DOCSLIB.ORG

2019Beyer10324876phd.Pdf (10.45Mb)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2019Beyer10324876phd.Pdf (10.45Mb) University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2019 Le Passage - Towards the Concept of a New Knowledge Instrument Beyer, Isabella Marzena http://hdl.handle.net/10026.1/14745 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Copyright Statement This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author's prior consent. 1 Le Passage Towards the Concept of a New Knowledge Instrument (Epistemological Experiences inside Immersive Dome Environments) by Isabella Marzena Beyer A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Art, Design and Architecture April 2019 2 To my parents Lucyna and Slawomir Buczek 3 Acknowledgement First, I would like to thank all of the wonderful colleagues and friends who believed in me and this dissertation. I am very thankful for all the support, discussions, and exchanges that have aided me throughout my creation and research work, and especially during recent years, leading ultimately to this PhD thesis. I am grateful to my husband and my son, who followed this process and endowed me with the necessary time needed to finish the writing process. I am especially thankful for the long discussions I had with my father, who had the patience to listen and discuss every aspect of my work in a very delightful manner. I am also thankful to my mother and my husband for their ongoing encouragement. I am deeply grateful to both my director of studies, Mike Phillips, and secondary supervisor, Roy Ascott, who is also the founder of the Planetary Collegium at Plymouth University. I also thank my third supervisor Jane Grant for pointing me towards important concepts that became relevant to my dissertation. I am grateful to all my supervisors for creating such a wonderful group of people, enabling wisdom, sparkling opportunities for interconnectedness, and creating multiple spaces for knowledge and artistic exchange around the world. 4 In particular I want to thank my fellow PhD colleagues, who made this process so delightful: Aleksandar Cetkovic for his discussions and exchange on architectural peripheral vision and human models; Julieta Aguilera for her enthusiasm and inspiration regarding VR; Ellen Sebring for her insights on history and historical photographs; Luis Miguel Girao for his inspirational talks about the collaboration between arts and sciences; Nasim Zamanzadeh for her Persian perspective on the concept of empty space; and Blanka Domagalska for her inspiration regarding liminal space. I am grateful to my former PhD fellows, who elaborated the dome field from their perspectives before me. Their work was very inspirational to me, especially in the early stages of this project: Donna Cox, for her work on visual metaphors; and David McConville, for his transcalar performative artworks and brilliant publications. Most importantly, I am thankful to my first home institution, production office, and all the wonderful people that surround it: the Mediendom in Kiel at the University of Applied Sciences, and further production plants in Melbourne and Warsaw. I am especially indebted to my dear friend and director Eduard Thomas as well as other colleagues, such as Felix Lühning, Bartosz Dabrowski, and Patrick Rupert-Kruse for their support and involvement. I am thankful to my friend Evelin Tihonova for her ongoing motivation throuout, and to Mrs. Schoneboom, who helped me with the administrative process in getting this PhD started. I thank the worldwide planetarium community, colleagues, and friends with whom I exchanged thoughts and visionary ideas from 2005 onwards on many conferences, such as the International Planetarium Society (IPS) and fulldome festivals, and who all share the same love for the arts and sciences in 5 the 360 coordinate space of the cupola, such as Dan Neafus, Dr. Ka Chun Yu, Carter Emmart, Paul Mowbray and Torvald Hessel. Finally, my thanks go to my wonderful copy editing office, who have accompanied me and my work through recent years and helped me to bring it to fruition. 