Dwelling in the Dunes: Traditional Use of the Dune Shacks
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Cape Hatteras National Seashore
05 542745 ch05.qxd 3/23/04 9:01 AM Page 105 CHAPTER 5 Cape Hatteras National Seashore Driving along Hatteras and Ocracoke islands national seashore and other nature preserves are on a narrow strip of sand with the ocean close wild and beautiful. Being here, it’s easy to on both sides, you may think that the Outer imagine what it was like when the first English Banks are a geographic miracle. Why should colonists landed more than 400 years ago, or this razor-thin rim of sand persist far out in the when the Wright brothers flew the first airplane sea? How wild it seems, a land of windy beach over a century ago. Both events are well inter- with no end, always in motion, always vulner- preted at their sites. The area is fascinating eco- able to the next, slightly larger wave. There’s so logically, too. Here, north and south meet, the much here to see and learn, and so much soli- mix of ocean currents, climate, fresh and salt tude to enjoy. You’re like a passenger on an water, and geography creating a fabulous diver- enormous ship, and unpredictable nature is the sity of bird and plant life at places like the Pea captain. Island National Wildlife Refuge (p. 124) and Oddly, many people don’t see Cape Hatteras Nags Head Woods Ecological Preserve (p. 124). this way. When they think of the Outer Banks, In this sense, the area is much like Point Reyes, they think of Nags Head or Kill Devil Hills, its counterpart on the West Coast, covered in towns where tourist development has pushed chapter 21, “Point Reyes National Seashore.” right up to the edge of the sea and, in many And for children, the national seashore is a places, gotten really ugly. -
National Register of Historic Places Registration Form
NPS Form 10-900 ^^ OMB No. 1024-0018 United States Department of the Interior, National Park Service \ NATIONAL REGISTER OF HISTORIC PLACES REGISTRATION FORM This form is for use in nominating or requesting determinations of eligibility for individual properties or districts. See instructions in "Guidelines for Completing National Register Forms" (National Register Bulletin 16). Complete each item by marking "x" in the appropriate box or by entering the requested information. If an item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, styles, materials, and areas of significance, enter only the categories and subcategories listed in the instructions. For additional space use continuation sheets (Form 10-900a). Type all entries. 1. Name of Property_________________________{______________' historic name Lake Acworth Beach and Bathhouse other names/site number N/A NOV27T009 2. Location________________________________________________ street & number Lakeshore Drive city, town Acworth ( ) vicinity of county Cobb code 067 state Georgia code GA zip code 30101 ( ) not for publication 3. Classification____________________________________________ Ownership of Property: Category of Property: ( ) private ( ) building(s) (X) public-local (X) district ( ) public-state ( ) site (X) public-federal ( ) structure ( ) object Number of Resources within Property: Contributing Noncontributing buildings 1 1 sites 0 0 structures 1 4 objects 0 0 total 2 5 Contributing resources previously listed in the National Register: N/A Name of previous listing: N/A Name of related multiple property listing: N/A Lake Acworth Beach and Bathhouse, Cobb County, Georgia 4. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this nomination meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. -
GEOG 101 PLACE NAME LIST for EXAM THREE
GEOG 101 PLACE NAME LIST for EXAM THREE Each exam will have a place name location map section based on the list below, plus countries and political units. Consult the appropriate maps in the atlas and textbook to locate these places. The atlas has a detailed INDEX. Exam III will focus on place names from Asia and Oceania. This section of the exam will be in the form of a matching question. You will match the names to numbers on a map. ________________________________________________________________________________ I. CONTINENTS Australia Asia ________________________________________________________________________________ II. OCEANS Pacific Indian Arctic ________________________________________________________________________________ III. ASIA Seas/Gulfs/Bays/Lakes: Caspian Sea Sea of Japan Arabian Sea South China Sea Red Sea Aral Sea Lake Baikal East China Sea Bering Sea Persian Gulf Bay of Bengal Sea of Okhotsk ________________________________________________________________________________ Islands: New Guinea Taiwan Sri Lanka Singapore Maldives Sakhalin Sumatra Borneo Java Honshu Philippines Luzon Mindanao Cyprus Hokkaido ________________________________________________________________________________ Straits/Canals: Str. of Malacca Bosporas Dardanelles Suez Canal Str. of Hormuz ________________________________________________________________________________ Rivers: Huang Yangtze Tigris Euphrates Amur Ob Mekong Indus Ganges Brahmaputra Lena _______________________________________________________________________________ Mountains, Plateaus, -
