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Creative Flow
Using marine debris, painted silk, Creative Flow and paper, artist Pam Longobardi, Linda Gass, and Lauren Rosenthal Three Activist Artists advocate for greater consciousness by Sally Hansell of our fragile water systems. owerful new work by three activist artists addresses one of the nation’s most critical issues—the steady degradation of our precious water supply. Pam Lon- gobardi uses plastic trash collected on beaches to Pmake provocative art that points to the devastating dangers of plastic in our environment. Linda Gass creates vibrant paint- ed-silk quilt works depicting specific ecological hazards in San Francisco Bay. Lauren Rosenthal turns watershed data into cut- paper sculptures to demonstrate the interconnectedness of riv- ers and earthly organisms. Through their chosen media, these diverse artists advocate for a heightened global ecological con- sciousness. In 2006, Pam Longobardi launched an ongoing project called Drifters after encountering mounds of consumer waste on the beach at South Point, the southernmost tip of the Hawaiian Islands. The project includes photography, sculp- ture, public art, and installations made from the debris that washes up on shores around the world. The Atlanta artist creates “driftwebs” from abandoned drift nets, the miles-long fishing nets that wreak havoc on sea life, killing fish, mammals, turtles, and birds. She cuts and ties pieces of the nets to make installations resembling spider webs. Her intent is not only to draw attention to the dan- gerous plastic nets, but more importantly, to use their woven colorful forms as a dual metaphor for the predatory, destruc- tive behavior of humankind and the interconnectedness of the web of life. -
1 Pedestrian Performance
Pedestrian Performance: A Mapped Journey Volume 1 of 1 Submitted by Kristofor James Darby to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Drama In December 2012 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 ACKNOWLEDGEMENTS This thesis could not have materialised without the unwavering support of a number of people who have all assisted me in my writing. First and foremost is my supervisor, Stephen Hodge, who gave me the freedom to make my own way through my research, whilst making sure that I did not wander too far off the beaten track. Both he and Dr Jane Milling have proven a perfect partnership in helping me ascertain points of correlation between the landscapes of theatre and performance studies. Within the Drama Department at the University of Exeter I must thank Dr Sarah Goldingay for helping me in drafting my initial proposal three years ago; Dr Cathy Turner for providing extra details concerning Wrights & Sites; Phil Smith for the mythogeographic walks; Dr Piotr Woycicki for introducing me to mirror neurons and Professor Graham Ley for convincing me to do a PhD in the first place. I must also thank my fellow PhD students for their support: Solomon Lennox, Erin Walcon, Ilaria Pinna, Richard Feltham, Aqeel Abdulla and Jens Peters. -
Astronomy Before the Telescope Observing Certificate
Astronomy Before the Telescope Observing Certificate Astronomy Before the Telescope Observing Certificate Coordinator: Steve Boerner 2017 Lake Clay Drive Chesterfield, MO 63017 (636) 537-2495 E-mail: [email protected] Introduction In a 2006 article in the Journal of the Royal Astronomical Society of Canada, Robert A. Egler aptly stated: "In modern astronomy, it is astrophysics that dominates, with its emphasis on analyzing celestial objects for what they are, how they work, what they are made of, and how they evolve. The pre-telescope instruments were all designed to find the position of celestial object in relation to the great celestial sphere and each other, and to determine their motions. In short, these instruments are not for analyzing the heavens, but rather for measuring the heavens." The early instruments were invented to answer important questions like when it would be time to plant crops for best success, when migrating herds might return, when seasonal flooding might occur, when religious days were to be held, what direction to go to get to a specific place, or where things in the sky were likely to appear. The instruments helped develop systems to measure both yearly cycles (calendar) and daily time (clock) as well as determine directions (compass). The ancient people who developed these instruments relied on what they could observe on the ground and in the sky with the Sun, the moon, and bright stars to point the way. The purpose of the Astronomy Before the Telescope Observing Certificate is to provide an opportunity for you to examine some of the early instruments that provide information for both our daily lives and our astronomical observing. -
Buzsaki G. Rhythms of the Brain.Pdf
