle Arts Council Thirtieth of Great Britain annual report and accounts year ended 31 March 197 5 ARTS COUNCIL OF GREAT BRITAIN REFERENCE ONLY DO NOT REMOVE FROM THE LIBRARY ISBN 0 7287 0061 1 Published by the Arts Council of Great Britai n 105 Piccadilly, London W IV OA U Designed and printed at Shenval Press, Englan d Text set in `Monotype' Times New Roman 327 and 334 Membership of the Council , Committees and Panels Council William Tucker The Lord Gibson (Chairman) (A and c) Mrs Marina Vaizey * Sir John Witt (Vice-Chairman) (A, B and c) Professor John Whit e The Marchioness of Anglesey (A and B) * = Member of Art Finance Committe e Professor Harold C . Baldry (A, B and c) The Lord Balfour of Burleigh (A and B) Exhibitions Sub-Committee Alan Bowness Alan Bowness (Chairman) John Culshaw, OBE (A, B and c) Michael Compton Michael Elliott (B) H. F. Constantine The Viscount Esher, CBE (A, B and c) The Marquess of Dufferin and Ava The Lord Feather, CBE William Feaver Stuart Hampshire (A and c) Gerald Fort y Jeremy Hutchinson, Qc (c) Paul Huxley J. W. Lambert, CBE, DSc (A, B and c) R . B. Kitaj Dr A . H . Marshall, CBE Tristram Powel l Dr Jonathan Miller (c)* David Sylvester James Morris together with the following who serve on th e Neil Paterson Regional sub-committee only : Mrs Ann Clwyd Roberts David Addiso n Mrs Elizabeth Thomas David Bromfiel d Peter Williams, OBE Peter Davies A = Member of the Estimates Committee B = Member of the Housing the Arts Committee Performance Art Committee c = Member of the Finance and Policy Committee Mrs Marina Vaizey (Chairman ) (England) Stuart Brisley * Dr Miller resigned in June 1975 Fergus Earl y Gavin Henderson Art Panel Adrian Henri The Viscount Esher (Chairman)* Ted Littl e Alan Bowness (Deputy Chairman)* Roland Miller Miss Nancy Balfour, OBE* Stephen Walsh Dr Stephen Ban n Victor Burgin* Photography Committee Michael Compton* Tristram Powell (Chairman) H . F. Constantine Bill Gaskin s Theo Crosby* David Hur n Hubert Dalwood Ron McCormick Professor Peter de Francia Professor Aaron Schar f The Marquess of Dufferin and Ava Pete Turne r Dennis Farr* Mrs Marina Vaizey William Feaver Gerald Forty Serpentine Gallery Committe e Patrick George* Hubert Dalwood (Chairman) Patrick Heron Patrick Caulfiel d John Hubbard* William Feaver Malcolm Hughes * David Hurn Drama Pane l Paul Huxley J . W. Lambert (Chairman) * R . B. Kitaj Dr A. H . Marshall (Deputy Chairman)* Tristram Powell Ian B. Albery Robert Rowe, CBE Alan Ayckbour n Jack Smith Miss Sue Birtwistl e David Sylvester Alfred Bradley John Thompson Roger Chapman NIcmhershiI) of the Council, (committees and Panels r ( < I "< / ) Peter Cheeseman * Young People's Theatre Committee John Clark e Philip Hedley (Chairman ) Michael Deniso n Alan Ayckbour n Miss Jane Edgeworth, MB E Miss Sue Birtwistl e Anthony Everit t Alfred Bradley John Ford Roger Chapma n Ian Giles * Ian Giles Len Graham* Len Graha m Malcolm Griffiths Albert Hunt Miss Sheila Hancock, OBE Peter Jame s G. Laurence Harbottle * Gareth Morga n Philip Hedley * Peter Oliver Albert Hunt Miss Clare Venable s Peter James* Roy Kift Literature Panel Mike Leig h Stuart Hampshire (Chairman) * Charles Lister Mrs Elizabeth Thomas (Deputy Chairman) * John McGrat h Dr Dannie Abse Frank Marcu s Martin Ami s Cedric Messina Paul Baile y Gareth Morga n Miss