DOCSLIB.ORG

Corr Front Matter 04 8/24/04 10:19 PM Page 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

c1_4.qxd 8/15/04 12:37 PM Page 1 corr_ Front matter 04 8/24/04 10:19 PM Page 1 College of Art and Design College of Media and Communication College of Performing Arts Undergraduate and Graduate Course Catalog 2004 • 2005 320 South Broad Street Philadelphia, PA 19102 1•800•616•ARTS www.uarts.edu corr_ Front matter 04 8/24/04 10:19 PM Page 2 The arts have the power to transform society. They play an essen- Nondiscrimination Policy tial role in ensuring and enhancing the quality of life. The University The University of the Arts is committed to maintaining an envi- of the Arts is committed to inspiring, educating and preparing inno- ronment in which students, faculty, and staff may pursue academic, vative artists and creative leaders for the visual, performing, and artistic, and professional excellence. This environment can be media arts of the 21st century. secured only through mutual respect and unconstrained academic The University of the Arts is the nation’s only university devoted and professional interchange among faculty, staff, and students. exclusively to education and professional training in design, visual, Under the Civil Rights Act of 1964, Title IX of the Educational media, and performing arts. Located in the heart of Philadelphia, Amendments of 1972, other state and federal laws, and The The University of the Arts was founded in 1987 through the consoli- University of the Arts policy, the faculty, staff, and students of the dation of two century-old institutions: the Philadelphia College of University are entitled to participate in and obtain the benefits of Art and the Philadelphia College of Performing Arts. A third aca- University programs, activities, and employment without being dis- demic unit, the College of Media and Communication, was criminated against on the basis of their race, creed, color, ethnic established in 1996. Offering undergraduate and graduate degrees in background, national origin, gender, age, religion, disability, or communication, crafts, dance, graphic design, industrial and sexual orientation. museum exhibition design, fine arts, illustration, media arts, multi- The University also strictly prohibits any form of retaliation or media, museum communication, music, theater, writing, and reprisal against anyone reporting allegations of harassment or dis- museum and arts education, the University prepares its students to crimination, or cooperating in an investigation of such a report. assume over 150 careers in traditional and emerging arts and related Such retaliation shall be considered a serious violation of the fields. University’s nondiscrimination policy and shall be punishable by discipline up to and including termination, regardless of whether the The University of the Arts charge of discrimination is substantiated. However, if an employee, 320 South Broad Street student, or faculty member is found to have intentionally lied about Philadelphia, PA 19102 a claim of discrimination, or brought a claim in bad faith, knowing that the allegation of discrimination is false, then that employee, stu- 215-717-6000 dent, or faculty member may be subject to discipline or expulsion. Examples of prohibited retaliation include: threatening reprisals 1-800-616-ARTS against the person who complained or cooperated in an investiga- tion; unfairly changing a person’s evaluations, assignments, grades, http://www.uarts.edu or working conditions; or otherwise continuing any harassment or discrimination against such person. CEEB code 2664 The University of the Arts gives equal consideration to all appli- cants for admission and financial aid, and conducts all educational Title IV code 003350 programs, activities, and employment practices without regard to race, color, gender, religion, national origin, sexual orientation, ethnic background, or disability. Direct inquiries to the Office of the Dean of Students/ADA Coordinator, The University of the Arts, 320 S. Broad Street, Philadelphia, PA 19102; 215-717-6618. This catalog was updated as of July 2004. The University of the Arts reserves the right to revise any information herein at its discre- tion and without prior notice. Trademarked names appear throughout this catalog. Rather than list the names and entities that own the trademarks or insert a trade- mark symbol with each mention of the trademarked name, the publisher states that it is using the names only for editorial purposes and to the benefit of the trademark owner with no intention of infringing upon that trademark. The University of the Arts® is registered with the U.S. Patent and Trademark Office, Reg. No. 2,341,258. UArts® is also registered with the U.S. Patent and Trademark Office, Reg. No. 2,677,865. 