Rhythms of the Brain György Buzsáki OXFORD UNIVERSITY PRESS Rhythms of the Brain This page intentionally left blank Rhythms of the Brain György Buzsáki 1 2006 3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2006 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Buzsáki, G. Rhythms of the brain / György Buzsáki. p. cm. Includes bibliographical references and index. ISBN-13 978-0-19-530106-9 ISBN 0-19-530106-4 1. Brain—Physiology. 2. Oscillations. 3. Biological rhythms. [DNLM: 1. Brain—physiology. 2. Cortical Synchronization. 3. Periodicity. WL 300 B992r 2006] I. Title. QP376.B88 2006 612.8'2—dc22 2006003082 987654321 Printed in the United States of America on acid-free paper To my loved ones. This page intentionally left blank Prelude If the brain were simple enough for us to understand it, we would be too sim- ple to understand it. -
To My Father This Volume Is Presented with the Hope
To my father this volume is presented with the hope that it will bring back to your memory many pleasant recollections of the old home, old friends, and of the field camp and march. By your son, L. M. Bloomfield Columbus, O. Jan. 1st 1893 T O T H E R E A D E R 1 : - : - : - : - : - : - : - : - : - : - : - : - : : - : - : - Justice to myself and to the writer of the letters which follow, also as an explanation for those into whose hands this volume may in future times fall is, I deem, a sufficient excuse to make at this point, some explanations and comments in regard to the editing and compiling. The letters which follow were written by my father, a private in Battery A, 1st. Regiment Ohio Volunteer Light Artillery, during the years 1861-1865. They comprise the most of the letters written home to Father, Mother, Brothers and Sisters, and it was by his younger Sister, Ella, that they were carefully treasured and that I am able to present them to him in this form. It has long been my desire to have these letters assume this form as, with all things earthly, time is working havoc gradually and surely and many of the letters are becoming almost illegible. The original letters will be treasured as carefully as it is hoped this volume will ever be, and in such a way that the danger of total destruction of both will be reduced to a minimum. At this date you will find on every hand increased interest in all historical matter pertaining to the great civil war. -
The Global Audiences of Danish Television Drama
THE GLOBAL AUDIENCES OF DANISH TELEVISION DRAMA TELEVISION DANISH OF AUDIENCES GLOBAL THE The Global Audiences of Danish Television Drama Following the surprising and unprecedented international export of Danish television drama in the early 2010s, this anthology explores the reception of these series among global audiences by tracing the travel of the series to seven different countries: Australia, Brazil, Denmark, Germany, Japan, Turkey, and the UK. Each contribution differs in terms of its theoretical and methodological position and reflects the diverse backgrounds of the researchers and types of data collected. As a whole, the anthology provides insights on global audience research in an age of multi-platform and multi-directional media flows, as well as on the complex nature of contemporary audiences located in different parts of the • Pia Majbritt Jensen & Ushma Chauhan Jacobsen (Eds.) world. The anthology offers a novel contribution to research on Danish television drama, the international circulation of audiovisual content produced in non-Anglophone contexts, and the phenomenon of Nordic Noir for both students and scholars. Pia Majbritt Jensen is Associate Professor at the Department of Media Studies and THE GLOBAL AUDIENCES OF Journalism, Aarhus University. Ushma Chauhan Jacobsen is Associate Professor at the Department of English, Aarhus DANISH TELEVISION University. DRAMA University of Gothenburg Pia Majbritt Jensen Box 713, SE 405 30 Göteborg, Sweden Telephone +46 31 786 00 00 • Fax + 46 31 786 46 55 3 > & Ushma Chauhan Jacobsen (Eds.) 3 E-mail [email protected] NORDICOM www.nordicom.gu.se NORDICOM 85521 8 978-91-88855-21- 78918 ISBN 9 Contacts Based at the University of Gothenburg, Nordicom is a Nordic non-profit knowledge centre that collects and communicates facts and research in the field of media and communication. -
The Romanesque Sculpture of Moissac
THE ROMANESQUE SCULPTURE OF MOISSAC PART I (I) By MEYER SCHAPIRO INTRODUCTION1 T study hereundertaken consists of threeparts. In the firstis describedthe -HEstyle of the sculptures; in the second the iconographyis analyzedand its details compared with other examples of the same themes; in the third I have investigatedthe history of the style and tried to throwfurther light on its origins and development. The study of the ornament, because of its variety, has attained such length that it will be publishedas a separate work. A catalogue of the sculptures and a description of each face of every capital in the cloister is desirablebut cannot be given here. Such a descriptionwould almost double the length of this work. A plan of the cloisterwith an index to the subjects of the capitals has been substituted (p. 250, Fig. 2). This, with the photographs