Patricia Beer Trevor Nunn Laurence Cotterell Timothy O'Brie n Miss Margaret Drabble * Peter Oliver Miss Maureen Duffy David Ryme r Colin Falck Donald Sinden* Martyn Goff Miss Caroline Smit h Ronald Harwood * Miss Clare Venables* Miss Paddy Kitche n Colin Wellan d Professor L. C. Knights Timothy Wes t Alexis Lykiard Martin William s Tom Maschle r B. A. Youn g Charles Monteit h * = Member of Drama Finance and Policy Committe e Peter Porter* Piers Paul Read e Fringe and Experimental Drama Committe Hilary Rubinstein* ) Len Graham (Chairman John Sandoe John Ford 1. S. Scott-Kilvert Ian Giles Ion Trewin Albert Hunt * = Member of Literature Finance Committee Roy Kift Mike Leig h National Manuscript Collection of Contemporar y r Peter Olive Writers' Committee Miss Caroline Smit h Dr Philip Larkin, CBE (Chairman ) Timothy West Nicholas Barke r New Drama Committe e Douglas Cleverdo n Alfred Bradle e Dr K. W. Humphreys John Ford W. Hilton Kelliher Malcolm Griffith s P. E. Tucke r Albert Hunt Dr D. P. Waley Rov Kift Eric W . White, CBE John McGrat h Frank Marcu s Miss Caroline Smit h B. A . Young Music Panel Donald Mitchel l John Culshaw (Chairman)* Miss Daphne Ora m Peter Williams (Deputy Chairman)* Stephen Plaisto w Ronald Kinloch Anderson Simon Presto n Richard Rodney Bennett George Rizza Harrison Birtwistle Alan Rum p Gordon Crosse Roger Smalley Professor Basil Dean e David Drew Jazz Sub-Committee John Drummond Charles Fox (Chairman ) Gerald English Ronald Atkins Eric Falk Richard Rodney Bennet t Charles Fox Peter Beva n James Gibb Tony Cas h Mrs Nigel Gosling Walter Drabble Peter Heyworth Roger Eames Barrie Iliffe Patrick Gowers Miss Thea King Keith Lester Opera Sub-Committee John Manduell Ronald Kinloch Anderso n Professor Donald Mitchell John Cox Allen Percival, CBE Professor Basil Deane Stephen Plaistow Gerald English Simon Preston Eric Fal k George Rizza Miss Elizabeth Forbes Alan Rump Noel Goodwi n Roger Smalley Peter Heywort h Miss Caroline Wood Allen Perciva l * = Member of Music Finance Committee, togethe r with one representative each from the General, Opera Committee for the British Section of the and Dance Theatre sub-committees (see below) International Society of Contemporary Music David Drew (Chairman ) Dance Theatre Sub-Committee Miss Susan Bradsha w Peter Williams (Chairman) John Caske n John Allen Martin Dalby Miss Louise Browne Professor Peter Dickinso n Ronald Crichton Professor Peter Evan s Peter Curtis Charles Fo x Miss Margaret Dale Mike Gibbs John Drummond Anthony Gilber t Fergus Early Professor Alexander Goeh r Miss Jane Edgeworth Barry Gu y Noel Goodwin Alan Hacker Mrs Nigel Gosling Dr Jonathan Harve y Mrs Annette Hynd Barrie Iliffe Keith Lester Miss Sheila MacCrindl e Dame Alicia Markova, DBE Nicholas Maw Anthony Payn e General Sub-Committee Stephen Plaisto w Richard Rodney Bennett Miss Veronica Slate r Gordon Crosse Roger Smalley David Drew Tim Souste r Miss Thea King Kevin Stephen s John Manduell Arnold Whittall Membership of the Council . Committees and Panek (( onrnmirr ! Thomas Wilson Lady Casson (Deputy Chairman ) Keith Winte r Edgar Anstey, OB E Hugh Wood Michael Barret t Michael Clarke Regional Committee David Curtis Professor Harold Baldry (Chairman ) Colin Ford Sir John Witt (Deputy Chairman) Derek Hill Miss Nancy Balfour Professor Stuart Hood, MBE