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20091109 Encuentrohe Agarcia
Research in Linguistic Engineering: Resources and Tools♦ Ana García-Serrano, José M. Goñi-Menoyo (1) NLP&IR Group, ETSI Informática, Universidad Nacional de Educación a Distancia (UNED) C/ Juan del Rosal 16, 28040 Madrid [email protected] (1) ETSI Telecomunicación, Universidad Politécnica de Madrid (UPM) Avda. Complutense, Nº 30, 28040 Madrid [email protected] Abstract In this paper we are revisiting some of the resources and tools developed by the members of the Intelligent Systems Research Group (GSI) at UPM as well as from the Information Retrieval and Natural Language Processing Research Group (IR&NLP) at UNED. Details about developed resources (corpus, software) and current interests and projects are given for the two groups. It is also included a brief summary and links into open source resources and tools developed by other groups of the MAVIR consortium (www.mavir.net). 1. GSI - UPM Research interests One of our main goals is to explore the usefulness of these systems in real exploitation scenarios, as the web pages of One of the GSI main research interest is the analysis of the a Local government (Mesia project, TIC-07T/0017/1998 current available methods and techniques in the field of Computational Model for Selective Information Multilingual Information Retrieval and their application, Extraction from Short Texts) Technical Support Services especially to the case in which one of the involved (Rimmel, TIN2004-07588-C03-01 Multilingual & languages is Spanish. In addition to that, contributing to Multimedia Information Retrieval and its Evaluation), the application of new techniques, the improvement of Recommended Systems (Advice, IST-1999-11305 existing ones, and the hybridation or combination of all Virtual Sales Assistant for the Complete Customer Service them are also our objectives. -
Hans Rottenhammer's Use of Networks in the Copper
arts Article Intermediaries and the Market: Hans Rottenhammer’s Use of Networks in the Copper Painting Market Sophia Quach McCabe Department of History of Art and Architecture, University of California, Santa Barbara, Santa Barbara, CA 93106, USA; [email protected] Received: 1 February 2019; Accepted: 16 June 2019; Published: 24 June 2019 Abstract: In Willem van Haecht’s Gallery of Cornelis van der Geest, The Last Judgment by the German artist Hans Rottenhammer stands prominently in the foreground. Signed and dated 1598, it is one of many copper panel paintings Rottenhammer produced and sent north of the Alps during his decade-long sojourn in Venice. That the work was valued alongside those of Renaissance masters raises questions about Rottenhammer’s artistic status and how the painting reached Antwerp. This essay examines Rottenhammer’s international market as a function of his relationships with artist-friends and agents, especially those in Venice’s German merchant community. By employing digital visualization tools alongside the study of archival documents, the essay attends to the intermediary connections within a social network, and their effects on the art market. It argues for Rottenhammer’s use of—and negotiation with—intermediaries to establish an international career. Through digital platforms, such as ArcGIS and Palladio, the artist’s patronage group is shown to have shifted geographically, from multiple countries around 1600 to Germany and Antwerp after 1606, when he relocated to Augsburg. Yet, the same trusted friends and associates he had established in Italy continued to participate in Rottenhammer’s business of art. Keywords: Hans Rottenhammer; social network; intermediaries; mediation; digital humanities; digital art history; merchants; art market; copper painting; Jan Brueghel the Elder 1. -
