General Works of Art, Aug, 1
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Fronts in the World Ocean's Large Marine Ecosystems. ICES CM 2007
- 1 - This paper can be freely cited without prior reference to the authors International Council ICES CM 2007/D:21 for the Exploration Theme Session D: Comparative Marine Ecosystem of the Sea (ICES) Structure and Function: Descriptors and Characteristics Fronts in the World Ocean’s Large Marine Ecosystems Igor M. Belkin and Peter C. Cornillon Abstract. Oceanic fronts shape marine ecosystems; therefore front mapping and characterization is one of the most important aspects of physical oceanography. Here we report on the first effort to map and describe all major fronts in the World Ocean’s Large Marine Ecosystems (LMEs). Apart from a geographical review, these fronts are classified according to their origin and physical mechanisms that maintain them. This first-ever zero-order pattern of the LME fronts is based on a unique global frontal data base assembled at the University of Rhode Island. Thermal fronts were automatically derived from 12 years (1985-1996) of twice-daily satellite 9-km resolution global AVHRR SST fields with the Cayula-Cornillon front detection algorithm. These frontal maps serve as guidance in using hydrographic data to explore subsurface thermohaline fronts, whose surface thermal signatures have been mapped from space. Our most recent study of chlorophyll fronts in the Northwest Atlantic from high-resolution 1-km data (Belkin and O’Reilly, 2007) revealed a close spatial association between chlorophyll fronts and SST fronts, suggesting causative links between these two types of fronts. Keywords: Fronts; Large Marine Ecosystems; World Ocean; sea surface temperature. Igor M. Belkin: Graduate School of Oceanography, University of Rhode Island, 215 South Ferry Road, Narragansett, Rhode Island 02882, USA [tel.: +1 401 874 6533, fax: +1 874 6728, email: [email protected]]. -
Sultans and Voivodas in the 16Th C. Gifts and Insignia*
SULTANS AND VOIVODAS IN THE 16TH C. GIFTS AND INSIGNIA* Prof. Dr. Maria Pia PEDANI** Abstract The territorial extent of the Ottoman Empire did not allow the central government to control all the country in the same way. To understand the kind of relations established between the Ottoman Empire and its vassal states scholars took into consideration also peace treaties (sulhnâme) and how these agreements changed in the course of time. The most ancient documents were capitulations (ahdnâme) with mutual oaths, derived from the idea of truce (hudna), such as those made with sovereign countries which bordered on the Empire. Little by little they changed and became imperial decrees (berat), which mean that the sultan was the lord and the others subordinate powers. In the Middle Ages bilateral agreements were used to make peace with European countries too, but, since the end of the 16th c., sultans began to issue berats to grant commercial facilities to distant countries, such as France or England. This meant that, at that time, they felt themselves superior to other rulers. On the contrary, in the 18th and 19th centuries, European countries became stronger and they succeeded in compelling the Ottoman Empire to issue capitulations, in the form of berat, on their behalf. The article hence deals with the Ottoman’s imperial authority up on the vassal states due to the historical evidences of sovereignty. Key Words: Ottoman Empire, voivoda, gift, insignia. 1. Introduction The territorial extent of the Ottoman Empire did not allow the central government to control all the country in the same way. -
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern -
Roy Staab Four Seasons / Four Corners
