The Legacies of Maria Martinez and Nesta Nala in Dialogue: Part II: an Artists’ Conversation
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1 Appalachian Center for Crafts Vince Pitelka, 2016 Glossary of Colored
Appalachian Center for Crafts Vince Pitelka, 2016 Glossary of Colored Clay Techniques Basalt Body: a clay body containing enough metallic oxides to fire to a gray-black or chocolate brown color. Basalt bodies may be fine-grained and smooth, as in Wedgewood black basalt ware, or may be grainy and rough, as in some sculptural works by Peter Voulkos and John Mason. Burnishing: historically the third stage in pottery decoration in almost every culture, after surface impressing and slip painting. Burnishing allows for a smooth, dense, glassy surface on any clay without the use of glazes. Color intensity is enhanced with burnishing almost as effectively as with the “wetting” effect of a clear glaze, and burnishing gives a satin texture achievable through no other method. Burnishing is generally done at the bone dry stage after re-introducing moisture into the clay with a thin coat of lard, glycerin, shortening, or cooking oil. One the lard or oil is absorbed, the surface is rubbed with a smooth hard object such as a shiny pebble or the back of a steel spoon. After firing, burnished wares are often polished further with pure tung-oil (a wood-finishing oil) or furniture polish. Clay Marquetry: similar to marquetry in wood. Small pieces of damp colored clays are assembled on a clay back-up slab (with a spray of vinegar water) to create pictorial imagery. Sometimes the designs are improvised during assembly, often overlapping components. For greater precision and pictorial clarity, an original design may be executed on poster-board, which is then cut up into individual templates. -
NJE and SSH Client Suite
Sine Nomine Associates SSH Client Suite for CMS & NJE for Open Systems Neale Ferguson © 2019 Sine Nomine Associates Sine Nomine Associates CMS SSH Client Suite § Suite of tools: – Secure Copy: PSCP – Secure FTP: PSFTP – Secure Shell: PTERM § Modeled on Putty command line tools § Key generation § Uses public/private key pairs to eliminate the need for passwords § Compatible with modern OpenSSH releases § Not TLS 1.3 yet © 2007 SNA Sine Nomine Associates CMS SSH Client Suite § Supports: – Accessed SFS or minidisks – SFS specifications – Codepage translation © 2007 SNA Sine Nomine Associates PSCP § PSCP is a CMS implementation of the popular scp command available in many other environments. It provides a command-line client for encrypted file transfer between hosts originating from CMS to other machines pscp filea.text.a green.example.com:/u/walters/filea.text © 2007 SNA Sine Nomine Associates PSFTP § PSFTP is an interactive text-based client for the SSH-based SFTP (secure file transfer) protocol. It resembles the classic text-mode FTP client, with additional commands to handle the EBCDIC environment psftp –i private.ppk [email protected] © 2007 SNA Sine Nomine Associates PTERM § PTERM is a line-mode terminal emulator for the CMS SSH package. It provides a way to interact with a terminal session over an encrypted channel. PTERM operates only in line mode; it does not provide 3270 or VT100 emulation. It may be used to run a remote command or start an interactive session pterm [email protected] sh -c 'mycommand < inputfile' © 2007 SNA Sine Nomine Associates PUTTYGEN § PUTTYGEN is a tool to generate and manipulate SSH public and private key pairs. -
AUD AP96 Page 1 of 148 City of Cedar Rapids Accounts Payable Expenditures for the Week Ending May 23, 2017
City of Cedar Rapids Accounts Payable Expenditures for the Week Ending May 23, 2017 Name Vendor Department Name Voucher Invoice Date Description Qty Unit Price Amount 7G Distributiing LLC 0000027306 GLF Ellis Golf Clubhouse 00611267 Prepaid Beer 2017-05-11 Prepaid Beer 1 6,500.00 6,500.00 7G Distributiing LLC 0000027306 GLF Gardner Clubhouse 00611267 Prepaid Beer 2017-05-11 Prepaid Beer 1 6,500.00 6,500.00 7G Distributiing LLC 0000027306 GLF Jones Club House 00611267 Prepaid Beer 2017-05-11 Prepaid Beer 1 3,000.00 3,000.00 7G Distributiing LLC 0000027306 GLF Twin Pines Club House 00611267 Prepaid Beer 2017-05-11 Prepaid Beer 1 5,000.00 5,000.00 7G Distributiing LLC 0000027306 REC Tait Cummins 00611267 Prepaid Beer 2017-05-11 Prepaid Beer 1 6,300.00 6,300.00 A Shaw Investments 8359732346 Water 00008045 8359732346 2017-05-21 UTILITY REFUND 0 0.00 207.56 A1A Sandblasting 0000030259 Swimming Pool Improvements 00608746 44 2017-04-17 Caulking & Painting Services 1 21,890.00 21,890.00 AEC Contracting Inc 0000032798 Admin.