Instituciones Participantes Y Entidades Colaboradoras
Instituciones participantes y entidades colaboradoras PREMIO AL MEJOR LIBRO EDITORIAL # Ayuntamiento de Segovia Casa de Velázquez E Estate Julio Zadik DE FOTOGRAFÍA DEL AÑO CATEGORÍA NACIONAL CATEGORÍA INTERNACIONAL DESTACADA DEL AÑO AUTOEDITADO 20 minutos Ayuntamiento de Zaragoza Catalonia Moratín Edict Europa FM 1998 «Outland» Roger Ballen 50_easy Centro Andaluz de la Fotografía EFTI 1999 «Inferno» James Nachtwey B CentroCentro Ei System F A Facultad de Periodismo CEU 2000 «Vanitas»Cristobal Hara Banco de la República de Bogotá Centro Checo Eizo ABC Banco Espirito Santo Centro Cultural Anabel Segura Ejército de Tierra Feltrero 2001 «Alberto García-Alix (1976-1998)» AC/E. Acción Cultural Española Bank of America Merrill Lynch Centro Cultural Checo El Corte Inglés Filmoteca Española - Cine Doré 2002 Actar por «Very,Very Bad News» de Jordi Bernardó Phaidon Press London por«Martin Parr» / Actes Sud, por «Berlin» de Gabriel Basilico Acciona Baume & Mercier Centro Cultural Conde Duque El Cultural Flamenca ADENA BBVA Centro Cultural de España en Panamá El País FLASH 2003 Steidl por «Home» de Lars TunjOrk Peliti Asociati por «Quelli di Bagueria» de Ferdinando Scianna Adobe Stock Biblioteca Nacional de España Centro de Arte Alcobendas El Periódico del Arte FNAC 2004 TF Editores por «Mujeres, amor y mentiras» Twim Palm Publishers, por «A Story Book Life» AEC Biocombustibles de Cuenca Centro de Arte Caja de Burgos El Profesor Multimedia Fondation Cartier pour l’art contemporain de Carmela García de Philip-Lorca diCorcia AECID. Agencia Española de Cooperación Blank Paper Centro de Arte Dos de Mayo Elle Fondation HSBC pour la Photographie 2005 Editorial Gran Sol – Comunidad de Madrid, por «Manila» Artimo NL, por «Why, Mr. -
Organisation Country ID Code PAEDAGOGISCHE HOCHSCHULE NIEDEROESTERREICH at a BADEN01 FACHHOCHSCHULE VORARLBERG GMBH at a DORNB
Organisation Country ID code PAEDAGOGISCHE HOCHSCHULE NIEDEROESTERREICH AT A BADEN01 FACHHOCHSCHULE VORARLBERG GMBH AT A DORNBIR01 STIFTUNG PRIVATE PÄDAGOGISCHE HOCHSCHULE BURGENLAND AT A EISENST01 Fachhochschulstudiengaenge Burgenland Gesellschaft m.b.H AT A EISENST02 JOSEPH HAYDN KONSERVATORIUM DES LANDES BURGENLAND AT A EISENST05 PAEDAGOGISCHE HOCHSCHULE VORARLBERG AT A FELDKIR01 VORARLBERGER LANDESKONSERVATORIUM GMBH AT A FELDKIR03 KARL-FRANZENS-UNIVERSITAET GRAZ AT A GRAZ01 TECHNISCHE UNIVERSITAET GRAZ AT A GRAZ02 UNIVERSITAT FUR MUSIK UND DARSTELLENDE KUNST GRAZ AT A GRAZ03 PAEDAGOGISCHE HOCHSCHULE STEIERMARK AT A GRAZ04 KIRCHLICHE PAEDAGOGISCHE HOCHSCHULE DER DIOEZESE GRAZ-SECKAU AT A GRAZ08 FH JOANNEUM GESELLSCHAFT MBH AT A GRAZ09 CAMPUS 02 FACHHOCHSCHULE DER WIRTSCHAFT GMBH AT A GRAZ10 MEDIZINISCHE UNIVERSITÄT GRAZ AT A GRAZ23 LEOPOLD-FRANZENS-UNIVERSITÄT INNSBRUCK AT A INNSBRU01 PAEDAGOGISCHE HOCHSCHULE TIROL AT A INNSBRU03 MANAGEMENT CENTER INNSBRUCK AT A INNSBRU08 KIRCHLICHE PÄDAGOGISCHE HOCHSCHULE - EDITH STEIN (KPH-ES) AT A INNSBRU09 PRIVATE UNIVERSITAET FUER GESUNDHEITSWISSENSCHAFTEN, MEDIZINISCHE INFORMATIK UND TECHNIK (UMIT) AT A INNSBRU20 MEDIZINISCHE UNIVERSITAET INNSBRUCK AT A INNSBRU21 FHG - ZENTRUM FÜR GESUNDHEITSBERUFE TIROL GMBH AT A INNSBRU23 UNIVERSITÄT KLAGENFURT AT A KLAGENF01 PÄDAGOGISCHE HOCHSCHULE KÄRNTEN, VIKTOR FRANKL HOCHSCHULE AT A KLAGENF02 KÄRNTNER LANDESKONSERVATORIUM AT A KLAGENF06 INTERNATIONALES KOLLEG FUR TOURISMUS UND MANAGEMENT - ITM GMBH AT A KREMS02 IMC FACHHOCHSCHULE KREMS GESMBH AT A KREMS03 -
The Vienna Method in Amsterdam: Peter Alma's Office for Pictorial Statistics Benjamin Benus, Wim Jansen
