435 research outputs found
Colonel Arthur Graham Butler’s ‘Allegiances’: Today’s ‘Military Health Service Missions’
No full textThis article follows previous papers by the author regarding occupational and environmental medicine in the ADF. These articles, as well as a 2019 Productivity Commission inquiry,11 explain why high workplace illness and injury rates confirm the need to improve the management of hazards associated with ADF workplaces, with better emphasis on prevention. This article expands on these papers, regarding what Colonel Arthur Graham Butler referred to in his official WWI medical history as the ‘allegiances’ of military health services, and how, in today’s parlance, these can and should be considered their elemental and enduring ‘missions’
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The Exemplary WPI PAX Booth 2018
No full textThe purpose of this Interactive Qualifying Project is to do all the logistical and physical legwork necessary in order to successfully design, set up, and run a booth that showcases student-made games, as well as WPI's Interactive Media and Game Development major, at PAX East 2018. These tasks included, but were not limited to, designing the physical layout of the booth, designing t-shirts and buttons for both volunteer uniforms and giveaways at PAX, working with WPI's marketing team to gather the necessary materials for advertisement of the program, and selecting student volunteers to do art demonstrations and show off games at the booth throughout PAX. We managed to run the booth very successfully and we gave out a large quantity of marketing material to prospective students
Arthur Danto's philosophy of art
No full textThe thesis is a critical examination of Danto's philosophy of art. It begins with his
article 'The Artworld' where he proposes a special is of artistic identification to
distinguish artworks. Danto's idea of the artworld is discussed, a historical and
contextual theory of art, which arose from his attempt to explain the difference
between Warhol's Brillo Boxes sculpture and an indiscernible stack of everyday
Brillo boxes. It is argued that Danto unsuccessfully attempts to shore up his artworld
concept with the special is.
The technique of comparing indiscernible counterparts, from Danto's
book The Transfiguration of the Commonplace, is examined. It is argued that the
technique is philosophically redundant, but it is a redundant premise which has been
added to a valid inference (Danto's historical and contextual view of art: his artworld
theory) therefore, this does not make the original inference invalid.
Danto's treatment of metaphor, expression, and style is shown to result
in four claims. First, artworks embody rhetorical ellipsis. Second, artworks share
features of metaphor: they are intensional (with an s) in structure and cannot be
paraphrased. Third, a work of art expresses what it is a metaphor for by the way it
depicts its subject. Fourth, artworks embody style.
The conclusion, has two parts. The first part gives a summary of the
criticism of Danto's theory of art: (1) there are logical inconsistencies in his concept
of the is of artistic identification and in his use of indiscernible counterparts, (2) his
theory suffers by being over-inclusive and (3) he uses circular arguments. The
second part is based on a response to the criticism: it provides a definition of art.
This has three elements. First, an argument is proposed for a spectrum of artistic
presence in which all human activity and artefacts can be placed. Second, there is an
acceptance of Danto's view of art (or artistic presence) being both intentional (with
a t) and intensional (with an s); however, by applying these concepts to a spectrum,
the problem of over-inclusiveness is avoided. Finally, it is argued there can he no
wholly non-circular account of art
Lower Ordovican acritarchs from successions in England and North Wales.