-Housing Services 00611205 7428B 2017-05-03 CDBG - 384 19th Street SE 1 6,800.00 6,800.00 AEC Contracting Inc 0000032798 Lead Base Grant 00611204 7428A 2017-05-03 CDBG - 384 19th Street SE 1 19,747.80 19,747.80 AFSCME Local 620 0000000154 Misc Employee Deductions 00611135 AFSCME051 2017-05-19 Union Dues 1 11,175.63 11,175.63 AKM Property Management LLC 0000017300 Leased Housing - HAP 00328290 V1251-1 2017-05-01 Rental Assistance 0 0.00 258.00 ASI Flex 0000021324 Flexible Spending Accounts 00610736 ASIF051517 2017-05-15 2017 FSA -
Milton Keynes Archaeology Unit Carried Our the Most Intensive Archaeological Investigation Yet Undertaken of Part of the East Midlands Countryside
THE MJ[Ll'O N KJE '1{NJE S PROJJE C 1' R. J. ZEEPVAT Between 1971 and 1991, the Milton Keynes Archaeology Unit carried our the most intensive archaeological investigation yet undertaken of part of the East Midlands countryside. This paper summarises the arch.aeo!Ggicallandscapes that can be constructed ji·om the results of this work, and assesses the methods employed to obtain them. Introduction Milton Keynes is underlain by beds of Oxford The new city of Milton Keynes covers an area Clay, which outcrop extensively on the west of some ninety square kilometres, straddling side of the Ouzel floodplain, which forms the the narrowest part of north Buckinghamshire, east side of the city. Much of this central area is with the counties of Bedfordshire and North• covered by glacial deposits of Boulder Clay, amptonshire to the south-east and north res• whilst both glacial and alluvial deposits of pectively (Fig. 1). Part of the reasoning behind gravel are found in the Ouse and Ouzel valleys. the choice of this location can be seen in its Rocky outcrops are mainly confined to areas situation on the principal natural 'corridor' bordering the O use valley. Soils in the area are linking the south-east to the Midlands and heavy, though lighter soils are found in areas of north, a route followed by all the major forms gravel subsoil, and drainage is generally poor of surface transport, ancient and modern. even in the riv·er valleys, which were prone to flooding until recent years. Until the designation of Milton Keynes, the area was devoted almost entirely to agri• Despite its situation on a major communica• culture. -
Thematic Manifestations: an Aesthetic Journey. Jeff Kise East Tennessee State University
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2004 Thematic Manifestations: an Aesthetic Journey. Jeff Kise East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Art and Design Commons Recommended Citation Kise, Jeff, "Thematic Manifestations: an Aesthetic Journey." (2004). Electronic Theses and Dissertations. Paper 877. https://dc.etsu.edu/ etd/877 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Thematic Manifestations: an Aesthetic Journey ______________________ A thesis presented to the faculty of the Department of Art and Design East Tennessee State University ______________________ In partial fulfillment of the requirements for the degree of Master of Fine Arts in Studio Art ______________________ by Jeff Kise May 2004 _____________________ Don Davis, Chair Anita DeAngelis Catherine Murray Keywords: Ceramics, Simplicity, Aesthetics, Saggar Firing, Flash Firing, Naked Raku ABSTRACT Thematic Manifestations: An Aesthetic Journey by Jeff Kise This thesis, in support of the Master of Fine Arts exhibition entitled Thematic Manifestations at East Tennessee State University, Carroll Reece Museum, Johnson City, Tennessee, March 2-12, 2004, describes in detail three aesthetic themes that are manifested in the work exhibited. The artist discusses his journey in establishing a “criterion of aesthetic values” whereby his work is conceptually developed. The three themes – The Paradox of Simplicity, The Decorative Power of Nature, and The Beauty of the Irregular – are founded on historical and contemporary influences and are further described in practical application of form and process. -
Bez Bjed Nost I Si Gur Nost Na Pr Vom Mje Stu!