Martyn Goff Norman Swallow Jack Goldberg Dr Lisa Tickner Robin Guthrie Tony Wraight Ronald Harwood Colin Young Albert Hunt John Lan e Artists' Films Sub-Committee Dr A. H. Marshal l Professor Stuart Hood (Chairman) Jeremy Ree s David Curtis Alun Rump Simon Field Miss Caroline Smith Anthony Rayns Mrs Elizabeth Thoma s Colin Young Peter Williams Mrs Enid Wistric h Touring Committee Oliver Worsley Sir John Witt (Chairman ) Robert Atkin s Arts Centres Sub-Committe e Professor Harold Baldry John Lane Andrew Blackwood David Peas e Anthony Covel l Jeremy Ree s Patrick Dromgoole Christopher Richard s Michael Elliot t Michael Tearle Eric Falk Mrs Marina Vaizey Jack Goldberg Community Arts Committee Malcolm Griffiths Mrs Elizabeth Thomas (Chairman) The Earl of Harewoo d Dr Gordon Adam Russell Hills Professor Harold Baldry John Hole Peter Blackma n Roger Lancaster Chris Carrell Andrew Leigh Chris Elphic k Sean McCarth y Lord Feversham John McGrat h Jack Goldberg John Manduell Martin Goodrich Dr A. H. Marshal l Miss Carolyn Gorne y Tim Mason Len Graha m Roland Miller Mrs Jenny Harri s Councillor Ralph Morrell Miss Paddy Kitche n James Mowa t Nigel Leach Stephen Phillips Ron McCormic k Christopher Richard s Mrs Maggie Pinhorn Toby Robertso n Peter Stark David Sandford Glen Thompson Robert Scott Miss Caroline Woo d Nigel Stannard Graham Woodruff John Tooley Martin William s Art Film Committee Peter Williams Alan Bowness (Chairman) Training Committee Designers' Working Group Dr A. H. Marshall (Chairman ) Timothy O'Brien (Chairman ) Alan Bowness (Deputy Chairman ) Michael Annals John Allen John Bury John Bury Colin Graham Lionel Dun n Christopher Morle y John English Martyn Goff Directors' Working Grou p Miss Cindy Hargate Philip Hedley (Chairman) Francis Hawcroft John Cople y Philip Hedley John Fernal d Russell Hills Ian Giles Ian Hunter, MBE Colin Graham Barrie Iliffe John Harriso n Michael MacOwan Stephen Holli s John Manduell Peter Jame s Timothy O'Brien Miss Joan Knigh t Harry Pegg Cedric Messina Allen Percival Miss Caroline Smith Owen Read Clive Swift Ken Smalley Miss Hazel Vincent Wallace, OBE Technicians' Working Group Harry Pegg (Chairman) Administration Sub-Committe e Brian Benn Dr A. H. Marshall (Chairman ) William Besant Mrs Grizelda Bear William Bund y Stuart Burge, CBE John Clarke Francis Hawcroft Douglas Cornelissen Barrie Iliffe William Cousins Lyn Jones David Forde r W. J. Kitchingham Russell Hills Timothy Mason Iain Mackintos h Gerald McDonald Eric Otto Christopher Par r Richard Pilbrow Alan Smith Robert Stanton Miss Elizabeth Sweeting, MB E Michael Williams Miss Hazel Vincent Wallace Actors' and Drama Schools' Working Grou p Scottish Arts Council Owen Reed (Chairman ) The Lord Balfour of Burleigh (Chairman)* John Alle n Neil Paterson (Vice-Chairman) * Trevor Baxter Tom Alexander Miss Anna Cartere t Professor James F. Arnott, T D Peter Cheeseman H. Jefferson Barnes, CB E Ronald Eyre Miss Eluned Brown John Field Percival W. Buchanan Philip Hedley Walter Cairns* Raphael Jago David Dorwar d Barry Letts Professor T . A. Dunn* Michael MacOwa n Professor Michael Flinn Vivian Matalon Joe Gerber Miss Prunella Scales Martin Heller Miss Janet Suzma n Mrs Mary Klopper Clive Swift John Knox 1lembers hip of the Council, Committees and Panel, t,, rc<< .r i James Morris* David Bucha n John B.
