A Quantitative Content Analysis of Errors and Inaccuracies in Missouri Newspaper Information Graphics
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Planning Curriculum in Art and Design
Planning Curriculum in Art and Design Wisconsin Department of Public Instruction Planning Curriculum in Art and Design Melvin F. Pontious (retired) Fine Arts Consultant Wisconsin Department of Public Instruction Tony Evers, PhD, State Superintendent Madison, Wisconsin This publication is available from: Content and Learning Team Wisconsin Department of Public Instruction 125 South Webster Street Madison, WI 53703 608/261-7494 cal.dpi.wi.gov/files/cal/pdf/art.design.guide.pdf © December 2013 Wisconsin Department of Public Instruction The Wisconsin Department of Public Instruction does not discriminate on the basis of sex, race, color, religion, creed, age, national origin, ancestry, pregnancy, marital status or parental status, sexual orientation, or disability. Foreword Art and design education are part of a comprehensive Pre-K-12 education for all students. The Wisconsin Department of Public Instruction continues its efforts to support the skill and knowledge development for our students across the state in all content areas. This guide is meant to support this work as well as foster additional reflection on the instructional framework that will most effectively support students’ learning in art and design through creative practices. This document represents a new direction for art education, identifying a more in-depth review of art and design education. The most substantial change involves the definition of art and design education as the study of visual thinking – including design, visual communications, visual culture, and fine/studio art. The guide provides local, statewide, and national examples in each of these areas to the reader. The overall framework offered suggests practice beyond traditional modes and instead promotes a more constructivist approach to learning. -
Inter-Media Agenda-Setting Effects in Ghana: Newspaper Vs. Online and State Vs
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2008 Inter-media agenda-setting effects in Ghana: newspaper vs. online and state vs. private Etse Godwin Sikanku Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Journalism Studies Commons Recommended Citation Sikanku, Etse Godwin, "Inter-media agenda-setting effects in Ghana: newspaper vs. online and state vs. private" (2008). Retrospective Theses and Dissertations. 15414. https://lib.dr.iastate.edu/rtd/15414 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Inter-media agenda-setting effects in Ghana: newspaper vs. online and state vs. private by Etse Godwin Sikanku A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Major: Journalism and Mass Communication Program of Study Committee: Eric Abbott (Major Professor) Daniela Dimitrova Francis Owusu Iowa State University Ames, Iowa 2008 Copyright© Etse Godwin Sikanku, 2008. All rights reserved. 1457541 1457541 2008 ii TABLE OF CONTENTS LIST OF TABLES iii LIST OF FIGURES iv ACKNOWLEDGEMENTS v ABSTRACT vii CHAPTER 1. INTRODUCTION AND STATEMENT OF THE PROBLEM 1 CHAPTER 2. LITERATURE REVIEW AND THEORETICAL FRAMEWORK 4 The agenda-setting theory 4 Agenda-setting research in Ghana 4 Inter-media agenda-setting 5 Online News 8 State Ownership 10 Press history in Ghana 13 Research Questions 19 CHAPTER 3. -
EDUCATOR GUIDE Story Theme: the Grey Eminences Subject: David Ireland Discipline: Visual Art (Conceptual)
EDUCATOR GUIDE Story Theme: The Grey Eminences Subject: David Ireland Discipline: Visual Art (Conceptual) SECTION I - OVERVIEW ......................................................................................................................2 EPISODE THEME SUBJECT CURRICULUM CONNECTIONS OBJECTIVE STORY SYNOPSIS INSTRUCTIONAL STRATEGIES INSTRUCTIONAL OBJECTIVES EQUIPMENT NEEDED MATERIALS NEEDED INTELLIGENCES ADDRESSED SECTION II – CONTENT/CONTEXT ..................................................................................................3 CONTENT OVERVIEW THE BIG PICTURE RESOURCES – TEXTS RESOURCES – WEBSITES RESOURCES – VIDEO BAY AREA FIELD TRIPS SELECTED CONCEPTUAL ARTISTS SECTION III – VOCABULARY.............................................................................................................9 SECTION IV – ENGAGING WITH SPARK ...................................................................................... 10 Artist David Ireland beside the entrance to his retrospective exhibition at the Berkeley Art Museum. Still image from SPARK story, 2004. SECTION I - OVERVIEW To learn to “read” Conceptual Artworks and EPISODE THEME understand how they communicate The Grey Eminences To help students think conceptually by looking at, talking about and making conceptual art SUBJECT To introduce students to creative ideation by David Ireland beginning instead of materials GRADE RANGES K-12 & Post-secondary EQUIPMENT NEEDED SPARK story about David Ireland on DVD or VHS CURRICULUM CONNECTIONS and related equipment Visual Art -
