DOCSLIB.ORG

MILDRED THOMPSON Resonance, Selected Works from the 1990S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MILDRED THOMPSON Resonance, Selected Works from the 1990S CURRICULUM GUIDE GRADES K- 12 MILDRED THOMPSON Resonance, Selected Works from the 1990s JUNE 23 – OCT. 2, 2016 SCAD: The University for Creative Careers The Savannah College of Art and Design is a private, nonprofit, accredited institution conferring bachelor’s and master’s degrees at distinctive locations and online to prepare talented students for professional careers. SCAD offers degrees in 42 majors, as well as minors in more than 70 disciplines across its locations in Savannah and Atlanta, Georgia; in Hong Kong; in Lacoste, France; and online through SCAD eLearning. With more than 32,000 alumni worldwide, SCAD demonstrates an exceptional education and unparalleled career preparation. The diverse student body, consisting of more than 12,000 students, comes from across the U.S. and more than 100 countries worldwide. Each student is nurtured and motivated by a faculty of nearly 700 professors with extraordinary academic credentials and valuable professional experience. These professors emphasize learning through individual attention in an inspiring university environment. The innovative SCAD curriculum is enhanced by advanced, professional-level technology, equipment and learning resources, and has garnered acclaim from respected organizations and publications, including 3D World, American Institute of Architects, Businessweek, DesignIntelligence, U.S. News & World Report and the Los Angeles Times. For more information, visit scad.edu. Cover image: Mildred Thompson, Magnetic Fields, c. 1990–92, courtesy of Don Roman, Stone Mountain, Georgia. Table of Contents About the SCAD Museum of Art 1 About the Artist 3 About the Curriculum Guide 5 Learning Activities 1. Explore emotional energy in lines 6 2. Apply geometric language to abstraction 8 3. Make the invisible visible 10 4. Interpret abstract painting through jazz 12 National Core Arts Standards 16 Glossary 18 Curriculum Connections 20 Artist Image Credits 22 Related SCAD Degree Programs 24 Sketches and Notes 27 Museum Map 30 2 About the SCAD Museum of Art The SCAD Museum of Art showcases work by acclaimed Museum awards artists, providing opportunities for students from all majors to learn from art world luminaries and expand their artistic Since opening its doors in October 2011, the renovated points of view. museum has been celebrated for its inspired architecture and design, world-class exhibitions, and visionary Mounting more than 20 exhibitions each year, the museum community outreach and education programs that enrich has presented solo exhibitions by such renowned artists art enthusiasts, educators and students of all ages. as Jane Alexander, Uta Barth, Lynda Benglis, Alfredo Jaar, Sigalit Landau, Liza Lou, Angel Otero, Yinka Shonibare SCAD is proud to be recognized by the following: MBE, Kehinde Wiley and Fred Wilson, curated alongside American Institute of Architects Institute Honor Award ever-changing, site-specific installations by such artists • for Architecture as Daniel Arsham, Kendall Buster, Ingrid Calame and Odili Donald Odita. Additionally, the André Leon Talley Gallery • American Institute of Architects South Atlantic Region, has hosted such couture exhibitions as Little Black Dress, Design Award Oscar de la Renta: His Legendary World of Style and Vivienne • American Institute of Architects-Savannah chapter, Westwood’s Dress Up Story — 1990 Until Now. The museum’s Honor Award (top honor awarded) permanent collection includes the Walter O. Evans Collection • American Concrete Institute-Georgia chapter, first place of African American Art, the Modern and Contemporary in restoration category Art Collection, the Earle W. Newton Collection of British • Congress for the New Urbanism, Charter Award and American Art, the 19th- and 20th-century Photography Collection and the SCAD Costume Collection. • Historic Savannah Foundation, Preservation Award • International Interior Design Association-Georgia The museum building itself is a work of art, demonstrating chapter, Best of the Best Forum Design Award and Best the university’s ongoing commitment to historic of the Best Forum Award (education category) preservation and adaptive reuse. Constructed in 1853, the • National Trust for Historic Preservation, National original walls feature handmade Savannah gray bricks, Preservation Award forming the oldest surviving antebellum railroad depot • Southeastern Museums Conference Exhibition in the country. In 2011, this National Historic Landmark Competition, Certificate of Commendation for the was transformed into an award-winning, modern museum outstanding exhibit Pose/Re-pose: Figurative Works building by architect Christian Sottile, a SCAD