ROY STAAB FOUR SEASONS / CORNERS ROY STAAB FOUR SEASONS / CORNERS Institute of Visual Arts University of Wisconsin-Milwaukee July 10-September 27, 2009 with contributions by Suzaan Boettger Nicholas Frank John K. Grande Amy Lipton Institute of Visual Arts University of Wisconsin-Milwaukee July 10-September 27, 2009 Inova is grateful for the support of the Greater Milwaukee Foundation’s Mary L. Nohl Fund. Published by the University of Wisconsin-Milwaukee Peck School of the Arts on the occasion of the exhibition ROY STAAB: FOUR SEASONS/FOUR CORNERS Organized by the Institute of Visual Arts (Inova) P.O. Box 413 Milwaukee, WI 53201 Phone: (414) 229-4762 Fax: (414) 229-6154 arts.uwm.edu © 2009 by the Board of Regents of the University of Wisconsin System. All rights reserved. No part of the contents of this book may be produced without the written permission of the publisher. ISBN: 9780981930114 Printed in the United States of America All photographs of installations by Roy Staab except: Michel Goday, figs. 2, 9 Gregg Schmidts, fig. 17 Leonard Freed, fig. 23 Nicholas Frank, fig. 33 Alan Magayne-Roshak, fig. 34 Additional credits: cover: Pyramid Space 7 - August 24, 1988 fig. 16: Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY fig. 18: Collection of the Gemeente Museum Den Haag. 1 (opposite) Fluke, 2008, Marbaek Beach near Esbjerg, Denmark 2 Port-Vendres, France, 1979 5 X MARKS THE STAAB Anyone who knows Roy Staab has experienced the discrepancy between 3 Dennis Oppenheim his personality and his artwork. His temporary environmental site installations Cancelled Crop, 1969 are the embodiment of calm, humility and silence. -
Panoramic Trails to the Golden Cone Square Nature and Culture Between Altdorf, Burgthann and Postbauer-Heng S 2 Altdorf Dörlbach Schwarzenbach Buch Postbauer-Heng S 3
Panoramic trails to the golden cone square Nature and culture between Altdorf, Burgthann and Postbauer-Heng S 2 Altdorf Dörlbach Schwarzenbach Buch Postbauer-Heng S 3 73 Foreword Walking tour Dear visitors, 6 km from the -Bahn station (suburban railway station) Postbauer-Heng to the 1.5 hours -Bahn station Oberferrieden The joint decision of the environmental and building committees of both municipalities Postbauer-Heng Coming from the direction of Nuremberg you first walk (district of Neumarkt i. d. OPf.) and Burgthann (district through the pedestrian underpass to the other side of the of Nuremberg Land) on March 29, 2011 gave the go- railway line. From there via the ramp downwards and fur- ahead for this outstanding and “cross-border” project. ther on the foot and cycle path towards the main road B 8. The citizens of this region at the foot of the mountains Walk on through the tunnel tube and pass the skateboard Brentenberg and Dillberg have already been deeply root- tracks until you reach a crossroad in front of the sports ed for many generations. Numerous family and cultural club. Now turn right and go upwards. Until you reach connections were the basis for the increasingly growing Buch you will find the signs 1 2 along the way. As cooperation in economic and local affairs which has you turn left at the edge of the forest and walk on the proved to be a success especially concerning the school meadow path above of the sports club please enjoy the cooperation. The border between the municipalities is wide view over the surrounding area. -
The Logic of the Grail in Old French and Middle English Arthurian Romance
The Logic of the Grail in Old French and Middle English Arthurian Romance Submitted in part fulfilment of the degree of Doctor of Philosophy Martha Claire Baldon September 2017 Table of Contents Introduction ................................................................................................................................ 8 Introducing the Grail Quest ................................................................................................................ 9 The Grail Narratives ......................................................................................................................... 15 Grail Logic ........................................................................................................................................ 30 Medieval Forms of Argumentation .................................................................................................. 35 Literature Review ............................................................................................................................. 44 Narrative Structure and the Grail Texts ............................................................................................ 52 Conceptualising and Interpreting the Grail Quest ............................................................................ 64 Chapter I: Hermeneutic Progression: Sight, Knowledge, and Perception ............................... 78 Introduction ..................................................................................................................................... -