6 Author’s Declaration At no time during the registration for the degree of Doctor of Philosophy has the author been registered for any other University award without prior agreement of the Doctoral College Quality Sub-Committee. Work submitted for this research degree at the University of Plymouth has not formed part of any other degree either at the University of Plymouth or at another establishment. This study was financed with the aid of a studentship form the Professorinnenprogramm (women professors programme) of the German Federal Ministry of Education and Research and carried out in collaboration with the University of Applied Sciences Kiel in Germany. A program of advanced study was undertaken in collaboration with the Planetary Collegium, which included nine in-person sessions lasting 10 days, each over a period of three years. Relevant scientific seminars and conferences were regularly attended, at which work was often presented. Additionally, external institutions were visited for consultation purposes, and several papers prepared for publication as well as creative work and film productions. Further information can be find in the Filmography in Appendix II: Creative and Performing Work. 7 The following external institutions were visited for consultation purposes: _Christian-Albrecht University, Kiel _Fraunhofer First, Berlin _European Space Agency (ESA), Darmstadt, Germany _EISCAT Scientific Association, Ramfjordbotn, Norway _University of the Aegean, Greece _Czech Academy of Sciences, Prague, Czech Republic _Shanghai Institute of Visual Studies, Fudan University (SIVA), Shanghai, _China Institute for Immersive Media, University of Applied Sciences Kiel, Germany _Mediendom at the University of Applied Sciences Kiel, Germany _Gates Planetarium at the Denver Museum of Nature & Science, Denver, USA _Louisiana Art & Science Museum and the Irene W Pennington Planetarium, Baton Rouge, USA _Zeiss-Planetarium Jena, Germany _Planetarium Hamburg, Germany _Visualisierungscenter C Norrköping, Sweden _Copernicus Science Centre, Warsaw, Poland Publications: _Beyer, I. (2015), 360°-Darstellungskonzepte im Wandel der Zeit (360°- 8 representational concepts in transition of time) Institute for Immersive Media (ED) Jahrbuch immersiver Medien, Die mediatisierte Gesellschaft: Leben und Arbeiten mit immersiven Medien, Coburg: Schüren, pp. 53–62. _Beyer, I. (2014). Le Passage: An archaeology of spatial transitions. Ubiquity: The Journal of Pervasive Media, 3 (1), pp. 51–65. doi: 10.1386/ubiq.3.1-2.51_1. _ Buczek, I. (2013) ‘Visualization Processes of the Invisible in Scientific Practice’, Fullspace-Projektion: Mit dem 360°lab zum Holodeck (X.media.press), Springer- Verlag, Berlin Heidelberg. _Buczek, I. (2011), ‘The aesthetic of immersion in the immersive dome environment (IDE): Stepping between the real and the virtual worlds for further self-constitution?’, Technoetic Arts: A Journal of Speculative Research 9: 2+3, pp. 327–334, doi: 10.1386/tear.10.1.3_1 _Buczek, I. (2012), ‘Augen im All – Das Making Of einer multimedialen Planetariumsshow als Pionierarbeit und Pilotprojekt in der europäischen 360° Filmproduktionsgeschichte’. FULLSPACE-PROJEKTION- MIT DEM 360°LAB ZUM HOLODECK, Springer Verlag _Buczek, I. (März 2011) ‘Everything is possible: „The making of Touching the Edge of the Universe“ in Planetarian (magazine) 9 _Buczek, I. (2010),„Making of | ESA Planetarium“. Article in Digital Production (magazine) Presentations at conferences: _Beyer, I. (2015), „The 360°-Creation Process in the Transition of Time“, presentation at i-DAT, Plymouth University, UK. _Beyer, I. (2015), „The Zoom Transition“ presentation at the Imersa Conference, Denver Planetarium, Denver, USA. _Buczek, I. (2013), “The Art of Understanding in the Mirror of new Visualization Technologies“. Presentation at COST Arts & Technologies (CAT) Workshop, European Science Foundation, 25 - 27 November 2013, Zagreb, Croatia. _Buczek, I. (2013), “ The Explanatory Power of Models with Today’s Visualization Capabilities“. Paper presented at International Conference on Extended Arts (XARTS 2013), From Virtual to Real, 20-21 July, 2013, University of the Aegean, Greece. _Buczek, I. (2012), “Aesthetic of Immersion in the immersive dome environment (IDE), paper presented at Technoetic Telos: Art, Myth and Media Conference at the Ionian Centre for Arts and Culture, Kefalonia, Greece. 