DOCSLIB.ORG

Front Section

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Front Section College of Art and Design College of Performing Arts UArts College of Media and Communication The University of the Arts 320 South Broad Street Undergraduate and Philadelphia, PA 19102 Graduate Course Catalog 1•800•616•ARTS 2001 • 2002 www.uarts.edu Nondiscrimination Policy The University of the Arts is committed to maintaining an environment in which students, faculty and staff may pursue academic, artistic and professional excellence. This environment can be secured only through mutual respect and The University of the Arts is the nation’s only university unconstrained academic and professional interchange among devoted exclusively to education and professional training in faculty, staff and students. Under the Civil Rights Act of 1964, Title IX of the Educational Amendments of 1972, other state design, visual, media, and performing arts. Located in central and federal laws, and The University of the Arts policy, the Philadelphia, The University of the Arts was founded in 1987 faculty, staff, and students of the University are entitled to through the consolidation of two century-old institutions: the participate in and obtain the benefits of University programs, activities and employment without being discriminated Philadelphia College of Art and the Philadelphia College of against on the basis of their race, creed, color, ethnic Performing Arts. A third academic unit, the College of Media background, national origin, sex, gender, age, religion, and Communication, was established in 1996. Offering disability or sexual orientation. The University also strictly prohibits any form of retaliation undergraduate and graduate degrees in communication, crafts, or reprisal against anyone reporting allegations of harassment dance, graphic design, industrial and museum exhibition or discrimination, or cooperating in an investigation of such a design, fine arts, illustration, media arts, multimedia, museum report. Such retaliation shall be considered a serious violation of the University’s nondiscrimination policy and shall be communication, music, theater, writing, and museum and arts punishable by discipline up to and including termination, education, the University prepares its students to assume over regardless of whether the charge of discrimination is substan- 150 careers in traditional and emerging arts and related fields. tiated. However, if an employee, student or faculty member is found to have intentionally lied about a claim of discrimi- nation, or brought a claim in bad faith, knowing that the The University of the Arts allegation of discrimination is false, then that employee, 320 South Broad Street student or faculty member may be subject to discipline or expulsion. Philadelphia, PA 19102 Examples of prohibited retaliation include: threatening reprisals against the person who complained or cooperated in 215-717-6030 an investigation; unfairly changing a person’s evaluations, assignments, grades or working conditions; or otherwise continuing any harassment or discrimination against such 1-800-616-ARTS person. The University of the Arts gives equal consideration to all fax 215-717-6045 applicants for admission and financial aid, and conducts all educational programs, activities, and employment practices without regard to race, color, sex, religion, national or ethnic http://www.uarts.edu origin, or disability. Direct inquiries to the Office of the Dean of Students/ADA Coordinator, The University of the Arts, 1500 Pine Street, Philadelphia, PA 19102; 215-875-2229. CEEB code 2664 This catalog was updated as of July, 2001. The University of the Arts reserves the right to revise any information herein at Title IV code 003350 its discretion and without prior notice. Trademarked names appear throughout this catalog. Rather than list the names and entities that own the trademarks or insert a trademark symbol with each mention of the trademarked name, the publisher states that it is using the names only for editorial purposes and to the benefit of the trademark owner with no intention of infringing upon that trademark. The University of the Arts® is registered with the US Patent and Trademark Office, Reg. No. 2,341,258 2 