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Chapter 5.1: Land Use, Zoning, and Public Policy A. INTRODUCTION
Chapter 5.1: Land Use, Zoning, and Public Policy A. INTRODUCTION This chapter describes existing land use, zoning, and public policies applicable to the proposed project and evaluates potential significant adverse effects that may result from implementation of the proposed flood protection system. Potential significant adverse effects to land use as a result of implementing the flood protection system are also evaluated. Potential land use issues include known or likely changes in current land uses within the study area, as well as the proposed project’s potential effect on existing and future land use patterns. Potential zoning and public policy issues include the compatibility of the proposed project with existing zoning and consistency with existing applicable public policies. PROJECT AREA ONE Project Area One extends from Montgomery Street on the south to the north end of John V. Lindsay East River Park (East River Park) at about East 13th Street. Project Area One consists primarily of the Franklin Delano Roosevelt East River Drive (FDR Drive) right-of-way, a portion of Pier 42 and Corlears Hook Park as well as East River Park. The majority of Project Area One is within East River Park and includes four existing pedestrian bridges across the FDR Drive to East River Park (Corlears Hook, Delancey Street, East 6th Street, and East 10th Street Bridges) and the East Houston Street overpass. Project Area One is located within Manhattan Community District 3, and borders portions of the Lower East Side and East Village neighborhoods. PROJECT AREA TWO Project Area Two extends north and east from Project Area One, from East 13th Street to East 25th Street. -
Downloaded From: Usage Rights: Creative Commons: Attribution-Noncommercial-No Deriva- Tive Works 4.0
Daly, Timothy Michael (2016) Towards a fugitive press: materiality and the printed photograph in artists’ books. Doctoral thesis (PhD), Manchester Metropolitan University. Downloaded from: https://e-space.mmu.ac.uk/617237/ Usage rights: Creative Commons: Attribution-Noncommercial-No Deriva- tive Works 4.0 Please cite the published version https://e-space.mmu.ac.uk Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly PhD 2016 Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy MIRIAD Manchester Metropolitan University June 2016 Contents a. Abstract 1 b. Research question 3 c. Field 5 d. Aims and objectives 31 e. Literature review 33 f. Methodology 93 g. Practice 101 h. Further research 207 i. Contribution to knowledge 217 j. Conclusion 220 k. Index of practice conclusions 225 l. References 229 m. Bibliography 244 n. Research outputs 247 o. Appendix - published research 249 Tim Daly Speke (1987) Silver-gelatin prints in folio A. Abstract The aim of my research is to demonstrate how a practice of hand made books based on the materiality of the photographic print and photo-reprography, could engage with notions of touch in the digital age. We take for granted that most artists’ books are made from paper using lithography and bound in the codex form, yet this technology has served neither producer nor reader well. As Hayles (2002:22) observed: We are not generally accustomed to thinking about the book as a material metaphor, but in fact it is an artifact whose physical properties and historical usage structure our interactions with it in ways obvious and subtle. -
Thinking with Type
ellen lupton thinking with a critical guide typefor designers, writers, editors & students princeton architectural press . new york TEXT LEITERS GATHER INTO WORDS, WORDS BUILD INTO SENTENCES. In typography, "text" is defined as an ongoing sequence of words, distinct from shorter headlines or captions. The main block is often called the "body," comprising the principal mass of content. Also known as "running text," it can flow from one page, column, or box to another. Text can be viewed as a thing-a sound and sturdy object-or a fluid poured into the containers of page or screen. Text can be solid or liquid, body or blood. As body, text has more integrity and wholeness than the elements that surround it, from pictures, captions, and page numbers to banners, buttons, and menus. Designers generally treat a body of text consistently, letting it appear as a coherent substance that is distributed across the spaces of a CYBERSPACE AND CIVIL document. In digital media, long texts are typically broken into chunks that SOCIETY Poster, 19 96. Designer: Hayes Henderson. can be accessed by search engines or hypertext links. Contemporary Rather than represent designers and writers produce content for various contexts, from the pages cyberspace as an ethereal grid, of print to an array of software environments, screen conditions, and digital the designer has used blotches devices, each posing its own limits and opportunities. of overlapping text to build an ominous, looming body. Designers provide ways into-and out of-the flood of words by breaking up text into pieces and offering shortcuts and alternate routes through masses of information. -