10 _Buczek, I. (2012). What happens with spatial purity in the media revolution of materiality and hybridization? Paper presented at the Conference MutaMorphosis at the Czech Academy of Sciences, Prague, Czech Republic. _Buczek, I. (2011), “Transmedial Intersections of media platforms in the 360°medium” paper and presentation delivered at the Transcultural Tendencies |Transmedial Transactions Conference, Shanghai Institute of Visual Studies, Fudan University (SIVA), Shanghai, China. _Buczek, I. (2011),
Load more

Recommended publications
  • Prescription Companion
    PRESCRIPTION COMPANION ©2012Transitions Optical inc. ophthalmic lens technical reference JUBILEE YEAR 2012 E -Edition 7 www.norville.co.uk Introduction and Page Index The Norville Companion is a supporting publication for our Prescription Catalogue, providing further technical details, hints and ideas gleaned from everyday experiences. TOPIC Page(s) TOPIC Page(s) Index 2 - 3 Part II Rx Allsorts Lens Shapes 4 - 6 Lens Forms 49 Effective Diameter Chart 7 Base Curves 50 - 51 Simplify Rx 8 Aspherics 52 - 53 Ophthalmic Resins 9 Free-form Digital Design 54 Indices of Ophthalmic lenses - Resin 10 Compensated Lens Powers 55 - 56 Polycarbonate 11 Intelligent Prism Thinning 57 - 58 Trivex 12 - 13 Superlenti - Glass 59 Resin Photochromic Lenses 14 Superlenti - Resin 60 Transitions Availability Check List 15 V Value / Fresnels 61 Nupolar Polarising Lenses 16 E Style Bifocal / Trifocal 62 Drivewear Lenses 17 - 18 Photochromic / Glazing / Prisms 63 UV Protective Lenses 19 Lens Measures 64 Norville PLS Tints 20 Sports 65 Tinted Resin Lenses 21 3D Technology Overview 66 Mid and High Index Resins Tintability 22 Rx Ordering 67 Norlite Tint Transmission Charts 23 - 25 Order Progress 68 Norlite Speciality Tinted Resins 26 - 31 Rx Order Form 69 Norlite Mirror Coating 32 Queries 70 Reflection Free Coating 33 - 34 Optical Heritage 71 F.A.Q. Reflection Free Coatings 35 - 37 Rx House - Change afoot? 72 - 73 Indices of Ophthalmic Lenses - Glass 38 Remote Edging 74 Glass Photochromic Lenses 38 Remote edging - F.A.Q. 75 Speciality Absorbing Glass 39 Quality Assurance
    [Show full text]
  • Web 2.0 Storytellingemergence of a New Genre by Bryan Alexander and Alan Levine
    Teaching and Learning Web 2.0 StorytellingEmergence of a New Genre By Bryan Alexander and Alan Levine story has a beginning, a middle, and a cleanly wrapped-up end- ing. Whether told around a campfire, read from a book, or played on a DVD, a story goes from point A to B and then C. It follows a trajectory, a Freytag Pyramid—perhaps the line of a human life or the stages of the hero’s journey. A story is told by one person or by a creative team to an audience that is usually quiet, even receptive. Or at least that’s what a story used to be, and that’s how a story used to be told. Today, with digital net- Aworks and social media, this pattern is changing. Stories now are open-ended, branching, hyperlinked, cross-media, participatory, exploratory, and unpre- dictable. And they are told in new ways: Web 2.0 storytelling picks up these new types of stories and runs with them, accelerating the pace of creation and participation while revealing new directions for narratives to flow. Bryan Alexander is Director of Research at the National Institute for Technology and Liberal Education (NITLE, http:// nitle.org). He blogs at <http://b2e.nitle.org/>. Alan Levine is Vice President, Community, and Chief Technology Officer for the New Media Consortium (NMC). He barks about technology at <http://cogdog blog.com>. 40 EDUCAUSE r e v i e w - November/December 2008 © 2008 Bryan Alexander and Alan Levine Illustration by David Lesh, © 2008 Definitions and Histories such as Dreamweaver, an arcane method connections in between.
