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A Sensory Education
A Sensory Education A Sensory Education takes a close look at how sensory awareness is learned and taught in expert and everyday settings around the world. Anna Harris shows that our sensing is not innate or acquired, but in fact evolves through learning that is shaped by social and material relations. The chapters fea- ture diverse sources of sensory education, including field manuals, man- nequins, cookbooks and flavour charts. The examples range from medical training and forest bathing to culinary and perfumery classes. Offering a valuable guide to the uncanny and taken-for-granted ways in which adults are trained to improve their senses, this book will be of interest to disci- plines including anthropology and sociology as well as food studies and sensory studies. Anna Harris is an Associate Professor in the Department of Society Studies at Maastricht University, the Netherlands. Sensory Studies Series editor: David Howes This series comprises cutting-edge case studies and syntheses in the emer- gent field of sensory studies. It provides an invaluable resource for those in- volved in research or teaching on the senses as object of study and/or means of inquiry. Embracing the insights of a wide array of humanities and social science disciplines, the field of sensory studies has emerged as the most com- prehensive and dynamic framework yet for making sense of human experi- ence. This series offers something for every disciplinary taste and sensory inclination. Sensory Arts and Design Ian Heywood Food and Multiculture A Sensory Ethnography of East London Alex Rhys-Taylor Heritage Formation and the Senses in Post-Apartheid South Africa Aesthetics of Power Duane Jethro Race and the Senses The Felt Politics of Racial Embodiment Sachi Sekimoto, Christopher Brown A Sensory Education Anna Harris Sounding Out Japan A Sensory Ethnographic Tour Richard Chenhall, Tamara Kohn and Carolyn S. -
Download Book of Abstracts
AIC LISBOA 2018 colour & human comfort AIC Interim Meeting I 25-29 September 2018 I Lisbon, Portugal I www. aic 2018.0rg AIC LISBOA 2018 colour & human comfort Abstracts of the International Colour Association (AIC) Conference 2018 Lisbon, PORTUGAL 25 – 29 September 2018 Sponsored by Associação Portuguesa da Cor (APC) Published by International Colour Association (AIC) associação portuguesa da cor This publication includes Abstracts of the keynote, oral and poster papers presented in the International Colour Association (AIC) Conference 2018. The theme of the conference was Colour and Human Comfort. The conference, organised by the Associação Portuguesa da Cor (APC), was held in Lisbon, Portugal on 25-29 September 2018. More information in: www.aic2018.org. GRAPHIC DESIGN Cover and Layout - Luisa Costa and Cristina Pinheiro Edition - Margarida Gamito Assistent in Edition - Joana Sousa and Miguel Sanches © 2018 International Colour Association (AIC) International Colour Association Incorporated PO Box 764 Newtown NSW 2042 Australia www.aic-colour.org All rights reserved. DISCLAIMER Matters of copyright for all images and text associated with the papers within the Proceedings of the International Colour Association (AIC) 2018 and Book of Abstracts are the responsibility of the authors. The AIC does not accept responsibility for any liabilities arising from the publica- tion of any of the submissions. COPYRIGHT Reproduction of this document or parts thereof by any means whatsoever is prohibited without the written permission of the International -
Glossary of Meteorological Terms