2 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 corr_ Front matter 04 8/24/04 10:19 PM Page 3 The University of the Arts Contents 4 Academic Calendar 2004-2005 64 Graduate Programs Course Descriptions 66 Post-Baccalaureate Options The University of the Arts 68 Art Education 140 Art Education 71 Visual Arts 142 Art Therapy 7 Mission Statement 73 Book Arts/Printmaking 142 Communication 7History of The University of the Arts 75 Ceramics, Painting, or Sculpture 145 Crafts 7 Accreditation 77 Industrial Design 150 Dance 8 College of Art and Design 79 Museum Studies 154 Electronic Media 8 College of Media and Communication 80 Museum Communication 155 Fine Arts 8 College of Performing Arts 81 Museum Education 156 Master of Fine Arts in 8Degree Programs 82 Museum Exhibition Planning Ceramics, Painting, or Sculpture 9 University Libraries and Design 158 Foundation 10 Academic Policies and Procedures 83 Graduate Seminars 160 Graphic Design 17 Grading Policies 162 Graduate Seminars College of Media and 162 Liberal Arts Undergraduate Degree Communication 175 Industrial Design Requirements 178 Illustration 86 College of Media and Communication 180 Internships 21 Undergraduate Degree Requirements 87 Minors 181 Multimedia 23 Division of Liberal Arts 92 Communication 183 Museum Studies 94 Multimedia 186 Music 96 Writing for Film and Television 192 Music Education College of Art and Design 195 Media Arts 30 College of Art and Design College of Performing Arts 199 Printmaking/Book Arts 33 Undergraduate Programs 203 Painting/Drawing 34 Minors 98 College of Performing Arts 205 Sculpture 37 Foundation Program 99 Minors 207 Theater Arts 39 Crafts 104 The School of Dance 214 Writing for Film and Television 42 Fine Arts 108 Ballet 44 Printmaking/Book Arts 109 Jazz/Theater Dance General Information 46 Sculpture 110 Modern Dance 48 Graphic Design 111 Dance Education 218 Admission 50 Illustration 113 The School of Music 225 Tuition and Expenses 52 Industrial Design 119 Instrumental Performance 228 Financial Aid 54 Media Arts 120 Vocal Performance 238 Student Services 56 Photography 121 Composition 241 General Information 57 Film/Digital Video 127 The School of Music 242 Code of Conduct 58 Animation Graduate Programs 244 Student Code 60 Art Education 127 Master of Arts in Teaching Music 250 Academic Computing 62 Art Therapy 128 Master of Music in Jazz Studies 251 University Guidelines for 130 The School of Theater Arts Responsible Computing 135 Acting 252 Continuing Studies Programs 136 Applied Theater Arts 253 Administration 137 Musical Theater 254 Board of Trustees 138 Theater Design and Technology 255 Faculty Index 258 Index 264 Campus Map The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 3 corr_ Front matter 04 8/24/04 10:19 PM Page 4 Academic Calendar 2004-2005 SUMMER 2004 July September Sunday, July 4 Wednesday, September 1 May Independence Day - University Closed FALL 2004 SEMESTER CLASSES BEGIN Monday, May 3 Spring 2004 semester classes end Monday, July 5 Wednesday, September 1 through Wednesday, University closed for observance of September 15 Monday, May 3 and Tuesday, May 4 Independence Day Drop/Add Period/Late Registration Registration for Summer I & II Semesters Wednesday, July 7 Monday, September 6 Tuesday, May 4 thru Friday, May 7 Summer New Student English Placement test Labor Day – (University Closed) Liberal Arts Examinations Friday, July 9 Tuesday, September 7 Monday, May 10 thru Friday, May 14 Summer I semester grades due to Registrar by PIE Fall 2004 Session begins Studio critiques and juries 12 noon Foundation summer semester begins Friday, September 17 Monday, July 12 Deans and Directors submit Spring 2005 courses Friday, May 14 Summer World of Dance begins to Registrar SPRING 2004 SEMESTER ENDS Summer Pre-College Institute begins Final grades due to Registrar by 12 noon Monday, September 20 Documents for students graduating May 2004 Wednesday, July 15 Continuing Education Fall 2004 Session begins due to Registrar Graduation Petitions for August 2004 due to Registrar October Saturday, May 15 Saturday, October 2 Student Residences close at 12 noon August Saturday School & Saturday Arts Lab begin Friday, August 6 Monday, May 17 SUMMER II SEMESTER ENDS Wednesday, October 6 SUMMER I SEMESTER BEGINS Summer World of Dance ends Students & Faculty follow Monday schedule of Continuing Education Summer I Session begins Pre-College Summer Institute ends classes Thursday, May 20 Saturday, August 7 Friday, October 15 Awards Ceremony – (morning) Student Residences close at 5 p.m. Last day for removal of Spring 2004 incomplete Commencement Ceremony – (evening) “I” grades Monday, August 9 to Friday, August 13 Thursday, May 27 PIE Continuing Inspiration Session Monday, October 18 CPA/CMAC Academic Review Automatic conversion of “I” to “F” grade Thursday,
Recommended publications
  • Weaverswaver00stocrich.Pdf