alumnus and Then and Now dean of the SCAD School of Building Arts. • Southeastern Museums Conference Publication SCAD students are the heart of this teaching museum; Competition, 2012 Gold Award, outstanding design, for they attend academic classes and career workshops, the Walter O. Evans Center for African American Studies lecture series, film screenings, gallery talks and annual Curriculum and Resource Guide events within its storied walls. SCAD students also serve • American Alliance of Museums’ 2015 Museum Publications as museum docents, welcoming visitors, interpreting Design Competition, first place (educational resources the exhibitions and interacting with illustrious museum category) for the SCAD curriculum guide accompanying guests. As a center for cultural dialogue, the SCAD Museum the exhibition Divine Comedy: Heaven, Purgatory and Hell of Art engages students through dynamic, interdisciplinary Revisited by Contemporary African Artists educational experiences. 1 2 About the Artist The SCAD Museum of Art presents Mildred Thompson: Although she was born in Jacksonville, Florida, Resonance, Selected Works from the 1990s, an Thompson spent most of her career in Germany and exhibition featuring artwork by prolific American artist France to be freer from the racial discrimination she Mildred Thompson (1936–2003). Over several decades, faced in the United States. She spent the last 15 years Thompson devoted her artistic practice to exploring of her life in Atlanta, Georgia, where she worked as the and expanding the language of nonrepresentational associate editor of ART PAPERS magazine and taught at abstraction. This exhibition presents a selection of Spelman College, Agnes Scott College and the Atlanta works from the 1990s that collectively represent her College of Art, while producing accomplished bodies highly developed visual language. of work in fine art and music. Her work is included in the permanent collections of the Smithsonian American Defined by dynamic mark-making, complex uses of Art Museum and Howard University in Washington, color and vast atmospheres, Thompson’s immersive D.C., and the Museum of Modern Art and the Brooklyn imagery created in the media of painting, drawing Museum in New York. and printmaking, is inspired by scientific theories and universal systems. As exemplified in the works on view, Mildred Thompson: Resonance, Selected Works from Thompson sought to interpret and visualize elements the 1990s is curated by Melissa Messina, interim and experiences invisible to the naked eye, with a executive director of the SCAD Museum of Art and particular affinity for the subjects of space and sound. Savannah exhibitions. In painting series such as Music of the Spheres, String Theory and Magnetic Fields, Thompson deftly and uniquely makes manifest ideas related to philosophy, physics, mathematics and astronomy in stylistic improvisations of lasting resonance. With the renewed curatorial and academic interest in the African-American contribution to the history of abstraction, Mildred Thompson: Resonance, Selected Works from the 1990s, presented in the Walter O. Evans Center for African American Studies, is a remarkable opportunity to expand this dialogue by celebrating the work of an under-recognized historical figure. Left: Mildred Thompson c. 1960, courtesy of the Mildred Thompson Estate, Atlanta, Georgia. 3 4 About the Curriculum Guide SCAD curriculum guides provide learning opportunities This Mildred Thompson guide explores the artist’s that fulfill the requirements of National Core Arts abstract paintings, prints and drawings from the 1990s Standards and are designed for use within the museum’s and illuminates her interpretation of the unseen world exhibition spaces and in classrooms. The guides enhance in physics. Thompson’s artworks provide the foundation understanding of art and design through investigations for activities inspired by expressive abstraction and the that reveal relevant personal, historical and cultural universal harmonies found within art, science and music. connections while promoting cross-disciplinary links necessary for today’s innovative careers. Recognizing the guides’ high standard of quality, the American Alliance of Museums’ 2015 Museum Publications Design Competition awarded first place in the education category to the SCAD curriculum guide for the exhibition Divine Comedy: Heaven, Purgatory and Hell Revisited by Contemporary African Artists. Left: Mildred Thompson, Heliocentric III, 1993 National Core Arts Standards are listed on page 16. Highlighted glossary terms may be found on page 18. Additional learning resources are located in the Curriculum Connections section on pages 20–21. Full artist image credits are recorded on page 22. 5 1 Explore emotional energy in lines Grades K-2 “The working together of the mind, the eye, the hand, and the controlled freedom of exploring
