2016-18 Guilford College Catalog
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The Edge & Return to Campus
The Edge & Return to Campus 6 August, 2020 Photo by Jenna Schad Successes in supporting students so far Located off-campus housing for all students & student pick-up of personal effects Provided laptop computers for students who needed access Distributed financial support through the Subak Emergency and Guilford Emergency Fund and CARES Act/HEERF funds Re-advised & re-registered students Partnering with other universities & public health agencies to develop re-opening planning and guidance documents Photo by Jenna Schad Topics covered Task Force & Re-opening Plan Activity matrix Testing, PPE, decision making under matrix Student Affairs Housing Dining services Student activities Community compact Academic Affairs Registration and modes of instruction Learning space assessment & preparation Faculty and curriculum development Photo by Jenna Schad Task Force Chair: Jermaine Thomas, Director of Public Safety Abby Langston, Director of Marketing Alfred Moore, Registrar Alisa Quick, Director of Human Resources and Payroll Ara Serjoie, Vice President for Advancement Barbara Lawrence, Vice President for Diversity, Equity, and Inclusion/Title IX Coordinator Ben Durant, CFO and VP of Administration Brett Hacker, Associate Vice President of Facilities Management Erin Brownlee Dell, Chief of Staff Frank Boyd, former Provost and Academic Dean, current Professor of Political Science Gloria Thornton, Interim Director of IT&S Photo by Jenna Schad Jarrett Stull, Associate Vice President for Philanthropy Kathryn Shields, Associate Professor of Art/Associate -
Undergraduate Honor System Honor Code Manual Virginia Polytechnic Institute and State University
Undergraduate Honor Code- Virginia Tech Page 1 UNDERGRADUATE HONOR SYSTEM HONOR CODE MANUAL VIRGINIA POLYTECHNIC INSTITUTE AND STATE UNIVERSITY Reviewed and Approved by the Senior Vice President and Provost, [INSERT DATE] Ratified by the Undergraduate Honor System Review Board, [INSERT DATE] Ratified by the Commission on Undergraduate Studies and Policies, [INSERT DATE] Reviewed and Approved by University General Counsel, [INSERT DATE] Ratified by University Council, [INSERT DATE] Reviewed and Approved by President, [INSERT DATE] Ratified by the Board of Visitors, [INSERT DATE] “As a Hokie, I will conduct myself with honor and integrity at all times. I will not lie, cheat, or steal, nor will I accept the actions of those who do.” Undergraduate Honor Code- Virginia Tech Page 2 Table of Contents Undergraduate Honor Code Manual Virginia Polytechnic Institute and State University Table of Contents Page I. Introduction 3-4 I. A. Community Responsibility 4 II. Definitions of Academic Misconduct 5-8 III. Academic Dishonesty Sanctions 9-11 IV. Procedures Pertaining to Case Resolution 12-20 IV. A. Faculty-Student Resolution 12-15 IV. B. Undergraduate Honor System Procedures 16-20 V. Operating Guidelines for Promotion and Education 21 V.A. Promotion and Communication of Academic Integrity 21-23 V.B. Training and Faculty/Student Assistance 23-24 V.C. Academic Integrity Education Program 24-25 V.D. Academic Integrity Research and Experiential Learning 25-26 VI. Office of Undergraduate Academic Integrity 27-28 VII. Undergraduate Honor System Personnel 29-32 VIII. Approvals and Revisions 33 IX. References 34 X. Honor Code Violation Report Form 35 Undergraduate Honor Code- Virginia Tech Page 3 THE VIRGINIA TECH UNDERGRADUATE HONOR CODE The Virginia Tech Undergraduate Honor Code is the University policy that defines the expected standards of conduct in academic affairs. -
WISE 2020 Registrants
WISE 2020 Registrants (alphabetical by last name) Full Name Email Institution / Organization Abraham, Solomon [email protected] North Carolina Central University Acheson-Clair, Kris [email protected] Purdue University Adewumi, Michael [email protected] IES Abroad Ahmed, Amer [email protected] AFA Diversity Consulting Akiwumi, Sarah [email protected] Bennett College Al-Ahmad, Jumana [email protected] Wake Forest University Albanese, David [email protected] Wentworth Institute of Technology Allocco, Amy [email protected] Elon University Alruwaished, Fahad [email protected] College of Basic Education, Kuwait Anderson, Sean [email protected] EDU Africa Anthony, Elizabeth [email protected] Wake Forest University Baig, Fatima [email protected] Rice University Baker, Brittany [email protected] North Carolina Central University Balko, Elizabeth [email protected] SUNY-Oswego Baltodano Fuentes, Adriana [email protected] Organization for Tropical Studies Balzano, Wanda [email protected] Wake Forest Barre, Betsy [email protected] Wake Forest University Bass, Joseph [email protected] University of Maryland at College Park Baute,Vanessa [email protected] Wake Forest University Beltre, Isaura [email protected] Bentley University Benson, Annette [email protected] Purdue University Blumenfeld-Gantz, Ilana [email protected] Georgia Institute of Technology Bocook Thomas, Blair [email protected] Wake Forest University Bodinger de Uriarte, John [email protected] Susquehanna University braye, stephen -