No full textOne hundred and thirty eight acritarch taxa are described from the organic residues of samples collected in North Wales, Shropshire, and the Lake District. The species occur in one or more of 16 microfloral assemblages, selected from 88 prepared samples. Three new genera and seven new species are proposed. Range charts are presented which show the occurrence and distribution of all the species described in detail. On the basis of these results, five microfloral zones and two subzones are proposed. Each zone or subzone is characterised by an assemblage of species, and equates to part of the established Lower Ordovician graptolite zonation. The proposed biostratigraphical scheme is applied to microfloral assemblages from several localities in the English Lake District, most of which were either previously undated or doubtfully dated. Comparisons are made with Arenigian and Llanvirnian assemblages described from the European area, by other authors. Tentative conclusions are drawn as to the possible continuity of the British province with other European areas during Arenigian and Llanvirnian times. Factors affecting the preservation of acritarchs are discussed and a visual classification scheme is presented which takes into account fragmentation, degree of corrosion, and colour
Adult African sharptooth catfish, Clarias gariepinus, population dynamics in a small invaded warm-temperate impoundment
No full textAfrican sharptooth catfish, Clarias gariepinus (Burchell 1822), is a potamodromous species that is naturally distributed from Turkey to the Orange River, South Africa (Skelton 1993). It is omnivorous, feeding on plankton, vegetation, invertebrates, carrion and fish (de Moor & Bruton 1988) and may exhibit pack-hunting behaviour when foraging for small fish (Bruton 1979; Merron 1993). Clarias gariepinus is a large (>150 cm TL, >30 kg; Bruton 1976), long-lived (validated to at least 15 years, Weyl & Booth 2008) and fast-growing (Bruton & Allanson 1980; Quick & Bruton 1984; Richardson et al. 2009) fish that attains sexual maturity within two years of age (de Moor & Bruton 1988). It is eurythermic (80–35°C), mesohalic (0–10 ppt) and has the ability to airbreathe. These attributes predispose it to surviving in all but the most adverse of conditions and have directly contributed to its wide use as an aquaculture species. These attributes have also contributed to its ability to invade waterbodies beyond its natural range (de Moor & Bruton 1988) and after inadvertent introductions such as by escape from aquaculture facilities or through water transfer schemes, C. gariepinus has established populations in many non-native environments. Such invasions include the Philippines (Mercene 1997), Bangladesh (Arthur & Ahmed 2002), Thailand (Vidthayanon 2005), India (Bhakta & Bandyopadhyay 2007) and Brazil (Cambray 2005; Vitule et al. 2006; Rocha & Schiavetti 2007). In South Africa, C. gariepinus invaded the temperate Great Fish River catchment after the species was translocated from the Orange River through a Interbasin Water Transfer (IBWT) scheme (Laurenson et al. 1989). Potential threats include predation of and competition with indigenous species, habitat degradation, and the spread of diseases and parasites (Dudgeon et al. 2006)
The sacred choral music of Francis Poulenc: a contextual and analytical study
No full textPoulenc is perhaps best known for his instrumental works, for his adherence to the aesthetics of Neo-classicism, and his place among the Parisian intellectual circles in tJie 1920s and 1930s in which his friend, Jean Cocteau, played a central role. This essentially secular side of Poulenc's creativity was, after the composer's return to Roman Catholicism in 1936, challenged by a need to express a newly-found religious conviction in sacred music. Consequently Poulenc, who had been accustomed to the secular aesthetics of Neo-classicism of Parisian artistic life and the French capital's concert halls, found it necessary to 'rediscover' and assimilate the language of French church music and its history (notably through the filter of the Cecilian Movement, Niedermeyer and the pkinchant of Solesmes) in order to create for himself an appropriate 'sacred style’ that could also incorporate those essential elements of his characteristically playful and sensual, 'secular' language. This study aims to explore this confrontation of styles and how Poulenc successfully forged a cohesive and congruent language for his sacred works. The opening chapters have several distinct perspectives: chapter one outlines the tortuous history of