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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
Everquest Guide to Raiding Theater of Blood
Everquest guide Theater of Blood Watch out for the bats as they cast silence. Ancient sentinel cast <Stone Face> Bellowing banshee cast <Chimes of Rage> Bloodbonded archimage cast <Blood Drinker's Torment> Bloodbonded elementalist cast <Blood Drinker's Torment> Bloodbonded firestarter cast <Vampiric Curse> Bloodbonded spellslinger cast <Vampiric Curse> Bloodstorm dervish cast <Bloodstorm> Carnivorous plant cast <Rolling Vines>, <Thorny Vines> Cursed willow cast <Creeping Oak>, <Direbranch Touch> Erratic bat cast <Screech of Pain> Gothic watcher cast <Stone Face> Moaning banshee cast <Banshee Soothing> Nightmare cast <Nightmare's Embrace> Rapacious plant cast <Rolling Vines>, <Thorny Vines> Screeching bat cast <Screech of Pain> Screaming banshee cast <Chimes of Rage> Shaded steed casts <Nightmare's Embrace> Shadowmane feralist cast <Brood of Blood> Truefaith coercer cast <Charmed Bite> Truefaith deathcaster cast <Maiden's Bite> Truefaith deathdealer cast <Maiden's Bite> Truefaith enticer cast <Charmed Bite> Twisted steed cast <Deadbone Trample> Vicious shadowmane cast <Brood of Blood> Wandering steed cast <Deadbone Trample> Wailing banshee cast <Banshee Soothing> Wretched willow cast <Creeping Oak>, <Direbranch Touch> Trash summary Name Level Max Enrage? Flurry? Rampage? Wild Caster? Stunable? Charmable? Mezzable? hit Rampage? ancient sentinel 74-75 1966 No No No No Yes Yes bellowing banshee 74-75 2029 No No No No Yes Yes bloodbonded 74-75 2065 No No No No Yes Yes archimage bloodbonded 73 1736 No No No No Yes Yes elementalist bloodbonded -
Champion Brands to My Wife, Mercy the ‘Made in Germany’ Champion Brands Nation Branding, Innovation and World Export Leadership
The ‘Made in Germany’ Champion Brands To my wife, Mercy The ‘Made in Germany’ Champion Brands Nation Branding, Innovation and World Export Leadership UGESH A. JOSEPH First published 2013 by Gower Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © Ugesh A. Joseph 2013 Ugesh A. Joseph has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Gower Applied Business Research Our programme provides leaders, practitioners, scholars and researchers with thought provoking, cutting edge books that combine conceptual insights, interdisciplinary rigour and practical relevance in key areas of business and management. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. The Library of Congress has cataloged the printed edition as follows: Joseph, Ugesh A. The ‘Made in Germany’ champion brands: nation branding, innovation and world export leadership / by Ugesh A. Joseph. pages cm Includes bibliographical references and index. ISBN 978-1-4094-6646-8 (hardback: alk. -
Bauhaus 1 Bauhaus
Bauhaus 1 Bauhaus Staatliches Bauhaus, commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally "house of construction" stood for "School of Building". The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a The Bauhaus Dessau 'total' work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, 1921/2, Walter Gropius's Expressionist Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe Monument to the March Dead from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it. -
Berkeley Art Museum·Pacific Film Archive W in Ter 20 19
WINTER 2019–20 WINTER BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE ROSIE LEE TOMPKINS RON NAGLE EDIE FAKE TAISO YOSHITOSHI GEOGRAPHIES OF CALIFORNIA AGNÈS VARDA FEDERICO FELLINI DAVID LYNCH ABBAS KIAROSTAMI J. HOBERMAN ROMANIAN CINEMA DOCUMENTARY VOICES OUT OF THE VAULT 1 / 2 / 3 / 4 / 5 / 6 CALENDAR DEC 11/WED 22/SUN 10/FRI 7:00 Full: Strange Connections P. 4 1:00 Christ Stopped at Eboli P. 21 6:30 Blue Velvet LYNCH P. 26 1/SUN 7:00 The King of Comedy 7:00 Full: Howl & Beat P. 4 Introduction & book signing by 25/WED 2:00 Guided Tour: Strange P. 5 J. Hoberman AFTERIMAGE P. 17 BAMPFA Closed 11/SAT 4:30 Five Dedicated to Ozu Lands of Promise and Peril: 11:30, 1:00 Great Cosmic Eyes Introduction by Donna Geographies of California opens P. 11 26/THU GALLERY + STUDIO P. 7 Honarpisheh KIAROSTAMI P. 16 12:00 Fanny and Alexander P. 21 1:30 The Tiger of Eschnapur P. 25 7:00 Amazing Grace P. 14 12/THU 7:00 Varda by Agnès VARDA P. 22 3:00 Guts ROUNDTABLE READING P. 7 7:00 River’s Edge 2/MON Introduction by J. Hoberman 3:45 The Indian Tomb P. 25 27/FRI 6:30 Art, Health, and Equity in the City AFTERIMAGE P. 17 6:00 Cléo from 5 to 7 VARDA P. 23 2:00 Tokyo Twilight P. 15 of Richmond ARTS + DESIGN P. 5 8:00 Eraserhead LYNCH P. 26 13/FRI 5:00 Amazing Grace P. -
Curtis Kheel Scripts, 1990-2007 (Bulk 2000-2005)