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 The University of the Arts Contents 4 Academic Calendar 2001-2002 The University of the Arts College of Performing Arts General Information 78 College of Performing Arts 6 Mission Statement 82 The School of Dance 186 Admission 6 History of The University of the Arts 89 The School of Music 192 Tuition and Expenses 6 Accreditation The School of Music Graduate Programs 195 Financial Aid 7 College of Art and Design 99 Music Education 206 Student Services 7 College of Performing Arts 100 Jazz Studies 208 General Information 7 College of Media and Communication 102 The School of Theater Arts 209 Code of Conduct 7 Degree Programs 210 Student Code 8 University Libraries College of Media and Communication 216 University Guidelines for 9 Academic Policies and Procedures Responsible Computing 13 Grading Policies 110 College of Media and Communication 217 Academic Computing 112 Communication 217 Continuing Education Programs Undergraduate Degree Requirements 114 Multimedia 218 Administration 116 Writing for Film and Television 219 Board of Trustees 18 Undergraduate Degree Requirements 221 Faculty Index 19 Division of Liberal Arts Course Descriptions 225 Index 229 Campus Map College of Art and Design 118 Art Education 120 Art Therapy 26 College of Art and Design 120 Communication 28 Undergraduate Programs 123 Crafts 32 Foundation Program 127 Dance 34 Crafts 132 Electronic Media 37 Fine Arts 132 Fine Arts 43 Graphic Design 134 Foundation 45 Illustration 135 Graphic Design 47 Industrial Design 138 Graduate Seminars 49 Media Arts 138 Liberal Arts 55 Art Education 151 Industrial Design 57 Art Therapy 154 Illustration 155 Master of Fine Arts in College of Art and Design Ceramics, Painting, or Sculpture Graduate Programs 157 Multimedia 158 Museum Studies 58 College of Art and Design 161 Music Graduate Programs 168 Media Arts 60 Post-Baccalaureate Options 168 Photography/Film/Video/Animation 61 Art Education 171 Printmaking/ Book Arts 63 Visual Arts 174 Painting/Drawing 65 Book Arts/ Printmaking 176 Sculpture 67 Ceramics, Painting, or Sculpture 177 Theater Arts 69 Industrial Design 181 UArts Course 71 Museum Studies 182 Writing for Film and Television 71 Museum Communication 73 Museum Education 75 Museum Exhibition Planning and Design The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 3 Academic Calendar 2001-2002 Fall 2001 November Thursday, November 1 August Deadline – Spring 2002 application for Readmission Saturday, August 25 English Placement Exams Monday, November 5 thru Friday, November 16 Student residences open/move-in Advising for Spring 2002 registration Sunday, August 26 thru Tuesday, August 28 Monday, November 12 thru Friday, November 16 New Student Orientation Registration for Spring 2002 Graduation Petitions for Dec 2001, May 2002 and Aug 2002 due to Registrar Monday, August 27 Advising/registration for new transfers, graduate, and readmitted students, Thursday, November 22 thru Sunday, November 25 10:00 am – 3:00pm Thanksgiving Vacation Residence halls remain open Tuesday, August 28 Advising/registration for new freshmen, December 9:00 am – 3:00 pm Friday, December 7 Fall 2001 classes end Wednesday, August 29 Fall semester classes begin Monday, December 10 thru Friday, December 14 Examinations, critiques, and juries Wednesday, August 29 & Thursday, August 30 Late registration Thursday, December 13 Continuing Education fall session ends Wednesday, August 29 thru Tuesday, September 11 Friday, December 14 Drop/Add period Grades due to Registrar by 12:00 noon Documents for students graduating December 2001 due to Registrar September Monday, September 3 Saturday, December 15 Labor Day Holiday Residence Halls close at 12:00 noon Saturday School ends Wednesday, September 12 Follow Monday class schedule Spring 2002 Friday, September 14 January Drop/Add period for CPA ensembles ends Tuesday, January 1 New Years Day Holiday Friday, September 21 Deans and Directors submit Spring 2002 courses Monday, January 7 CAD Academic Review Monday, September 24 Continuing Studies fall session begins Tuesday, January 8 CPA Academic Review October CMAC Academic Review Saturday, October 6 Saturday School begins Thursday, January 17 New Student registration Friday, October 12 Residence