Graphic Design and the Cinema: an Application of Graphic Design to the Art of Filmmaking
The University of Southern Mississippi The Aquila Digital Community Honors Theses Honors College Spring 5-2016 Graphic Design and the Cinema: An Application of Graphic Design to the Art of Filmmaking Kacey B. Holifield University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/honors_theses Part of the Graphic Design Commons Recommended Citation Holifield, Kacey B., "Graphic Design and the Cinema: An Application of Graphic Design to the Art of Filmmaking" (2016). Honors Theses. 403. https://aquila.usm.edu/honors_theses/403 This Honors College Thesis is brought to you for free and open access by the Honors College at The Aquila Digital Community. It has been accepted for inclusion in Honors Theses by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi Graphic Design and the Cinema: An Application of Graphic Design to the Art of Filmmaking by Kacey Brenn Holifield A Thesis Submitted to the Honors College of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Bachelor of Fine Arts of Graphic Design in the Department of Art and Design May 2016 ii Approved by _______________________________ Jennifer Courts, Ph.D., Thesis Adviser Assistant Professor of Art History _______________________________ Howard M. Paine, Ph.D., Chair Department of Art and Design _______________________________ Ellen Weinauer, Ph.D., Dean Honors College iii Abstract When the public considers different art forms such as painting, drawing and sculpture, it is easy to understand the common elements that unite them. Each is a non- moving art form that begins at the drawing board. -
Methods for a Critical Graphic Design Practice
Title Design as criticism: methods for a critical graphic design p r a c tic e Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/12027/ Dat e 2 0 1 7 Citation Laranjo, Francisco Miguel (2017) Design as criticism: methods for a critical graphic design practice. PhD thesis, University of the Arts London. Cr e a to rs Laranjo, Francisco Miguel Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) University of the Arts London – London College of Communication February 2017 First submission: October 2015 2 Abstract This practice-led research is the result of an interest in graphic design as a specific critical activity. Existing in the context of the 2008 financial and subsequent political crisis, both this thesis and my work are situated in an expanded field of graphic design. This research examines the emergence of the terms critical design and critical practice, and aims to develop methods that use criticism during the design process from a practitioner’s perspective. Central aims of this research are to address a gap in design discourse in relation to this terminology and impact designers operating under the banner of such terms, as well as challenging practitioners to develop a more critical design practice. The central argument of this thesis is that in order to develop a critical practice, a designer must approach design as criticism. -
Video Stylization: Painterly Rendering and Optimization with Content Extraction Liang Lin, Kun Zeng, Yizhou Wang, Ying-Qing Xu, Senior Member, IEEE, and Song-Chun Zhu
IEEE TRANSACTIONS ON CIRCUITS AND SYSTEMS FOR VIDEO TECHNOLOGY, VOL. 23, NO. 4, APRIL 2013 577 Video Stylization: Painterly Rendering and Optimization With Content Extraction Liang Lin, Kun Zeng, Yizhou Wang, Ying-Qing Xu, Senior Member, IEEE, and Song-Chun Zhu Abstract—We present an interactive video stylization system an example produced by our system. Although similar oil- for transforming an input video into a painterly animation. painting effects can be generated manually by the paint- The system consists of two phases: a content extraction phase on-glass technique, such animation production is not only to obtain semantic objects, i.e., recognized content, in a video and establish dense feature correspondences, and a painterly laborious but also requires considerable artistic skills. For rendering phase to select, place, and propagate brush strokes example, it took over two years for artists to manually produce for stylized animations based on the semantic content and object the 22-min Oscar-winning animation Old Man and the Sea.In motions derived from the first phase. Compared with the previous comparison, our interactive system allows an amateur player work, the proposed method has the following three advantages. to produce painterly animations from real-life video clips with First, we propose a two-pass rendering strategy and brush strokes with mixed colors in order to render expressive visual effects. far less time and effort. Second, the brush strokes are warped according to global object In the following, we review the related work for painterly deformations, so that the strokes appear to be naturally attached rendering and video stylization in the literature and provide to the object surfaces. -