Explorations of the Painted Real
EXPLORATIONS OF THE PAINTED REAL: TECHNOLOGICAL MEDIATION IN THE WORK OF FOUR ARTISTS. By Gina Margareta Heyer Thesis presented inpartial fulfilment of the requirements for the degree of Masters of Arts in Visual Arts at the University of Stellenbosch Supervisor: Dr. Stella Viljoen (thesis) Co-supervisor: Mr. Vivian H. van der Merwe (practical) March 2011 Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. 2 March 2011 Copyright © 2011 Stellenbosch University All rights reserved i Abstract This thesis is an investigation into the relationship between photorealistic painting and specific devices used to aid the artist in mediating the real. The term 'reality' is negotiated and a hybrid theoretical approach to photorealism, including mimesis and semiotics, is suggested. Through careful analysis of Vermeer's suspected use of the camera obscura, I argue that camera vision already started in the 17th century, thus signalling the dramatic shift from the classical Cartesian perspective scopic regime to the model of vision offered by the camera long before the advent of photography. I suggest that contemporary photorealist painters do not just merely and objectively copy, but use photographic source material with a sophisticated awareness in response to a rapidly changing world. Through an examination of the way in which the camera obscura and photographic camera are used in the works of four artists, I suggest that a symbiotic relationship of subtle tensions between painting and photographic technology emerges. -
Faculty of Arts and Sciences Dean's Annual Report
Faculty of Arts and Sciences Dean’s Annual Report Fiscal Year 2011 Harvard University 1 Table of Contents Harvard College ........................................................................................................................... 9 Graduate School of Arts and Sciences (GSAS) ......................................................................... 23 Division of Arts and Humanities ................................................................................................ 29 Division of Science .................................................................................................................... 34 Division of Social Science ......................................................................................................... 38 School of Engineering and Applied Sciences (SEAS) ............................................................... 42 Faculty Trends ............................................................................................................................ 49 Harvard College Library ............................................................................................................ 54 Sustainability Report Card ......................................................................................................... 59 Financial Report ......................................................................................................................... 62 2 Harvard University Faculty of Arts and Sciences Office of the Dean University Hall Cambridge, Massachusetts -
May 23, 2019 FAS Administrators’ Town Hall
Odette Binder Nancy Hegarty Michael Paterno Operations and Events Coordinator Assistant Director for Sponsored Senior Facilities Manager Department of Sociology Research Department of Chemistry and Department of Molecular and Chemical Biology Gary Cormier Cellular Biology Senior Director of HR Consulting Hector Ruben Paz Nadal Human Resources Peggy Herlihy Executive Chef Manager Department Administrator Dumbarton Oaks Sarah Elwell Department of Astronomy Director of Research Operations for Rosaline Rabi Salifu Science and Engineering Garth McCavana Program Manager Division of Science Dean for Student Affairs Center for African Studies Graduate School of Arts and Alex Ferguson Sciences Clayton Scoble Manger of Equipment Operations Multimedia Specialist Department of Athletics Erika McDonald Harvard College Library Associate Registrar of Academic A. Maryorie Grande Planning Amy Thompson Administrative Coordinator Registrar's Office Director of Media and Department of Earth and Planetary Technology Services Sciences Media & Technology Services Page 1 Welcome, Introductions and Budget Updates Mary Ann Bradley Associate Dean, FAS Administrative Operations Jay Herlihy Associate Dean, FAS Office of Finance Agenda Welcome, Introductions and Budget Mary Ann Bradley, Jay Herlihy Updates Allston Update Marika Reuling, Leslie Schaffer Performance Management Chris Ciotti Minors Policy Update Jennifer Shephard, Eliza Brown DUO for Email Christian Hamer Administrative Systems Overview Stephanie Nasson Research Portal Update Simone Alpen Revised Independent Contractor Karen Kittredge, Polly Scannell Policy Closing / Q & A Session Mary Ann Bradley Page 3 Welcome New FAS ORG PAST PRESENT Visual & Art, Film, and Environmental Visual Studies Studies Page 4 Allston Update Marika Reuling Managing Director, Allston Initiative Leslie Schaffer Senior Director, Expanded Campus Strategy WELCOME TO ALLSTON 1. Context 2. -
