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University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Fiber Arts Oral History Series Kay Sekimachi THE WEAVER'S WEAVER: EXPLORATIONS IN MULTIPLE LAYERS AND THREE-DIMENSIONAL FIBER ART With an Introduction by Signe Mayfield Interviews Conducted by Harriet Nathan in 1993 Copyright 1996 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Kay Sekimachi dated April 16, 1995. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley. -
The Importance of Structural and Practical Unidentifiability in Modeling and Testing of Agricultural Machinery. Identifiability
Jacek KROMULSKI1, Jan SZCZEPANIAK1, Jarosław MAC1, Jacek WOJCIECHOWSKI1, Michał ZAWADA1, Tomasz SZULC1, Roman ROGACKI1, Łukasz JAKUBOWSKI2, Roman ALEKSANDROWICZ2 1 Sieć Badawcza Łukasiewicz - Przemysłowy Instytut Maszyn Rolniczych, ul. Starołęcka 31, 60-963 Poznań, Poland e-mail: [email protected] 2 Metal-Fach Sp. z o.o., ul. Kresowa 62, 16-100 Sokółka, Poland [email protected] Received: 2021-05-11 ; Accepted: 2021-06-21 THE IMPORTANCE OF STRUCTURAL AND PRACTICAL UNIDENTIFIABILITY IN MODELING AND TESTING OF AGRICULTURAL MACHINERY. IDENTIFIABILITY TESTING OF AGGREGATE MODEL PARAMETERS TRACTOR BALER-WRAPPER Summary New methods of parametric identification are presented in particular tests of identifiability and non-identifiability of model parameters. A definition of the concept of identifiability of model parameters is presented. Methods for testing identifiability using Laplace transform using similarity transformation and using symbolic calculations are described. Available software for testing model identifiability is presented. These are programs for symbolic calculations (MAPLE MATHEMATICA) op- erating in the form of web applications and in the form of tools for the Matlab environment. The method of introducing the model to the computational environment in the form ordinary differential equations (ODE) is presented. Examples of calcu- lations identifiability of parameters of the complex model of the tractor-single-axle agricultural machine e.g. a baler- wrapper are included. Keywords: dynamic modelling, identifiability, parameter identification, agricultural machine ZNACZENIE NIEIDENTYFIKOWALNOŚCI STRUKTURALNEJ I PRAKTYCZNEJ W MODELOWANIU I BADANIACH MASZYN ROLNICZYCH. BADANIE IDENTIFIKOWALNOŚCI PARAMETRÓW MODELU AGREGATU CIĄGNIK-PRASOOWIJARKA Streszczenie Przedstawiono nowe metody prowadzenia identyfikacji parametrycznej w szczególności badania identyfikowalności oraz nieidentyfikowalności parametrów modelu. Przedstawiono definicję pojęcia identyfikowalności parametrów modelu. -
Press Release, P
1 Contacts: Karen Frascona Amelia Kantrovitz 617.369.3442 617.369.3447 [email protected] [email protected] MUSEUM OF FINE ARTS, BOSTON, ANNOUNCES MAJOR GIFT OF CONTEMPORARY CRAFT FROM DAPHNE FARAGO COLLECTION BOSTON, MA (January 18, 2013)— The Museum of Fine Arts, Boston (MFA), announces a gift of 161 works from longtime supporter Daphne Farago — the Museum’s largest-ever gift of contemporary craft across a range of media. These 20th- and 21st-century works are among the finest examples of studio craft and represent objects by notable artists, such as fiber artists Anni Albers and Sheila Hicks, sculptor Robert Arneson, glass artist Dale Chihuly, and furniture maker John Cederquist. The gift includes works of fiber (94), ceramics (24), glass (19), turned wood/carvings (11), metal (5), furniture (4), jewelry (2), Structure No. 18: Theory of Lift, basketry (1), and folk art (1). The largest donor of contemporary craft in the Jeanette Marie Ahlgren, 1994 Museum’s history, Mrs. Farago has transformed the MFA’s collection with gifts totaling nearly 950 objects to the Museum in her lifetime. Other significant donations to the MFA by Mrs. Farago include the 2006 gift of more than 650 pieces of contemporary jewelry and the 2004 gift of more than 80 works of contemporary fiber art created by the late Edward Rossbach and Katherine Westphal. "These works illustrate Daphne Farago's vision as a collector — they are part of her personal collection and represent some of the finest, most intellectually and technically ambitious creations in these areas," said Malcolm Rogers, Ann and Graham Gund Director of the MFA. -