http://oac.cdlib.org/findaid/ark:/13030/kt4b69r9wq No online items Curtis Kheel scripts, 1990-2007 (bulk 2000-2005) Finding aid prepared by Elizabeth Graney and Julie Graham; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2011 The Regents of the University of California. All rights reserved. Curtis Kheel scripts, 1990-2007 PASC 343 1 (bulk 2000-2005) Title: Curtis Kheel scripts Collection number: PASC 343 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 8.5 linear ft.(17 boxes) Date (bulk): Bulk, 2000-2005 Date (inclusive): 1990-2007 (bulk 2000-2005) Abstract: Curtis Kheel is a television writer and supervising producer. The collection consists of scripts for the television series, most prominently the series, Charmed. Language of Materials: Materials are in English. Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Creator: Kheel, Curtis Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. -
BAMPFA Mounts Expansive Reevaluation of Groundbreaking Abstract Painter Hans Hofmann
Media Contact: A. J. Fox · (510) 642-0365 · [email protected] BAMPFA Mounts Expansive Reevaluation of Groundbreaking Abstract Painter Hans Hofmann On View February 27–July 21, 2019 Hans Hofmann: The Nature of Abstraction Marks New Perspectives on Hofmann’s Experimental Approaches and Painterly Achievement, Featuring Rare Works and New Scholarship Press Preview: Monday, February 25, 2019 at 10 a.m. RSVP to [email protected] (Berkeley, CA) October 3, 2018—A monumental Hans Hofmann exhibition opens at the University of California, Berkeley Art Museum and Pacific Film Archive (BAMPFA) next year, marking a comprehensive reevaluation of one of the twentieth century’s most influential abstract painters. With nearly seventy paintings—including works from private collections that have never been exhibited in a museum setting—Hans Hofmann: The Nature of Abstraction presents an unprecedented and fresh look at Hofmann’s studio practice, focusing in particular on his continuously experimental approach to painting and the expressive potential of color, form, and space. On view at BAMPFA from February 27 through July 21, the exhibition will then travel to the Peabody Essex Museum in Salem, MA September 21, 2019 through January 6, 2020. Accompanied by a fully illustrated scholarly catalog on Hofmann’s career, the exhibition marks the most significant opportunity to reexamine the artist’s legacy since his death in 1966. Since that time, discourse around Hofmann has focused primarily on the remarkable color plane abstractions he created the 1950s and ’60s, which were the focus of major exhibitions at New York’s Museum of Modern Art and the Whitney Museum of American Art during his lifetime. -
Federico Fellini and the Experience of the Grotesque and Carnavalesque – Dis-Covering the Magic of Mass Culture 2013
Repositorium für die Medienwissenschaft Annie van den Oever Federico Fellini and the experience of the grotesque and carnavalesque – Dis-covering the magic of mass culture 2013 https://doi.org/10.25969/mediarep/15114 Veröffentlichungsversion / published version Rezension / review Empfohlene Zitierung / Suggested Citation: van den Oever, Annie: Federico Fellini and the experience of the grotesque and carnavalesque – Dis-covering the magic of mass culture. In: NECSUS. European Journal of Media Studies, Jg. 2 (2013), Nr. 2, S. 606– 615. DOI: https://doi.org/10.25969/mediarep/15114. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5117/NECSUS2013.2.VAND Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0 Attribution - Non Commercial - No Derivatives 4.0 License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0 NECSUS – EUROPEAN JOURNAL OF MEDIA STUDIES About the author Francesco Di Chiara (University of Ferrara) 2013 Di Chiara / Amsterdam University Press. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http:// creativecommons.org/licenses/by/2.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly -
Experience Technology Live INTERVITIS INTERFRUCTA HORTITECHNICA Innovations for Wine, Juice and Special Crops
MessageTRADE FAIRS | CONGRESSES | EVENTS 03 | 2016 Experience technology live INTERVITIS INTERFRUCTA HORTITECHNICA Innovations for wine, juice and special crops IT & Business Motek SEMF Showcases for For process competence – Mega techno party Industry and Office 4.0 against show event at Messe Stuttgart In the phrase „service partner“ there are two words that we are particularly fond of: „service“ and „partner“ CONTENTS NEWS – TRENDS 04 Major headway on construction Work on the Paul Horn Hall and on the West Entrance is proceeding at full steam 05 Editorial Digitisation as mega trend COVER STORY 08 Experience technology live INTERVITIS INTERFRUCTA HORTITECHNICA – Innovations for wine, juice and special crops LOCATION STUTTGART 14 Five stars for Stuttgart and its region Digitisation hotspot 18 17 Innovative region Stuttgart High Performance Computing Center Stuttgart (HLRS) TRADE FAIRS – MARKETS 18 VISION: The success story continues 20 IT & Business: Digitalised 4.0 processes live 24 Motek: For process competence – against show event 28 südback: Cross-selling – Making the cash tills ring twice Whether you want to hold a unique corporate event or you wish to have perfect lighting for your trade fair stand: we deploy our extensive know-how and high-quality MEDIA – PEOPLE equipment to develop tailor-made services perfectly shaped to your requirements. 