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Fractal 3D Magic Free
FREE FRACTAL 3D MAGIC PDF Clifford A. Pickover | 160 pages | 07 Sep 2014 | Sterling Publishing Co Inc | 9781454912637 | English | New York, United States Fractal 3D Magic | Banyen Books & Sound Option 1 Usually ships in business days. Option 2 - Most Popular! This groundbreaking 3D showcase offers a rare glimpse into the dazzling world of computer-generated fractal art. Prolific polymath Clifford Pickover introduces the collection, which provides background on everything from Fractal 3D Magic classic Mandelbrot set, to the infinitely porous Menger Sponge, to ethereal fractal flames. The following eye-popping gallery displays mathematical formulas transformed into stunning computer-generated 3D anaglyphs. More than intricate designs, visible in three dimensions thanks to Fractal 3D Magic enclosed 3D glasses, will engross math and optical illusions enthusiasts alike. If an item you have purchased from us is not working as expected, please visit one of our in-store Knowledge Experts for free help, where they can solve your problem or even exchange the item for a product that better suits your needs. If you need to return an item, simply bring it back to any Micro Center store for Fractal 3D Magic full refund or exchange. All other products may be returned within 30 days of purchase. Using the software may require the use of a computer or other device that must meet minimum system requirements. It is recommended that you familiarize Fractal 3D Magic with the system requirements before making your purchase. Software system requirements are typically found on the Product information specification page. Aerial Drones Micro Center is happy to honor its customary day return policy for Aerial Drone returns due to product defect or customer dissatisfaction. -
'Music and Remembrance: Britain and the First World War'
City Research Online City, University of London Institutional Repository Citation: Grant, P. and Hanna, E. (2014). Music and Remembrance. In: Lowe, D. and Joel, T. (Eds.), Remembering the First World War. (pp. 110-126). Routledge/Taylor and Francis. ISBN 9780415856287 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16364/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] ‘Music and Remembrance: Britain and the First World War’ Dr Peter Grant (City University, UK) & Dr Emma Hanna (U. of Greenwich, UK) Introduction In his research using a Mass Observation study, John Sloboda found that the most valued outcome people place on listening to music is the remembrance of past events.1 While music has been a relatively neglected area in our understanding of the cultural history and legacy of 1914-18, a number of historians are now examining the significance of the music produced both during and after the war.2 This chapter analyses the scope and variety of musical responses to the war, from the time of the war itself to the present, with reference to both ‘high’ and ‘popular’ music in Britain’s remembrance of the Great War. -
'Art of a Second Order': the First World War from the British Home Front Perspective
‘ART OF A SECOND ORDER’ The First World War From The British Home Front Perspective by RICHENDA M. ROBERTS A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham September 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Little art-historical scholarship has been dedicated to fine art responding to the British home front during the First World War. Within pre-war British society concepts of sexual difference functioned to promote masculine authority. Nevertheless in Britain during wartime enlarged female employment alongside the presence of injured servicemen suggested feminine authority and masculine weakness, thereby temporarily destabilizing pre-war values. Adopting a socio-historical perspective, this thesis argues that artworks engaging with the home front have been largely excluded from art history because of partiality shown towards masculine authority within the matrices of British society. Furthermore, this situation has been supported by the writing of art history, which has, arguably, followed similar premise. -
Mud Blood and Futility RUAE