    [Show full text]
  • Blogs and the Narrativity of Experience
    Blogs and the Narrativity of Experience José Ángel García Landa Universidad de Zaragoza [email protected] http://www.garcialanda.net Blogs and the Narrativity of Experience This paper undertakes an analysis of the narrativity of a form of discourse which has appeared recently (blogs) within the framework of an emergentist theory of narrativity and its discursive modes. The narrative/discursive characteristics of blogs emerge from a preexistent ground of more basic or less specific communicative practices; and narrative discursivity itself is an emergent phenomenon with respect to other cognitive and experiential phenomena. A number of formal and communicative characteristics of blog writing and of the blogosphere are discussed as emergent modes of experience within the pragmatic context of computer-mediated communication. _________________ 1 We shall undertake an analysis of the narrativity proper to a discursive form of recent appearance, weblogs or blogs, within the framework of an emergentist theory of narrativity and of its discursive modes. The narrative- discursive characteristics of blogs emerge from a prior basis of simpler or less specific communicative practices. And the narrativity of discourse is itself an emergent phenomenon with respect to other cognitive and experiential phenomena which necessarily underpin it, and are the basis on which its emergent nature must be defined. That is to say, there must be processes first, in order for processual representations to exist, and these representations must exist in simple forms before they give rise to complex narrative forms, associated to specific cultural and communicational contexts—for instance, the development of computer-mediated communicative interaction on the Web. Processes - Representations - Narratives - Narratologies Let us begin with absolute generality—with the narrativity of experience itself, situating narratives, and narratology, within an emergentist/evolutionary theory of reality.
    [Show full text]
  • Qt06m573tf Nosplash 1496739
    Media Laboratories The FlashPoints series is devoted to books that consider literature beyond strictly national and disciplinary frameworks, and that are distinguished both by their historical grounding and by their theoretical and conceptual strength. Our books engage theory without losing touch with history and work historically without falling into uncritical positivism. FlashPoints aims for a broad audience within the humanities and the social sciences concerned with moments of cultural emergence and transformation. In a Benjaminian mode, FlashPoints is interested in how literature contributes to forming new constellations of culture and history and in how such formations function critically and politically in the present. Series titles are available online at http://escholarship.org/uc/flashpoints. series editors: Ali Behdad (Comparative Literature and English, UCLA), Founding Editor; Judith Butler (Rhetoric and Comparative Literature, UC Berkeley), Founding Editor; Michelle Clayton (Hispanic Studies and Comparative Literature, Brown University); Edward Dimendberg (Film and Media Studies, Visual Studies, and European Languages and Studies, UC Irvine), Coordinator; Catherine Gallagher (English, UC Berkeley), Founding Editor; Nouri Gana (Comparative Literature and Near Eastern Languages and Cultures, UCLA); Susan Gillman (Literature, UC Santa Cruz); Jody Greene (Literature, UC Santa Cruz); Richard Terdiman (Literature, UC Santa Cruz) A complete list of titles begins on page 235. Media Laboratories Late Modernist Authorship in South America Sarah Ann Wells northwestern university press ❘ evanston, illinois this book is made possible by a collaborative grant from the andrew w. mellon foundation. Northwestern University Press www.nupress.northwestern.edu Copyright © 2017 by Northwestern University Press. Published 2017. All rights reserved. Portions of Chapter 1 appeared in an earlier form in articles published in Modernism/ Modernity 18.2 (2011): 425– 41 and Luso- Brazilian Review 53.1 (2016).
    [Show full text]
  • BPI Therapeutic Tints
    ®™®™ % © 2006. Spectral curves and colors are registered with the US Copyright Office BPI FILTER VISION 450nm (BPI Winter Sun ) 90 80 USES: 70 BPI® ® ™ rfect • Night Blindness 60 WINTER SUN e 50 P • Macular Degeneration BPI# 37623 40 • Retinitis Pigmentosa 30 • Pre-operative Cataract 20 SM • Forensic Science 10 BPI# 37623 Tint n BPI# 99900 Frame and lenses • SAD (Seasonal Affective Disorder) isio 350 400 450 500 550 600 650 NM V ®™®™ % © 2006. Spectral curves and colors are registered with the US Copyright Office BPI FILTER VISION 480nm (BPI Euro-Brown ) 90 80 ® 70 BPI® USES: ™ 60 EURO-BROWN • Macular Degeneration 50 BPI# 37622 BPI • Retinitis Pigmentosa 40 • Pre-operative Cataract 30 • Forensic Science 20 10 THERAPEUTIC BPI# 376®22 Tint BPI# 99900 Frame and lenses 350 400 450 500 550 600 650 NM ® ® ®™ ® % © 2006. Spectral curves and colors are registered with the US Copyright Office TINTS BPI DIAMOND DYE 500nm Blue Barrier Tint 90 80 Tint Your Own Therapeutic ® USES: ® ® 70 BPI DIAMOND ™ Lenses With BPI Therapeutic Tints. • Macular Degeneration 60 DYE 5 00nm • Retinitis Pigmentosa 50 BPI# 37604 Order Therapeutic Lenses from 40 ® • Post-operative Cataract BPI Laboratories. 30 • Aphakia/Pseudophakia 20 • Forensic Science 10 Send Your Prescription Lenses To BPI# 37604 Tint ® BPI# 99900 Frame and lenses • Dentistry BPI Laboratories For 350 400 450 500 550 600 650 NM Therapeutic Tinting ®™ ® % © 2006. Spectral curves and colors are registered with the US Copyright Office BPI DIAMOND DYE 540nm Blue Barrier Tint 90 Complete Frames With 80 Therapeutic Lenses Or Clip-ons 70 BPI® DIAMOND USES: DYE ™5 40nm Also Available.
