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ACM MM 96 Text ACM MULTIMEDIA 96
ACM MM 96 Text ACM MULTIMEDIA 96 General Information Technical Program Demonstrations Art Program Workshops Tutorials Stephan Fischer Last modified: Fri Nov 29 09:28:01 MET 1996 file:///C|/Documents%20and%20Settings/hsu.cheng-hsin/Desktop/acmmm96/index.htm[1/28/2010 9:42:17 AM] ACM MM 96 ACM MULTIMEDIA 96 The Fourth ACM International Multimedia Conference and Exhibition ADVANCE PROGRAM 18-22 November 1996 Hynes Convention Center Boston, Massachusetts, USA Co-located with SPIE's Symposium on Voice, Video and Data Communication, and Broadband Network Engineering program and overlapping with CSCW, to be held in nearby Cambridge. Welcome to ACM Multimedia '96 Special Events Conference-at-a-Glance Ongoing Events Courses Technical Papers Panels Registration Course Selections Hotels Conference Organization Welcome to ACM Multimedia '96 In what seems in retrospect to have been an astonishingly short time, multimedia has progressed from a technically- challenging curiosity to an essential feature of most computer systems -- both professional and consumer. Accordingly, leading-edge research in multimedia no longer is confined to dealing with processing or information- access bottlenecks, but addresses the ever-broadening ways in which the technology is changing and improving interpersonal communication, professional practice, entertainment, the arts, education, and community life. This year's program emphasizes this trend: off-the-shelf building blocks are now available to construct useful and appealing applications which are highlighted in the Demonstration and Art venues. In addition to the full complement of panels, courses, and workshops, the conference program features a distinguished set of technical papers. Keynotes will be provided by Glenn Hall, the Technical Director of Aardman Animations whose work includes Wallace and Gromit; and Professor Bill Buxton of the University of Toronto and Alias | Wavefront Inc. -
Conceptual and Material Aspects of Media Art
UvA-DARE (Digital Academic Repository) Re: Paik. On time, changeability and identity in the conservation of Nam June Paik’s multimedia installations Hölling, H.B. Publication date 2013 Link to publication Citation for published version (APA): Hölling, H. B. (2013). Re: Paik. On time, changeability and identity in the conservation of Nam June Paik’s multimedia installations. Boxpress. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:28 Sep 2021 Chapter 2 . ON THE THRESHOLD OF MATERIALITIES . CONCEPTUAL AND MATERIAL ASPECTS OF MEDIA ART 1 .1 How Conceptual is Paik’s Media Art? The moment Paik declares that TV Garden – just as Video Fish and Buddha TV – can be loaned to a Brazilian exhibition (1996) and arranged following Paik’s remote instruction marks the time when, in retrospect, the artwork acquires its quasi conceptual character. -
Two Bridges (Manhattan)
20 - Two Bridges (Manhattan) December 2016 Notice The opinions expressed in this report do not necessarily reflect those of the New York State Energy Research and Development Authority (hereafter “NYSERDA”) or the State of New York, and reference to any specific product, service, process, or method does not constitute an implied or expressed recommendation or endorsement of it. Further, NYSERDA, the State of New York, and the contractor make no warranties or representations, expressed or implied, as to the fitness for particular purpose or merchantability of any product, apparatus, or service, or the usefulness, completeness, or accuracy of any processes, methods, or other information contained, described, disclosed, or referred to in this report. NYSERDA, the State of New York, and the contractor make no representation that the use of any product, apparatus, process, method, or other information will not infringe privately owned rights and will assume no liability for any loss, injury, or damage resulting from, or occurring in connection with, the use of information contained, described, disclosed, or referred to in this report. NYSERDA makes every effort to provide accurate information about copyright owners and related matters in the reports we publish. Contractors are responsible for determining and satisfying copyright or other use restrictions regarding the content of reports that they write, in compliance with NYSERDA’s policies and federal law. If you are the copyright owner and believe a NYSERDA report has not properly attributed your work to you or has used it without permission, please email [email protected] ii Two Bridges/Beyond the Grid NY Prize Stage 1 Community Microgrid Feasibility Study Final Report Prepared for NYSERDA by: Two Bridges Neighborhood Council The Louis Berger Group Morrison & Foerster LLP Milestone Architecture WiFi-NY Lockheed Martin Stout Risius Ross Beyond the Grid Community Microgrid NY Prize Stage 1 – Task 1 1.0 INTRODUCTION TO SITE 20 The urban area being served is highly dense and vertical as shown in the photo below. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) Re: Paik. On time, changeability and identity in the conservation of Nam June Paik’s multimedia installations Hölling, H.B. Publication date 2013 Link to publication Citation for published version (APA): Hölling, H. B. (2013). Re: Paik. On time, changeability and identity in the conservation of Nam June Paik’s multimedia installations. Boxpress. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:26 Sep 2021 Appendix Nam June Paik’s Collaborators, Fabricators and Assistants1 Shuya Abe (born 1932) Japanese electrical engineer and co-inventor of the video-synthesiser. In 1963, he became Paik’s seminal collaborator. The Paik–Abe synthesiser used video feedback, magnetic scan modulation, non-linear mixing, and colourised images from an array of cameras in a TV studio. -
0V12-8676 16 NAME.SPACE, INC., Case [F1h 17 Plaintiff
Flit-ED 1 MICHAEL B. MILLER mmiI1er(mofo .com 2 CRAIG II WHITNEY (CA SBN 217673) [email protected] 2012 OCT10 PM I: 13 3 ADAM J. HUNT adamhunt(i)mofo . corn CLERK U.S DISTRICT COURT CENTRAL DIST. OF CALIF. 4 MORRISON & FOERSTER LLP LOS ANGELES 1290 Avenue of the Americas 5 New York, New York 10104 BY _- Telephone: 212.468.8000 DR 6 Facsimile: 212.468.7900 7 MARK R. MCDONALD (CA SBN 13 700 1) 19A, mmcdonald(2lmofo . corn C 8 MORRJSON& FOERSTER LLP 555 West Fifth Street, Suite 3500 9 Los Angeles, California 90013 Telephone: (213) 892-5200 10 Facsimile: (213).892-5454 11 Attorneys for Plaintiff NAME.SPACE, INC. 12 UNITED STATES DISTRICT COURT 13 CENTRAL DISTRICT OF CALIFORNIA 14.1 WESTERN DIVISION 15 W 0V12-8676 16 NAME.SPACE, INC., Case [f1h 17 Plaintiff, 18 V. COMPLAINT 19 INTERNET CORPORATION FOR DEMAND FOR JURY TRIAL 20 ASSIGNED NAMES AND NUMBERS, 21 Defendant. 22 23 Plaintiff narne.space, Inc. ("name. space"), by and through its undersigned 24 counsel, brings this Complaint against Defendant Internet Corporation for Assigned 25 Names and Numbers ("ICANN"), and alleges as follows: 26 27 28 1 ny-1023 809 1 INTRODUCTION 2 1. name.space is the originator, operator and promoter of 482 Top Level 3 Domains ("TLDs"), which is the highest level identifier in an Internet "domain 4 name"such as .com or .gov. 5 2. ICANN controls and purports to be responsible for the entire worldwide 6 Internet Domain Name System ("DNS"). The DNS is an essential part of the 7 logical infrastructure that makes the Internet work by assigning unique domain 8 names to computers running web sites and other services including e-mail and 9 voice-over-IP, and by coordinating master computer servers which ensure that all 10 Internet users typing a domain name into their browsers reach the same "host" 11 computer and service. -
Free in the Neighborhood Reissue Vol II No. I Summer 2019
Free In The Neighborhood Summer 2019 Reissue Vol II No. I Letter From the Editors The Value of Valor y Cambio Carta De Los Editores.......................................2 El Valor del Valor y Cambio...............................33 An Interview with Nandini Bagchee About Power To the People: LESReady! Looking the Carts Project To Implement “Community Energy” Una Entrevista con Nandini Bagchee sobre Poder Para el Público: LESReady! Busca el Proyecto Carritos...........................................4 Implementar “Energía Comunitaria”.........40 The Lower East Side Coastal Resiliency Illustration by Javier Cruz Winnik Plan Ilustración de Javier Cruz Winnik...............46 El Plan de Resiliencia Costera del Lower East Side................................................................16 Buried Histories of the Lower East Side Historias Enterradas del Lower East Side .................................................................................26 Letter From the Editors Dear Readers, Last summer, we reintroduced The Quality of Life in Loisaida/ Calidad de Vida en Loisaida, a magazine that was originally published in March 1978 and had been out of print since 1991. The team at the Loisaida Center has once again decided to publish a new issue of the magazine as last year’s issue was received with an overwhelmingly warm response. The central theme for this issue is about change. As any member of this com- munity can attest, changes in Loisaida in the last few years has led us to a critical moment of reflection and evaluation. As Loisaida is faced with challenges of social inequity and the consequences of climate change, what are we doing to ensure that our community continues to progress and thrive? The history of Loisaida is defined by changes led by local activists and grassroots activism. -
