26,698 research outputs found
Christopher Anderson Interview
No full textDr. Christopher Anderson was interviewed by Jude Folmar in the Oral History Studio of Fondren Library at Southern Methodist University on April 18, 2024. Dr. Anderson was born in Kentucky and began musical training in both piano and music theory at the age of five. While in high school, Dr. Anderson became interested in the pipe organ after a discussion with a local church musician. Dr. Anderson continued his musical studies into college, attending Transylvania University to Receive his B.A. in Music. During this period, Dr. Anderson developed a keen interest in the intersection of the German language, culture, and theology, prompting him to pursue further studies at SMU. His research primarily focuses on the music of Germany's early modern period, spanning from 1870 to 1950. In 1991, he received a Master's in both Music and Sacred Music from SMU, and he is currently dually appointed as a Professor in the Meadows and Perkins schools. Dr. Anderson spoke of the changes that he has seen at SMU between the years between his graduation and faculty appointment, specifically noting the increase in academic rigor within the music school. Dr. Anderson also took a keen interest in the music of John Cage, with particular emphasis on ORGAN2/ASLSP (As Slow as Possible). Dr. Anderson spoke of the challenges of adding musicality to performances on the organ. Currently, Dr. Anderson holds the record for the second slowest performance of the piece at 16 hours, which he performed at Perkins Chapel at SMU in 2022. Anderson believes that the music of John Cage has many serious implications, and he is currently working on performance opportunities for Cage’s music. Dr. Anderson ended the interview by discussing the importance of having a dynamic, conversational relationship with his students
Julian Anderson: Dialogues on Listening, Composing and Culture
No full textJulian Anderson is renowned internationally as one of the leading composers of his generation. This substantial book of conversations with the scholar and critic Christopher Dingle captures Anderson's thoughts and memories in-depth for the first time, not only providing biographical information and background material, but also capturing the workings of a remarkable mind. It is rare to find a composer prepared to speak extensively and honestly on as broad a range of topics as Anderson. These extraordinarily diverse conversations range far beyond his own compositions and even beyond the sphere of music, exploring issues of broad cultural interest.
Of particular value, providing insights into the practicalities and psychology of composing, are the glimpses of Anderson's thoughts on works in progress during the conversations, including the period from composing the score for his ENO opera Thebans to its first production, as well as his violin concerto, his 3rd String Quartet and his Berlin Philharmonic commission Incantesimi. Anderson's work with dance, his love of the voice and his varied collaborations with orchestras, soloists and conductors are also explored. With their wide range of musical and artistic topics, these conversations will be essential reading not only for composers and composition students, but for those interested in culture more generally
Anderson, Christopher Ryder, 24438
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/368482Surname: ANDERSON
Given Name(s) or Initials: CHRISTOPHER RYDER
Military Service Number or Last Known Location: 24438
Missing, Wounded and Prisoner of War Enquiry Card Index Number: 44216178527
Item: [2016.0049.00812] "Anderson, Christopher Ryder, 24438
Christopher Cowan Anderson Collection
No full textApproximately 60 Civil War-era letters, one large accounting ledger, one oval hand-tinted photograph, and other foldered papers in one metal edge flip-top box
Sherwood Anderson, Christopher Sergel, and Winesburg, Ohio
Full text linkIn 1936, Sherwood Anderson read a stage version of Winesburg, Ohio to his friends Roger and Christopher Sergel. For Anderson the play marked the culmination of his efforts at playwriting. He had adapted his finest collection of stories for the stage, and it would now be the responsibility of the theatre and particularly of his producer, Jasper Deeter, to see that the play succeeded. Deeter produced the play at the Hedgerow Theatre in 1937. Anderson had no doubts concerning the merits of his play.
For Christopher Sergel, however, Sherwood Anderson\u27s reading was only a beginning. Anderson\u27s masterpiece, he felt, had not fared well in its transition to the stage. Anderson, he believed, had not understood the structural and thematic requirements of the drama and had not been able to give Winesburg, Ohio the dramatic focus which it must have to be a successful play. Lacking any centrally unifying theme or conflict, Anderson\u27s play was reduced to a rambling narrative; it was at most a moving set of character portraits which could have no great dramatic impact.