    [Show full text]
  • HEADLINE NEWS • 6/26/05 • PAGE 2 of 12
    CAN BAGO BAG ANOTHER G1? HEADLINE ...p9 NEWS For information about TDN, DELIVERED EACH NIGHT BY FAX AND FREE BY E-MAIL TO SUBSCRIBERS OF call 732-747-8060. www.thoroughbreddailynews.com SUNDAY, JUNE 26, 2005 A FAIRY TALE ENDING LIKE FATHER, LIKE SON? It was one of the few races Inside Information failed With Hurricane Run (Ire) (Montjeu {Ire}), Scorpion to win. Sent off the 7-10 favorite in the 1994 edition of (Ire) (Montjeu {Ire}) and Walk in the Park (Ire) (Montjeu the GI Mother Goose S., the {Ire}) to represent him, Coolmore’s stallion sensation champion suffered the only looks to be in a win-win situation defeat of her sophomore sea- in today’s G1 Budweiser Irish son, finishing a shocking 10 Derby at The Curragh. It was six 1/4 lengths behind Lakeway years ago that the John as she crossed the finish line Hammond-trained Montjeu took in third. Injured in the race, apart his rivals in this Classic. she was then sidelined for five With an Epsom Derby winner months. But her daughter already in his first crop thanks to Smuggler Adam Coglianese Smuggler (Unbridled) made up Motivator (GB), a famous double for that loss with a game per- could be on the cards. Scorpion Montjeu Glyn Kirk/Action Plus formance in the 49th running of the filly Classic at has the most to prove of his trio, Belmont Park yesterday. “This is pretty exciting for but, according to Racing Post, was “all the rage” after me,” said trainer Shug McGaughey, who also condi- breaking his maiden at Leopardstown May 8.
    [Show full text]
  • How to Write Best-Selling Fiction
    kfajs aslkjf;laskjfa;lkesfhj kfajs aslkjf;laskjfa;lkesfhj kfajs aslkjf;laskjfa;lkesfhj Topic Subtopic kfajs aslkjf;laskjfa;lkesfhj. Literature & Language Writing How to Write Best-Selling Fiction Write to How “Pure intellectual stimulation that can be popped into the [audio or video player] anytime.” How to Write —Harvard Magazine “Passionate, erudite, living legend lecturers. Academia’s best lecturers are being captured on tape.” Best-Selling Fiction —The Los Angeles Times Course Guidebook “A serious force in American education.” —The Wall Street Journal James Scott Bell Novelist and Writing Instructor James Scott Bell is an award-winning novelist and writing instructor. He is a winner of the International Thriller Writers Award and the author of a best-selling book on writing, Plot & Structure: Techniques and Exercises for Crafting a Plot That Grips Readers from Start to Finish. He is also the author of numerous novels. Mr. Bell has taught novel writing at Pepperdine University as well as in writing seminars across the United States and many parts of the world, including Australia, New Zealand, Canada, and the United Kingdom. THE GREAT COURSES® Corporate Headquarters 4840 Westfields Boulevard, Suite 500 Chantilly, VA 20151-2299 USA Guidebook Phone: 1-800-832-2412 www.thegreatcourses.com Professor Photo: © Jeff Mauritzen - inPhotograph.com. Cover Image: © Need Image Credit.. Course No. 2533 © 2019 The Teaching Company. PB2533A Published by THE GREAT COURSES Corporate Headquarters 4840 Westfields Boulevard | Suite 500 | Chantilly, Virginia | 20151‑2299 [phone] 1.800.832.2412 | [fax] 703.378.3819 | [web] www.thegreatcourses.com Copyright © The Teaching Company, 2019 Printed in the United States of America This book is in copyright.