Load more

Recommended publications
  • A Search and Retrieval Based Approach to Music Score Metadata Analysis
    A Search and Retrieval Based Approach to Music Score Metadata Analysis Jamie Gabriel FACULTY OF ARTS AND SOCIAL SCIENCES UNIVERSITY OF TECHNOLOGY SYDNEY A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy April 2018 CERTIFICATE OF ORIGINAL AUTHORSHIP I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as part of the collaborative doctoral degree and/or fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. This research is supported by the Australian Government Research Training Program. Production Note: Signature: Signature removed prior to publication. _________________________________________ Date: 1/10/2018 _________________________________________ i ACKNOWLEGEMENT Undertaking a dissertation that spans such different disciplines has been a hugely challenging endeavour, but I have had the great fortune of meeting some amazing people along the way, who have been so generous with their time and expertise. Thanks especially to Arun Neelakandan and Tony Demitriou for spending hours talking software and web application architecture. Also, thanks to Professor Dominic Verity for his deep insights on mathematics and computer science and helping me understand how to think about this topic in new ways, and to Professor Kelsie Dadd for providing me with some amazing opportunities over the last decade.
    [Show full text]
  • The Art Show 2018 Press
    DOWNLOAD HI-RES IMAGES AT: HTTP://BIT.LY/2EVIOWJ THE ART SHOW 2018 HIGHLIGHTS 303 GALLERY D8 ALTMAN SIEGEL D20 Mary Heilmann Liam Everett 303 Gallery presents a solo exhibition of Altman Siegel presents a solo booth of new works by Mary Heilmann, whose highly work by Liam Everett. Building on investiga- inventive approach to abstraction has tions explored in his 2017 solo exhibition at made her one of the foremost painters SFMOMA, Everett will present a suite of new of her generation. Recent paintings, glazed paintings that unfold interrelated systems and ceramics and an arrangement of furniture made interpretations of support. Everett’s installation by the artist appear alongside several examples will continue along these investigative threads: in these mediums from previous decades. By jux- the physical act of supporting a painting and taposing new works with historic ones, the exhibition the routine practice an artist undertakes daily, becomes a storyboard, charting the evolution of her as well as pedagogical rituals shaped through practice while allowing visitors to draw parallels across rehearsal. Focused on what he calls “systems time periods. Brightly colored chairs transform the booth of support,” Everett’s framed paintings—like into a social space akin to a living room or the artist’s studio, previous bodies of work—will implicate the floor, inviting viewers to relax and spend time in Heilmann’s world. wall and body, exposing the animate qualities of 1 3 the artworks and affirming his interest in investi- Mary Heilmann. Shadow Cup 2, 1985. Glazed ceramic, 21 ⁄4 × 24 × 1 ⁄4 in. © Mary Heilmann.
    [Show full text]
  • Trevor Tolley Jazz Recording Collection
    TREVOR TOLLEY JAZZ RECORDING COLLECTION TABLE OF CONTENTS Introduction to collection ii Note on organization of 78rpm records iii Listing of recordings Tolley Collection 10 inch 78 rpm records 1 Tolley Collection 10 inch 33 rpm records 43 Tolley Collection 12 inch 78 rpm records 50 Tolley Collection 12 inch 33rpm LP records 54 Tolley Collection 7 inch 45 and 33rpm records 107 Tolley Collection 16 inch Radio Transcriptions 118 Tolley Collection Jazz CDs 119 Tolley Collection Test Pressings 139 Tolley Collection Non-Jazz LPs 142 TREVOR TOLLEY JAZZ RECORDING COLLECTION Trevor Tolley was a former Carleton professor of English and Dean of the Faculty of Arts from 1969 to 1974. He was also a serious jazz enthusiast and collector. Tolley has graciously bequeathed his entire collection of jazz records to Carleton University for faculty and students to appreciate and enjoy. The recordings represent 75 years of collecting, spanning the earliest jazz recordings to albums released in the 1970s. Born in Birmingham, England in 1927, his love for jazz began at the age of fourteen and from the age of seventeen he was publishing in many leading periodicals on the subject, such as Discography, Pickup, Jazz Monthly, The IAJRC Journal and Canada’s popular jazz magazine Coda. As well as having written various books on British poetry, he has also written two books on jazz: Discographical Essays (2009) and Codas: To a Life with Jazz (2013). Tolley was also president of the Montreal Vintage Music Society which also included Jacques Emond, whose vinyl collection is also housed in the Audio-Visual Resource Centre.