    Weaverswaver00stocrich.Pdf

    University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Fiber Arts Oral History Series Kay Sekimachi THE WEAVER'S WEAVER: EXPLORATIONS IN MULTIPLE LAYERS AND THREE-DIMENSIONAL FIBER ART With an Introduction by Signe Mayfield Interviews Conducted by Harriet Nathan in 1993 Copyright 1996 by The Regents of the University of California 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 modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and 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 Kay Sekimachi dated April 16, 1995. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley.
  • Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12

    Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12

    Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis.
  • Workshops Open Studio Residency Summer Conference

    Workshops Open Studio Residency Summer Conference

    SUMMER 2020 HAYSTACK MOUNTAIN SCHOOL OF CRAFTS Workshops Open Studio Residency Summer Conference Schedule at a Glance 4 SUMMER 2020 Life at Haystack 6 Open Studio Residency 8 Session One 10 Welcome Session Two This year will mark the 70th anniversary of the 14 Haystack Mountain School of Crafts. The decision to start a school is a radical idea in and Session Three 18 of itself, and is also an act of profound generosity, which hinges on the belief that there exists something Session Four 22 so important it needs to be shared with others. When Haystack was founded in 1950, it was truly an experiment in education and community, with no News & Updates 26 permanent faculty or full-time students, a school that awarded no certificates or degrees. And while the school has grown in ways that could never have been Session Five 28 imagined, the core of our work and the ideas we adhere to have stayed very much the same. Session Six 32 You will notice that our long-running summer conference will take a pause this season, but please know that it will return again in 2021. In lieu of a Summer Workshop 36 public conference, this time will be used to hold Information a symposium for the Haystack board and staff, focusing on equity and racial justice. We believe this is vital Summer Workshop work for us to be involved with and hope it can help 39 make us a more inclusive organization while Application broadening access to the field. As we have looked back to the founding years of the Fellowships 41 school, together we are writing the next chapter in & Scholarships Haystack’s history.
  • Mercury's Low-Reflectance Material: Constraints from Hollows

    Mercury's Low-Reflectance Material: Constraints from Hollows

    Mercury’s low-reflectance material: Constraints from hollows Rebecca Thomas, Brian Hynek, David Rothery, Susan Conway To cite this version: Rebecca Thomas, Brian Hynek, David Rothery, Susan Conway. Mercury’s low-reflectance material: Constraints from hollows. Icarus, Elsevier, 2016, 277, pp.455-465. 10.1016/j.icarus.2016.05.036. hal-02271739 HAL Id: hal-02271739 https://hal.archives-ouvertes.fr/hal-02271739 Submitted on 27 Aug 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Accepted Manuscript Mercury’s Low-Reflectance Material: Constraints from Hollows Rebecca J. Thomas , Brian M. Hynek , David A. Rothery , Susan J. Conway PII: S0019-1035(16)30246-9 DOI: 10.1016/j.icarus.2016.05.036 Reference: YICAR 12084 To appear in: Icarus Received date: 23 February 2016 Revised date: 9 May 2016 Accepted date: 24 May 2016 Please cite this article as: Rebecca J. Thomas , Brian M. Hynek , David A. Rothery , Susan J. Conway , Mercury’s Low-Reflectance Material: Constraints from Hollows, Icarus (2016), doi: 10.1016/j.icarus.2016.05.036 This is a PDF file of an unedited manuscript that has been accepted for publication. As a service to our customers we are providing this early version of the manuscript.
  • Oral History Interview with Merry Renk

    Oral History Interview with Merry Renk

    Oral history interview with Merry Renk Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 1 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Merry Renk AAA.renk01 Collection
  • Impact Melt Emplacement on Mercury