INTERVJU Ivan Bra jo vić, mi ni star sa o bra ća ja i po mor stva u Vla di Re pu bli ke Cr ne Go re Bez bjed nost i si gur nost na pr vom mje stu! PUT Plus: Ka ko oce nju je te ak tu el no Sve ze mlje re gi o na: Hr vat ska, Sr bi ja, sta nje u put noj pri vre di Cr ne Go re, kao Al ba ni ja, Ko so vo i dr, po sljed njih go di Ivan Bra jo vić, ro đen 1962. go di ne i osta lih ze ma lja s ko ji ma je Cr na Go ra u na vi še ula žu u una pr je đe nje sa o bra ćaj u Pod go ri ci, osnov nu i sred nju ško lu su sed skim od no si ma? ne in fra struk tu re, ali i raz voj de fi ni sa nih za vr šio je u Da ni lov gra du, a Gra đe vin tran sport nih ko ri do ra. Na rav no, ukup na ski fa kul tet, sa o bra ćaj ni smer (pro gla Ivan Bra jo vić: Po li tič ke, ge o graf ske ocje na bi bi la da se sta nje umno go me šen za naj bo ljeg stu den ta Gra đe vin i eko nom ske pro mje ne ko je su se de si le po pra vi lo, ali da je pred na ma još puno skog fa kul te ta), za vr šio je u Pod go ri ci. -
1 Symbols (2286)
1 Symbols (2286) USV Symbol Macro(s) Description 0009 \textHT <control> 000A \textLF <control> 000D \textCR <control> 0022 ” \textquotedbl QUOTATION MARK 0023 # \texthash NUMBER SIGN \textnumbersign 0024 $ \textdollar DOLLAR SIGN 0025 % \textpercent PERCENT SIGN 0026 & \textampersand AMPERSAND 0027 ’ \textquotesingle APOSTROPHE 0028 ( \textparenleft LEFT PARENTHESIS 0029 ) \textparenright RIGHT PARENTHESIS 002A * \textasteriskcentered ASTERISK 002B + \textMVPlus PLUS SIGN 002C , \textMVComma COMMA 002D - \textMVMinus HYPHEN-MINUS 002E . \textMVPeriod FULL STOP 002F / \textMVDivision SOLIDUS 0030 0 \textMVZero DIGIT ZERO 0031 1 \textMVOne DIGIT ONE 0032 2 \textMVTwo DIGIT TWO 0033 3 \textMVThree DIGIT THREE 0034 4 \textMVFour DIGIT FOUR 0035 5 \textMVFive DIGIT FIVE 0036 6 \textMVSix DIGIT SIX 0037 7 \textMVSeven DIGIT SEVEN 0038 8 \textMVEight DIGIT EIGHT 0039 9 \textMVNine DIGIT NINE 003C < \textless LESS-THAN SIGN 003D = \textequals EQUALS SIGN 003E > \textgreater GREATER-THAN SIGN 0040 @ \textMVAt COMMERCIAL AT 005C \ \textbackslash REVERSE SOLIDUS 005E ^ \textasciicircum CIRCUMFLEX ACCENT 005F _ \textunderscore LOW LINE 0060 ‘ \textasciigrave GRAVE ACCENT 0067 g \textg LATIN SMALL LETTER G 007B { \textbraceleft LEFT CURLY BRACKET 007C | \textbar VERTICAL LINE 007D } \textbraceright RIGHT CURLY BRACKET 007E ~ \textasciitilde TILDE 00A0 \nobreakspace NO-BREAK SPACE 00A1 ¡ \textexclamdown INVERTED EXCLAMATION MARK 00A2 ¢ \textcent CENT SIGN 00A3 £ \textsterling POUND SIGN 00A4 ¤ \textcurrency CURRENCY SIGN 00A5 ¥ \textyen YEN SIGN 00A6 -
Evrop Ska Po Ve Lja O Lo Kal Noj Sa Mo U Pra Vi Kao in Stru Ment Za De Fi Ni Sa Nje I Za Šti Tu Prin Ci Pa Lo Kal Ne Sa Mo U Pra Ve