THE CONCEPTUAL IMAGE CONCEPT: the Strength of a Tire Is Conveyed by the Surreal Juxtaposition of a Tire and a Bull Elephant
THE CONCEPTUAL IMAGE CONCEPT: The strength of a tire is conveyed by the surreal juxtaposition of a tire and a bull elephant. Armando Testa Poster for Pirelli, 1954 CONCEPT: A synthetic hand holding a rubber ball makes an appropriate image for a trade exhibition on plastics. Armando Testa Poster for plastics exhibition, 1972 CONCEPT: One word: No! alongside an image of a bomb’s destructive forces. Tadeus Trepkowski Anti war poster, 1953 Henry Tomaszewski, 1948 Roman Cieslewicz, 1962 Jan Lenica, 1964 The Polish Poster, 1950s Poster designs opted for an aesthetically pleasing approach, escaping from the somber world of tragedy and remembrance. Roman Cieslewicz, 1963 Roman Cieslewicz, 1964 Franiszek Starowiejski, 1973 The Polish Poster, 1960s – ‘70s A darker mood prevailed, partly owing to social restraints of a dictatorial regime, or simply despair and yearning for autonomy so often denied to Poland. Jerzy Janiszewski, 1980 Solidarnosc (Solidarity) In 1980, shortages of basic living needs led to the formation of the Solidarity labor union. The logo was an internationally known symbol of their struggle. In 1989, elections ended one-party communist rule. Milton Glaser, c. 1977 American conceptual images In the 1950s, photography had taken over the role of illustration through better lighting and image quality. Illustration took a more conceptual approach, putting art and words together to form a visual concept. Milton Glaser, 1976 American conceptual images The original concept sketch for the I-heart-New- York logo, Museum of Modern Art. Milton Glaser, 1967 Seymour Chwast, 1968 Edward Sorel, 1966 Push Pin Studio Reynolds Conceptual illustration began with a group of Ruffins, 1983 young artists from New York who sought to market their styles to advertising agencies . -
International Exhibitions, Expositions Universelles and World's Fairs, 1851-2005: a Bibliography
Freie Universität Berlin, Germany California State University, Fresno, USA International Exhibitions, Expositions Universelles and World’s Fairs, 1851-2005: A Bibliography by Alexander C.T. Geppert, Jean Coffey and Tammy Lau 1. Introduction _________________________________________________________ 5 2. Research Aids ______________________________________________________ 7 2.1 Research Aids General _________________________________________________7 2.2 Bibliographies ________________________________________________________8 2.3 Review Articles ______________________________________________________10 2.4 Journals and Newsletters ______________________________________________10 3. History and Theory of International Exhibitions: General Works _______________ 11 3.1 Official Exhibition Regulations ___________________________________________11 3.2 Exhibition Theory _____________________________________________________11 3.3 Exhibition History _____________________________________________________13 4. International Exhibitions, 1851-2005 ____________________________________ 28 4.1 Australia ____________________________________________________________28 4.1.0 Australia Genera l _____________________________________________28 4.1.1 International Exhibition, Sydney 1879-1880 _________________________28 4.1.2 International Exhibition, Melbourne 1880-1881 ______________________28 4.1.3 Centennial International Exhibition, Melbourne 1888-1889 _____________28 4.1.4 Expo 88, Brisbane 1988 ________________________________________28 4.2 Austria _____________________________________________________________28 -
Seymour Chwast Steven Brower
Works of War: Seymour Chwast Binghamton University Art Museum, Binghamton University, Binghamton, New York (March 28–May 18, 2019) Curated by Blazo Kovacevic, exhibit and catalog designed by Blazo Kovacevic (Exhibition Review) Steven Brower “Most wars are stupid and don’t deserve the loss of a single human being. All I can do about it is to express my concern in work.” Downloaded from http://direct.mit.edu/desi/article-pdf/36/3/97/1893978/desi_r_00606.pdf by guest on 01 October 2021 Seymour Chwast In spring 2017, Binghamton University hosted “Milton Glaser: Modulated Patterns,” an exhibit of the design master’s then-recent work. The exhibit, curated and designed by university professor Blazo Kovacevic, featured wall-to-ceiling reproductions alongside original works, submersing the viewer in the visual environment. Two years later, the curators have followed with “Works of