halls open, 9am Last day for removal of Spring 2001 Incomplete (I) grades Thursday, January 17 & Friday, January 18 Friday, October 19 New Student Orientation Last day to withdraw with a “W” grade Monday, January 21 Saturday, October 27 Martin Luther King Holiday Open House Tuesday, January 22 Spring semester classes begin Tuesday, January 22 & Wednesday, January 23 Late Registration 4 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Tuesday, January 22 thru Friday, February 1 Wednesday, May 22 Drop/Add period - for all classes Awards Ceremony Monday, January 28 Thursday, May 23 Continuing Education spring session begins Commencement ceremony February Saturday, February 9 Summer 2002 Saturday School begins May Monday, May 20 Friday, February 22 Summer session I begins Deans/Directors submit fall 2002 courses to Registrar Continuing Education summer session I begins March Monday, May 27 Friday, March 1 Memorial Day Holiday Last day for removal of Fall 2001 Incomplete (I) grades Thursday, May 30 Friday, March 8 CAD Academic
Load more

Recommended publications
  • Book of Abstracts: Studying Old Master Paintings
    BOOK OF ABSTRACTS STUDYING OLD MASTER PAINTINGS ­ TECHNOLOGY AND PRACTICE THE NATIONAL GALLERY TECHNICAL BULLETIN 30TH ANNIVERSARY CONFERENCE 16­18 September 2009, Sainsbury Wing Theatre, National Gallery, London Supported by The Elizabeth Cayzer Charitable Trust STUDYING OLD MASTER PAINTINGS ­ TECHNOLOGY AND PRACTICE THE NATIONAL GALLERY TECHNICAL BULLETIN 30TH ANNIVERSARY CONFERENCE BOOK OF ABSTRACTS 16­18 September 2009 Sainsbury Wing Theatre, National Gallery, London The Proceedings of this Conference will be published by Archetype Publications, London in 2010 Contents Presentations Page Presentations (cont’d) Page The Paliotto by Guido da Siena from the Pinacoteca Nazionale of Siena 3 The rediscovery of sublimated arsenic sulphide pigments in painting 25 Marco Ciatti, Roberto Bellucci, Cecilia Frosinini, Linda Lucarelli, Luciano Sostegni, and polychromy: Applications of Raman microspectroscopy Camilla Fracassi, Carlo Lalli Günter Grundmann, Natalia Ivleva, Mark Richter, Heike Stege, Christoph Haisch Painting on parchment and panels: An exploration of Pacino di 5 The use of blue and green verditer in green colours in seventeenth­century 27 Bonaguida’s technique Netherlandish painting practice Carole Namowicz, Catherine M. Schmidt, Christine Sciacca, Yvonne Szafran, Annelies van Loon, Lidwein Speleers Karen Trentelman, Nancy Turner Alterations in paintings: From non­invasive in­situ assessment to 29 Technical similarities between mural painting and panel painting in 7 laboratory research the works of Giovanni da Milano: The Rinuccini
    [Show full text]
  • Extensions of Remarks 3561
    February 17, 1969 EXTENSIONS OF REMARKS 3561 EXTENSIONS OF REMARKS THE RACE TO THE MOON Space experts say that unless we are will­ ing from one table to another, looking at a ing to maintain a stable, continuing space large book on each of two tables and shaking program in the coming decade we stand in his head. The Keeper looked and saw that his HON. GEORGE P. MILLER danger of squandering the $32 billion already smart monkey was reading Darwin's "Origin OF CALIFORNIA invested in the U.S. space program. of the Species" on one table and the "Holy Werner von Braun, director of the Mar­ Bible" on the other. The Keeper then asked IN THE HOUSE OF REPRESENTATIVES shall Space Flight Center, recently predicted the monkey why he kept shaking his head. Monday, February 17, 1969 the U.S. budget reductions will permit the The monkey replied: I'm trying to find out Russians "to fly rings around us in space in if I am my brother's keeper or my keeper's Mr. MILLER of California. Mr. Speak­ a period of five years." He contended it would brother." er, just before the epoch-making fiight take steady spending of $5 billion to $6 bil­ The moral for the evening is that back of Saturn V around the moon, the Oak­ lion a year for the U.S. to pull even; pro­ here in the State of my birth, Iowa's Gov­ land Tribune published an editorial en­ grams costing only up to $4 billion "simply ernor's Committee knows that it is both it's titled, "The Race to the Moon: Will It guarantee our falling back." brother's keeper and it's keeper's brother.