Recommended publications
  • TURNER PRIZE: Most Prestigious— Yet Also Controversial
    TURNER PRIZE: Most prestigious— yet also controversial Since its inception, the Turner Prize has been synonymous with new British art – and with lively debate. For while the prize has helped to build the careers of a great many young British artists, it has also generated controversy. Yet it has survived endless media attacks, changes of terms and sponsor, and even a year of suspension, to arrive at its current status as one of the most significant contemporary art awards in the world. How has this controversial event shaped the development of British art? What has been its role in transforming the new art being made in Britain into an essential part of the country’s cultural landscape? The Beginning The Turner Prize was set up in 1984 by the Patrons of New Art (PNA), a group of Tate Gallery benefactors committed to raising the profile of contemporary art. 1 The prize was to be awarded each year to “the person who, in the opinion of the jury, has made the greatest contribution to art in Britain in the previous twelve months”. Shortlisted artists would present a selection of their works in an exhibition at the Tate Gallery. The brainchild of Tate Gallery director Alan Bowness, the prize was conceived with the explicit aim of stimulating public interest in contemporary art, and promoting contemporary British artists through broadening the audience base. At that time, few people were interested in contemporary art. It rarely featured in non-specialist publications, let alone in the everyday conversations of ordinary members of the public. The Turner Prize was named after the famous British painter J.
    [Show full text]
  • A Culture Strategy for Scotland: Analysis of Responses to the Public
    A Culture Strategy for Scotland Analysis of responses to the public consultation: Full Analysis Report January 2019 Contents Introduction .............................................................................................................. 1 Background to the consultation ................................................................................. 1 Profile of respondents ................................................................................................ 1 Analysis and reporting ............................................................................................... 2 A vision for culture in Scotland ............................................................................. 4 Views of those who supported the vision .................................................................. 5 Views of those who did not support the vision .......................................................... 9 Ambition 1: Transforming through culture ......................................................... 10 Views of those who supported the ambition ............................................................ 11 Views of those who did not support the ambition .................................................... 17 Ambition 2: Empowering through culture ........................................................... 25 Views of those who supported the ambition ............................................................ 26 Views of those who did not support the ambition .................................................... 29
    [Show full text]
  • DAME BARBARA HEPWORTH 1903 Wakefield - St
    LE CLAIRE KUNST SEIT 1982 DAME BARBARA HEPWORTH 1903 Wakefield - St. Ives 1975 Marble Form Oil and pencil over gesso-prepared board. Signed and dated lower left Barbara Hepworth 1963. Further signed, titled, dated and inscribed on the reverse. 455 x 660 mm PROVENANCE: Mr and Mrs H. Davidson, Toronto – Private collection, U.S.A. EXHIBITIONS: Barbara Hepworth: Sculpture and Drawings, Gimpel-Hanover Galerie, Zurich, 16 November 1963 - 11 January 1964 (drawings not listed) – Barbara Hepworth: Sculptures and Drawings, Gimpel Fils, London, 2 - 27 June 1964 (drawings not listed) – Focus on Drawings, Art Gallery of Toronto, Toronto, 15 October – 7 November 1965, cat. no. 117. RELATED DRAWINGS IN PUBLIC COLLECTIONS: Art Gallery of Ontario, Toronto – Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C. – National Gallery of Australia, Canberra – Manchester City Art Gallery – Milwaukee Art Gallery – Piers Art Centre, Stromness, Orkney Islands – Rijksmuseum Kröller-Müller, Otterlo – Tate, London Vision is not sight ‒ it is the perception of the mind. It is the discernment of the reality of life, a piercing of the superficial surfaces of material existence that gives a work of art its own life and purpose and significant power.1 (Barbara Hepworth, 1937) In 1966, in her autobiographical essay A Sculptor’s Landscape, Barbara Hepworth reiterated the mental, rather than the visual inspiration that informed virtually all of her abstract, sculptural drawings from the early 1940s onwards, when she wrote: I rarely draw what I see – I draw what I feel in my body.2 By sculp- tural, I mean that the drawings echoed, were a two-dimensional exploration of her current three- dimensional obsessions.