    [Show full text]
  • Press Release for Immediate Release Berry Campbell Presents Lilian Thomas Burwell: Soaring Curated by Melissa Messina
    PRESS RELEASE FOR IMMEDIATE RELEASE BERRY CAMPBELL PRESENTS LILIAN THOMAS BURWELL: SOARING CURATED BY MELISSA MESSINA NEW YORK, NEW YORK, March 27, 2021— Berry Campbell is pleased to present Lilian Thomas Burwell: Soaring. This exhibition marks the esteemed Maryland-based artist’s first solo exhibition in New York. The exhibition title, Soaring, is an homage to the late Dr. David Driskell’s essay, Soaring With a Painterly Voice, written on the occasion of Burwell’s 1997 survey exhibition at Hampton University Museum, Virginia. Driskell described Burwell’s work as, “transcendental in showing stylistic diversity of earthly beauty and cosmic vision.” Lilian Thomas Burwell: Soaring, organized by guest curator, Melissa Messina, highlights the dynamic transition in Burwell’s abstract visual language from two-dimensional painterly planes to three-dimensional sculptural forms. Burwell’s paintings from the late 1970s and early 1980s employ a distinctly bold palette and reference organic forms found in natural floral and earthly phenomena. The exhibition centers on the painting Skybound (1984), which marks the first time that the artist cut into her canvas, creating positive and negative space. This pivotal act gave way to Burwell’s examination of form, bringing forth Burwell’s signature style of three-dimensional, painted wall sculpture. These wall sculptures, which would become the artist’s signature focus for more than two decades. Lilian Thomas Burwell: Soaring opens at Berry Campbell, New York April 22 and continues through May 28, 2021. The exhibition is accompanied by a 20-page exhibition catalogue with an essay by Melissa Messina. On the occasion of the exhibition, Berry Campbell will digitally screen the documentary, Kindred Spirits: Artists Hilda Wilkinson Brown and Lilian Thomas Burwell, on Wednesday, April 28, 2021, 4 pm - 10 pm and May 8, 2021, 1 - 5 pm.
    [Show full text]
  • THOMPSON, MILDRED, 1935-2003. Mildred Thompson Papers, 1949-2009
    THOMPSON, MILDRED, 1935-2003. Mildred Thompson papers, 1949-2009 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Thompson, Mildred, 1935-2003. Title: Mildred Thompson papers, 1949-2009 Call Number: Manuscript Collection No. 1199 Extent: 9 linear feet (20 boxes), 1 oversized papers box and 4 oversized papers folders (OP), 9 bound volumes (BV), 1 oversized bound volume (OBV), AV Masters: 2 linear feet (2 boxes) and 9.8 MB of born digital materials. Abstract: Papers of African American artist Mildred Thompson, including correspondence, manuscripts, artwork, photographs, printed material and a small amount of born digital material. Language: Materials predominantly in English with a small amount of material in German. Administrative Information Restrictions on Access Special restrictions apply: Researchers must contact the Rose Library in advance for access to some sound recordings in this collection. Series 8: Access to born digital materials is only available in the Stuart A. Rose Manuscript, Archives, and Rare Book Library (the Rose Library). Use of the original digital media is restricted. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Researchers are not permitted to copy or download any of the digital files from the computer workstation. Source Purchase, 2011. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Mildred Thompson papers, 1949-2009 Manuscript Collection No.