    [Show full text]
  • Henderson Street Names A
    Henderson Street Names STREET NAMEP* FIRE SAM NUMBERING ADDRESS LOCATION MAP MAP STARTS/ENDS A Abbeystone Circle 3728-94 86 Mystical / 360’ CDS 2484-2495 Sunridge Lot 21 Abbington Street 3328-43 77 Courtland / Muirfield 300-381 Pardee GV South Abby Avenue 3231-64 120 Dunbar / Sheffield 1604-1622 Camarlo Park Aberdeen Lane 3229-23 102 Albermarle / Kilmaron 2513-2525 Highland Park Abetone Avenue 4226-16 422 CDS/Cingoli Inspirada Pod 3-1 Phase 2 Abilene Street (Private 3637-94, 260 Waterloo / Mission / San 901-910 Desert Highlands; Blk Mt Ranch within Blk Mtn Ranch) 3737-14 Bruno Ability Point Court 3533-48 169 Integrity Point / 231-234 Blk Mt Vistas Parcel C Unit 3 Abracadabra Avenue 3637-39 259 Hocus Pocus / Houdini 1168-1196 Magic View Ests Phs 2 Abundance Ridge Street 3533-46/56 169 Solitude Point / Value 210-299 Blk Mt Vistas Parcel C Unit 2, 3 Ridge Acadia Parkway 3332-92 143 Bear Brook/American Acadia Phase I Pacific Acadia Place 3329-63 99 Silver Springs / Big Bend No #’s Parkside Village Acapulco Street 3638-42 270 DeAnza / Encanto 2005-2077 Villa Hermosa Accelerando Way 3236-85 233 Barcarolle/Fortissimo Cadence Village Phase 1-G4 Ackerman Lane 3329-16 100 Magnolia / CDS 400-435 The Vineyards Acorn Way 3427-52 54 Wigwam / Pine Nut No #’s Oak Forest Acoustic Street 3537-29 257 Canlite / Decidedly 1148-1176 The Downs Unit 3 Adagietto Drive 3828- 87, 88 Moresca / Reunion 1361-1399 Coventry Homes @ Anthem 3, 4 66/56/46 Adagio Street 3728-11 85 Anchorgate / Day Canyon 801-813 Sunridge Lot 18 Adams Run Court 3735-63 218 155' CDS
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Chestnut Filly Barn 3 Hip No
    Consigned by Parrish Farms, Agent Barn Hip No. 3 Chestnut Filly 613 Storm Bird Storm Cat ......................... Terlingua Bluegrass Cat ................... A.P. Indy She's a Winner ................. Chestnut Filly Get Lucky February 4, 2008 Fappiano Unbridled.......................... Gana Facil Unbridled Lady ................. (1996) Assert (IRE) Assert Lady....................... Impressive Lady By BLUEGRASS CAT (2003). Black-type winner of $1,761,280, Haskell In- vitational S. [G1] (MTH, $600,000), Remsen S. [G2] (AQU, $120,000), Nashua S. [G3] (BEL, $67,980), Sam F. Davis S. [L] (TAM, $60,000), 2nd Kentucky Derby [G1] (CD, $400,000), Belmont S. [G1] (BEL, $200,000), Travers S. [G1] (SAR, $200,000), Tampa Bay Derby [G3] (TAM, $50,000). Brother to black-type winner Sonoma Cat, half-brother to black-type win- ner Lord of the Game. His first foals are 2-year-olds of 2010. 1st dam UNBRIDLED LADY, by Unbridled. 4 wins at 3 and 4, $196,400, Geisha H.-R (PIM, $60,000), 2nd Carousel S. [L] (LRL, $10,000), Geisha H.-R (PIM, $20,000), Moonlight Jig S.-R (PIM, $8,000), 3rd Maryland Racing Media H. [L] (LRL, $7,484), Squan Song S.-R (LRL, $5,500). Dam of 6 other registered foals, 5 of racing age, 5 to race, 2 winners-- Forestelle (f. by Forestry). 3 wins at 3 and 4, 2009, $63,654. Sun Pennies (f. by Speightstown). Winner in 2 starts at 3, 2010, $21,380. Mared (c. by Speightstown). Placed at 2 and 3, 2009 in Qatar; placed at 3, 2009 in England. 2nd dam ASSERT LADY, by Assert (IRE).