Misenheimer Catalog 2006-2007Final2
P eiffer UNIVERSITY CATALOG 2009-2010 THE UNDERGRADUATE COLLEGE 48380 U.S. Hwy 52 N Misenheimer, NC 28109 PHONE: 704-463-1360 FAX 704-463-1363 WEB SITE: www.pfeiffer.edu Accredited by National Association of Schools of Music; North Carolina State Board of Education; National Council for Accreditation of Teacher Education. Pfeiffer University is accredited by the Commission on Colleges of the Southern Association of Colleges and Schools (1866 Southern Lane, Decatur, Georgia 30033-4097: Telephone number 404-679- 4501) to award Bachelor’s and Master’s degrees. Pfeiffer University is approved by The University Senate of The United Methodist Church as a United Methodist-Related Institution. 2/Notice of Compliance NOTICE OF COMPLIANCE WITH FEDERAL LAW TITLE IX Pfeiffer University is committed to upholding the principles outlined in Title IX, which states "No person in the United States shall, on the basis of sex, be excluded from participation in, be denied the benefits of, or be subjected to discrimination under any educational program or activity receiving federal financial assistance. TITLE VII Pfeiffer University employs individuals and admits students of any race, color, or national origin to all rights, privileges, programs, and activities generally accorded or made available to students at the University. It does not discriminate on the basis of race, color, or national origin in administration of its educational policies, admission policies, scholarship and loan programs, and athletic and other university- administered programs. Furthermore, Pfeiffer University Trustees have determined that students not be denied admission, rights, privileges, programs, or activities on the basis of religion, veteran status, or ethnic origin; nor will the University discriminate on the basis of religion, veteran status, or ethnic origin. -
Artist: Period/Style: Patron: Material/Technique: Form
TITLE:Vietnam Veterans Memorial LOCATION: Washington, D.C., U.S. DATE: . 1982 C.E. ARTIST: Maya Lin PERIOD/STYLE: Minimalism PATRON: The Commision of Fine Arts MATERIAL/TECHNIQUE: Granite FORM: Highly reflective black granite with incised names of 58,000 names ofVietnam Veterans who sacrificed their lives during the conflict. The name is an abstraction that means more to the family and friends than a pictorial representation. The two walls start very short and get progressively taller until they meet at an oblique angle at the monument’s center. One wall points towards the Washington Monument; the other points to the Lincoln Memorial. FUNCTION: It functions as a memorial to the soldiers that died during the Vietnam War. It is an ideal place for people to come and spend quiet time reflecting on the names and perhaps leaving mementos to the deceased. CONTENT: The walls are made of a dark igneous rock called gabbro, a type of granite, which is highly reflective when polished.The surface of the monument is etched with the 58,195 names of the Americans who died or remained missing in action in the Vietnam War. The names are listed in the order in which they were reported killed or missing in action. This makes the names harder to find, and re- quires a listing and numeric system of organization for visitors. CONTEXT: There were 1400 anonymous entries for this commission. There was a real backlash once her identity was known because of latent racism in the post Vietnam era. She defended her design in front of the United States Congress, who eventually reached a compro- mise: A group of more “traditional” sculptures, called “The Three Soldiers,” was erected near the monument. -
Small Campuses (6,500 and Fewer)