    [Show full text]
  • 1978 Commencement - 8Th Annual Commencement Exercises Nova Southeastern University
    Nova Southeastern University NSUWorks NSU Commencement Programs NSU Digital Collections 5-21-1978 1978 Commencement - 8th Annual Commencement Exercises Nova Southeastern University Follow this and additional works at: http://nsuworks.nova.edu/nsudigital_commencement Part of the Higher Education Commons NSUWorks Citation Nova Southeastern University, "1978 Commencement - 8th Annual Commencement Exercises" (1978). NSU Commencement Programs. Paper 64. http://nsuworks.nova.edu/nsudigital_commencement/64 This Commencement Program is brought to you for free and open access by the NSU Digital Collections at NSUWorks. It has been accepted for inclusion in NSU Commencement Programs by an authorized administrator of NSUWorks. For more information, please contact [email protected]. l­ &:: 1M E 1M g &:: E E a g '--r--L Welcome ~- A cordial welcome is extended to each person attending the ~ Annual Com­ mencement Exercises, including friends and relatives of each degree candidate, University students, faculty and staff, and friends and supporters of the University. THE ROAD NOT TAKEN Two roads diverged in a yellow wood And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth; Then took the other, as just as fair, And having perhaps the better claim, Because it was grassy and wanted wear; Though as for that the passing there Had worn them really about the same, And both that morning equally lay In leaves no step had trodden black. Oh, I kept the first for another day! Yet knowing how way leads on to way, I doubted if I should ever come back.
    [Show full text]
  • Mildred Thompson
    MILDRED THOMPSON Born 1936 Jacksonville, Florida Died 2003 in Atlanta, Georgia Hochschule für bildende Künst (Art Academy of Hamburg), Hamburg, Germany, 1961 The Brooklyn Museum School, Brooklyn, New York, 1958 BA, Howard Univeristy, Washington, DC, 1957 SELECTED SOLO EXHIBITIONS 2020 Memories & Inspiration, Gilcrease Museum, Tulsa, Oklahoma; University of Richmond Museum, Richmond, Virginia; Appleton Museum of Art, Ocala, Florida; Huntington Museum of Art, Huntington, West Virgina 2019 Mildred Thompson: The Atlanta Years, 1986-2003, Spelman College Museum of Fine Art, Atlanta, Georgia 2018 Against the Grain, New Orleans Museum of Art, New Orleans, Louisiana Mildred Thompson: Radiation Explorations and Magnetic Fields, Galerie Lelong & Co., New York, New York 2016 Mildred Thompson: Resonance, Selected Works from the 1990s, SCAD Museum of Art, Savannah, Georgia 2010 Mildred Thompson: Wood Pictures, Galerie l’Aquarium, Valenciennes, France 2009 Mildred Thompson: a life long exploration 1936 – 2003, Leopold-Hoesch Museum, Duren, Germany 1998 Advancing Impulses, Dekalb College of Fine Arts Gallery, Clarkston, Georgia 1997 Mildred Thompson: Deep Space, Jacksonville Museum of Contemporary Art, Jacksonville, Florida 1996 Forty Years of Printmaking, Rolling Stone Press, Atlanta, Georgia 1994 Cosmic Consciousness, Auburn University, Auburn, Alabama 1993 Hochschule für Kunst & Design, Halle, Germany 1992 Paintings, Prints and Sculpture, Brenau College, Gainesville, Georgia 1990 German Consulate Deutsche Rote Kruz, Duren, Germany Hammon House, Atlanta,
    [Show full text]
  • PORTER, JAMES A. (JAMES AMOS), 1905- James A
    PORTER, JAMES A. (JAMES AMOS), 1905- James A. Porter papers, 1867-2009 (bulk 1920-1995) Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Collection Stored Off-Site All or portions of this collection are housed off-site. Materials can still be requested but researchers should expect a delay of up to two business days for retrieval. Descriptive Summary Creator: Porter, James A. (James Amos), 1905- Title: James A. Porter papers, 1867-2009 (bulk 1920-1995) Call Number: Manuscript Collection No. 1139 Extent: 45.5 linear feet (93 boxes), 2 oversized papers boxes and 1 oversized papers folder (OP), 1 bound volume (BV), AV Masters: 1 linear foot (1 box and LP1) and 14.5 MB born digital material (81 files) Abstract: Papers of African American artist and art historian James A. Porter including correspondence, personal papers, artwork, writings, Howard University files, artist and subject files collected by Porter, photographs, and audiovisual material, as well as some papers of wife Dorothy Porter Wesley and daughter Constance Porter Uzelac. Language: Materials entirely in English. Administrative Information Restrictions on Access Special restrictions apply: Series 7: Use copies have not been made for audiovisual material in this collection. Researchers must contact the Rose Library at least two weeks in advance for access to these items. Collection restrictions, copyright limitations, or technical complications may hinder the Rose Library's ability to provide access to audiovisual material. Series 9: Access to processed born digital materials is only available in the Stuart A. Rose Manuscript, Archives, and Rare Book Library (the Rose Library).