Artists and Exhibition Information
Artists and exhibition information Sculpture by the Sea Bondi 2019 Page 2 Introduction and key vocabulary Page 3 Looking and interpreting sculpture Artists and their Artworks: Page 4 Joel Adler | NSW Page 13 Jane Gillings | NSW Page 5 Sollai Cartwright | VIC Page 14 Luke Neil | VIC Page 6 Christine Simpson & Hirofumi Uchino | NSW Page 15 Rima Zabaneh & Bernice Rarig | WA Page 7 Maurizo Perron | ITALY Page 16 Britt Mikkelsen | WA Page 8 Naomi Taylor Royds | NSW Page 17 Pooza Kataria | NSW Page 9 Sallie Portnoy | NSW Page 18 Lea Kannar-Lichtenberger | NSW Page 10 Gabriella Boyd & Chloe Henry-Jones | NSW Page 19 Katie Stewart | NSW Page 11 Danai Nikolaidi Kotsaki | GREECE Page 20 Barbara Licha | NSW Page 12 Other Architects and Izabela Pluta | NSW Page 21 Succah by the Sea Education resources created and produced by Sculpture by the Sea with thanks to the exhibiting artists. KEY VOCABULARY 3 dimensional: A solid object that possesses height, width and depth, the object is not flat. Introduction to this resource Balance: The ways in which elements (line, shape, colour, texture, etc.) of a piece are arranged. Balance can be achieved when all elements of a piece are given equal ‘weight’ and are distributed Sculpture by the Sea Artists and Exhibition information has been equally around an imaginary middle line. developed to support primary and secondary teaching. The content can be applied across a range of learning settings, as a handout for Dimensions: Dimensions are the measurable qualities of an object, such as length, breadth, depth, or height. students and in conjunction with existing curriculum. -
Gold and Power in Ancient Costa Rica, Panama, and Colombia
This is an extract from: Gold and Power in Ancient Costa Rica, Panama, and Colombia Jeffrey Quilter and John W. Hoopes, Editors published by Dumbarton Oaks Research Library and Collection Washington, D.C. © 2003 Dumbarton Oaks Trustees for Harvard University Washington, D.C. Printed in the United States of America www.doaks.org/etexts.html The Seed of Life: The Symbolic Power of Gold-Copper Alloys and Metallurgical Transformations Ana María Falchetti re-Hispanic metallurgy of the Americas is known for its technical variety. Over a period of more than three thousand years, different techniques were adopted by vari- Pous Indian communities and adapted to their own cultures and beliefs. In the Central Andes, gold and silver were the predominant metals, while copper was used as a base material. Central Andeans developed an assortment of copper-based alloys. Smiths hammered copper into sheets that would later be used to create objects covered with thin coatings of gold and silver. In northern South America and the Central American isth- mus gold-copper alloys were particularly common.1 Copper metallurgy was also important in Western Mexico and farther north. Putting various local technological preferences aside, Amerindians used copper exten- sively as a base material. What then were the underlying concepts that governed the symbol- ism of copper, its combination with other metals, and particular technologies such as casting methods in Pre-Columbian Colombia, Panama, and Costa Rica? Studies of physical and chemical processes are essential to a scientific approach to met- allurgy, but for a fuller understanding, technologies should not be divorced from cultural contexts. -
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. -
Artists and Exhibition Information