Dr Ve sna Alek sić* UDK: 061.1:352 Dr Mi lan Po ču ča** BIBLID: 0352-37.13(2008)25,101-106 EVROP SKA PO VE LJA O LO KAL NOJ SA MO U PRA VI KAO IN STRU MENT ZA DE FI NI SA NJE I ZA ŠTI TU PRIN CI PA LO KAL NE SA MO U PRA VE RE ZI ME: De cen tra li za ci ja fi skal nog si ste ma jed ne dr ža ve zah te va pru ža nje od go- vo ra na vi še pi ta nja. Naj zna čaj ni je pi ta nje, sva ka ko, je ras po de la jav nih ras ho da, jer se fi nan si ra nje od re đu je pre ma po tre ba ma. Ta ko đe, ne ma nje va žno pi ta nje je i ras po de la jav nih pri ho da. Zna čaj no je na ve sti ka ko u raz li či tim dr ža va ma de lu - ju raz li či ti fak to ri ko ji uti ču na stva ra nje dru štve no-po li tič kog i eko nom skog si - ste ma, a ta ko đe i na stva ra nje fi skal nog si ste ma. Evrop ska Po ve lja o lo kal noj sa- mo u pra vi pred sta vlja in stru ment za de fi ni sa nje i za šti tu prin ci pa lo kal ne auto no - mi je, i pred sta vlja je dan od stu bo va de mo kr a ti je ko ju Ve će Evro pe bra ni i raz vi ja kao te melj nu evrop sku vred nost. -
Bisque Or Biscuit: the First Firing a Pot Undergoes to Prepare It for Glazing
Glossary of Ceramic Terms: Introduction to Ceramic Terms and Definitions Bisque or Biscuit: The first firing a pot undergoes to prepare it for glazing. In industry this is done at a higher temperature than the subsequent glaze firing, the reverse is usually true of the studio potter. Burnishing: A technique where the Leather hard clay is polished with a hard instrument to force the smallest clay particles to the surface creating a soft sheen. This surface remains after the pot is fired so long as the firing temperature is kept below 1100oC. Clay: AL2O3 2SiO2 2H2O. The decomposition of Granite through the process of Kaolinization creates clay (see Kaolinization). Clay is a mineral with a plate (platelet) like structure; it is these plates, (about 0.5 microns across) when lubricated with water, slide against each other to form the plastic mass we know as clay (see Water). 'Primary ' clays are those found close to the area of Kaolinization and hence the purest (Kaolin or China Clays). Secondary clays are those moved by water away form the site of Kaolinization and get progressively more plastic and less pure (Ball Clays, Fire clays, Earthenwares). Clay Body: A clay designed for a special purpose. It is created by blending different clays of by adding to clays other materials, such as feldspar and flint in order to produce a desired workability, maturing temperature, or finished result. A clay body is the result of mans technology. Cobalt: One of the strongest coloring oxides used by the potter. Cobalt creates a dark dense royal blue in most cases. -
Ceramics Monthly Apr04 Cei04
editor Sherman Hall associate editor Tim Frederich assistant editor Renee Fairchild design Paula John production manager John Wilson production specialist David Houghton advertising manager Steve Hecker advertising assistant Debbie Plummer circulation manager Cleo Eddie publisher Marcus Bailey editorial, advertising and circulation offices 735 Ceramic Place Westerville, Ohio 43081 USA telephone editorial: (614) 895-4213 advertising: (614) 794-5809 classifieds: (614) 895-4212 customer service: (614) 794-5890 fax (614) 891-8960 e-mail [email protected] [email protected] [email protected] [email protected] website www.ceramicsmonthly.org Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The Ameri can Ceramic Society. subscription rates: One year $32, two years $60, three years $86. Add $25 per year for subscriptions outside North America. In Canada, add GST (registration number