War: Seymour Chwast”—a second in their Masters series. Chwast was a co-founder of Push Pin Studios in 1954 in New York City, along with Glaser, Ed Sorel, and Reynold Ruffins. The group set the tone for the 1960s with their “Push Pin Style” of psychedelic-tinged, brightly colored, Art Nouvea–inspired illustrations for advertise- ments and major publications. Through their liberal use of histori- cal reference, Push Pin helped set post-modernism in motion, and their affect influences our visual language to this day. Chwast has remained at the forefront of graphic design for more than 60 years. His work appearing regularly in books, magazines, products, and posters. Born in 1931 in New York City, during the Great Depression, Chwast came of age during World War 2. -
Abstract the History of Book Jacket Design & Its Cultural
ABSTRACT THE HISTORY OF BOOK JACKET DESIGN & ITS CULTURAL SIGNIFICANCE Lindsay B. Larimore Director: Virginia Green Book jacket designs act as historical snapsHots of the visual culture prevalent during their creation through the use of typography, shapes, style of imagery and overall mood. Illustration also played a significant role in development of the book jacket as an art and advertising medium, although illustration now struggles to maintain its prior prestige in the digitally dominant 21st century. By studying these historical examples and examining the development of the medium, I created three book jacket designs as a practical demonstration. APPROVED BY DIRECTOR OF HONORS THESIS: Professor Virginia Green, Department of Art APPROVED BY HONORS PROGRAM: . Dr. Andrew Wisely, Director DATE: THE HISTORY OF BOOK JACKET DESIGN & ITS CULTURAL SIGNIFICANCE A Thesis Submitted to the Faculty of Baylor University In Partial Fulfillment of the Requirements for the Honors Program By Lindsay B. Larimore Waco, Texas May 2015 TABLE OF CONTENTS Acknowledgements . iii Chapter One: The History of Book Jacket Design & Its Cultural Significance . 1 Chapter Two: The Impact of Illustration . 23 Chapter Three: Practical Application: Reflection on Three Book Jacket Design 32 Endnotes . 46 Bibliography . 51 ACKNOWLEDGEMENTS I would like to thank Professor Virginia Green for the numerous hours she spent meeting with me and advising me through this long research and writing process. Also I would like to express my appreciation for my other thesis readers, Professor Terry Roller and Sha Towers for spending the time to help me further develop my thesis. Finally, I would like to thank my parents, Mark and Marla Larimore, for providing me with the opportunity to study at Baylor and allowing me to haul numerous books and art supplies on family vacations as I worked on my thesis. -
Senate Resolution No. 444 Senator SERRANO BY: the Life And
Senate Resolution No. 444 BY: Senator SERRANO CELEBRATING the life and accomplishments of Milton Glaser, renowned artist and celebrated graphic designer WHEREAS, It is the sense of this Legislative Body to honor and pay just tribute to the memory of those prominent individuals whose creative talents have contributed to the entertainment and cultural enrichment of the citizens of the State of New York; and WHEREAS, Attendant to such concern, and in full accord with its long-standing traditions, this Legislative Body is justly proud to celebrate the life and accomplishments of Milton Glaser, renowned artist, celebrated graphic designer, and life-long New Yorker from his birth in 1929 to his passing in 2020; and WHEREAS, Born in the South Bronx on June 26, 1929, to parents of Jewish immigrants from Hungary, Milton Glaser began his early education in the arts taking lessons from social realist artists Raphael and Moses Soyer before enrolling in the High School of Music and Art in Manhattan; and WHEREAS, Milton Glaser then continued his studies at The Cooper Union for the Advancement of Science and Art, where he formed lasting connections with classmates that would go on to challenge the orthodoxy of contemporary commercial design; and WHEREAS, In 1951, Milton Glaser won a Fulbright scholarship to the Academy of Fine Arts in Bologna, Italy, where he studied with still-life painter Giorgio Morandi, greatly influencing his design aesthetic, focusing on creation and the humanistic communication of visual imagery; and WHEREAS, After returning to -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fece, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Iiifomiation Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 VISIONS AND NARRATIVES: MODERNISM IN THE PROSE WORKS OF YOSHIYUKI EISUKE, MURAYAMA TOMOYOSHI, YUMENO KYOSAKU, AND OKAMOTO KANOKO DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Junko Ikezu Williams, M.A.