reproduced, provides a fair though not completeknowledge of the contents of the cloister. For a more detailed descriptionthe readeris referredto the books of Rupin and Lagreze-Fossat,which lack, however,adequate illustration and a systematic discussionof style or iconography. In the present work, the postures, gestures, costumes, expressions,space, perspective, and groupingof the figureshave been described,not to show the inferiorityor incompetence of the sculptorsin the processof exact imitation, but to demonstratethat their departures from nature or our scientific impressionisticview have a common character which is intimately bound up with the harmoniousformal structure of the works. I have tried to show also how with certain changes in the relation to nature apparentin the later works, the artistic characteris modified. In the descriptionof purely formalrelations I do not pretend to find in them the exact nature of the beauty of the work or its cause, but I have tried to illustrate by them my sense of the characterof the whole and the relevanceof the parts to it. -
Candace Beach Diary, 1815-1816
Diary of Candace Beach, LeRoy, 1815-1816 The following is a copy of the diary written by Candace Beach. She was the first wife of Elisha Stanley and the mother of the Rev. Henry Stanley and Mrs. E. C. Taylor. THE DIARY Hartland August 19th, 1815 Monday Morn, This day I shall leave the place where I spent my youghful days, to go amongst Strangers. May be be prospered in our journey, and be contented with our new home. Monday Eve. Our friends have been very kind today, they shewed themselves Friends. They accompanied us about eight miles on our journey, and then bade us adieu perhaps forever. We have rode 27 miles today and put up at Bards Tavern in Becket. Tuesday 15th. Rode 10 miles this morning and arrived at Burnham’s Tavern in Lenox, here we shall have breakfast, Sister Nancy and myself have walked 9 miles today, we have had a good journey so far there has not been any trouble on the road as yet, we are now 59 miles from Hartland in Union Village at Griffiths Inn all in good health eleven miles from Albany. Wednesday, August 16th Rode 6 miles this morning, now called at Herrick’s Tavern in Green Bush, here we except breakfast, a rainy day, it is bad for the horses, but we ride very comfortable. Arrived this evening at Water Whet rode only 20 miles today, we crossed the North River and spent about two hours with John Care, and then Cap. Spencer broke his wagon which has hindered us some time. -
Roundabout Brochure 2015-4X9-09-14-2017
QUIZ Questions 1 What objects are used to form the stamens of the “flowers” in the Yakaya roundabout? ——————————————————————————————————— VisitBend.com 2 This picture gives a bird’s-eye view of which roundabout sculpture? ——————————————————————————————————— 3 How many wheels are in the Cogs roundabout? ——————————————————————————————————— 4 What number did you see as you drove by Lodestar? If you’re in (Hint; there’s more than one right answer!). BEND, ——————————————————————————————————— 5 Which art installation is actually three separately named pieces in one roundabout? chances are you love being outside, ——————————————————————————————————— and that goes for our art, too! 6 What nationally famous Central Oregon landmark sits on the roundabout with Redsides? We’ve got sculptures in the wild, and we’re not ——————————————————————————————————— the only ones who think that’s cool. Bend’s 7 What pictographs did you see on the Sunrise Spirit Column roundabout sculptures were honored by besides the ones we mentioned? Americans for the Arts as one of the most ——————————————————————————————————— innovative approaches to Public Art in the 8 How many deer are in the Big Ears roundabout? country. All this great, accessible art is thanks ——————————————————————————————————— to Art in Public Places, a visionary local 9 Name two pieces that are kinetic and can move with the wind. organization on the arts scene since 1967. ——————————————————————————————————— 10 Which roundabout art piece is your favorite and why? Art in Public Places, supported by the Bend ——————————————————————————————————— Foundation and private donations, is a non-profit organization that’s overseen installation of over 45 sculptures throughout town. Works of art are selected through a process that includes public input and the results enhance the cultural 750 NW Lava Road, Suite 160, Bend, OR 97703 environment for citizens and visitors alike! 877-245-8484 / 541-382-8048 DESCHUTES RIVER To Sisters, To Redmond Salem, and 97 and Portland Roundabout How-To Eugene 20 Go with the flow and wait for a break COOLEY RD. -