The Vienna Method in Amsterdam: Peter Alma’s Office for Pictorial Statistics Benjamin Benus, Wim Jansen The Dutch artist and designer, Peter Alma (see Figure 1), is today remembered for his 1939 Amstel Station murals, as well as for Downloaded from http://direct.mit.edu/desi/article-pdf/32/2/19/1715594/desi_a_00379.pdf by guest on 24 September 2021 his earlier involvement with the Cologne-based Gruppe progres- siver Künstler [Progressive Artists’ Group]. Yet Alma also pro- duced an extensive body of information graphics over the course of the 1930s. Working first in Vienna at the Gesellschafts- und Wirtschaftsmuseum [Social and Economic Museum] (GWM) and later setting up an independent design firm in Amsterdam, Alma became one of the principal Dutch practitioners and promoters of the design approach known as the “Vienna Method of Picto- rial Statistics.” To date, most accounts of this method’s history have focused on its chief inventor, Austrian social scientist Otto Figure 1 Neurath, and his principal collaborators, Germans Marie Neurath August Sander, photograph of Peter Alma, (née Reidemeister) and Gerd Arntz.1 Yet Alma’s work in pictorial late 1920s. Private collection. Reproduced by permission from Sinja L. Alma and statistics also constitutes a substantial chapter in this history, Peter L. Alma. although it has not yet been fully appreciated or adequately docu- mented.2 In addition to providing an account of Alma’s role in the 1 For a detailed history of the Vienna development and dissemination of the Vienna Method, this essay Method, see Christopher Burke, Eric assesses the nature of Alma’s contribution to the field of informa- Kindel, and Sue Walker, eds., Isotype: tion design and considers the place of his pictorial statistics work Design and Contexts, 1925–1971 within his larger oeuvre. -
Ellies 2018 Finalists Announced
Ellies 2018 Finalists Announced New York, The New Yorker top list of National Magazine Award nominees; CNN’s Don Lemon to host annual awards lunch on March 13 NEW YORK, NY (February 1, 2018)—The American Society of Magazine Editors today published the list of finalists for the 2018 National Magazine Awards for Print and Digital Media. For the fifth year, the finalists were first announced in a 90-minute Twittercast. ASME will celebrate the 53rd presentation of the Ellies when each of the 104 finalists is honored at the annual awards lunch. The 2018 winners will be announced during a lunchtime presentation on Tuesday, March 13, at Cipriani Wall Street in New York. The lunch will be hosted by Don Lemon, the anchor of “CNN Tonight With Don Lemon,” airing weeknights at 10. More than 500 magazine editors and publishers are expected to attend. The winners receive “Ellies,” the elephant-shaped statuettes that give the awards their name. The awards lunch will include the presentation of the Magazine Editors’ Hall of Fame Award to the founding editor of Metropolitan Home and Saveur, Dorothy Kalins. Danny Meyer, the chief executive officer of the Union Square Hospitality Group and founder of Shake Shack, will present the Hall of Fame Award to Kalins on behalf of ASME. The 2018 ASME Award for Fiction will also be presented to Michael Ray, the editor of Zoetrope: All-Story. The winners of the 2018 ASME Next Awards for Journalists Under 30 will be honored as well. This year 57 media organizations were nominated in 20 categories, including two new categories, Social Media and Digital Innovation. -
Key Title Information LOUD FLASH