Sea-Level Rise for the Coasts of California, Oregon, and Washington: Past, Present, and Future
Sea-Level Rise for the Coasts of California, Oregon, and Washington: Past, Present, and Future As more and more states are incorporating projections of sea-level rise into coastal planning efforts, the states of California, Oregon, and Washington asked the National Research Council to project sea-level rise along their coasts for the years 2030, 2050, and 2100, taking into account the many factors that affect sea-level rise on a local scale. The projections show a sharp distinction at Cape Mendocino in northern California. South of that point, sea-level rise is expected to be very close to global projections; north of that point, sea-level rise is projected to be less than global projections because seismic strain is pushing the land upward. ny significant sea-level In compliance with a rise will pose enor- 2008 executive order, mous risks to the California state agencies have A been incorporating projec- valuable infrastructure, devel- opment, and wetlands that line tions of sea-level rise into much of the 1,600 mile shore- their coastal planning. This line of California, Oregon, and study provides the first Washington. For example, in comprehensive regional San Francisco Bay, two inter- projections of the changes in national airports, the ports of sea level expected in San Francisco and Oakland, a California, Oregon, and naval air station, freeways, Washington. housing developments, and sports stadiums have been Global Sea-Level Rise built on fill that raised the land Following a few thousand level only a few feet above the years of relative stability, highest tides. The San Francisco International Airport (center) global sea level has been Sea-level change is linked and surrounding areas will begin to flood with as rising since the late 19th or to changes in the Earth’s little as 40 cm (16 inches) of sea-level rise, a early 20th century, when climate. -
The Artist and the American Land
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c. -
New Hampshire River Protection and Energy Development Project Final
..... ~ • ••. "'-" .... - , ... =-· : ·: .• .,,./.. ,.• •.... · .. ~=·: ·~ ·:·r:. · · :_ J · :- .. · .... - • N:·E·. ·w··. .· H: ·AM·.-·. "p• . ·s;. ~:H·1· ··RE.;·.· . ·,;<::)::_) •, ·~•.'.'."'~._;...... · ..., ' ...· . , ·....... ' · .. , -. ' .., .- .. ·.~ ···•: ':.,.." ·~,.· 1:·:,//:,:: ,::, ·: :;,:. .:. /~-':. ·,_. •-': }·; >: .. :. ' ::,· ;(:·:· '5: ,:: ·>"·.:'. :- .·.. :.. ·.·.···.•. '.1.. ·.•·.·. ·.··.:.:._.._ ·..:· _, .... · -RIVER~-PR.OT-E,CT.10-N--AND . ·,,:·_.. ·•.,·• -~-.-.. :. ·. .. :: :·: .. _.. .· ·<··~-,: :-:··•:;·: ::··· ._ _;· , . ·ENER(3Y~EVELOP~.ENT.PROJ~~T. 1 .. .. .. .. i 1·· . ·. _:_. ~- FINAL REPORT··. .. : .. \j . :.> ·;' .'·' ··.·.· ·/··,. /-. '.'_\:: ..:· ..:"i•;. ·.. :-·: :···0:. ·;, - ·:··•,. ·/\·· :" ::;:·.-:'. J .. ;, . · · .. · · . ·: . Prepared by ~ . · . .-~- '·· )/i<·.(:'. '.·}, •.. --··.<. :{ .--. :o_:··.:"' .\.• .-:;: ,· :;:· ·_.:; ·< ·.<. (i'·. ;.: \ i:) ·::' .::··::i.:•.>\ I ··· ·. ··: · ..:_ · · New England ·Rtvers Center · ·. ··· r "., .f.·. ~ ..... .. ' . ~ "' .. ,:·1· ,; : ._.i ..... ... ; . .. ~- .. ·· .. -,• ~- • . .. r·· . , . : . L L 'I L t. ': ... r ........ ·.· . ---- - ,, ·· ·.·NE New England Rivers Center · !RC 3Jo,Shet ·Boston.Massachusetts 02108 - 117. 742-4134 NEW HAMPSHIRE RIVER PRO'l'ECTION J\ND ENERGY !)EVELOPMENT PBOJECT . -· . .. .. .. .. ., ,· . ' ··- .. ... : . •• ••• \ ·* ... ' ,· FINAL. REPORT February 22, 1983 New·England.Rivers Center Staff: 'l'bomas B. Arnold Drew o·. Parkin f . ..... - - . • I -1- . TABLE OF CONTENTS. ADVISORY COMMITTEE MEMBERS . ~ . • • . .. • .ii EXECUTIVE -
Critic's Guide: New York | Frieze