PASSAGE 1 The passage is taken from the introduction to Peter Parker’s book “The Last Veteran”, published in 2009. The book tells the life story of Harry Patch, who fought in the First World War, and eventually became the last surviving soldier to have fought in the trenches. He died in 2009, aged 111. Mud, Blood and Futility At 11 a.m. on Monday 11 November 1918, after four and quarter years in which howitzers boomed, shells screamed, machine guns rattled, rifles cracked, and the cries of the wounded and dying echoed across the battlefields of France and Belgium, everything suddenly fell quiet. A thick fog had descended that 5 morning and in the muffled landscape the stillness seemed almost palpable. For those left alive at the Front – a desolate landscape in which once bustling towns and villages had been reduced to piles of smoking rubble, and acre upon acre of woodland reduced to splintered and blackened stumps – there was little cause for rejoicing. The longed-for day had finally arrived but most 10 combatants were too enervated to enjoy it. In the great silence, some men were able to remember and reflect on what they had been through. Others simply felt lost. The war had swallowed them up: it occupied their every waking moment, just as it was to haunt their dreams in the future. There have been other wars since 1918 and in all of them combatants have 15 had to endure privation, discomfort, misery, the loss of comrades and appalling injuries. Even so, the First World War continues to exert a powerful grip upon our collective imagination. -
World War I Photography As Historical Record Kimberly Holifield University of Southern Mississippi
SLIS Connecting Volume 7 Article 9 Issue 1 SLIS Connecting Special Issue: British Studies 2018 Through the Lens: World War I Photography as Historical Record Kimberly Holifield University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/slisconnecting Part of the Archival Science Commons, Collection Development and Management Commons, Information Literacy Commons, Scholarly Communication Commons, and the Scholarly Publishing Commons Recommended Citation Holifield, Kimberly (2018) "Through the Lens: World War I Photography as Historical Record," SLIS Connecting: Vol. 7 : Iss. 1 , Article 9. DOI: 10.18785/slis.0701.09 Available at: https://aquila.usm.edu/slisconnecting/vol7/iss1/9 This Article is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in SLIS Connecting by an authorized editor of The Aquila Digital Community. For more information, please contact [email protected]. Through the Lens: World War I Photography as Historical Record By Kimberly Holifield British Studies Research Paper July 2016 Readers: Dr. Matthew Griffis Dr. Teresa Welsh Figure 1. Unidentified German Official Photographer in a Shallow Trench, June 1917 (Imperial War Museum Collection, www.iwm.org.uk) Figure 2. First World War Exhibit, Imperial War Museum (Holifield, 2016) “Photography takes an instant out of time, altering life by holding it still.”—Dorothea Lange Introduction However, a shift toward photography as historical Quotations fill vacant spaces along the walls of the record has slowly begun to make its way through the First World War exhibit at the Imperial War Museum world of scholarship. In their 2009 article, Tucker and of London. -
A Christmas Truce-Themed Assembly 53
TEACHING THE 1914 CHRISTMAS TRUCES Lesson, assembly and carol service plans to help RESOURCE PACK teachers commemorate the 1914 Christmas Truces for the centenary of World War 1 TABLE OF CONTENTS Activity Plans Key Stage 3/4 31 How to use these resources 4 Creating Truce Images to the track of ‘Silent Night’ 32 Art / Music Introduction: A hopeful bit of history 6 Interrupting the War 34 The Martin Luther King Peace Committee 8 English / Creative Writing Christmas Truces Powerpoint: Information for Teachers 11 Christmas Truce Street Graffiti 37 Section 1: The War 12 Art Section 2: Opposing the War 13 Section 3: Combat and Trench Warfare 13 Research Local Participants via Letters to Newspapers 38 Section 4: The December 1914 Christmas Truces 14 History Activity Plans Key Stage 2/3 17 What’s the Point of Christmas Today? 40 Introduction to the Christmas Truces 18 RE / Ethics / PSE History / Moral Reflection Court Martial 41 Writing a Letter Home 20 History / Ethics / PSE English / History Overcoming Barbed Wire 44 Christmas Truces Game 22 Art P. E. Perceptions and Images of the Enemy 45 The Handshake 23 Art / PSE / History Art / Literacy Truce Words: Dominic McGill 46 Multi-session: Christmas Truce Re-enactment 24 Art History / P. E. / Ethics / Music / Languages / Drama Shared Elements of the Truces 47 Christmas Cakes for the Truces 26 Modern Languages Cookery Christianity and World War 1 48 Learning about Countries in 1914 28 RE / History / Ethics Geography The Christmas Gift 30 Fighting or Football 51 Art / Literacy History 2 A Christmas Truce-Themed Assembly 53 A School Carol Service 55 Appendices 60 Appendix 1: Images 60 Appendix 2: Eyewitness Testimonies 62 Appendix 3: Further Resources for Teachers 64 Appendix 4: Multi - Lingual Resources 65 3 HOW TO USE THESE RESOURCES The purpose of this pack is to provide teachers with concrete lesson plans as well as pointers and ideas for developing their own ways of bringing elements of the 1914 Christmas Truces to their schools’ programme between 2014 and 2018. -
Herramientas Para Construir Mundos Vida Artificial I