In the following pages I shall attempt to evaluate the stage adaptations that have been written of Winesburg, Ohio. In my first chapter I explore Sherwood Anderson\u27s involvement in the theatre which led him to dramatize Winesburg, Ohio and his friendship with the Sergels which was eventually to result in Christopher Sergel\u27s Winesburg, Ohio (P). The second chapter involves a study of the stage history of Winesburg, Ohio (P) from 1935 to 1973. Winesburg, Ohio (P), we find, has had a history of stage failures. In my third and final chapter I have set about to examine the contrasting approaches of Anderson and Sergel in the adaptation of Winesburg, Ohio to the stage.
In 1954, at the request of El eanor Anderson (Sherwood Anderson\u27s widow), Chri stopher Sergel began hi s own versi on of Wi nesburg, Ohio. In hi s versi on of the book , Sergel sought to i ntrod uce the uni fyi ng central theme which he thought was mi ssing i n the Anderson versi on. The Broadway prod ucti on of Sergel 1 s pl ay was a financial and , he felt an arti stic fail ure; and over the next 19 years he intermi ttently
revi sed the pl ay in an effort to make i t succeed
Interview with Nicholas Christopher, author of Somewhere in the Night: Film Noir and the American City
Full text linkInterview with Nicholas Christopher, author of Somewhere in the Night: Film Noir and the American Cit
Ribbons in the Wind: Bringing Thought and Practice to the Ground with Jacques Derrida and Harlene Anderson
No full textThis article, "Ribbons in the Wind: Bringing Thought and Practice to the Ground with Jacques Derrida and Harlene Anderson," explores the intersections between Jacques Derrida’s thought and Harlene Anderson\u27s collaborative therapeutic practice. Drawing on a few of Derrida\u27s ideas —deconstruction, the perhaps, différance, and the gift—Christopher Iwestel Kinman traces how these ideas resonate with the work of family therapy innovator Harlene Anderson. Through a personal and historical lens, the author situates both thinkers within the context of our colonial histories, and the ongoing search for more ecological, dialogical, and non-hierarchical forms of relation in our practices. The author offers that both Derrida and Anderson invite practitioners to move beyond rigid traditions and fixed certainties, embracing uncertainty, multiplicity, and the transformative potential of relational "withness." By weaving together theory, biography, and the indigenous metaphor of dancing ribbons, Kinman presents a vision for human services rooted in love, listening, decolonial values, and the ongoing flow of gifts within communal life
Castor canadensis: North American beaver, castor americano
No full textEl castor norteamericano (Castor canadensis) fue introducido en Tierra del Fuego (Argentina) en 1946. Mediante su rápida expansión, colonizó casi todas las cuencas del archipiélago antes de los años 1990, llegando a cruzar el Estrecho de Magallanes y actualmente ocupar sectores del continente hasta Puerto Natales (Chile). Sus impactos ecológicos son profundos, provocando cambios que duran décadas y constituyéndose en uno de los mayores factores de cambio a nivel de paisaje en Tierra del Fuego durante el Holoceno. En términos sociales, los efectos producidos por el castor están siendo estudiados recientemente, pero se sabe que pueden ser no solo negativos, sino también positivos o neutros. El manejo de este «ingeniero de ecosistemas» en la Patagonia tanto argentina como chilena ha sido poco efectivo, con esfuerzos aislados de ambos países por varias décadas. Sin embargo, en 2008 se empezó a abordar el conflicto como un problema binacional y en los últimos años se contó con dos proyectos del Global Environment Facility para ensayar la erradicación de la especie y la restauración de los ecosistemas afectados.Fil: Anderson, Christopher Brian. Universidad Nacional de Tierra del Fuego, Antártida e Islas del Atlántico Sur. Instituto de Ciencias Polares, Ambientales y Recursos Naturales; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Austral de Investigaciones Científicas; ArgentinaFil: Roulier, Catherine Solange. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Austral de Investigaciones Científicas; Argentina. Universidad Nacional de Tierra del Fuego. Instituto de Cultura, Sociedad y Estado; Argentin
Lone Star Pallet, 2018, close-up
No full textArtist: Christopher Beckermann
Materials: Repurposed wood
With exception of the stain and screws, this piece was 100% created from an old shipping pallet from the Pawnee Warehouse.https://openworks.mdanderson.org/recycledart2018/1054/thumbnail.jp
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