44 Portrait: Stefanie Kromer, Communication What is more, we have been a partner of Messe Stuttgart for many years now and have an office 20 Coordinator at Messe Stuttgart right here on site. Our services cover the whole range of event needs in the fields of rigging and media technology – provided by a highly qualified team of professionals. -
The Pennsylvania State University the Graduate School College Of
The Pennsylvania State University The Graduate School College of Arts and Architecture CUT AND PASTE ABSTRACTION: POLITICS, FORM, AND IDENTITY IN ABSTRACT EXPRESSIONIST COLLAGE A Dissertation in Art History by Daniel Louis Haxall © 2009 Daniel Louis Haxall Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Daniel Haxall has been reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Advisor Chair of Committee Leo G. Mazow Curator of American Art, Palmer Museum of Art Affiliate Associate Professor of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Adam Rome Associate Professor of History Craig Zabel Associate Professor of Art History Head of the Department of Art History * Signatures are on file in the Graduate School ii ABSTRACT In 1943, Peggy Guggenheim‘s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier collé during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of ―high‖ culture. -
The Charmed Ones and Resumed Their Destiny Introduction
Charmed RPG Netbook Written by Jeff Slick Written by Jeff Slick Photos by the many great photographers and camera people of Charmed. This work is dedicated to all the Unisystem fans; CJ Carella and Eden Studios; and the cast, crew and writers of Charmed. With special thanks to Jason Vey for the use of his Sorcery Quality concept and his great advice. Please check out his various Unisystem Net Books at www.grey-elf.com This netbook requires the use of the Buffy the Vampire Slayer ® RPG core rule book and The Magic Box supplement. All non-proprietary material in this document is Copyright © Jeff Slick, 2003. This work is in the public domain and may be distributed freely, so long as all copyright info (i.e. this page) remains intact. The Unisystem is Copyright © and Trademark ™ CJ Carella and Eden Studios, 2003, published under exclusive licence by Eden Studios. The Unisystem trademark is used without Mr. Carella's or Eden Studios' permission and neither of those parties are responsible for the content of this publication. BUFFY THE VAMPIRE SLAYER © 2003 Twentieth Century Fox Film Corporation. All Rights Reserved. The BUFFY THE VAMPIRE SLAYER Trademark is used wi thout expressed permission of Fox. CHARMED © 2003 Spelling Television Inc. All Rights Reserved The CHARMED trademark is used without expressed permission for Spelling Television Inc. They fought demons, warlocks, . monsters and the Source of all Evil; along Charmed side Prue's on-again-off-again boyfriend Andy Trudeau, the girls Whitelighter Leo Hear now the words of the witches, Wyatt and Phoebe's future husband, the half- the secrets we hid in the night. -
Downloaded for Personal Non-Commercial Research Or Study, Without Prior Permission Or Charge
Hobbs, Mark (2010) Visual representations of working-class Berlin, 1924–1930. PhD thesis. http://theses.gla.ac.uk/2182/ Copyright and moral rights for this thesis are retained by the author 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 Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Visual representations of working-class Berlin, 1924–1930 Mark Hobbs BA (Hons), MA Submitted in fulfillment of the requirements for the Degree of PhD Department of History of Art Faculty of Arts University of Glasgow February 2010 Abstract This thesis examines the urban topography of Berlin’s working-class districts, as seen in the art, architecture and other images produced in the city between 1924 and 1930. During the 1920s, Berlin flourished as centre of modern culture. Yet this flourishing did not exist exclusively amongst the intellectual elites that occupied the city centre and affluent western suburbs. It also extended into the proletarian districts to the north and east of the city. Within these areas existed a complex urban landscape that was rich with cultural tradition and artistic expression. This thesis seeks to redress the bias towards the centre of Berlin and its recognised cultural currents, by exploring the art and architecture found in the city’s working-class districts.