HERRAMIENTAS PARA CONSTRUIR MUNDOS VIDA ARTIFICIAL I Á E G B s un libro de texto sobre temas que explico habitualmente en las asignaturas Vida Artificial y Computación Evolutiva, de la carrera Ingeniería de Iistemas; compilado de una manera personal, pues lo Eoriento a explicar herramientas conocidas de matemáticas y computación que sirven para crear complejidad, y añado experiencias propias y de mis estudiantes. Las herramientas que se explican en el libro son: Realimentación: al conectar las salidas de un sistema para que afecten a sus propias entradas se producen bucles de realimentación que cambian por completo el comportamiento del sistema. Fractales: son objetos matemáticos de muy alta complejidad aparente, pero cuyo algoritmo subyacente es muy simple. Caos: sistemas dinámicos cuyo algoritmo es determinista y perfectamen- te conocido pero que, a pesar de ello, su comportamiento futuro no se puede predecir. Leyes de potencias: sistemas que producen eventos con una distribución de probabilidad de cola gruesa, donde típicamente un 20% de los eventos contribuyen en un 80% al fenómeno bajo estudio. Estos cuatro conceptos (realimentaciones, fractales, caos y leyes de po- tencia) están fuertemente asociados entre sí, y son los generadores básicos de complejidad. Algoritmos evolutivos: si un sistema alcanza la complejidad suficiente (usando las herramientas anteriores) para ser capaz de sacar copias de sí mismo, entonces es inevitable que también aparezca la evolución. Teoría de juegos: solo se da una introducción suficiente para entender que la cooperación entre individuos puede emerger incluso cuando las inte- racciones entre ellos se dan en términos competitivos. Autómatas celulares: cuando hay una población de individuos similares que cooperan entre sí comunicándose localmente, en- tonces emergen fenómenos a nivel social, que son mucho más complejos todavía, como la capacidad de cómputo universal y la capacidad de autocopia. -
Oh What a Lovely War Program
OH WHAT A LOVELY WAR by Theatre Workshop, Charles Chilton and the members of the original cast Oh What a Lovely War was first performed at the Theatre Royal, Stratford East, London on 19 March 1963. The idea for a chronicle of the First World War, told through the songs and documents of the time, was given flesh and blood in Joan Littlewood’s Theatre Workshop, where every produc- tion was the fruit of close co-operation between writer, actor and director. The whole team participated in detailed research into the period and in the creative task of bringing their material to life in theatrical terms. There is one intermission of 15 minutes THE ‘SHARPSTERS’ COMPANY Kevin Bartz Anthony Vessels Bryan “Boots” Connolly Sean M. Cummings Willa Bograd Jeff Garland Sophia M. Guerrero-Murphy Dustin Harvey Kaitlyn Jaffke Will Lehnertz Holly Marks Roger Miller Kelly Oury Bryan C. Nydegger Leihoku Pedersen Jeff Schreiner Phoebe Piper Scott Sharp Meredith Salimbeni SONGS - ACT I Row, Row, Row – Company We Don’t Want To Lose You – Women Belgium Put the Kibosh on the Kaiser – Willa Bograd (& Kevin Bartz, Jeff Garland, Roger Miller) Are We Downhearted? – Kevin Bartz, Bryan “Boots” Connolly, Jeff Schreiner, Tony Vessels Hold Your Hand Out, Naughty Boy – Women I’ll Make A Man Of You – Leihoku Pedersen & Women We’re ‘ere Because We’re ‘ere – Kevin Bartz, Bryan “Boots” Connolly, Holly Marks, Roger Miller, Will Lehnertz, Jeff Schreiner, Anthony Vessels Pack Up Your Troubles – Kevin Bartz, Bryan “Boots” Connolly, Roger Miller, Will Lehnertz, Jeff Schreiner, Anthony Vessels Hitchy Koo – Kelly Oury & Jeff Schreiner (Dancer) Heilige Nacht – Kevin Bartz, Sean M. -
Researching Your Bristolian Ancestors in the First World War a Guide
RESEARCHING YOUR BRISTOLIAN ANCESTORS IN THE FIRST WORLD WAR A GUIDE BRISTOL 2014 IN ASSOCIATION WITH BRISTOL & AVON FAMILY HISTORY SOCIETY WWW.BRISTOL2014.COM This guide to researching family history has been published as part of Bristol 2014, an extensive programme of activity marking the centenary of the start of the First World War. CONTENTS It has been researched and written by Eugene Byrne with the assistance of Geoff Gardiner of Bristol & Avon Family History Society. It is also available as a downloadable PDF from the Bristol 2014 website (www.bristol2014.com) along with a large-print version. Bristol 2014 is coordinated by Bristol Cultural Development Partnership. INTRODUCTION 5 The guide is provided free of charge thanks to the support of: THE BACKGROUND 6 Society of The First World War 6 Merchant Venturers Bristol’s Part in the War 8 The British Army in the First World War 10 Bristol’s Soldiers and Sailors 14 PREPARING TO RESEARCH 18 Rule 1: Find Out What You Already Have! 18 Thanks to Rebecca Clay, Ruth Hecht, Melanie Kelly, Amy O’Beirne, Sue Shephard, Zoe Steadman- Ideally You Need… 22 Milne and Glenys Wynne-Jones for proof-reading and commenting on drafts. What Am I Looking For? 23 Bristol 2014 is a partner in the First World War Partnership Programme (www.1914.org) RESEARCHING ONLINE 24 Starting Points 24 Genealogical Sites 24 War Diaries 25 Regimental Histories 26 Newspapers 26 Please note that Bristol 2014, Bristol Cultural Development Partnership and Bristol & Avon Family Women at War 27 History Society are not responsible for the content of external websites. -