    [Show full text]
  • A Pragmatic Check out System for Remedy Eyeglasses Vinutha H1, Rajeshwari S2 Assistant Professor1, 2 Department of ISE Rajarajeswari College of Engineering, India
    ISSN XXXX XXXX © 2018 IJESC Research Article Volume 8 Issue No.4 A Pragmatic Check out System for Remedy Eyeglasses Vinutha H1, Rajeshwari S2 Assistant Professor1, 2 Department of ISE Rajarajeswari College of Engineering, India Abstract: Vision correcting specs leave progressed the bum millions of folks. Eye frames moderately have an effect on the wearer’s image, and the choice of latest pairs of goggles is essentially in response to how the eyeglasses express just after wearers try the system on. However, an generally overviewed information is that one punitive lenses plan lie led to by the refraction outcome. Prescription lorgnette plan refraction final results that modify the wearer’s presence. The eyes of individual dressed in disciplinary lenses for nearsightedness materialize lower come dressed in non preparation lenses, while inspection of an individual dressed in lenses for hyperopia show up bigger. The conventional means of stressful and picking new goggles frames within a stone and glue emporium has an important fault: sunglasses at the emblazon are geared up amidst trial lenses that one know blank punitive prestige, and hence refraction doesn't cripple inquiry. Thus, practicers cannot see what they are going to in fact sound like in expectation their practice instruction lenses are connected within the frames and the reduction is very last. Their presentation determinations vary of the in-store case that may result in adversity and buyer’s grief, particularly for methoders amidst intense specs instructions. A send occurs stable including wired retail outlets, which permit ruler to nearly analysis contacts frames by overlaying diehards out upon a dossier perception.
    [Show full text]
  • Haitian Creole – English Dictionary
    + + Haitian Creole – English Dictionary with Basic English – Haitian Creole Appendix Jean Targète and Raphael G. Urciolo + + + + Haitian Creole – English Dictionary with Basic English – Haitian Creole Appendix Jean Targète and Raphael G. Urciolo dp Dunwoody Press Kensington, Maryland, U.S.A. + + + + Haitian Creole – English Dictionary Copyright ©1993 by Jean Targète and Raphael G. Urciolo All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without the prior written permission of the Authors. All inquiries should be directed to: Dunwoody Press, P.O. Box 400, Kensington, MD, 20895 U.S.A. ISBN: 0-931745-75-6 Library of Congress Catalog Number: 93-71725 Compiled, edited, printed and bound in the United States of America Second Printing + + Introduction A variety of glossaries of Haitian Creole have been published either as appendices to descriptions of Haitian Creole or as booklets. As far as full- fledged Haitian Creole-English dictionaries are concerned, only one has been published and it is now more than ten years old. It is the compilers’ hope that this new dictionary will go a long way toward filling the vacuum existing in modern Creole lexicography. Innovations The following new features have been incorporated in this Haitian Creole- English dictionary. 1. The definite article that usually accompanies a noun is indicated. We urge the user to take note of the definite article singular ( a, la, an or lan ) which is shown for each noun. Lan has one variant: nan.
    [Show full text]
  • 1 Box 12 Abbot, John M. La Coralie Polka Schottisch. Composed for And
    Box 12 Abbot, John M. La Coralie polka schottisch. Composed for and respectfully dedicated to Miss Kate E. Stoutenburg. For solo piano. New York: J. E. Gould and Co., 1851. Abbot, John M. La reve d’amour. For solo piano. New York: William Hall & Son, 1858. 3 copies. L’Aboyar. La coquetterie polka facile. For solo piano. Boston: Oliver Ditson, 1853. Adam, Adolphe. Duke of Reichstadt’s waltz. For solo piano. New York: James L. Hewitt & Co., [s.d.]. Adam, Adolphe. Duke of Reichstadt’s waltz. For solo piano. Boston: C. Bradlee, [s.d.].. Adam, A. Hungarian flag dance. Danced by forty-eight Danseuses Viennoises at the principal theatres in Europe and the United States. For solo piano. Arranged by Edward L. White. Boston: Stephen W. Marsh, 1847. Adams, A.M. La petite surprise! For solo piano. New York: W. Dubois, [s.d.]. Adams, G. Molly put the kettle on. For solo piano. Boston: Oliver Ditson, [s.d.]. Adams, G. Scotch air. With variations as performed by Miss. R. Brown on the harp at the Boston Concerts. For solo piano or harp. New York: William Hall & Son, [s.d.]. Adams, G. Scotch air. With variations as performed by Miss R. Brown on the harp at the Boston Concerts. For solo piano or harp. New York: Firth, Hall, and Pond, [between 1846 and 1847]. Adams, J.B. Sunbeam polka. For solo piano. Boston: Oliver Ditson, 1853. Adams, J. Willard. Dream life polka. Composed and most respectfully dedicated to the Ladies of Fredericksburg, PA. For solo piano. New York: Firth, Pond, and Co., 1852.