Advertisement Critics’ Guides / Critic’s Guide: New York BY J O S E P H I N E G R A F 7 N O V 2 0 1 7 From re-examined positions, to explorations of gender and energy: a roundup of the best shows across the city Lewis Stein, Untitled c.1972/2017, installation view, ‘Works from 1968-1979’, ESSEX STREET, New York. Courtesy: ESSEX STREET, New York; photograph: Jason Mandella Lewis Stein, ‘Works from 1968–1979’ ESSEX STREET <https://frieze.com/event/lewis-stein> 29 October – 22 December 2017 Having found success as a painter in the 1960s, New York-based artist Lewis Stein went on to reconsider the readymade by cooly transplanting overlooked urban objects – a street lamp, stanchions, a wooden billy club – into the gallery. This show gathers key works from 1968 to 1979 and makes a compelling argument for revisiting Stein’s oeuvre. Stein separates the readymade from its Duchampian irony, revealing instead how everyday objects can guide visibility and delimit movement in a subtle and concise form of policing. The exhibition’s force resides less in the objects themselves than in their effect on the body of the viewer that must negotiate them, for example skirting a barrier (Untitled, c.1972) or squinting against a blinding street light (Untitled, c.1979–80). There’s a productive relationship to younger artists on the gallery’s roster, too, such as Park McArthur and Cameron Rowland, each of whom mine histories of control held within the seemingly benign. Barbara Hammer, Bowsprit, Hornby Island, British Columbia, 1972, 2017, silver gelatin print, 39 x 58 cm. -
(405) 527-0640 (580) 476-3033 (580) 759-3331
Ready-Made Adventures. Take the guesswork out of your getaway. AdventureRoad.com features more than 50 Oklahoma road trips for every interest, every personality and every budget. All the planning’s done — all you have to do is hit the road. AdventureRoad.com #MyAdventureRoad Adventure Road @AdventureRoadOK @AdventureRoad UNI_16-AR-068_CNCTVisitorsGuide2017_Print.indd 1 8/19/16 4:38 PM Ready-Made Adventures. Take the guesswork out of your getaway. AdventureRoad.com features more than 50 Oklahoma road trips for every interest, every personality and every budget. All the planning’s done — all you have to do is hit the road. 3 1 2O 23 31 4₄ Earth 1Air Golf Fire Water Listings Northeast Southwest Courses Northwest Southeast Businesses CHICKASAW COUNTRY CHICKASAW COUNTRY Distances from major regional cities to the GUIDE 2017 GUIDE 2017 Chickasaw Nation Welcome Center in Davis, OK Miles Time Albuquerque, NM 577 8hrs 45min Amarillo, TX 297 4hrs 44min Austin, TX 316 4hrs 52min Branson, MO 394 5hrs 42min Colorado Springs, CO 663 10hrs 7min CHICKASAWCOUNTRY.COM CHICKASAWCOUNTRY.COM Dallas, TX 134 2hrs 15min HAVE YOU SEEN OUR COVERS? We've designed four unique covers - one for each quadrant of Fort Smith, AR 213 3hrs 23min Chickasaw Country - Northeast (Earth), Southwest (Air), Northwest (Fire) and Southeast (Water). Houston, TX 374 5hrs 30min Each cover speaks to the element that's representative of that quadrant. Joplin, MO 287 4hrs 12min Return to your roots in Earth. Let your spirit fly in Air. Turn up the heat in Fire. Make a splash in Water. Kansas City, MO 422 5hrs 57min Each quadrant of Chickasaw Country offers some of the best attractions, festivals, shops, restaurants Little Rock, AR 369 5hrs 31min and lodging in Oklahoma. -
1767-1967 Annual Report, Campton, New Hampshire, Year Ending
1767—1967 Annual Report CAMPION NEW HAMPSHIRE TOWN HOUSE - 1967 YEAR ENDING December 31, 1966 CAMPTON CENTENNIAL CELEBRATION 1867 At the annual Town Meeting, held in March, 1867, the town of Campton passed the following vote. To make arrangements for celebrating the One Hundredth Anniversary of the settlement of the Town. The picture of the gathering is printed here. iiiiniiviiiiismu the 200th MIMSM of the Settlement of the TOWS OF C11IPT0N Map of Township of Campton The river through the map was referred to as "The Great River" West about 4j Miles Plan of Campton 2 5,000 Acres 2ast 6 Miles Nv E» Corner Holderness The north boundary of the town, at the river shows a drop on the West bank and all maps since the original has this offset. The story handed down is that the men running the line from the north east corner to the river met up with some exceptionally good cider, on crossing the river in a boat, and in midstream all land marks looked alike, and not taking into consideration the current, on reaching the west bank they started for the north east corner of Rumney. — — In its 200th year of Existence CAMPTOK'S ORIGINAL CHARTER GRANTED 1767—JANUARY 5 Province of New Hampshire, George the Third by the Grace of God of Great Brittain, France, and Ireland King. Defender of the Faith &c. —To all Persons to whom these Present shall come—Greetings Know Ye that we of our Special Grace certain knowledge and meer motion, for the due encouragement for settling a new Plantation within our said Province, by and with the advice of our truly and well beloved BENNING WENTWORTH Esq. -
Max Ginsburg at the Salmagundi Club by RAYMOND J