    Impact Melt Emplacement on Mercury

    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 7-24-2018 2:00 PM Impact Melt Emplacement on Mercury Jeffrey Daniels The University of Western Ontario Supervisor Neish, Catherine D. The University of Western Ontario Graduate Program in Geology A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Science © Jeffrey Daniels 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Geology Commons, Physical Processes Commons, and the The Sun and the Solar System Commons Recommended Citation Daniels, Jeffrey, "Impact Melt Emplacement on Mercury" (2018). Electronic Thesis and Dissertation Repository. 5657. https://ir.lib.uwo.ca/etd/5657 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Impact cratering is an abrupt, spectacular process that occurs on any world with a solid surface. On Earth, these craters are easily eroded or destroyed through endogenic processes. The Moon and Mercury, however, lack a significant atmosphere, meaning craters on these worlds remain intact longer, geologically. In this thesis, remote-sensing techniques were used to investigate impact melt emplacement about Mercury’s fresh, complex craters. For complex lunar craters, impact melt is preferentially ejected from the lowest rim elevation, implying topographic control. On Venus, impact melt is preferentially ejected downrange from the impact site, implying impactor-direction control. Mercury, despite its heavily-cratered surface, trends more like Venus than like the Moon.
  • Sheila Hicks CV

    Sheila Hicks CV

    SHEILA HICKS Born Hastings, Nebraska 1934 EDUCATION 1959 MFA, Yale University, New Haven, CT 1957 BFA, Yale University, New Haven, CT SELECTED SOLO EXHIBITIONS 2018 Sheila Hicks: Life Lines, Centre Pompidou, Paris, France, February 6 – April 30, 2018. Sheila Hicks: Send Dessus Dessous, Domaine de Chaumont-sur Loire Centre d’Arts et de Nature, Chaumont-sur Loire, France, March 30, 2018 – February 2, 2019. Down Side Up, Sikkema Jenkins & Co., New York, NY, May 24 – July 6, 2018. 2017 Sheila Hicks: Glossolalia, Domaine de Chaumont-sur Loire Centre d’Arts et de Nature, Chaumont-sur Loire, France, April 1 – November 5, 2017. Sheila Hicks: Hilos Libres. El Textil y Sus Raíces Preshispánicas, 1954-2017, Museo Amparo, Puebla, Mexico, November 4, 2017 – April 2, 2018. Sheila Hicks: Stones of Piece, Alison Jaques Gallery, London, England, October 4 – November 11, 2017. Sheila Hicks: Hop, Skip, Jump, and Fly: Escape from Gravity, High Line, New York, New York, June 2017 – March 2018. Sheila Hicks: Au-delà, Museé d’Arte Moderne de la Ville de Paris, Paris, France, December 1 – May 20, 2018. 2016 Si j’étais de laine, m’accepteriez-vous?, galerie frank elbaz, Paris, France, September 10 – October 15, 2016. Apprentissages, Festival d’Automne, Musée Carnavalet, Paris, France, September 13 – October 2, 2016; Nanterre-Amandiers, Paris, France, December 9 – 17, 2016. Sheila Hicks: Material Voices, Joslyn Art Museum, Omaha, Nebraska, June 5 – September 4, 2016; travels to: Textile Museum of Canada, Toronto, Canada, October 6, 2016 – February 5, 2017. Sheila Hicks: Why Not?, Textiel Museum, Tilburg, The Netherlands, March 5 – June 5, 2016.
  • Annual Report OCTOBER 1, 2019—SEPTEMBER 30, 2020 Letter from the 2020 Annual Report Archives of American Art 2 Interim Director

    Annual Report OCTOBER 1, 2019—SEPTEMBER 30, 2020 Letter from the 2020 Annual Report Archives of American Art 2 Interim Director

    Annual Report OCTOBER 1, 2019—SEPTEMBER 30, 2020 Letter from the 2020 Annual Report Archives of American Art 2 Interim Director DEAR FRIENDS, In early October 1918, art critic James Britton wrote its collections and making them publicly available. in his diary, “When the health law rings the gong— To support this vision, this year, the Roy Lichtenstein even art must stand attentive to Influenza.” More Foundation made a transformational $5 million gift than a century later, the Archives of American Art to create an endowment to process and digitize stands attentive to COVID-19. On March 16, 2020, collections on art and artists from historically we moved our entire staff to telework status, closing underrepresented groups. Digitization requires time our DC and New York research centers. Now, as and meticulous attention to detail. Having recently we begin 2021, many staff are still working from completed a three-year challenge grant from home, continuously finding new ways to connect the Walton Family Foundation, we improved our our mission to collect, preserve, and share the efficiency, doubling our rate of digitization. legacy of American art with the increasingly virtual With schools across the US now turning to world. Others are in the office on a staggered distance learning, we are well positioned to schedule, preserving the collections we continue help and to scale up our efforts to promote the to acquire during the pandemic and digitizing value of teaching with primary sources. This material for curious individuals everywhere to year, continuing our partnership with the Lunder consult on our website. In the report ahead, you Institute for American Art at Colby College and will find highlights from a year like no other, the Cleveland Museum of Art, we held the second one that generated innovative projects, exciting in a series of three workshops focused on creating partnerships, and new examples of our expertise innovative, adaptable models for using archival applied amid the challenges of a global pandemic.
  • Hicks, Sheila CV