    [Show full text]
  • Introducing Ophthalmology
    introducing ophthalmology a p r i m e r for off ice st a f f Third Edition 655 Beach Street P.O. Box 7424 San Francisco, CA 94120-7424 introducing ophthalmology: a primer for office staff ophthalmology liaisons committee academy staff Samuel P. Solish, MD, Chair Richard A. Zorab, Vice President, Richard C. Allen, MD, PhD Ophthalmic Knowledge Amy S. Chomsky, MD Hal Straus, Director of Print Publications JoAnn A. Giaconi, MD Susan R. Keller, Acquisitions Editor Humeyra Karacal, MD Kimberly A. Torgerson, Publications Editor Martha P. Schatz, MD D. Jean Ray, Production Manager John Michael Williams Sr, MD Debra Marchi, CCOA, Administrative Assistant Kyle Arnoldi-Jolley, CO, COMT Annquinetta F. Dansby-Kelly, RN, CRNO Diana J. Shamis, COMT © 2013 American Academy of Ophthalmology All rights reserved. ii Preface iv contents 1 IntroductIon to oPhthalmology 1 2 d how oes the eye work? 7 3 d why o we need eyeglasses? 15 4 t wha can go wrong wIth the eye? 22 5 m the edIcal eye examInatIon 33 6 offIce etIquette and ethIcs 40 glossary 47 common oPhthalmIc abbrevIatIons 51 suggested resources 54 Chinese spectacles with tangerine skin case, ca 1780 (Courtesy Museum of Vision, Foundation of the American Academy of Ophthalmology) iii preface This edition of Introducing Ophthalmology: A Primer for Office Staff has been reviewed for currency, updated, and converted to a digital format. The primary audience for this book is new office staff who need understanding of basic concepts in ophthalmology. New office staff will gain insights into the eye health terms and concepts they encounter.
    [Show full text]
  • HAAG-STREIT UK 2015-2016 Catalogue
    Tonometry Slit Lamps Disposable Prisms Orthoptic Equipment General Equipment Ophthalmoscopes & Retinoscopes Visual Acuity Tests Lenses Trial Frames HAAG-STREIT UK 2015-2016 Catalogue Issue 5 - August 2015 Haag-Streit UK Haag-Streit UK designs, manufactures and sells a complete line of orthoptic, optometry and ophthalmic equipment and has distributorships for some leading brands, such as; Haag-Streit Diagnostics, Clement Clarke Ophthalmic, CenterVue, Ellex, Haag-Streit Surgical and Optovue. Haag-Streit UK promotes the prevention, early detection, careful monitoring and effective treatment of retinal disease, glaucoma, corneal disorders, ocular motility and visual defects. The organisation is dedicated to providing tailored solutions through the integration of information technology, leading brand ophthalmic instruments and unparalleled customer care. It focuses on the individual requirements of both the professional and the patient. The company boasts a UK-wide network of Area Sales Managers and Service Engineers. This field-based team is supported by Product Managers and an internal Customer Service Team. Together they ensure that all Haag- Streit UK products are backed by the highest level of service and support. to order call customer services: 01279 883841 or visit us at www.haag-streituk.com/eshop p2 Maintenance Contracts Established for more than 25 years, our Service Division is committed to the critical area of maintenance and support. Constantly improving upon the levels of service and repair, our Service Division always strives to give you peace of mind. HS-UK is a name you can trust, from the quality equipment that you purchase from us, through to the post- sales support you receive with one of our service contracts.
    [Show full text]