    [Show full text]
  • Thelonious Monk Orchestra at Town Hall
    ad" melody, his debt to thing he has RIVERSIDE »re at hand: ell as leader proudly presents id personal) Ie does better a new, ingeniously mes or with Ray Haynes distinguished and truly different in) provided ussive piano Thelonious Monk recording: armer’s style ic than per- he is rather but perhaps lulated by a lally obvious ch as the fact trast for him man group, ay be correct THELONIOUS is not up to that is his at „ I MONK THELONIOUS I MONK I NS—Decca bl uilty; It's Tat xtd Emotions; ORCHESTRA uuday Kind Of ORCHESTRA '-ike My Baby; If Rain; Don't a. with varioM AT erent danger ■d labels: the t of old stuff n. TOWN s for Verve, dently a pas- ecording ses- s Fitzgerald's HALL Reasons, she m Boys; on Monaural: Riverside RLP 12-300 Stereo: Riverside RLP 1138 and an or- vith the Ray :stra directed ith the Song The debut performance of this new Monk band, recorded in concert orchestra; on at New York’s Town Hall, makes a really startling and unique album. le Andy Love er Bob Hag- Full-scale orchestrations of great Monk compositions add a new creative dimension nes are poor, to the work of one of the major forces of modem jazz. ases, terrible, rercial songs, (Special note: Listen to Little Rootie Tootie ly. Ella does in particular, for the most exciting sound of the year!) her best isn’t Soloists include Thelonious (in rare form), edious medi- Donald Byrd, Phil Woods, Charlie Rouse, Pepper Adams.
    [Show full text]
  • Text-Based Description of Music for Indexing, Retrieval, and Browsing
    JOHANNES KEPLER UNIVERSITAT¨ LINZ JKU Technisch-Naturwissenschaftliche Fakult¨at Text-Based Description of Music for Indexing, Retrieval, and Browsing DISSERTATION zur Erlangung des akademischen Grades Doktor im Doktoratsstudium der Technischen Wissenschaften Eingereicht von: Dipl.-Ing. Peter Knees Angefertigt am: Institut f¨ur Computational Perception Beurteilung: Univ.Prof. Dipl.-Ing. Dr. Gerhard Widmer (Betreuung) Ao.Univ.Prof. Dipl.-Ing. Dr. Andreas Rauber Linz, November 2010 ii Eidesstattliche Erkl¨arung Ich erkl¨are an Eides statt, dass ich die vorliegende Dissertation selbstst¨andig und ohne fremde Hilfe verfasst, andere als die angegebenen Quellen und Hilfsmittel nicht benutzt bzw. die w¨ortlich oder sinngem¨aß entnommenen Stellen als solche kenntlich gemacht habe. iii iv Kurzfassung Ziel der vorliegenden Dissertation ist die Entwicklung automatischer Methoden zur Extraktion von Deskriptoren aus dem Web, die mit Musikst¨ucken assoziiert wer- den k¨onnen. Die so gewonnenen Musikdeskriptoren erlauben die Indizierung um- fassender Musiksammlungen mithilfe vielf¨altiger Bezeichnungen und erm¨oglichen es, Musikst¨ucke auffindbar zu machen und Sammlungen zu explorieren. Die vorgestell- ten Techniken bedienen sich g¨angiger Web-Suchmaschinen um Texte zu finden, die in Beziehung zu den St¨ucken stehen. Aus diesen Texten werden Deskriptoren gewon- nen, die zum Einsatz kommen k¨onnen zur Beschriftung, um die Orientierung innerhalb von Musikinterfaces zu ver- • einfachen (speziell in einem ebenfalls vorgestellten dreidimensionalen Musik- interface), als Indizierungsschlagworte, die in Folge als Features in Retrieval-Systemen f¨ur • Musik dienen, die Abfragen bestehend aus beliebigem, beschreibendem Text verarbeiten k¨onnen, oder als Features in adaptiven Retrieval-Systemen, die versuchen, zielgerichtete • Vorschl¨age basierend auf dem Suchverhalten des Benutzers zu machen.