2021-22 Bulletin: Graduate School Of
2021–22 Bulletin Graduate School of Art Bulletin 2021-22 Table of Contents (07/22/21) Table of Contents About This Bulletin .......................................................................................................................................................................................... 2 About Washington University in St. Louis ...................................................................................................................................................... 3 Trustees & Administration ........................................................................................................................................................................ 3 Academic Calendar .................................................................................................................................................................................. 3 Campus Resources .................................................................................................................................................................................. 4 University Policies .................................................................................................................................................................................... 7 University Affiliations .............................................................................................................................................................................. 12 Graduate School of Art ................................................................................................................................................................................ -
Sydney Is Singularly Fortunate in That, Unlike Other Australian Cities, Its Newspaper History Has Been Well Documented
Two hundred years of Sydney newspapers: A SHORT HISTORY By Victor Isaacs and Rod Kirkpatrick 1 This booklet, Two Hundreds Years of Sydney Newspapers: A Short History, has been produced to mark the bicentenary of publication of the first Australian newspaper, the Sydney Gazette and New South Wales Advertiser, on 5 March 1803 and to provide a souvenir for those attending the Australian Newspaper Press Bicentenary Symposium at the State Library of New South Wales, Sydney, on 1 March 2003. The Australian Newspaper History Group convened the symposium and records it gratitude to the following sponsors: • John Fairfax Holdings Ltd, publisher of Australia’s oldest newspaper, the Sydney Morning Herald • Paper World Pty Ltd, of Melbourne, suppliers of original newspapers from the past • RMIT University’s School of Applied Communication, Melbourne • The Printing Industries Association of Australia • The Graphic Arts Merchants Association of Australia • Rural Press Ltd, the major publisher of regional newspapers throughout Australia • The State Library of New South Wales Printed in February 2003 by Rural Press Ltd, North Richmond, New South Wales, with the assistance of the Printing Industries Association of Australia. 2 Introduction Sydney is singularly fortunate in that, unlike other Australian cities, its newspaper history has been well documented. Hence, most of this short history of Sydney’s newspapers is derived from secondary sources, not from original research. Through the comprehensive listing of relevant books at the end of this booklet, grateful acknowledgement is made to the writers, and especially to Robin Walker, Gavin Souter and Bridget Griffen-Foley whose work has been used extensively. -
Journalistic Cartography
ized course in cartography was offered on a regular ba- sis, a rarity at that time. During his career he published what he was to call “the six-six world map giving larger, better continents” (Jefferson 1930). This eliminated J much ocean, allowing larger landmasses, and became popular in the classroom. It is probable that Jefferson taught more than 10,000 Jefferson, Mark Sylvester William. Mark Sylvester students, of whom 80 percent became teachers who fur- William Jefferson was born the seventh child of Daniel ther spread the cartographic habit. Most distinguished and Mary Jefferson on 1 March 1863 in Melrose, Mas- among these students were Isaiah Bowman, R D Calkins, sachusetts. His father, a lover of literature, nurtured the Charles C. Colby, Darrell Haug Davis, William M. Greg- young Mark, who became a member of the class of 1884 ory, George J. Miller, and A. E. Parkins. Of these, Bow- at Boston University. Academic success led to his ap- man, Colby, and Parkins were elected to the presidency pointment (1883–86) as assistant to Benjamin Apthorp of the Association of American Geographers, an honor Gould, director and astronomer of the National Ob- accorded Jefferson in 1916. When Bowman became di- servatory of the Argentine Republic at Cordoba, mem- rector of the American Geographical Society in 1915, he bership in the Argentine Geographical Society (1885), corresponded vigorously with his former teacher, whom and management of a sugar estate in Tucuman Province he invited to head the 1:1,000,000-scale Hispanic map (1886–89). Jefferson returned to Massachusetts, taught project of the Society. -