Smithsonian American Art Museum
Smithsonian American Art Museum Chronological List of Past Exhibitions and Installations on View at the Smithsonian American Art Museum and its Renwick Gallery 1958-2016 ■ = EXHIBITION CATALOGUE OR CHECKLIST PUBLISHED R = RENWICK GALLERY INSTALLATION/EXHIBITION May 1921 xx1 American Portraits (WWI) ■ 2/23/58 - 3/16/58 x1 Paul Manship 7/24/64 - 8/13/64 1 Fourth All-Army Art Exhibition 7/25/64 - 8/13/64 2 Potomac Appalachian Trail Club 8/22/64 - 9/10/64 3 Sixth Biennial Creative Crafts Exhibition 9/20/64 - 10/8/64 4 Ancient Rock Paintings and Exhibitions 9/20/64 - 10/8/64 5 Capital Area Art Exhibition - Landscape Club 10/17/64 - 11/5/64 6 71st Annual Exhibition Society of Washington Artists 10/17/64 - 11/5/64 7 Wildlife Paintings of Basil Ede 11/14/64 - 12/3/64 8 Watercolors by “Pop” Hart 11/14/64 - 12/13/64 9 One Hundred Books from Finland 12/5/64 - 1/5/65 10 Vases from the Etruscan Cemetery at Cerveteri 12/13/64 - 1/3/65 11 27th Annual, American Art League 1/9/64 - 1/28/65 12 Operation Palette II - The Navy Today 2/9/65 - 2/22/65 13 Swedish Folk Art 2/28/65 - 3/21/65 14 The Dead Sea Scrolls of Japan 3/8/65 - 4/5/65 15 Danish Abstract Art 4/28/65 - 5/16/65 16 Medieval Frescoes from Yugoslavia ■ 5/28/65 - 7/5/65 17 Stuart Davis Memorial Exhibition 6/5/65 - 7/5/65 18 “Draw, Cut, Scratch, Etch -- Print!” 6/5/65 - 6/27/65 19 Mother and Child in Modern Art ■ 7/19/65 - 9/19/65 20 George Catlin’s Indian Gallery 7/24/65 - 8/15/65 21 Treasures from the Plantin-Moretus Museum Page 1 of 28 9/4/65 - 9/25/65 22 American Prints of the Sixties 9/11/65 - 1/17/65 23 The Preservation of Abu Simbel 10/14/65 - 11/14/65 24 Romanian (?) Tapestries ■ 12/2/65 - 1/9/66 25 Roots of Abstract Art in America 1910 - 1930 ■ 1/27/66 - 3/6/66 26 U.S. -
Annual Report 2013-2014
The Museum of Fine Arts, Houston Arts, Fine of Museum The μ˙ μ˙ μ˙ The Museum of Fine Arts, Houston annual report 2013–2014 THE MUSEUM OF FINE ARTS, HOUSTON, WARMLY THANKS THE 1,183 DOCENTS, VOLUNTEERS, AND MEMBERS OF THE MUSEUM’S GUILD FOR THEIR EXTRAORDINARY DEDICATION AND COMMITMENT. ANNUAL REPORT ANNUAL 2013–2014 Cover: GIUSEPPE PENONE Italian, born 1947 Albero folgorato (Thunderstuck Tree), 2012 Bronze with gold leaf 433 1/16 x 96 3/4 x 79 in. (1100 x 245.7 x 200.7 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.728 While arboreal imagery has dominated Giuseppe Penone’s sculptures across his career, monumental bronzes of storm- blasted trees have only recently appeared as major themes in his work. Albero folgorato (Thunderstuck Tree), 2012, is the culmination of this series. Cast in bronze from a willow that had been struck by lightning, it both captures a moment in time and stands fixed as a profoundly evocative and timeless monument. ALG Opposite: LYONEL FEININGER American, 1871–1956 Self-Portrait, 1915 Oil on canvas 39 1/2 x 31 1/2 in. (100.3 x 80 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.756 Lyonel Feininger’s 1915 self-portrait unites the psychological urgency of German Expressionism with the formal structures of Cubism to reveal the artist’s profound isolation as a man in self-imposed exile, an American of German descent, who found himself an alien enemy living in Germany at the outbreak of World War I. -
At Long Last Love Press Release