    [Show full text]
  • FOI-19-1479 - Cultural Strategy
    From: Foi Enquiries <[email protected]> Sent: 03 December 2019 10:22 Subject: FOI-19-1479 - Cultural Strategy Thank you for your information request of 04 November 2019. Aberdeen City Council (ACC) has completed the necessary search for the information requested. Our response is now detailed below. Why does Aberdeen need a Cultural Strategy? And what are its restraints of having a Cultural Strategy? What makes an Art organization fundable? How does the council support Art organizations? It has been said in the Strategy keeping doors open for creativity. How open are the doors to Aberdeen’s Creative Sector? There must be restraints to creating. Why does Aberdeen focus funding more on Festivals? What does Culture bring into the city that other sectors don't? Is Aberdeen on track to hit the goals they have set? Aberdeen is one of the cities that will be deeply affected by Brexit. How will Brexit affect Aberdeen and its creative industrials and its Cultural Strategy? Where can I find the old strategy to see what has been done in the past? As the new 10-year plan has mentioned it a little in the introduction. The Freedom of Information (Scotland) Act 2002 provides public access to recorded information held by the council at the time a request is made and does not cover officer’s opinions, comments or ongoing conversations. We are unable to provide you with information on your questions regarding Aberdeen City Council’s Cultural Strategy as it is not held by ACC. In order to comply with our obligations under the terms of Section 17 of the FOISA, we hereby gives notice that this information is not held by us.
    [Show full text]
  • Antiquarian & Modern
    Blackwell’s Rare Books Blackwell’S rare books ANTIQUARIAN & MODERN Blackwell’s Rare Books 48-51 Broad Street, Oxford, OX1 3BQ Direct Telephone: +44 (0) 1865 333555 Switchboard: +44 (0) 1865 792792 Email: [email protected] Fax: +44 (0) 1865 794143 www.blackwell.co.uk/ rarebooks Our premises are in the main Blackwell’s bookstore at 48-51 Broad Street, one of the largest and best known in the world, housing over 200,000 new book titles, covering every subject, discipline and interest, as well as a large secondhand books department. There is lift access to each floor. The bookstore is in the centre of the city, opposite the Bodleian Library and Sheldonian Theatre, and close to several of the colleges and other university buildings, with on street parking close by. Oxford is at the centre of an excellent road and rail network, close to the London - Birmingham (M40) motorway and is served by a frequent train service from London (Paddington). Hours: Monday–Saturday 9am to 6pm. (Tuesday 9:30am to 6pm.) Purchases: We are always keen to purchase books, whether single works or in quantity, and will be pleased to make arrangements to view them. Auction commissions: We attend a number of auction sales and will be happy to execute commissions on your behalf. Blackwell’s online bookshop www.blackwell.co.uk Our extensive online catalogue of new books caters for every speciality, with the latest releases and editor’s recommendations. We have something for everyone. Select from our subject areas, reviews, highlights, promotions and more. Orders and correspondence should in every case be sent to our Broad Street address (all books subject to prior sale).