The Cooper Union for the Advancement of Science and Art Atcooper 2 | the Cooper Union for the Advancement of Science and Art
Winter 2008/09 The Cooper Union for the Advancement of Science and Art atCooper 2 | The Cooper Union for the Advancement of Science and Art Message from President George Campbell Jr. Union The Cooper Union has a history characterized by extraordinary At Cooper Union resilience. For almost 150 years, without ever charging tuition to a Winter 2008/09 single student, the college has successfully weathered the vagaries of political, economic and social upheaval. Once again, the institution Message from the President 2 is facing a major challenge. The severe downturn afflicting the glob- al economy has had a significant impact on every sector of American News Briefs 3 U.S. News & World Report Ranking economic activity, and higher education is no exception. All across Daniel and Joanna Rose Fund Gift the country, colleges and universities are grappling with the prospect Alumni Roof Terrace of diminished resources from two major sources of funds: endow- Urban Visionaries Benefit ment and contributions. Fortunately, The Cooper Union entered the In Memory of Louis Dorfsman (A’39) current economic slump in its best financial state in recent memory. Sue Ferguson Gussow (A’56): As a result of progress on our Master Plan in recent years, Cooper Architects Draw–Freeing the Hand Union ended fiscal year 2008 in June with the first balanced operat- ing budget in two decades and with a considerably strengthened Features 8 endowment. Due to the excellent work of the Investment Committee Azin Valy (AR’90) & Suzan Wines (AR’90): Simple Gestures of our Board of Trustees, our portfolio continues to outperform the Ryan (A’04) and Trevor Oakes (A’04): major indices, although that is of little solace in view of diminishing The Confluence of Art and Science returns. -
Gold Democrats and the Decline of Classical Liberalism, 1896–1900
SUBSCRIBE NOW AND RECEIVE CRISIS AND LEVIATHAN* FREE! “The Independent Review does not accept “The Independent Review is pronouncements of government officials nor the excellent.” conventional wisdom at face value.” —GARY BECKER, Noble Laureate —JOHN R. MACARTHUR, Publisher, Harper’s in Economic Sciences Subscribe to The Independent Review and receive a free book of your choice* such as the 25th Anniversary Edition of Crisis and Leviathan: Critical Episodes in the Growth of American Government, by Founding Editor Robert Higgs. This quarterly journal, guided by co-editors Christopher J. Coyne, and Michael C. Munger, and Robert M. Whaples offers leading-edge insights on today’s most critical issues in economics, healthcare, education, law, history, political science, philosophy, and sociology. Thought-provoking and educational, The Independent Review is blazing the way toward informed debate! Student? Educator? Journalist? Business or civic leader? Engaged citizen? This journal is for YOU! *Order today for more FREE book options Perfect for students or anyone on the go! The Independent Review is available on mobile devices or tablets: iOS devices, Amazon Kindle Fire, or Android through Magzter. INDEPENDENT INSTITUTE, 100 SWAN WAY, OAKLAND, CA 94621 • 800-927-8733 • [email protected] PROMO CODE IRA1703 Gold Democrats and the Decline of Classical Liberalism, 1896–1900 —————— ✦ —————— DAVID T. BEITO AND LINDA ROYSTER BEITO n 1896 a new political party was born, the National Democratic Party (NDP). The founders of the NDP included some of the leading exponents of classical I liberalism during the late nineteenth century. Few of those men, however, fore- saw the ultimate fate of their new party and of the philosophy of limited government that it championed. -
The Emergence and Erasure of !New Thinking! Within Graphic Design
! ! ∀ ## ∃%& ∋(∀∀∋)∗∋ ∃ ∀++ +,−(+ doi:10.1093/jdh/epr023 Journal of Design History Lost in Translation: The Emergence Vol. 24 No. 3 and Erasure of ‘New Thinking’ within Graphic Design Criticism in the 1990s Julia Moszkowicz Downloaded from This article revisits the early 1990s, identifying examples of critical journalism that introduced the idea of ‘new thinking’ in American graphic design to a British audience. Whilst such thinking is articulated in terms of postmodern and post-structuralist tenets, it will be argued that the distinct visual style of postmodern artefacts belies an eclectic philosophical constitution. In the process of describing emergent American practices at http://jdh.oxfordjournals.org/ Cranbrook Academy of Art in this period, for example, Ellen Lupton argues for a distinction to be made between intellectual (post-structuralist) and superficial (postmodern) approaches to visual form. This paper indicates, however, that in spite of this initial attention to distinct methodological concerns, there has been a tendency to oversimplify the postmodern story in graphic design writing and to use historical sources in highly selective ways. Indeed, close examination of texts from the period reveals how new thinking in America is underpinned by a complex range of philosophical ideas, with the (seemingly) contradictory impulse of phenomenology, in particular, making a at Southampton Solent University on November 11, 2013 dominant contribution to the mix. This article argues that it is time to reverse these reductive tendencies in British criticism and to reinvigorate its understanding of this transformative period with a return to these postmodern sources. Keywords: design criticism—design journalism—graphic design—postmodernism—post- structuralism—pragmatic design This article considers the critical reception of postmodern graphic design within the international journal, Eye, when a wave of ‘new thinking’ crossed the Atlantic and was reviewed by this influential publication in the 1990s. -
Thinking with Type : a Critical Guide for Designers, of Princeton Architectural Press Writers, Editors, & Students / Ellen Lupton
4YPOGRAPHYISWHATLANGUAGELOOKSLIKE Dedicated to george sadek (1928–2007) and all my teachers. ELLENLUPTON THINKING WITH ACRITICALGUIDE TYPEFORDESIGNERS WRITERS EDITORS STUDENTS princeton architectural press . new york Published by book designer Princeton Architectural Press Ellen Lupton 37 East Seventh Street editor New York, New York 10003 First edition: Mark Lamster Second edition: Nicola Bednarek For a free catalog of books, call 1.800.722.6657. Visit our web site at www.papress.com. cover designers Jennifer Tobias and Ellen Lupton © 2004, 2010 Princeton Architectural Press divider pages Princeton Architectural Press Paintings by Ellen Lupton All rights reserved photographer Second, revised and expanded edition Dan Meyers No part of this book may be used or reproduced in primary typefaces any manner without written permission from the Scala Pro, designed by Martin Majoor publisher, except in the context of reviews. Thesis, designed by Luc(as) de Groot Every reasonable attempt has been made to identify special thanks to owners of copyright. Errors or omissions will be Nettie Aljian, Bree Anne Apperley, Sara Bader, Janet Behning, corrected in subsequent editions. Becca Casbon, Carina Cha, Tom Cho, Penny (Yuen Pik) Chu, Carolyn Deuschle, Russell Fernandez, Pete Fitzpatrick, Library of Congress Cataloging-in-Publication Data Wendy Fuller, Jan Haux, Linda Lee, Laurie Manfra, John Myers, Katharine Myers, Steve Royal, Dan Simon, Andrew Stepanian, Lupton, Ellen. Jennifer Thompson, Paul Wagner, Joe Weston, and Deb Wood Thinking with type : a critical guide for designers, of Princeton Architectural Press writers, editors, & students / Ellen Lupton. — 2nd —Kevin C. Lippert, publisher rev. and expanded ed. p. cm. Includes bibliographical references and index. ISBN 978-1-56898-969-3 (alk. -
Kirkus Best Books of 2020
Featuring 328 Industry-First Reviews of Fiction, Nonfiction, Children'sand YA books KIRKUSVOL. LXXXVIII, NO. 23 | 1 DECEMBER 2020 REVIEWS THE BEST BOOKS OF 2020 SPECIAL ISSUE BONUS: Kirkus & Rolling Stone’s Top Music Books of 2020 The 100 Best Nonfiction and 100 Best YA Books of the Year + Our Regular December 1 Issue from the editor’s desk: Books That Deserved More Buzz Chairman HERBERT SIMON President & Publisher BY TOM BEER MARC WINKELMAN # Chief Executive Officer MEG LABORDE KUEHN [email protected] John Paraskevas Editor-in-Chief Every December, I look back on the year past and give a shoutout to those TOM BEER books that deserved more buzz—more reviews, more word-of-mouth [email protected] Vice President of Marketing promotion, more book-club love, more Twitter excitement. It’s a subjec- SARAH KALINA tive assessment—how exactly do you measure buzz? And how much is not [email protected] Managing/Nonfiction Editor enough?—but I relish the exercise because it lets me revisit some titles ERIC LIEBETRAU that merit a second look. [email protected] Fiction Editor Of course, in 2020 every book deserved more buzz. Between the pan- LAURIE MUCHNICK demic and the presidential election, it was hard for many titles, deprived [email protected] Young Readers’ Editor of their traditional publicity campaigns, to get the attention they needed. VICKY SMITH A few lucky titles came out early in the year, disappeared when coronavi- [email protected] Tom Beer Young Readers’ Editor rus turned our world upside down, and then managed to rebound; Douglas LAURA SIMEON [email protected] Stuart’s Shuggie Bain (Grove, Feb. -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
George Eastman Museum Annual Report 2016