R123994618). change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation De partment, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available on request. Send manuscripts and visual sup port (slides, transparencies, photographs, drawings, etc.) to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081. We also accept unillustrated texts e-mailed to [email protected] or faxed to (614) 891-8960. indexing: An index of each year's feature articles appears in the December issue. -
MRP Application Form
¢X.BC.¢f glj - 1 (¢he¡j¨−mÉ fÊ¡fÉ) A¡−hceL¡l£l HL¢V l¢Pe 55 ^ 45 ¢jx¢jx A¡L¡−ll A¡−hceL¡l£l ¢fa¡l A¡−hceL¡l£l j¡a¡l NZfÊS¡a¿»£ h¡wm¡−cn plL¡l HL¢V l¢Pe 30 ^ 25 HL¢V l¢Pe 30 ^ 25 R¢h A¡W¡ ¢c−u m¡N¡−e¡l fl ¢jx¢jx A¡L¡−ll R¢h ¢jx¢jx A¡L¡−ll R¢h paÉ¡ue Ll−a q−h h¢ql¡Nje J f¡p−f¡VÑ A¢dcçl A¡W¡ ¢c−u m¡N¡−e¡l fl A¡W¡ ¢c−u m¡N¡−e¡l paÉ¡ue Ll−a q−h fl paÉ¡ue Ll−a q−h Affix the photograph Affix applicant’s Affix applicant’s −j¢ne ¢l−Xhm f¡p−f¡VÑ A¡−hce glj Father’s photograph Mother’s photograph here and attest on the Machine Readable Passport Application Form here and attest on the here and attest on the photo photo photo −Lhmj¡œ 15 hvp−ll e£−Q AfË¡çhuú A¡−hceL¡l£l −r−œ Ef−l¡š² R¢hàu fË−u¡Se z • A¡−hce fœ¢V f¨lZ Ll¡l f¨−hÑ Ae¤NÊqf§hÑL −no fªù¡u h¢ZÑa p¡d¡le ¢e−cÑne¡pj§q paLÑa¡l p¢qa f¡W Ll²ez Please read carefully the General Instructions at the last page before filling the form. • a¡lL¡ (*) ¢Q¢q²a œ²¢jL ew …−m¡ AhnÉ f¨lZ£uz Serial numbers marked with star (*) marks must be filled in. -
Archaeological and Historic Pottery Production Sites Guidelines for Best Practice Summary
Archaeological and Historic Pottery Production Sites Guidelines for Best Practice Summary This document provides practical guidance on how to investigate sites where pottery production has taken place. It describes how to anticipate and locate pottery production sites and the types of evidence that may be found. This document also provides advice on the available methods and strategies for examining, recording and sampling features and finds of various types at each stage of the work. The different techniques for establishing the date of pottery production, and for characterising the products of a site, are given particular emphasis. This document was compiled by Harriet White, Sarah Paynter and Duncan Brown with contributions by Joanne Best, Chris Cumberpatch, David Dawson, Peter Ellis, Jane Evans, Laurence Jones, Oliver Kent, Gareth Perry, The Prince’s Regeneration Trust, Ian Roberts, Kerry Tyler and Ann Woodward. It is one of four Historic England publications concerning industrial processes in the past, the other three being: ■ Science for Historic Industries: Guidelines for the Investigation of 17th- to 19th- Century Industries ■ Archaeological Evidence for Glassworking: Guidelines for Best Practice ■ Archaeometallurgy: Guidelines for Best Practice. First published by Historic England October 2015. All images © Historic England unless otherwise stated. www.historicengland.org.uk/advice/technical-advice/archaeological-science/ Front cover images: clockwise from top left Reconstruction of a 17th-century kiln from Potters A 14th-century