    [Show full text]
  • Glasgow City Region City Deal Cabinet Register Of
    GLASGOW CITY REGION CITY DEAL CABINET REGISTER OF MEMBERS’ INTERESTS 2018/19 Name Organisation / Project / Trust / Company etc Nature of Interest Councillor Vaughan Moody, Association of Scottish Liberal Democrat Councillors Member East Dunbartonshire Council COSLA Convention Member COSLA Leaders Member National Milk Records PLC Shareholder Park Group Shareholder Scottish Association of Landlords Member Councillor Andrew Polson Burnside Parish Church Director of Music East Dunbartonshire Council Daystar Records Self-Employed Musician Revival Radio Ltd Director Westerton Productions LLP Partnership – Television Production Councillor Tony Buchanan, Business Loans Scotland (BLS) Director/Chair East Renfrewshire Council Committee of the Regions Member COSLA Convention Member Department of Work And Pensions Employer Supplier Development Programme (SDP) Director/Chair West of Scotland Loan Fund Director/Chair West of Scotland Management Services Director/Chair Councillor Paul O’Kane, East Enable Scotland, Campaigns and Parliamentary Officer (21 Remuneration Renfrewshire Council hours) Eastwood Labour Party Election Expenses GMB Union Election Expenses Scottish Co-operative Party Election Expenses Association of Public Sector Excellence (APSE) Non-financial interest Clyde and Loch Lomond Local Plan District Joint Committee Non-financial interest East Renfrewshire Culture & Leisure Trust Board Non-financial interest East Renfrewshire Renewable Energy Fund Non-financial interest East Renfrewshire Integration Joint Board Non-financial interest
    [Show full text]
  • Haiku in Britain
    Haiku in Britain Theory, Practice, Context by Martin Lucas Thesis submitted for the degree of PhD at the University of Wales, Cardiff April2001 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed F!.\Q.~~ ~.~s.: (candidate) Date·············..·..9.··..·····hf0.\··..···..~~·J······..···.. STATEMENT1 This thesis is the result of my own investigation, except where otherwise stated. Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Signed ~~~r.- ~ ..~.~ (candidate) Date 5 ~.o..~ k.~..L .. STATEMENT2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. signed ~9.-:.r.hD. ~ ..~ (candidate) Date 3 ~.:,;~ U..9.1 . II Acknowledgements and Dedications Thanks are due to Dr John Freeman, my supervisor, for his critical insights and his constant encouragement, and to Mr Norman Schwenk, Creative Writing convenor, for seeing the value in the project from the beginning. I also thank all the members of my family, in particular my brother David, for his moral support, and my brother Peter, for his example. Nori, my wife, also showed great patience with the project, and acted as Japanese consultant'. Although my meetings with my fellow Creative Writing PhD students have been infrequent, I have deep appreciation for their companionship on the journey. The influence and inspiration of other haiku poets, in Britain and, indeed, around the world, has been an immense asset. They have loaned me much essential reading material, walked with me on desolate mountain-tops, and in sharing their enthusiasm they have brought joy to my life.
    [Show full text]
  • Download Publication
    CONTENTS History The Council is appointed by the Muster for Staff The Arts Council of Great Britain wa s the Arts and its Chairman and 19 othe r Chairman's Introduction formed in August 1946 to continue i n unpaid members serve as individuals, not Secretary-General's Prefac e peacetime the work begun with Government representatives of particular interests o r Highlights of the Year support by the Council for the organisations. The Vice-Chairman is Activity Review s Encouragement of Music and the Arts. The appointed by the Council from among its Arts Council operates under a Royal members and with the Minister's approval . Departmental Report s Charter, granted in 1967 in which its objects The Chairman serves for a period of five Scotland are stated as years and members are appointed initially Wales for four years. South Bank (a) to develop and improve the knowledge , Organisational Review understanding and practice of the arts , Sir William Rees-Mogg Chairman Council (b) to increase the accessibility of the art s Sir Kenneth Cork GBE Vice-Chairma n Advisory Structure to the public throughout Great Britain . Michael Clarke Annual Account s John Cornwell to advise and co-operate wit h Funds, Exhibitions, Schemes and Awards (c) Ronald Grierson departments of Government, local Jeremy Hardie CB E authorities and other bodies . Pamela, Lady Harlec h Gavin Jantje s The Arts Council, as a publicly accountable Philip Jones CB E body, publishes an Annual Report to provide Gavin Laird Parliament and the general public with an James Logan overview of the year's work and to record al l Clare Mullholland grants and guarantees offered in support of Colin Near s the arts.
    [Show full text]
  • Thundering Hooves Report [2006]
    THUNDERING HOOVES MAINTAINING THE GLOBAL COMPETITIVE EDGE OF EDINBURGH’S FESTIVALS 4 MAY 2006 11-29 Fashion Street 285 West Broadway London E1 6PX New York, NY 10013 T 0 20 7377 6559 T 1 212 226 5820 F 0 20 7377 5992 F 1 212 226 5821 TABLE OF CONTENTS 1 Background, Methodology and Recommendations...........................................................................3 2 Why festivals matter.............................................................................................................................. 16 3 Global Trends ......................................................................................................................................... 22 4 Edinburgh in Context: The Experience of Benchmark Cities...................................................... 27 5 The Festivals and the City.................................................................................................................... 39 6 Recommendations.................................................................................................................................. 44 7 Appendix 1: List of Interviewees........................................................................................................ 51 8 Appendix 2: Scenario Planning Participants ..................................................................................... 52 9 Appendix 3: City Case Studies............................................................................................................ 53 10 Appendix 4: Scenarios..........................................................................................................................