Britains Last Tommies Pdf, Epub, Ebook
BRITAINS LAST TOMMIES PDF, EPUB, EBOOK Richard Van Emden | 384 pages | 29 Jun 2006 | Little, Brown Book Group | 9780349120126 | English | London, United Kingdom Britains Last Tommies PDF Book The book also features an outstanding collection of photographs taken of the veterans as soldiers during the war, together with recent images of almost all of them, taken at home, back on the Western Front or at the final veterans' reunion. The main theme from Schindler's List was used as the series' background score. Latest Releases Coming Soon Blog. You know the saying: There's no time like the present World War One Centenary. Wartime Memories Project One of the most profound books I have ever read -- it brought me to tears several times. Marlon Pytlovanciw rated it it was amazing Mar 05, Want to Read saving…. Community Reviews. Alex rated it really liked it Feb 16, Nicholas rated it really liked it Jan 18, Harrowing memories from the last of the surviving soldiers of the first world war. Settings Sign out. Rick rated it really liked it Dec 19, Search term:. British Broadcasting Corporation Home. Wonderful old men, the embers of a generation - like Harry Patch and Alfred Anderson, who was there for the famous Christmas ceasefire of - remember the fear, horror, the buddies who never came home, the biscuits and the bully beef. Original Title. It provides as a good a texture of the war and its conditions as one could ever hope for. Add to Basket. Tom Forsyth rated it it was amazing Dec 13, You don't want to look away in case, when you look back, it's gone. -
An Introduction to the Mandelbrot Set
An introduction to the Mandelbrot set Bastian Fredriksson January 2015 1 Purpose and content The purpose of this paper is to introduce the reader to the very useful subject of fractals. We will focus on the Mandelbrot set and the related Julia sets. I will show some ways of visualising these sets and how to make a program that renders them. Finally, I will explain a key exchange algorithm based on what we have learnt. 2 Introduction The Mandelbrot set and the Julia sets are sets of points in the complex plane. Julia sets were first studied by the French mathematicians Pierre Fatou and Gaston Julia in the early 20th century. However, at this point in time there were no computers, and this made it practically impossible to study the structure of the set more closely, since large amount of computational power was needed. Their discoveries was left in the dark until 1961, when a Jewish-Polish math- ematician named Benoit Mandelbrot began his research at IBM. His task was to reduce the white noise that disturbed the transmission on telephony lines [3]. It seemed like the noise came in bursts, sometimes there were a lot of distur- bance, and sometimes there was no disturbance at all. Also, if you examined a period of time with a lot of noise-problems, you could still find periods without noise [4]. Could it be possible to come up with a model that explains when there is noise or not? Mandelbrot took a quite radical approach to the problem at hand, and chose to visualise the data. -
Forgotten Voices of the Great War
Forgotten Voices of the Great War Personal accounts of the First World War by those who were there ‘When we did read the newspapers it made us angry, especially if you had done a big raid... Then you’d read in the papers ‘No action on the Western Front’. It didn’t seem to warrant, where you’d lost probably fifty men killed and an equal number wounded, a mention. It wasn’t big enough... It used to annoy everybody terribly, ‘Very little action on the Western Front.’ Lieutenant Ulrich Burke (2nd Battalion, Devonshire Regiment) All the following accounts were recorded from interviews made with the subjects in the 1970’s. I have grouped them according to theme or content, each showing aspects of the war as seen and experienced by those fighting at ‘the front’. They are not in chronological order. Choose an excerpt, read it, and be prepared to relate it, and your own feelings about it, to the rest of the class. Choose one excerpt only; but by all means read the others too. Excerpt 1: Joining Up Kitty Eckersley (British), mill worker I worked in the mill1, I was a ring-spinner, and we worked six days a week, from six oʼclock in the morning until half-past five at night, and I got the large sum of fifteen and six a week. Anyway, I had a nice friend, and we used to go out at night - and we met these two young men, and I liked mine very much and he liked me. So eventually we started courting..