Key title information LOUD FLASH Product Details British Punk on Paper £20.00 Artist(s) Roberta Bayley, Adrian Boot, Suzan Carson, Barry Jones, David More than any movement before or since, Punk was defined by the King, Jamie Reid, Kate Simon, poster. Linder Sterling Author(s) Simon Ford, Susanna Greeves, Excluded from TV and daytime radio, struggling to be heard in the Toby Mott, Matthew Worsley mainstream press, posters provided an effective – and virtually free – Publisher Haunch of Venison means for bands to reach the public. ISBN 9781905620548 Format softback LOUD FLASH is a unique exhibition of posters curated by the artist and Pages 128 designer Toby Mott. His collection, which also incorporates fanzines, Illustrations 118 colour flyers and other ephemera, delivers a gripping snapshot of the Britain of that time, a country rife with divisions which was slowly Dimensions 210mm x 250mm awakening to the reality of its reduced status in the post-war world. Weight 530 As well as iconic works by Jamie Reid (for the Sex Pistols) and Linder Sterling (for the Buzzcocks), the exhibition features a wealth of material produced by anonymous artists of the era and so offers a complete survey of the punk aesthetic. It also includes political material. The rise of the National Front is charted through its incendiary propaganda, while the posters advertising ‘Rock Against Racism’ events show how this was opposed and how the designers adopted punk as stark graphical styles to entice young supporters. Alongside this, Mott, who has collected more than 1000 punk-related artefacts over a period of 30 years, has also included patriotic memorabilia from the Queen’s Silver Jubilee, which collided with the height of the punk explosion in 1977. -
Touching Photographs { Margaret Olin } Touching Photographs
Touching Photographs { margaret olin } Touching photographs the university of chicago press chicago and london margaret olin is a senior research scholar in the Divinity School, with joint appointments in the Departments of History of Art and Religious Studies and in the Program in Judaic Studies The University of Chicago Press, Chicago 60637 at Yale University. The University of Chicago Press, Ltd., London © 2012 by The University of Chicago All rights reserved. Published 2012. Printed in China 21 20 19 18 17 16 15 14 13 12 1 2 3 4 5 ISBN-13: 978-0-226-62646-8 (paper) ISBN-10: 0-226-62646-6 (paper) Library of Congress Cataloging-in-Publication Data Olin, Margaret Rose, 1948– Touching photographs / Margaret Olin. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-226-62646-8 (pbk : alk. paper) ISBN-10: 0-226-62646-6 (pbk : alk. paper) 1. Photographs—Psy- chological aspects. 2. Photography—Social aspects. 3. Photography in literature. 4. Barthes, Roland. Chambre claire. 5. Evans, Walker, 1903–1975. 6. Van Der Zee, James, 1886–1983. 7. September 11 Terrorist Attacks, 2001. I. Title. TR183.045 2012 770.01'9—dc22 2011016695 This book has been printed on acid-free paper. For Bob and George, our colleagues and students, and their legacy contents Acknowledgments ix 1 Introduction: Tactile Looking 21 1ts “ I I Not Going to Be Easy to Look into Their Eyes” Privilegef o Perception in Let Us Now Praise Famous Men 51 2 Roland Barthes’s “Mistaken” Identification 71 3 “ From One Dark Shore to the Other” The Epiphany of the Image in Hugo von Hofmannsthal and W. -
Willem Sandberg – Portrait of an Artist – Chapter 6