    [Show full text]
  • Vesuvius Near Naples
    THE LACRIMA CHRISTI OF MOUNT VESUVIUS NEAR NAPLES This is an attempt to create what Edward L. Ayers refers to, in his piece “Mapping Time,” as “deep contingency”: “layers of events, layers of the consequences of unpredictability.” Precisely as the lava flows accumulate on the flanks of Vesuvius, we will attempt to depict how centuries accumulate. July 7, Monday, 1851: ...Even the facts of science may dust the mind by their dryness –unless they are in a sense effaced each morning or rather rendered fertile by the dews of fresh & living truth. Every thought that passes through the mind helps to wear & tear it & to deepen the ruts which as in the streets of Pompeii evince how much it has been used. How many things there are concerning which we might well deliberate whether we had better know them. Routine –conventionality manners &c &c –how insensibly and undue attention to these dissipates & impoverishes the mind –robs it of its simplicity & strength emasculates it. Knowledge doe[s] not cone [come] to us by details but by lieferungs from the gods. What else is it to wash & purify ourselves? Conventionalities are as bad as impurities. Only thought which is expressed by the mind in repose as it wer[e] lying on its back & contemplating the heaven’s –is adequately & fully expressed– What are side long –transient passing half views? The writer expressing his thought –must be as well seated as the astronomer contemplating the heavens –he must not occupy a constrained position. The facts the experience we are well poised upon –! Which secures our whole attention! HDT WHAT? INDEX VESUVIO NAPLES [Bulfinch’s MYTHOLOGY] The region where Virgil locates the entrance to this abode is perhaps the most strikingly adapted to excite ideas of the terrific and preternatural of any on the face of the earth.
    [Show full text]
  • Aviation Week & Space Technology
    STARTS AFTER PAGE 34 MRO’s Bumpy Path Rolls Speeds Back to Recovery to Supersonics ™ $14.95 AUGUST 17-30, 2020 ADVANCING AIR MOBILITY Digital Edition Copyright Notice The content contained in this digital edition (“Digital Material”), as well as its selection and arrangement, is owned by Informa. and its affiliated companies, licensors, and suppliers, and is protected by their respective copyright, trademark and other proprietary rights. Upon payment of the subscription price, if applicable, you are hereby authorized to view, download, copy, and print Digital Material solely for your own personal, non-commercial use, provided that by doing any of the foregoing, you acknowledge that (i) you do not and will not acquire any ownership rights of any kind in the Digital Material or any portion thereof, (ii) you must preserve all copyright and other proprietary notices included in any downloaded Digital Material, and (iii) you must comply in all respects with the use restrictions set forth below and in the Informa Privacy Policy and the Informa Terms of Use (the “Use Restrictions”), each of which is hereby incorporated by reference. Any use not in accordance with, and any failure to comply fully with, the Use Restrictions is expressly prohibited by law, and may result in severe civil and criminal penalties. Violators will be prosecuted to the maximum possible extent. You may not modify, publish, license, transmit (including by way of email, facsimile or other electronic means), transfer, sell, reproduce (including by copying or posting on any network computer), create derivative works from, display, store, or in any way exploit, broadcast, disseminate or distribute, in any format or media of any kind, any of the Digital Material, in whole or in part, without the express prior written consent of Informa.