the Church's relationship with the State in France dating back to the pivotal effects of the 1789 Revolution, in an attempt to provide a necessary context for the importance that Poulenc and his predecessors and contemporaries (most significantly Debussy) attached to the past; chapter two, by contrast, discusses some of the principal issues at the heart of Parisian artistic society in the early decades of the twentieth century and focuses on the lively artistic community which existed in Paris with the influx of large numbers of foreign musicians (particularly Americans and Russians) and artists, the emergence of 'Les Six' (of which Poulenc was a member) and the artistic leadership and inspiration given by figures such as Jean Cocteau, Serge Diaghilev and Igor Stravinsky. Cocteau and Stravinsky, indeed, had a huge impact on the young Poulenc. The second part of the thesis is an analytical study of Poulenc's sacred works (putting aside the Gloria, Stabat Mater and Sept Repais de Tetibres which are unmistakably concert works) and connects these analyses with the issues presented in the earlier chapters, beginning with the emotionally powerful Litanies a la vierge noire for women’s voices, composed soon after his Catholic faith returned in 1936, and ending with the decidedly hard-edged, Stravinskian Neo-classicism, yet relative placidity, of the Laudes de Saint Antoine de Padoue for men's voices, completed in Cannes in 1959. Central to the analytical discussion are the well known eclectic Mass in G (1937), the dramatic Quatre motets pour un temps de penitence (1939) and the stylistically distilled Quatre petite prieres de Saint Francois d'Assise which display the greatest variety of style and form and which combine to present significant examples of Poulenc's skilful unification of sacred and secular, ancient and modem sound worlds
Virgo to virago: Medea in the silver age
No full textThe infamous mythological figure of Medea appears in the extant texts of three Silver Age Latin authors: Ovid (principally in the epic Metamorphoses and elegiac epistles Heroides, but also minor references in his other elegiac poetry), Seneca (the tragedy Medea), and Valerius Flaccus (the epic Argonautica). Although each author approaches the character differently, similarities can be found in their treatments. Through a detailed character study of Medea in these texts we are able to discern that, as well as being a character full of ambiguities, she is always portrayed with some measure of sympathy. This varies according to context, both of genre and of the particular stage of her myth being depicted: a large span of Medea’s life and actions is covered in these accounts, from innocent girl through to formidable sorceress. This sympathy occurs despite Medea being a notorious witch and murderess, whose wicked actions were an irresistible draw for the writers. This is especially remarkable since, in these works, she is a product of the Silver Age, and therefore these portrayals satisfy the gruesome and macabre taste of the period, for which Medea the sorceress was an especially suitable topic. This sympathetic view can, in part, be explained by the apparent admiration which the authors felt for her, although the favour of the age for rhetorical argument also contributes to this. Earlier predecessors also had important influences on these works: notably Euripides, Apollonius of Rhodes, and Virgil. There are elements of both victim and villain in these accounts, a typical ambiguous tension in her character, but Medea is foremost a remarkable figure deserving the attention she receives. Her fascination and appeal cannot be denied, since she emerges predominant in each account, eclipsing her counterpart hero Jason: therefore she should, perhaps, be considered the true hero of these texts
University of Nebraska College of Medicine Class of 1934
No full textJohn Carl Aarni, Donald Marr Anderson, Bruce Vernon Andersen, Edgar Emmet Anderson, Walter Lyman Anderson, Louis Arthur Azorin, Leo Genimore Baisinger, Robert Joseph Benford, Miriam Crowell Benner, Robert Parks Best, Joseph Meredith Boomer, Marion Frances Booth, Charles Olin Bruce, Jr., John Milton Butler, John Andrew Chapman, Howard Malin Coe, Delmar Lee Coffman, John Milton Coletti, William Louis Coon, John Russel Curry, C. Braxton Davis II, Jack Lewis Diamond, Louis Everett Dickinson, Harold Chester Dix, Arthur Axtell Enos, William Cyril Ferguson, Burhl Babbitt Gilpin, Jr., Dagmar Jorgensen Glood, Walter Cheney Graham, Frank Theo Herhahn, Milton Roger Himalstein, Leo Lobson Hoevet, Ralph Booth Hogan, Edward