Artists and exhibition information Sculpture by the Sea Bondi 2019 Page 2 Introduction and key vocabulary Page 3 Looking and interpreting sculpture Artists and their Artworks: Page 4 Joel Adler | NSW Page 13 Jane Gillings | NSW Page 5 Sollai Cartwright | VIC Page 14 Luke Neil | VIC Page 6 Christine Simpson & Hirofumi Uchino | NSW Page 15 Rima Zabaneh & Bernice Rarig | WA Page 7 Maurizo Perron | ITALY Page 16 Britt Mikkelsen | WA Page 8 Naomi Taylor Royds | NSW Page 17 Pooza Kataria | NSW Page 9 Sallie Portnoy | NSW Page 18 Lea Kannar-Lichtenberger | NSW Page 10 Gabriella Boyd & Chloe Henry-Jones | NSW Page 19 Katie Stewart | NSW Page 11 Danai Nikolaidi Kotsaki | GREECE Page 20 Barbara Licha | NSW Page 12 Other Architects and Izabela Pluta | NSW Page 21 Succah by the Sea Education resources created and produced by Sculpture by the Sea with thanks to the exhibiting artists. KEY VOCABULARY 3 dimensional: A solid object that possesses height, width and depth, the object is not flat. Introduction to this resource Balance: The ways in which elements (line, shape, colour, texture, etc.) of a piece are arranged. Balance can be achieved when all elements of a piece are given equal ‘weight’ and are distributed Sculpture by the Sea Artists and Exhibition information has been equally around an imaginary middle line. developed to support primary and secondary teaching. The content can be applied across a range of learning settings, as a handout for Dimensions: Dimensions are the measurable qualities of an object, such as length, breadth, depth, or height. students and in conjunction with existing curriculum. -
Resonance & Grace
RESONANCE & GRACE Ceramics by HIDEAKI MIYAMURA Pucker Gallery • Boston 1 All works are porcelain. COVERED VASE gold glaze 15.25 x 4.25 x 4.25" HM474 COVER IMAGES Top left: VASE gold and brown glaze 14.5 x 9 x 9" HM491 Top right: VASE silver glaze 16.5 x 8.5 x 8.5" HM490 Bottom left: VASE purple hare’s fur and brown glaze 16.5 x 8.75 x 8.75" HM493 Bottom left: VASE gold and brown glaze 17.25 x 10 x 10" HM494 2 VASE iron crystalline glaze 6.5 x 6.5 x 6.5" HM466 RESONANCE & GRACE Ceramics by HIDEAKI MIYAMURA Pucker Gallery • Boston lay is both a humble and humbling material. Its of its practitioner. Clay has many life lessons to teach its origins are of the earth and recorded in time. partner about relationship over time. CIt starts as one of the world’s most ubiquitous Hideaki Miyamura acknowledges this slow dance with and reusable materials, but after an encounter with the time and material. He has come to understand his medium transformative force of fire, clay becomes one of the most over decades, and has refined his relationship with it. The permanent, erosion-resistant materials on Earth. And eye, the hand, and the heart move in unison within his through it we are able to learn about our cultural past. studio—to the extent that no words need be spoken. In the hands of one contemporary master this raw This collection of new work quietly reflects material submits to a profound creative awakening and Miyamura’s marriage of technique with aesthetic, and re-imagining. -
The Shanty Where Santy Claus Lives Racist
The Shanty Where Santy Claus Lives Racist Endoscopic and terraqueous Butch outfling while Johannine Rodolph obliques her primula readably and backgrounds frighteningly. Burliest and caramel repelWolfram any unite render while wherefrom. cross-ply Gardener carbonylated her ruins pantomimically and misstates roundabout. Bestead Dino never ginger so ungratefully or Brad Pitt, Mélanie Laurent. Ising period of WB cartoons. But the laptop is third of control. And they clearly demonstrate the influence hence the nationalist Right. The arrival of wealthy bachelors in town causes an uproar when families with single daughters aggressively seek engagements, including the Bennet family, for five eligible daughters. It makes Murphy look even crazier than usual. James Bond teams with most beautiful agent to bestow a terrorist and a businessman bent on world domination. Afterward, Tommy summons Joey and Salvy, his hut in a sling and probable face bandaged, to his silence at the Debonair Social Club and orders them not forget their argument and shake hands. It was impossible trust me better get a muzzle in fine home thorough in my profession. Daniel Amen is beautiful most popular psychiatrist in America. After certain game, veteran player Crash Davis arrives and Skip offers to hire him answer the new catcher, hoping Crash will mentor Ebby. Nature Cat and void gang uncover a map to The Gardens of Gold! Jewish slave Yochabel, along with her little daughter Miriam, prepares an ark of bulrushes and places her infant son into it. Olive and Otto get trapped inside a superior game. Barnhardt speculates that no plate will increase his message seriously unless ban can prove your superior capabilities, so Klaatu promises to flavor a demonstration in two days.