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The Journal of Public Space ISSN 2206-9658 2019 | Vol. 4 n. 3 https://www.journalpublicspace.org Building as a Verb Jacopo Ammendola Orizzontale [email protected] Abstract This paper describes the approach of architecture/urbanism practice and research workshop “orizzontale”, based in Rome, Italy. The approach of the group is heuristic: it is to get involved, to put themselves on the line, to “play the game”. As a machine that absorbs and transforms every kind of things, orizzontale has a clear attitude for mutation over production. The act of building things is a primary tool the group uses to build communities, link them together and create confidence in the idea of a better society. Experimental does not mean “avant-garde” but rather “empirical, exploratory, in- progress”. The scientific attitude toward fact-finding and result-testing is an integral part of orizzontale approach, together with the artistic aspects of the work. Among the THE JOURNAL OF PUBLIC SPACE THE JOURNAL strategies adopted by the collective a special attention should be given to the attempts to translate in a spatial language the ideas, very literally. The results of this process can be called “spatial metaphors”, “discursive buildings” or “talking machines”. What orizzontale leaves behind is not necessarily a construction, but the process which is able to build up knowledge, consciousness, and trust. Keywords: public space, temporary architecture, building, open process, DIY To cite this article: Ammendola, J. (2019). Building as a Verb, The Journal of Public Space, 4(3), 7-40, DOI 10.32891/jps.v4i3.1219 This article has been double blind peer reviewed and accepted for publication in The Journal of Public Space. -
WALL TEXT the Warmth of Other Suns: Stories of Global Displacement June 22, 2019–September 22, 2019
WALL TEXT The Warmth of Other Suns: Stories of Global Displacement June 22, 2019–September 22, 2019 The Warmth of Other Suns brings together works of art from five continents to consider the current mass movement of people globally alongside historical migrations to and within the United States. Through sculpture, video, painting, photography, and more, the exhibition poses urgent questions about the representation and experience of migration and dislocation. The artists bear witness to both personal and historical events, many also questioning the capacity of images to portray reality and truth. Following loosely geographic and thematic lines of inquiry, the exhibition also considers the consequences of violence and war, the humanitarian crises in the Mediterranean and at the US-Mexico border, the experience of exile and displacement under various political circumstances, and the process of integrating into a new community. Within the show, these subjects intersect with themes of memory, loss, identity, and hope for more promising futures. The works on view underscore the way art and images can present a range of experiences and stories—attesting to the civic and social imperative of art, and the responsibility of artists and viewers alike. Borrowing a line from author Richard Wright (1908–1960), the exhibition shares its title with Isabel Wilkerson’s award-winning book on the Great Migration, the decades-long exodus of over six million African-Americans from the brutality and discrimination that ruled the American South. Jacob Lawrence’s Migration Series (1940-41), a cornerstone of The Phillips Collection, is one of several works that tells the story of this momentous but often marginalized migration within the United States. -
Dissertation
A SICKLY LITTLE WAR: EPIDEMIC DISEASE, MILITARY CAMPAIGNS, AND THE SPANISH-AMERICAN WAR By Mark A. Youngren A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of History – Doctor of Philosophy 2016 ABSTRACT A SICKLY LITTLE WAR: EPIDEMIC DISEASE, MILITARY CAMPAIGNS, AND THE SPANISH-AMERICAN WAR By Mark A. Youngren Before the twentieth century, disease killed more people during military operations than enemy action. This was particularly the case when soldiers from the temperate regions of Europe and North America were sent to fight in the tropical regions of the world, where they faced a disease environment filled with pathogens against which they possessed no natural defenses. The fear of epidemic disease was a constant companion for senior commanders down to the lowliest soldier, affecting when, where, and how the war was planned, fought, and supported; it affected who was recruited to fight and the willingness of individuals to go to war; and as epidemics began it greatly increased the burden on supply and transportation systems while requiring more and more recruits to simply maintain the numbers available to fight. Despite this, many histories of conflicts fought during this era have treated disease as merely an environmental factor that reduced the fighting strength of each side, less important than the strategies, tactics, and weapons which have been the focus of traditional histories of war. As medicine improved from the humoral theories of the ancient world to the bacteriological revolution that ushered in the germ theory of disease, military commanders and doctors began to understand the disease threats, but even at the end of the nineteenth century that knowledge was frustratingly incomplete.