    [Show full text]
  • Silhouette192724agne ' -I Ijx /^Ibri
    Digitized by tine Internet Arciiive in 2010 witii funding from Lyrasis IVIembers and Sloan Foundation http://www.archive.org/details/silhouette192724agne ' -I ijx /^ibri V .-v- r V \ "X - -r 1 Copyri^k H i>y I 1 , llacfiel Jiendtthlt <' EDITOR i MANAGER il_.. 1927 li <f^^^ ^^L* ^^: ^. "vf "^ '(~^'y Silhoueiie 1027 L 5iu(\eM body of Jidnes Sco-H ColUoe. rK 6 DecaiuTf Oq. mmn VOL. XXIV — v^ uy V ^-'-i I^ebication TO THE ALUMNAE —to those who have given four years of their lives to Agnes Scott; and who have in the giving, received something of the inspiration that through them has become a part of their Alma Mater the Student Body lovingly dedicates this volume. U /-. ^u. ^^-ti^' r •o 6^ Jor^toorti (^T* HE purpose of this book is a compre- ^^ hensive one, and the staff holds its breath as you begin to turn the pages. Dedicated to the Alumnae it attempts to remind them tangibly of their Alma Mater, and to present some from their number who have along a few selected lines made an appreciable stir in the world; and compiled for the Student Body, it endeavors to interpret for them, we hope truly, one year of their four at Agnes Scott. If our purpose is too am- bitious for us, and we have failed, we ask your pardon. 7fi "r'v^ <^CW4l >-, ^< Contents; COLLEGE AND ALUMNAE CLASSES ACTIVITIES ATHLETICS FEATURES HUMOR CM J^ ^,-- ,^ 1 - *| ^--r^' College anii Silumnae MRS. J. S. GUY (Allie Candler) MARY J. BARNETT President of Alumnae First President of Association Alu:\inae Association MRS.
    [Show full text]
  • Foreword Iredell County, North Carolina Marriage Register 1854
    Foreword Iredell County, North Carolina Marriage Register 1854-1964 Groom Index L - Z This document is compiled from Iredell County, N. C. Marriage Register , 1851-1964, Microfilms rolls C.054.60015, C.054.60016 and C.054.60017 - Males. Information from the register includes the grooms name, brides name, age (groom/bride), race, date of marriage, official, witnesses. If date of birth is given, this appears under the person’s name. If “race” is indicated by a -(dash), “ race” is probably “white.” The names are spelled as they appear in the microfilm. Researchers are advised to consider alternate spellings. Compiled by Russell C. Black, Jr. 1485 Turnersburg Hwy. Statesville, NC 28625 Copyright © December 2006 by Russell C. Black, Jr. All rights are reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form by any means electronic, mechanical, photocopying or otherwise without the written permission of the copyright owner. Iredell County, N. C. Marriage Register - Groom Index L - Z (1854-1964) Surname Given Name Surname Given Name Age R Date Official Witnesses G/B Lackey A. Brodie Dellinger Lillian Pauline 25/21 W 1/11/1921 S. L. Cathey (Min) Gladys Guy, Paul C. White Alexander Co. Alexander Co. Iredell Co. Lackey Andy Simonton Mag 56/42 C 8/23/1894 S. A. Gibson (Min) A. Borden, J. S. White Iredell Co. Iredell Co. Statesville NC Lackey Archie Graham Sallie 21/23 C 1/16/1913 W. B. Scott (Min) Stark Graham, J. G. Bennett, Iredell Co. Iredell Co. Iredell Co. W.
    [Show full text]