    [Show full text]
  • Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 I
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced info the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on untii complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • Mcintosh MA352 HYBRID VALVE AMPLIFIER 10 Transistor Power but with Valve Sound
    VINYL NEWS AND REVIEWS SECTION SEE PAGE 80 HI-FIHI-FIFEBRUARY 2020 UK £4.50 WORLDWORLDwww.hi-fiworld.co.uk FREE READER CLASSIFIED ADS IN THIS ISSUE! McINTOSH COMPETITION MA352 WIN A AUDIO TECHNICA ! Exclusive OC9X SL CARTRIDGE hybrid amplifier WORTH £660! (UK ONLY) KLIPSCH HERITAGE THE SIXES loudspeaker CHORD ELECTRONICS HUEI phonostage FEBRUARY 2020 TECHNICS SL-G700 network/sacd player ACOUSTIC ENERGY AE500 LOUDSPEAKERS SIVE! MUTECH MC3+ USB SMART CLOCK EXCLU PRO-JECT VC-E VINYL CLEANER MEASUREMENT B&W PX7 WIRELESS NC HEADPHONES FIVE PAGES OF LETTERS - THE BEST WINS A PAIR OF KEF Q150 LOUDSPEAKERS! (UK ONLY) [master] The definitive version. Ultimate performance, bespoke audiophile cable collection Chord Company Signature, Sarum and ChordMusic form the vanguard of our cable ranges. A master collection that features our latest conductor, insulation and connector technology. High-end audiophile quality at a realistic price and each one built to your specific requirements. Arrange a demonstration with your nearest Chord Company retailer and hear the difference for yourself. Designed and hand-built in England since 1985 by a dedicated team of music-lovers. Find more information and a dealer locator at: www.chord.co.uk chordco-ad-HFW-MAR19-MASTER-002a.indd 1 07/05/2019 13:57:32 welcome EDITOR alves can be a bit troublesome. If you’re lucky big ones responsible Noel Keywood for producing power will last a few thousand hours, but then need e-mail: [email protected] replacing. However, small ones that don’t dissipate power will sol- dier on past 10,000 hours – and what’s more they cost little, in the DESIGN EDITOR £10-£20 region.
    [Show full text]
  • Re-Issues Reviews
    Re-issues Reviews Home To the reviews index News A healthy nihilism goes all bellicose for the poet who turns his pen into a sword. Interviews In the most Orwellian of years Joseph Smalkowski, or Copernicus, decided it was time Reviews for his verses to not only produce a verbal music but also put some external sound to the words - and got himself a kindred-minded band. "Let the musicians declare war!!" goes Index "I Know What I Think", and they do so, indeed, with a full-blown aural onslaught onto DVD which the leader lays his punky stentorian chant. Deranged delight! - unlike the mournful Magazines recital of "Let Me Rest" clocking at 11.11. Books But the opener "I Won't Hurt You" delivers on its sweet, slithery, soulful promise that Specials either skanks or slides to form the most romantic song Copernicus could offer. Still, COPERNICUS - being himself he couldn't help but break such an innocence in the sonic terror of Photo Nothing Exists "Nagasaki", hung on an urgent, oscillating and scintillating rock 'n' roll guitar riff. It's here that the poet denies the existence of everything, him included, so "Atomic Nevermore" Links Nevermore 1984 spreads its spoken word over the emotional desert which somehow makes the listener MoonJune 2010 explore the album's dry landscape again. DME/Personal ***1/2 Guestbook Mail me The original angularity seeps away for guitar to feed on - and feedback - on a honeysuckle vine. Having tapped into the fusion fad of the day with "Bundles", the machinists might have thought they arrived at the right station, yet the restless passenger in Allan Holdsworth knew better.
    [Show full text]