    [Show full text]
  • FLOWERS WITHOUT BORDERS July 9-11, 16-18, 23-25, 30-31 Enter to Win a Vocalise Mouthpiece Scan the Code and Complete Your Entry
    FLOWERS WITHOUT BORDERS July 9-11, 16-18, 23-25, 30-31 Enter to Win a Vocalise Mouthpiece Scan the code and complete your entry. backunmusical.com gives a soul to theMusic universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything. ~Plato Now, more than ever, E DWIN • HUD RE EIGAN SO • • W D N H R • T • C E R D I D IP i V Y I L E N P U S S IT T I A S play on! • S N I L R A E Meet Some I K W B • I A K S T • E L Players D A L G A E N R O R D We Love! O c a B M • B • U E L S N F O I V A D A • Z M H E Patents. See website. www.rovnerproducts.com Established 2013 Heather Rodriguez Alcides Rodriguez RMS offers a premium selection of Hand selected Buffet clarinets clarinets for the demanding artist, and accessories educator and student. Artist level set ups, upgrades, repair work and overhauls www.rodriguezmusical.com 470-545-9803 [email protected] A NEW SPECIES OF REED VENN signals the dawn of a new era in woodwinds innovation: combining the stability and longevity of a synthetic reed with the sound and feel of natural cane. To mimic the organic structure of cane, we reverse-engineered cane itself, layering di erent strengths of polymer fi bers with resin and organic reed elements to make up the reed blank.
    [Show full text]
  • Galileo Hints of Possible Callisto Ocean
    December 7, 2001 I n s i d e Volume 31 Number 24 News Briefs . 2 Making Their List ... 3 Special Events Calendar . 2 Retirees, Passings . 4 Leonids Over California . 2 Letters, Classifieds . 4 Jet Propulsion Laboratory s OLAR SYSTEM Galileo A R E C E N T I M A G E F R O M J P L’S G A L I L E O S PA C E C R A F T “Liquid water is of interest not only for what it may tell us about the evolution of these bodies, but also for bio- adds evidence to a theory that Callisto, the outermost logical implications,” Johnson said. Life relies on liquid hints of of Jupiter’s four large moons, may water, but an ocean on Callisto would not draw as much interest in a search for life as one on Europa. An ocean hold an underground on Callisto would be much farther below the surface possible ocean. than Europa’s ocean. It would also be trapped be- tween two layers of ice rather than sitting on top of a warm rocky layer, as models suggest for Europa. Images taken of Valhalla’s opposite point, or Callisto antipode, during a May 25, 2001, flyby of Callisto by Galileo, show the same type of cratered surface seen all over Callisto. In contrast, regions opposite ocean large impact basins on the Moon and Mercury have grooved and hilly features known as “antipodal terrains” and attributed to shocks By Guy Webster from the impacts. The image shows a part of “The Valhalla antipodal region on Callisto is cratered, but definitely Callisto’s surface directly opposite from the not grooved and hilly,” Williams said.
    [Show full text]
  • FROM DARKNESS to LIGHT WRITERS in MUSEUMS 1798-1898 Edited by Rosella Mamoli Zorzi and Katherine Manthorne
    Mamoli Zorzi and Manthorne (eds.) FROM DARKNESS TO LIGHT WRITERS IN MUSEUMS 1798-1898 Edited by Rosella Mamoli Zorzi and Katherine Manthorne From Darkness to Light explores from a variety of angles the subject of museum ligh� ng in exhibi� on spaces in America, Japan, and Western Europe throughout the nineteenth and twen� eth centuries. Wri� en by an array of interna� onal experts, these collected essays gather perspec� ves from a diverse range of cultural sensibili� es. From sensi� ve discussions of Tintore� o’s unique approach to the play of light and darkness as exhibited in the Scuola Grande di San Rocco in Venice, to the development of museum ligh� ng as part of Japanese ar� s� c self-fashioning, via the story of an epic American pain� ng on tour, museum illumina� on in the work of Henry James, and ligh� ng altera� ons at Chatsworth, this book is a treasure trove of illumina� ng contribu� ons. FROM DARKNESS TO LIGHT FROM DARKNESS TO LIGHT The collec� on is at once a refreshing insight for the enthusias� c museum-goer, who is brought to an awareness of the exhibit in its immediate environment, and a wide-ranging scholarly compendium for the professional who seeks to WRITERS IN MUSEUMS 1798-1898 proceed in their academic or curatorial work with a more enlightened sense of the lighted space. As with all Open Book publica� ons, this en� re book is available to read for free on the publisher’s website. Printed and digital edi� ons, together with supplementary digital material, can also be found at www.openbookpublishers.com Cover image:
    [Show full text]
  • WG Triennial Report (2018-2021)
    The following is a list of names of features that were approved between the 2018 Report to the IAU GA and the 2021 IAU GA (features named between 1/24/2018 and 03/17/2021). Mercury (49) Craters (16) Angelou Maya, American author and poet (1928 – 2014). Bellini Giovanni; Italian painter (1430‐1516). Berry Charles Edward Anderson "Chuck": American singer and songwriter (1926‐ 2017). Bunin Ivan, Russian author of prose and poetry; first Russian to win the Nobel Prize in Literature, in 1933. (1861 – 1941). Canova Antonio, marchese d’Ischia; Italian sculptor (1757‐1822). Carleton William; Irish writer (1794‐1869). Gordimer Nadine (1923‐2014), South African writer; recipient of the Nobel Prize in Literature (1991) and the Booker Prize (1974). Jiménez Juan Ramón, Spanish poet and author (1881 – 1958). Josetsu Taikō, Japanese ink painter (1405 – 1496). Kirby Jack, American illustrator (1917 – 1994). Martins Maria, Brazilian sculptor (1894‐1973). Rizal José, Filipino writer (1861 – 1896). Strauss Strauss family of musicians. Travers Pamela Lyndon (born Helen Lyndon Goff); Australian‐born British writer best known for Mary Poppins series of children’s books (1899‐1996). Vazov Ivan, Bulgarian poet (1850‐1921). Wen Tianxiang Wen Tianxiang; Chinese writer and poet (1236‐1283). Faculae (25) Abeeso Facula Somali word for snake. Agwo Facula Igbo (Southeastern Nigeria) word for snake. Amaru Facula Quechua word for snake. Bibilava Faculae Malagasy (Madagascar) word for snake. Bitin Facula Cebuano (S. Philippines) word for snake. Coatl Facula Aztec (Nahuatl) word for snake. Ejo Faculae Yoruba (Nigeria) word for snake. Gata Facula Fijian and Samoan word for snake. Havu Facula Kannada (SW India) word for snake.
    [Show full text]
  • An Integrated Geologic Map of the Rembrandt Basin, on Mercury, As a Starting Point for Stratigraphic Analysis
    remote sensing Article An Integrated Geologic Map of the Rembrandt Basin, on Mercury, as a Starting Point for Stratigraphic Analysis Andrea Semenzato 1,* , Matteo Massironi 2,3 , Sabrina Ferrari 3, Valentina Galluzzi 4, David A. Rothery 5, David L. Pegg 5 , Riccardo Pozzobon 2 and Simone Marchi 6 1 Engineering Ingegneria Informatica S.p.A., 30174 Venezia, Italy 2 Dipartimento di Geoscienze, Università degli Studi di Padova, 35131 Padova, Italy; [email protected] (M.M.); [email protected] (R.P.) 3 CISAS, Università degli Studi di Padova, 35131 Padova, Italy; [email protected] 4 INAF, Istituto di Astrofisica e Planetologia Spaziali, 00133 Roma, Italy; [email protected] 5 School of Physical Sciences, The Open University, Milton Keynes MK7 6AA, UK; [email protected] (D.A.R.); [email protected] (D.L.P.) 6 Department of Space Studies, Southwest Research Institute, Boulder, CO 80302, USA; [email protected] * Correspondence: [email protected] Received: 25 August 2020; Accepted: 29 September 2020; Published: 1 October 2020 Abstract: Planetary geologic maps are usually carried out following a morpho-stratigraphic approach where morphology is the dominant character guiding the remote sensing image interpretation. On the other hand, on Earth a more comprehensive stratigraphic approach is preferred, using lithology, overlapping relationship, genetic source, and ages as the main discriminants among the different geologic units. In this work we produced two different geologic maps of the Rembrandt basin of Mercury, following the morpho-stratigraphic methods and symbology adopted by many authors while mapping quadrangles on Mercury, and an integrated geo-stratigraphic approach, where geologic units were distinguished also on the basis of their false colors (derived by multispectral image data of the NASA MESSENGER mission), subsurface stratigraphic position (inferred by crater excavation) and model ages.
    [Show full text]