At Long Last Love: Fiber Sculpture Gets Its Due October 2014 It looks as if 2014 will be the year that contemporary fiber art finally gets the recognition and respect it deserves. For us, it kicked off at the Whitney Biennial in May which gave pride of place to Sheila Hicks’ massive cascade, Pillar of Inquiry/Supple Column. Last month saw the opening of the influential Thread Lines, at The Drawing Center in New York featuring work by 16 artists who sew, stitch and weave. Now at the Institute of Contemporary Art in Boston, the development of ab- straction and dimensionality in fiber art from the mid-twentieth centu- ry through to the present is examined in Fiber: Sculpture 1960–present from October 1st through January 4, 2015. The exhibition features 50 works by 34 artists, who crisscross generations, nationalities, processes and aesthetics. It is accompanied by an attractive companion volume, Fiber: Sculpture 1960-present available at browngrotta.com. There are some standout works in the exhibition — we were thrilled Fiber: Sculpture 1960 — present opening photo by Tom Grotta to see Naomi Kobayashi’s Ito wa Ito (1980) and Elsi Giauque’s Spatial Element (1989), on loan from European museums, in person after ad- miring them in photographs. Anne Wilson’s Blonde is exceptional and Ritzi Jacobi and Françoise Grossen are represented by strong works, too, White Exotica (1978, created with Peter Jacobi) and Inchworm, respectively. Fiber: Sculpture 1960–present aims to create a sculp- tural dialogue, an art dialogue — not one about craft, ICA Mannion Family Senior Curator Jenelle Porter explained in an opening-night conversation with Glenn Adamson, Director, Museum of Arts and Design. -
Exhibition Records, 1970-2000
Exhibition Records, 1970-2000 Finding aid prepared by Smithsonian Institution Archives Smithsonian Institution Archives Washington, D.C. Contact us at [email protected] Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Descriptive Entry.............................................................................................................. 1 Names and Subjects ...................................................................................................... 1 Container Listing ............................................................................................................. 4 Exhibition Records https://siarchives.si.edu/collections/siris_arc_250882 Collection Overview Repository: Smithsonian Institution Archives, Washington, D.C., [email protected] Title: Exhibition Records Identifier: Accession 01-108 Date: 1970-2000 Extent: 4.08 cu. ft. (4 record storage boxes) (1 oversize folder) Creator:: Smithsonian American Art Museum. Office of Design and Production Language: English Administrative Information Prefered Citation Smithsonian Institution Archives, Accession 01-108, Smithsonian American Art Museum. Office of Design and Production, Exhibition Records Descriptive Entry This accession consists of records that document the design, production, and installation of permanent and temporary exhibitions at the Smithsonian -
List of 659 Books Owned by Our Department Library, As of January 2005, Listed by Subject Category
Palomar College Cabinet & Furniture Technology This is a list of 659 books owned by our Department Library, as of January 2005, listed by subject category. Our library is a reference library not a lending library. Books or Magazines must NOT be removed from the library. Our library is located between T16 and T17 classrooms, not in the campus library. Our library is open to enrolled students during all class hours. Books are located on the shelves in broad general categories, from top left to bottom right. You must return books to the correct place on the shelf after use. Books are not located under the Dewey Decimal System. The Location column in this table indicates whether the book is located on the library shelves: (S) or in reserve: (R), or Lost (N). Book Title Book Author Location Architecture Handcrafted Doors & Windows Amy Zaffarano Rowland S Japanese Detail Architecture Sadao Hibi S English Historic Carpentry Cecil A. Hewett S Vacation Homes Home Planners, Inc. S Two Story Homes Home Planners, Inc. S A Guide to the Work of Greene and Greene Randell L. Makinson S The George White & Anna Gunn Marston House S Super Luxurious Custom Homes Mike Tecton S One Story Homes Under 2000 Sq. Ft. Home Planners, Inc. S One Story Homes Over 2000 Sq. Ft. Home Planners, Inc. S One & One Half Story Homes Home Planners, Inc. S Make Your Own Handcrafted Doors & Windows John Birchard S French Interiors and Furniture Period of Louis XIV Francis J. Geck S French Interiors and Furniture Period of Louis XIII Francis J. -
Ontario Crafts Council Periodical Listing Compiled By: Caoimhe Morgan-Feir and Amy C
OCC Periodical Listing Compiled by: Caoimhe Morgan-Feir Amy C. Wallace Ontario Crafts Council Periodical Listing Compiled by: Caoimhe Morgan-Feir and Amy C. Wallace Compiled in: June to August 2010 Last Updated: 17-Aug-10 Periodical Year Season Vo. No. Article Title Author Last Author First Pages Keywords Abstract Craftsman 1976 April 1 1 In Celebration of pp. 1-10 Official opening, OCC headquarters, This article is a series of photographs and the Ontario Crafts Crossroads, Joan Chalmers, Thoma Ewen, blurbs detailing the official opening of the Council Tamara Jaworska, Dora de Pedery, Judith OCC, the Crossroads exhibition, and some Almond-Best, Stan Wellington, David behind the scenes with the Council. Reid, Karl Schantz, Sandra Dunn. Craftsman 1976 April 1 1 Hi Fibres '76 p. 12 Exhibition, sculptural works, textile forms, This article details Hi Fibres '76, an OCC Gallery, Deirdre Spencer, Handcraft exhibition of sculptural works and textile House, Lynda Gammon, Madeleine forms in the gallery of the Ontario Crafts Chisholm, Charlotte Trende, Setsuko Council throughout February. Piroche, Bob Polinsky, Evelyn Roth, Charlotte Schneider, Phyllis gerhardt, Dianne Jillings, Joyce Cosgrove, Sue Proom, Margery Powel, Miriam McCarrell, Robert Held. Craftsman 1976 April 1 2 Communications pp. 1-6 First conference, structures and This article discusses the initial Weekend programs, Alan Gregson, delegates. conference of the OCC, in which the structure of the organization, the programs, and the affiliates benefits were discussed. Page 1 of 153 OCC Periodical Listing Compiled by: Caoimhe Morgan-Feir Amy C. Wallace Periodical Year Season Vo. No. Article Title Author Last Author First Pages Keywords Abstract Craftsman 1976 April 1 2 The Affiliates of pp. -
Looking Back 40 Years, Thousands of Authors
looking back 40 years, thousands of authors ight from the start, when Paul Roman assembled the first issue of the magazine in his attic in 1975, Fine Woodworking has operated more like an academic journal than a typical magazine. RInstead of having journalists write about woodworkers and what they build, we’ve had the woodworkers themselves explaining how they work. Our editors have helped with the writing—and we take the photos—but the ideas, techniques, and designs have come directly from the authors. Their hard-won and generously shared knowledge has been the strength of the magazine for 40 years. Our contributors have run the gamut from the deeply trained to the entirely self-taught, from machine mavens to hand-tool junkies, from period- reproduction absolutists to makers whose furniture verges on sculpture. Putting a premium on personal expertise, we’ve welcomed all those points of view, often presenting directly opposing approaches to the same problem. In this final installment of Looking Back, we’ve gathered photos that represent the rich array of opinions and techniques embraced by our authors. We’ve also lined up a sampling of contributors on this page. How many do you recognize? To see if you can name them all, go to FineWoodworking.com/extras. 78 FINE WOODWORKING COPYRIGHT 2016 by The Taunton Press, Inc. Copying and distribution of this article is not permitted. The best way to cut dovetails TAILS FIRST, OR PINS? BY HAND OR MACHINE? You can find dovetails right in Fine Woodworking’s logo, and there’s doubtless been some mention of Diverse takes on the dovetail. -