North Carolina College Media North Carolina Central University Association 2018 Statewide College 3: Kaylee Sciacca Media Awards “Performance” Campus Echo Small Campuses (6,500 and fewer) North Carolina Central University Best of Show – Newspaper HM: Abby Gibbs The Pendulum “Dance Professor” Elon University The Pendulum Elon University The Guilfordian HM: Andrew Walker Guilford College “Guilford football falls short in the last minute” Campus Echo The Guilfordian North Carolina Central University Guilford College The Clarion Single- or Two-Page Design Brevard College 1: Meghan Kimberling “Schar Center Inaugural Season” The Voice The Pendulum Fayetteville State University Elon University 2: Stephanie Hays Best of Show – Online News “Starting to grow” Elon News Network The Pendulum Elon University Elon University 3: Lydia Huth and Abigail Pore Campus Echo Online “Rise & Grind” North Carolina Central University The Campbell Times Campbell University The Blue Banner HM: Kaylee Sciacca UNC Asheville “Homecomings & Homegoings” Campus Echo The Voice North Carolina Central University Fayetteville State University HM: Sarah Shadburne “Tibetan monks on campus unite Falcon Forum students and community” Saint Augustine's University The Blue Banner UNC Asheville Photography 1: Caroline Brehman Illustration/Graphic “Back in the Bracket” 1: Meghan Kimberling The Pendulum “Growing Elon's ecological footprint Elon University through campus sustainability” 2: Kera Robinson The Pendulum “Baseball” Elon University Campus Echo 2: Alex Toma “Fences Need to -
Robert Bechtle Oral History Transcript
San Francisco Museum of Modern Art Regional Oral History Office 75th Anniversary The Bancroft Library Oral History Project University of California, Berkeley SFMOMA 75th Anniversary ROBERT BECHTLE Painter Professor of Art, San Francisco State University, 1978-1999 SFMOMA Board of Trustees, 2006-2009 Interview conducted by Jess Rigelhaupt in 2007 Copyright © 2008 by San Francisco Museum of Modern Art Funding for the Oral History Project provided in part by Koret Foundation. ii 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 method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in 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 Robert Bechtle, dated October 22, 2007. This manuscript is made available for research purposes. -
Robert Bechtle: New Work
NEW WORK SAN FRANCISCO MUSEUM OF MODERN ART ROBERT BECHTLE : NEW WORK SEPTEMBER 10 - DECEMBER 1, 1991 Born in San Francisco in 1932, Robert Bechtle studied at the California College of Arts and Crafts in Oakland, and since 1968 has taught painting at San Francisco State University. In the late sixties and early seventies, when Bechtle became well-known nationally, his work was usually seen together with that of Richard Estes, Chuck Close, and Malcolm Morley, among others, as representing a new style called Photo Realism or New Realism. Although the relationship of Bechtle's work to photography was evident and much remarked upon, critical discussion generally centered on its subject matter-ordinary views of suburban streets and houses, occasionally with their inhabitants-and the artist's resolute avoidance of the heroic stance associated with Abstract Expressionism.1 Yet Bechtle, more than the other Photo Realim, chose to paint a particular kind of photograph, the ordinarysnapshot of his family, for example, posed in front of a station wagon. His choice was no accident, as he explained at the time: "When I'm photographing a car in front of a house I try to keep in mind what a real estate photographer would do if he were taking a picture of the house and try for that quality." 2 Other Photo Realists. to be sure, made paintings from photographs that could have been snapshots. But in the paintings themselves, only Bechtle's had the atmosphere of ordinary, family photographs because he purposely avoided the virtuoso effects that for the most part characterized the work of his colleagues. -
2/503 Photo of the Month ~
October 2012, Issue 46 Contact: [email protected] See all issues to date at the 503rd Heritage Battalion website: http://corregidor.org/VN2-503/newsletter/issue_index.htm _______________________________________________________________________________________________________________________________________ ~ 2/503 Photo of the Month ~ The Aftermath C/2/503 troopers taking care of their buddies, circa ’66/’67. Photo by Jack Leide, CO C/2/503d. 2/503d VIETNAM Newsletter / October 2012 – Issue 46 Page 1 of 60 Boats could not be used and a helicopter was called, but Chaplain’s Corner its chance of success was not good, as the whipping snowstorm would be risky, just as it was when it brought the airplane down. Nevertheless, twenty minutes after He Died For Us the crash and as the sun was going down a rescue chopper came. One victim was hoisted out, and then as Once more into the battle…it was St. the cable was lowered again something miraculous Crispen’s Day - the year 1415. We’re happened. The man who grabbed it, passed it on to in France near Agincourt. The two “Cap” another who was hauled out. Again the cable was enemies, France and England, face one lowered and the man passed it on to another who was another, and exchanging taunts designed to provoke an lifted out. Again the same thing happened. As the attack. King Henry marches his force close enough to chopper seconds later wheeled to again drop the cable, allow his archers to unleash a hail of arrows upon the the man had vanished beneath the icy water. Who was French. The French knights charged forward only to be he? Arland Dean Williams, Jr.