    Hicks, Sheila CV

    SHEILA HICKS Born Hastings, Nebraska 1934 EDUCATION 1959 MFA, Yale University, New Haven, CT 1957 BFA, Yale University, New Haven, CT SELECTED SOLO EXHIBITIONS 2021 Sheila Hicks: Off the Grid, The Hepworth Wakefield, Wakefield, United Kingdom, November 27, 2021 – May 2022 Sheila Hicks: Music to My Eyes, Alison Jacques Gallery, London, UK, June 4 – July 31, 2021 Sheila Hicks: Cosmic Vibrations, Galerie Nähst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria, May 28 – August 21, 2021 Sheila Hicks: Cosmic Arrivals, Francesca Minini, Milan, Italy, May 19 - July 17, 2021 Sheila Hicks: The Questioning Column, Moody Center for the Arts at Rice University, Houston, TX, May 17 – August 28, 2021 2020 Sheila Hicks, Galerie nächst St. Stephan, Vienna, Austria, December 22, 2020 – February 6, 2021 Sheila Hicks: Thread, Trees, River, Museum of Applied Arts [MAK] Vienna, Vienna, Austria, December 10, 2020 – April 18, 2021 2019 Reencuentro, Museo Chileno de Arte Precolombino, Santiago, Chile, August 8, 2019 – January 31, 2020, curated by Carolina Arévalo Sheila Hicks: Secret Structures, Looming Presence, Dallas Museum of Art, Dallas, TX, June 30, 2019 – January 12, 2020 Sheila Hicks: Seize, Weave Space, Nasher Sculpture Center, Dallas, TX, May 11 – August 18, 2019 Sheila Hicks: Line by Line, Step by Step, Demisch Danant, New York, NY, April 29 – June 8, 2019 Sheila Hicks: Campo Abierto (Open Field), The Bass, Miami Beach, FL, April 13 – September 29, 2019 2018 MIGDALOR, Magasin III Jaffa, Tel Aviv, Israel, October 11, 2018 – February 15, 2019 Down Side Up, Sikkema Jenkins & Co., New York, NY, May 24 – July 6, 2018 Sheila Hicks: Sens Dessus Dessous, Domaine de Chaumont-sur Loire Centre d’Arts et de Nature, Chaumont-sur Loire, France, March 30, 2018 – February 2, 2019 Sheila Hicks: Life Lines, Centre Pompidou, Paris, France, February 6 – April 30, 2018, curated by Michel Gauthier 2017 Sheila Hicks: Au-delà, Museé d’Arte Moderne de la Ville de Paris, Paris, France, December 1, 2017 – May 20, 2018 Sheila Hicks: Hilos Libres.
  • Learning from the Historical Culture of American People for the Current Society

    Learning from the Historical Culture of American People for the Current Society

    How to Cite: Liu, S., & Alley, F. (2019). Learning from the historical culture of American people for the current society. Linguistics and Culture Review, 3(1), 32-47. https://doi.org/10.37028/lingcure.v3n1.14 Learning from the historical culture of American people for the current society Siyung Liu Tianjin Foreign Studies University, Tianjin, China Fatihiya Alley San Francisco State University, San Francisco, California Abstract---We learned more about the contribution of cultural history towards the current society for the American people. In the most general sense, historical culture is a holistic meta-historical concept that opens the investigation of how people deal with the past. The term “historical” refers to past events, including thoughts and ideas. The term “culture” comprises shared attitudes, values, and perceptions of a group of people. Cultural history is not simply the study of high culture or alternatively of peoples' past rituals. It is best characterized as an approach which considers the domain of representation and the struggle over meaning as the most fruitful areas for the pursuit of historical understanding. history is the aggregate of past events while culture is the arts, customs, and habits that characterize a particular society or nation. Cultural history brings to life a past time and place. In this search, cultural historians study beliefs and ideas, much as intellectual historians do. These are reflected in the products of deliberately artistic culture, but also include the objects and experiences of everyday life, such as clothing or cuisine. Keywords---American, culture, historian, perception, society. Introduction Bortolini, Salzano, Thomas, Stuart, Nasanen, Bau & Hill (2003), studying history is important because it allows us to understand our past, which in turn allows us to understand our present.
  • 1 the Lifecycle of Hollows on Mercury