Art and Artificial Life – a Primer
Art and Artificial Life – a Primer Simon Penny University of California, Irvine [email protected] ABSTRACT December 2009) which is a testament to the enduring and It was not until the late 1980s that the term ‘Artificial Life’ arose inspirational intellectual significance of ideas associated with as a descriptor of a range of (mostly) computer based research Artificial Life. practices which sought alternatives to conventional Artificial Intelligence methods as a source of (quasi-) intelligent behavior in technological systems and artifacts. These practices included Artificial Life could not have emerged as a persuasive paradigm reactive and bottom-up robotics, computational systems which without the easy availability of computation. This is not simply to simulated evolutionary and genetic processes, and are range of proclaim, as did Christopher Langton, that Artificial Life was an other activities informed by biology and complexity theory. A exploration of life on a non-carbon substrate, but that Artificial general desire was to capture, harness or simulate the generative Life is ‘native’ to computing in the sense that large scale iterative and ‘emergent’ qualities of ‘nature’ - of evolution, co-evolution process is crucial to the procedures which generate (most) and adaptation. ‘Emergence’ was a keyword in the discourse. Two artificial life phenomena. The notion that Artificial Life is life decades later, the discourses of Artificial Life continues to have created an ethico-philosophical firestorm concerning intelligence, intellectual force, -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Social Life of Paper in Edinburgh c.1770 – c.1820 Claire L. Friend Ph.D. The University of Edinburgh 2016 Declaration I confirm that the following thesis has been composed by me, and is completely my own work. This thesis grew out of an essay I submitted towards the degree of MSc at the University of Edinburgh in the 2008-9 academic year titled ‗The Social Life of Paper‘. Claire L. Friend 31st March 2016 ~ 2 ~ Abstract Previous research on paper history has tended to be conducted from an economic perspective and/or as part of the field of book history within a broadly literary framework. This has resulted in understandings of paper history being book-centric and focused on production. We now have a great deal of knowledge about the physical process of hand paper-making, a good knowledge of the actors involved and where in the country paper was manufactured, but there is still very little scholarly discussion of the people, processes and practices associated with paper outside of the mill. -
MEDIA ARTS Standards Glossary
Media Arts Glossary Media Arts Glossary New York State Learning Standards for the Arts MEDIA ARTS GLOSSARY of Discipline-Specific Terms & Concepts Copyright 2017 The New York State Education Department New York State Learning Standards for the Arts – Media Arts Page 2 of 16 NOTES: The letters “VA” in the next-to-right-hand column indicate that part or all of the definition is the same in the New York State Visual Arts and Media Arts standards. √ A checkmark in the far right-hand column indicates that a significant part or all of the definition is a New York State addition to defintions published by the National Core Arts Standards (SEADAE, 2014). When only a small part of a definition is added by NYS authors, that part is underlined. NCAS definitions can be found at http://www.nationalartsstandards.org/content/glossary. Media Arts Media art is understood to apply to all forms of time-related art works which are created by recording sound and/or visual images. Media artwork usually depends on a technological component to function. It includes both fine art and commercially-oriented works presented via film, television, radio, audio, video, the internet, interactive and mobile technologies, transmedia storytelling, and satellite. Forms that are shared with contemporary visual arts/fine arts include kinetic sculpture, information art, organic and algorithmic art, interactive art, multimedia installations, etc. Other more commercially- oriented forms include news reporting, documentaries, advertisements, music videos, animation, machinima, video games and game design, and/or a combination of any of these. Media art forms are constantly evolving in response to technological innovations.