Raleigh on Film; Bethune on Theatre; Behrens on Music; Seckel on the Cultural Scene; Critique: Max Ginsburg; Lille on René Blum; Wersal ‘Speaks Out’ on Art; Trevens on Dance Styles; New Art Books; Short Fiction & Poetry; Extensive Calendar of Events…and more! ART TIMES Vol. 28 No. 2 September/October 2011 Max Ginsburg at The Salmagundi Club By RAYMOND J. STEINER vening ‘social comment’ — “Caretak- JUST WHEN I begin to despair about ers”, for example, or “Theresa Study” the waning quality of American art, — mostly he chooses to depict them in along comes The Salmagundi Club extremities — “War Pieta”, “The Beg- to raise me out of my doldrums and gar”, “Blind Beggar”. His images have lighten my spirits with a spectacular an almost blinding clarity, a “there- retrospective showing of Max Gins- ness” that fairly overwhelms the burg’s paintings*. Sixty-plus works viewer. Whether it be a single visage — early as well as late, illustrations or a throng of humanity captured en as well as paintings — comprise the masse, Ginsburg penetrates into the show and one would be hard-pressed very essence of his subject matter — to find a single work unworthy of what the Germans refer to as the ding Ginsburg’s masterful skill at classical an sich, the very ur-ground of a thing representation. To be sure, the Sal- — to turn it “inside-out”, so to speak, magundi has a long history of exhib- so that there can be no mistaking his iting world-class art, but Ginsburg’s vision or intent. It is to a Ginsburg work is something a bit special. -
Mirrorshade Women: Feminism and Cyberpunk
Mirrorshade Women: Feminism and Cyberpunk at the Turn of the Twenty-first Century Carlen Lavigne McGill University, Montréal Department of Art History and Communication Studies February 2008 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Doctor of Philosophy in Communication Studies © Carlen Lavigne 2008 2 Abstract This study analyzes works of cyberpunk literature written between 1981 and 2005, and positions women’s cyberpunk as part of a larger cultural discussion of feminist issues. It traces the origins of the genre, reviews critical reactions, and subsequently outlines the ways in which women’s cyberpunk altered genre conventions in order to advance specifically feminist points of view. Novels are examined within their historical contexts; their content is compared to broader trends and controversies within contemporary feminism, and their themes are revealed to be visible reflections of feminist discourse at the end of the twentieth century. The study will ultimately make a case for the treatment of feminist cyberpunk as a unique vehicle for the examination of contemporary women’s issues, and for the analysis of feminist science fiction as a complex source of political ideas. Cette étude fait l’analyse d’ouvrages de littérature cyberpunk écrits entre 1981 et 2005, et situe la littérature féminine cyberpunk dans le contexte d’une discussion culturelle plus vaste des questions féministes. Elle établit les origines du genre, analyse les réactions culturelles et, par la suite, donne un aperçu des différentes manières dont la littérature féminine cyberpunk a transformé les usages du genre afin de promouvoir en particulier le point de vue féministe. -
TITLE AUTHOR SUBJECTS Adult Fiction Book Discussion Kits
Adult Fiction Book Discussion Kits Book Discussion Kits are designed for book clubs and other groups to read and discuss the same book. The kits include multiple copies of the book and a discussion guide. Some kits include Large Print copies (noted below in the subject area). Additional Large Print, CDbooks or DVDs may be added upon request, if available. The kit is checked out to one group member who is responsible for all the materials. Book Discussion Kits can be reserved in advance by calling the Adult Services Department, 314-994-3300 ext 2030. Kits may be picked up at any SLCL location, and should be returned inside the branch during normal business hours. To check out a kit, you’ll need a valid SLCL card. Kits are checked out for up to 8 weeks, and may not be renewed. Up to two kits may be checked out at one time to an individual. Customers will not receive a phone call or email when the kit is ready for pick up, so please note the pickup date requested. To search within this list when viewing it on a computer, press the Ctrl and F keys simultaneously, then type your search term (author, title, or subject) into the search box and press Enter. Use the arrow keys next to the search box to navigate to the matches. For a full plot summary, please click on the title, which links to the library catalog. New Book Discussion Kits are in bold red font, updated 11/19. TITLE AUTHOR SUBJECTS 1984 George Orwell science fiction/dystopias/totalitarianism Accident Chris Pavone suspense/spies/assassins/publishing/manuscripts/Large Print historical/women