George Eastman Museum Annual Report 2016 Contents Exhibitions 2 Traveling Exhibitions 3 Film Series at the Dryden Theatre 4 Programs & Events 5 Online 7 Education 8 The L. Jeffrey Selznick School of Film Preservation 8 Photographic Preservation & Collections Management 9 Photography Workshops 10 Loans 11 Objects Loaned for Exhibitions 11 Film Screenings 15 Acquisitions 17 Gifts to the Collections 17 Photography 17 Moving Image 22 Technology 23 George Eastman Legacy 24 Purchases for the Collections 29 Photography 29 Technology 30 Conservation & Preservation 31 Conservation 31 Photography 31 Moving Image 36 Technology 36 George Eastman Legacy 36 Richard & Ronay Menschel Library 36 Preservation 37 Moving Image 37 Financial 38 Treasurer’s Report 38 Fundraising 40 Members 40 Corporate Members 43 Matching Gift Companies 43 Annual Campaign 43 Designated Giving 45 Honor & Memorial Gifts 46 Planned Giving 46 Trustees, Advisors & Staff 47 Board of Trustees 47 George Eastman Museum Staff 48 George Eastman Museum, 900 East Avenue, Rochester, NY 14607 Exhibitions Exhibitions on view in the museum’s galleries during 2016. Alvin Langdon Coburn Sight Reading: ONGOING Curated by Pamela G. Roberts and organized for Photography and the Legible World From the Camera Obscura to the the George Eastman Museum by Lisa Hostetler, Curated by Lisa Hostetler, Curator in Charge, Revolutionary Kodak Curator in Charge, Department of Photography Department of Photography, and Joel Smith, Curated by Todd Gustavson, Curator, Technology Main Galleries Richard L. Menschel -
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American Historys Greatest Philanthro REATNESS. It’s a surprisingly elusive con - Three basic considerations guided our selection. Gcept. At first it seems intuitive, a superlative First, we focused on personal giving—philanthropy quality so exceptional that it cannot be conducted with one’s own money—rather than insti - missed. But when you try to define greatness, when tutional giving. Second, we only considered the you try to pin down its essence, what once seemed accomplishments attained within the individual’s obvious starts to seem opaque. own lifetime. (For that reason, we did not consider If anything, it’s even living donors, whose harder to describe greatness work is not yet finished.) in philanthropy. When it The Philanthropy Hall of Fame And third, we took a comes to charitable giving, The Roundtable is proud to announce broad view of effective - what separates the good the release of the Philanthropy Hall of ness, acknowledging from the great? Which is that excellence can take Fame, featuring full biographies of more important, the size of many forms. the gift, its percentage of American history’s greatest philan - The results of our net worth, or the return on thropists. Each of the profiles pre - research are inevitably charitable dollar? Is great sented in this article are excerpted subjective. There is a dis - philanthropy necessarily cipline, but not a science, transformative? To what from the Hall of Fame. To read more to the evaluation of great extent is effectiveness a about these seminal figures in Amer - philanthropists. Never - function of the number of ican philanthropy, please visit our new theless, we believe that individuals served, or the website at GreatPhilanthropists.org. -
Wesley Stuckey 1-2
WESLEY STUCKEY 1-2 11 W Branch Ln | Baltimore, MD 21201 | 601.953.0176 [email protected] | www.wesleystuckey.com EDUCATION Maryland Institute College of Art Master of Fine Art in Graphic Design Baltimore, Maryland | May 2011 Mississippi State University Bachelor of Fine Arts in Printmaking and Graphic Design Starkville, Mississippi | December 2006 SKILLS / SOFTWARE Software / Languages Adobe Creative Suite, HTML5, CSS3, JQUERY, PHP Printing Methods Letterpress, Serigraphy, Intaglio, Monoprinting, Wood Block and Linoleum Relief, Gum Arabic Dichromate, Wet Lab and Digital Photography. JOB EXPERIENCE / INTERNSHIPS Stuckey Design Creative Director, Owner May 2008 - Present Maryland Institute College of Art Adjunct Professor of Graphic Design August 2014 - Present University of Maryland in Baltimore County Adjunct Professor of Graphic Design August 2011 - May 2015 MGH Modern Marketing Interactive Art Director June 2011 - November 2012 Maryland Institute College of Art Graphic Design Graduate Teaching Intern / Dolphin Press and Print Graduate Intern August 2009 - May 2011 Mississippi Children’s Museum Graphic Designer September 2008 - December 2010 The University of Southern Mississippi / Department of Printing and Creative Services Graphic Designer January 2008 - August 2009 Mississippi State University / Department of Art Printmaking Teaching Assistant / Lab Monitor / Freelance Printer August 2005 - February 2009 WESLEY STUCKEY 2-2 LECTURES / TALKS SEAM Conference Workshop: Sense of Space - Defining Place and Marking the Mark! | March