    1 the Lifecycle of Hollows on Mercury

    The Lifecycle of Hollows on Mercury: An Evaluation of Candidate Volatile Phases and a Novel Model of Formation. 1 1 2 3 M. S. Phillips , J. E. Moersch , C. E. Viviano , J. P. Emery 1Department of Earth and Planetary Sciences, University of Tennessee, Knoxville 2Planetary Exploration Group, Johns Hopkins University Applied Physics Laboratory 3Department of Astronomy and Planetary Sciences, Northern Arizona University Corresponding author: Michael Phillips ([email protected]) Keywords: Mercury, hollows, thermal model, fumarole. Abstract On Mercury, high-reflectance, flat-floored depressions called hollows are observed nearly globally within low-reflectance material, one of Mercury’s major color units. Hollows are thought to be young, or even currently active, features that form via sublimation, or a “sublimation-like” process. The apparent abundance of sulfides within LRM combined with spectral detections of sulfides associated with hollows suggests that sulfides may be the phase responsible for hollow formation. Despite the association of sulfides with hollows, it is still not clear whether sulfides are the hollow-forming phase. To better understand which phase(s) might be responsible for hollow formation, we calculated sublimation rates for 57 candidate hollow-forming volatile phases from the surface of Mercury and as a function of depth beneath regolith lag deposits of various thicknesses. We found that stearic acid (C18H36O2), fullerenes (C60, C70), and elemental sulfur (S) have the appropriate thermophysical properties to explain hollow formation. Stearic acid and fullerenes are implausible hollow-forming phases because they are unlikely to have been delivered to or generated on Mercury in high enough volume to account for hollows.
  • 20Th Century Design and Craft: the Library of Philip Aarons

    20Th Century Design and Craft: the Library of Philip Aarons

    20 th Century Design and Craft The Library of Philip Aarons 965 titles in 981 volumes The Philip Aarons Design Library The Philip Aarons design library is focused on modern decorative arts—including ceramics, glass, furniture design, metalwork and jewelry—and on modern architecture and architects, from Wright and Gaudi to Team 10. Studies of periods and movements, such as Art Nouveau, Arts and Crafts, and Art Déco, are represented as well. ARS LIBRI THE PHILIP AARONS 20 TH CENTURY DESIGN AND CRAFT LIBRARY GENERAL WORKS 1 AGIUS, PAULINE. British Furniture, 1880-1915. 195, (1)pp. Prof. illus. 4to. Cloth. D.j. Woodbridge (The Antique Collectors’ Club), 1978. 2 AKRON. THE AKRON ART INSTITUTE. Why Is an Object: An Exhibition Investigating Motivation and Purpose. Sept.- Nov. 1962. Text by Luke Lietzke and the artists. (32)pp. 15 plates. Sm. oblong 4to. Wraps. Josef Albers, Leonard Baskin, Wharton Esherick, Trude Guermonprez, Edith Heath, Margo Hoff, Gideon Kramer, Jack Lenor Larsen, Miriam Leefe, George Nakashima, Robert Sperry, Lenore Tawney, Peter Voulkos, Marguerite Wildenhain, George Wells. Akron, 1962. 3 AKRON. AKRON ART INSTITUTE. Young Designers 1953. March-April 1953. (16)pp. Prof. illus. Sm. sq. 4to. Wraps. Library stamp. Akron, 1953. 4 AKRON. AKRON ART MUSEUM. Off the Production Line. An invitational exhibition of products designed for industry for you. Feb.-March 1956. (28)pp. 55 illus. Oblong 4to. Self-wraps. Akron, 1956. 5 ALBUQUERQUE. UNIVERSITY OF NEW MEXICO. ART MUSEUM. Crafts: National Invitational Exhibition. April-May 1968. 23, (1)pp. Prof. illus. 4to. Wraps. Albuquerque, 1968. 6 ALBUQUERQUE. UNIVERSITY OF NEW MEXICO.