Willem Sandberg – Portrait of an Artist – Chapter 6 ARTIST ORGANISATION AND RESISTANCE It wasn’t until 1932 that I stuck my head in the life of the Dutch artists organisation. I received a request at that time to become a member of VANK, the Vereiniging voor Ambachts- en Nijverheidskunst – the Association for Trade and Industry Art. I had never heard of the VANK, but I became a member. At a certain moment, I was even an active member and held administrative offices, including a seat in the Committee for non- permanent exhibitions in the Stedelijk Museum – for VANK members and others – and in the Exhibition Committee for the Dutch department at the World Exhibition in Paris. The Chairman of the VANK was Jean-François van Royen, a master typographer and, as we always said, in his spare time secretary-general of the PTT. He was owner of the Cunera Press and that was his real work. This man had, between the two great wars, a positive influence on the whole artist community, the life of the artist association and the position of the artist. First, he had a lot of work to award via the Postal services: for designing postcards or stamps, fitting out post-offices, designing letter boxes and so on. But he extended his influence far beyond this. He had, together with his friend , the architect De Bie Leuvelink Tjeenk, a great influence on the artist association life in this country. Tjeenk was, at the time that I knew him, Chairman of the BNA, the Bond voor Nederlandse Architecten [Association for Dutch Architects]. -
HNA April 11 Cover-Final.Indd
historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 28, No. 1 April 2011 Jacob Cats (1741-1799), Summer Landscape, pen and brown ink and wash, 270-359 mm. Hamburger Kunsthalle. Photo: Christoph Irrgang Exhibited in “Bruegel, Rembrandt & Co. Niederländische Zeichnungen 1450-1850”, June 17 – September 11, 2011, on the occasion of the publication of Annemarie Stefes, Niederländische Zeichnungen 1450-1850, Kupferstichkabinett der Hamburger Kunsthalle (see under New Titles) HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Board Members Contents Dagmar Eichberger (2008–2012) HNA News ............................................................................1 Wayne Franits (2009–2013) Matt Kavaler (2008–2012) Personalia ............................................................................... 2 Henry Luttikhuizen (2009 and 2010–2014) Exhibitions -
3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*
“3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums. -
The “Quint-Terz-Tenor” Trombone: an Enigma Solved
WEINER 37 The “Quint-Terz-Tenor” Trombone: An Enigma Solved Howard Weiner In his book on brass instruments, Anthony Baines briefl y discussed in the chapter on “Renaissances Slides” various trombones listed in late-sixteenth- and early-seventeenth- century German inventories, trombones with unusual designations such as Terzposaune and Secundposaune.1 Baines was easily and convincingly able to explain what these most likely were. One term, however, seemingly defi ed explanation, the “quint-terz-tenor” trombone. Baines wrote: Among stranger terms from the same period, a Dresden inventory lists a Quint-terz-tenor: it would be hard to say what this was.2 I must admit that I had never given much thought to this–it was after all just a minor issue. But recently I was asked if I had any idea what this quint-terz-tenor trombone–for which Baines did not specify a source–might have been. Fortunately, the inquiry was accompanied with a hint that did, in fact, quickly lead me to a book published in 1901 and entitled Des Augsburger Patriciers Philipp Hainhofer Reisen nach Innsbruck und Dresden [“The Augsburg Patrician Philipp Hainhofer’s Journeys to Innsbruck and Dresden”].3 This was most likely not Baines’ immediate source, but undoubtedly the source behind the one he used. Philipp Hainhofer (1578-1647), a diplomat and prominent art collector and dealer, was born into an infl uential Augsburg family. After studying law in Padua and Siena, he traveled through Italy, the Netherlands, and Germany, acquiring an extensive knowledge of art as well as an overview and good understanding of the European political situation.