New Zealand Crafts Issue 23 Autumn 1988
CRAFTS COUNCIL OF NEW ZEALAND (INC) 22 The Terrace Wellington OELU ZEHLHOD Phone: 727-018 1987/88 EXECUTIVE COMMITTEE PRESIDENT: The Crafts Cannril afNeu' Zealand John Scott (Int) is no! responsiblefin' statements 101 Putiki Drive WANGANUI and opinions published in NZ Ci'tgfis 064-50997 W nor do they m'ressin'ily relief! the Editorial 064—56921 H I’lt’II’S ofthe (Int/ix Comn‘il. Crafts Council Magazine No 23 Autumn 1988 VICE “Craft has ceased (however), to be mere decoration, and PRESIDENTS: the Anne Field craftsman has become the rival ofthe fine artist. Craft 37 Rhodes Street objects increasingly tend to be used in precisely the same CHRISTCHURCH way as paintings and scul ture in domestic and other 03-799-553 interiors — as space modulhtors and as activators of Melanie Cooper Introduction by Elizabeth Evans particular environments. ” 17 Stowe Hill So writes Edward Lucie-Smith, one of the world’s finest Thorndon WELLINGTON Craft Design Courses: the Lead-up 04734-887 writers on Art in his introduction to the inaugural by Ray Thorburn and Gavin Wilson exhibltlon at the American Craft Museum in New York. EXECUTIVE COMMITTEE: Exciting words, and having visited the museum at the Jenny Barraud An emerging Divers1ty 10 Richardson Street NELSON After two years. Craft Design courses around time ofits opening I can appreciate the sentiments 05484-619 expressed. One was given the clear impression that craft the country are developing their own hall—marks and art are inseparable, and that craft provided a greater James E. Bowman by Jenny Pattl'ir'k 103 Major Drive ran e of opportunities for artistic expression than the Kelson WELLINGTON Fientje Allis Van Rossum — a tutor profile by Eric Flegg traditional “fine arts”. -
Dynamical Modeling and Multi-Experiment Fitting with Potterswheel – Supplement
Dynamical Modeling and Multi-Experiment Fitting with PottersWheel { Supplement Thomas Maiwald and Jens Timmer Freiburg Center for Data Analysis and Modeling University of Freiburg, Germany [email protected] June 10, 2008 Abstract This supplement provides detailed information about the functionalities of the Potters- Wheel toolbox as described in the main text. For further information please use the documentation which is available at www.PottersWheel.de. 1 Contents 1 The main graphical user interfaces4 1.1 Main window..................................4 1.2 Equalizer....................................5 2 Creating an apoptosis example model6 2.1 The model definition file............................6 2.1.1 Header..................................7 2.1.2 Dynamic variables...........................7 2.1.3 Reactions................................7 2.1.4 Dynamic parameters..........................7 2.1.5 Algebraic equations (rules)......................7 2.1.6 Observables...............................8 2.1.7 Driving input functions........................8 2.2 Graphical visualization of the reaction network...............8 3 Integration performance 10 3.1 Stiff differential equations........................... 10 3.2 FORTRAN integrators............................. 10 3.3 MATLAB integrators............................. 11 3.4 Dynamical compilation of ODE as C MEX file............... 11 3.5 Comparing integration time and accuracy.................. 11 4 Optimization performance 14 4.1 Fitting in logarithmic parameter space...................