Reference Glossary of Meteorological Terms A Aerial: Of or pertaining to the air, atmosphere, or aviation. Also, same as antenna. Absolute humidity: In a system of moist air, the ratio of the Aerograph: In general, any self-recording instrument carried mass of water vapor to the total volume of the system. Usually aloft by any means to obtain meteorological data. expressed as grams per cubic meter (g/m3). Aerometeorograph: A self-recording instrument used on Absolute instrument: An instrument whose calibration can be aircraft for the simultaneous recording of atmospheric determined by means of simple physical measurements on the pressure, temperature, and humidity. instrument. Compare to secondary instrument. AFOS: Automation of Field Operations and Services. A Absolute temperature: Temperature based on an absolute scale. communication system developed in the 1970s by the National Absolute temperature scale: A temperature scale based on Weather Service which utilized minicomputers, video displays, absolute zero. See Kelvin temperature scale. and high-speed communications to replace teletype and facsimile Absolute zero: A hypothetical temperature characterized by a machines. It was replaced by AWIPS in the 1990s. complete absence of heat and defined as 0°K, -273.15°C, or Air current: Very generally, any moving stream of air. It has -459.67°F. no particular technical connotation. Absorption: The process in which incident radiation is retained Air density: The mass density of a parcel of air expressed in by a substance. A further process always results from absorption. units of mass per volume. Absorption hygrometer: A type of hygrometer which Airlight formula: See Koschmieder’s law. -
EDUCATION KIT Artists and Their Artworks
EDUCATION KIT Artists and their Artworks Margarita Sampson | NSW Mimi Dennett | NSW Sally Kidall | NSW Elyssa Sykes-Smith | NSW Jette Mellgren | Denmark Anne-Mette Nyland | Norway Mikaela Castledine | WA Jane Gillings | NSW Barbara Licha | NSW Alice McAuliffe | NSW Margarita Sampson | NSW Dearest PRIMARY Steel, wood, ply, structural foam, fibreglass, textiles Is the lounge chair scary or comfy? (180 height x 240 width x 120 depth) Discuss how the sculpture makes us “The key passion that drives my work is expressing my sense of think about indoors and outdoors, humans and animals. connection to the world around us, and my sadness and fear at the loss of biodiversity.” Why has the Artist chosen this location to install and exhibit her work? Dearest is a work which derives from a series of ‘chair’ sculptures I have been working on At school research the life and habitat for about five years. I like using chairs as an anchoring concept in my work because it’s a of a small animal. Draw pictures of way of suggesting the human body without necessarily having one - chairs have ‘backs’ their world and make notes. Use what and ‘arms’ and ‘legs’ and a body. Sometimes we can see something more clearly if it’s a you have found out to write a story little sideways. In the Anemone Incursions chair series I look at the natural world and about a human who wakes up one day imagine it applied to the domestic spaces we set up, inside our ‘safety zone’, and develop living in the world of a small animal. -
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WAVE BOOKS SEATTLE AND NEW YORK MAGGIE NELS ON BLUETS PUBLISHED BY WAVE BOOKS WWW . WAVEPOETRY.COM COPYRIGHT© 2009 BY MAGGIE NELSON ALL RIGHTS RESERVED WAVE BOOKS TITLES ARE DISTRIBUTED TO THE TRADE BY CONSORTIUM BOOK SALES AND DISTRIBUTION PHONE: 8oo 283 3572 I SAN 631 76ox THIS TITLE IS AVAILABLE IN LIMITED EDITION HARDCOVER DIRECTLY FROM THE PUBLISHER LIBRARY OF CONGRESS CATALOGING-IN PUBLICATION DATA NELSON, MAGGIE, 1973 BLUETS I MAGGIE NELSON. 1ST ED. P. CM. ISBN 978-1 933517 40-7 (PBK. ALK. PAPER ) I. TITLE. PS3564.E4687B56 2009 8n'.54 Dc22 2009005830 DESIGNED AND COMPOSED BY QUEMADURA PRINTED IN THE UNITED STATES OF AMERICA 9 8 7 6 5 4 3 2 FIRST EDITION WAVE BOOKS 020 And were it trne, we do not think all philosophy is worth one hour of pain. PAscAL, Pensees 1. Suppose I were to begin by saying that I had fallen in love with a color. Suppose I were to speak this as though it were a confession; suppose I shredded my napkin as we spoke. It began slowly. An appreciation, an affinity. Then, one day, it became more serious. Then (looking into an empty teacup, its bottom stained with thin brown excre ment coiled into the shape of a sea horse) it became some how personal. 2. And so I fell in love with a color-in this case, the color blue-as if falling under a spell, a spell I fought to stay un der and get out from under, in turns. BLU ETS 3· Well, and what of it? A voluntary delusion, you might say.