Augustus Holyoke, Clifford Dale Howard, Charles William Ihle, Jr., Robert Shizuo Kinoshita, Harold Andrew LaFleur, Walter Elam Landis, Kenneth Joy Loder, George E. Loupee, Daniel Pollard McCleery, Harold Arthur McConahay, Arch Stinson McMillen, Harry Wayne McNerney, Ernest Carl Magaret, Clyde Simpson W. Martin, James Wicher Martin, Glenn Henry Mathis, Lawrence Milford Mattison, William Howard Morrison, Erroll Allen Moss, John Dwight Munsell, Sylvester Preston Norman, Kenneth Adelbert Ohme, Joseph Knight Orr, Hyman Richard Osheroff, Charles William Pemberton, John Paul Person, Millard Theodore Petersen, Kenneth Harvey Prescott, John Nicholas Round, David Ivan Rutledge, John Fred Sanders, Roy Franklin Schall, Frederick Carl Schlumberger, Elvin Vavrinec Semrad, George Oliver Shaner, Francis Lenocker Simonds, Wayne Benjamin Slaughter, Daniel Denver Smith, Karl Franklin Stefan, Carl H. L. Stehl, Robert Johnston Stein, Mary Lucille Swayze, Charles David Thompson, Walker Thompson, Robert Grant Thornburgh, Charles Archibald Tompkins, Maxwell Theodore Wainwright, William Philip Warner, Jr., Arnold Irving Webman, Ernest Lloyd Wilbur, Opal Lester Wood, Reginald James Younghttps://digitalcommons.unmc.edu/comclass/1015/thumbnail.jp
Apophatic Activism:Science, Politics, and Silence in the 1960s
No full textThe laboratory study of ‘attention’ across the first half of the twentieth century established a powerful framework for understanding the human subject. Experiments centering on patterns of stimulus and response tested the ways that human sensory and cognitive capacities could be elicited, assessed, predicted, and ultimately integrated into powerful new military-industrial technologies. This ‘cybernetic’ subject was triggerable and could pull triggers. In this lecture, Burnett will sketch the contours of this important psychological research programme, in order to establish the background for a pair of significant counter-reactions that unfolded across the 1960s — projects that, he will argue, marked major reconceptualization of (negative) agency. Focusing on the ‘Blue Vase’ experiments of the medical researcher Arthur Deikman, and then on the ‘Silent Vigils’ of Santa Barbara Sociologist Charles H. Hubbell, Burnett will sketch the emergence of a specifically ‘apophatic’ attentional programme across the counterculture D. Graham Burnett is a writer, teacher, and maker based in New York City. Born in France, he trained in the History and Philosophy of Science at Cambridge University, and currently holds the Henry Charles Lea Professor of History and History of Science at Princeton University. He is the author of a number of books on technology, nature, and politics from the seventeenth to the twentieth century; and he recently co-edited Scenes of Attention: Essays on Mind, Time, and the Senses (Columbia University Press, 2023) as well as Twelve Theses on Attention (Princeton University Press, 2022), the latter a manifesto of the ‘Friends of Attention’ coalition. Burnett is associated with the speculative collective ESTAR(SER), and was a 2023 visiting artist at the Academy of Fine Arts in Helsinki, Finland. www.dgrahamburnett.ne
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The twelve large colour prints of William Blake: a study on techniques, materials and context
No full textThe aim of this thesis is to study in entirety the group of large colour prints which William Blake made between 1795 and 1805. The series of prints represents the single most important and complete development of Blake’s skill as an innovative printmaker. Although they include some of Blake’s best-known images, they have not been studied before in their entirety or from the point of view of analysing the techniques and methods Blake had used. My study will show how Blake executed these truly impressive prints in terms of materials, method and motives. The first half of the thesis deals with the materialistic aspects of Blake’s colour printing. In chapter one tracing the controversial two-pull discussion to the root, I will make clear the focus points as well as revealing the early tradition of experimental criticism on Blake’s colour printing method. Focusing on two important critics, W. Graham Robertson and Ruthven Todd, and the periods they lived, I attempt to reveal the role they played in a wider context. Also I show how the tradition of Blake’s art was inherited directly through the Ancients to the Pre-Raphaelite Brotherhood, which leads to Robertson and Todd. In the second chapter I deal with the development of Blake’s colour printing experiments. It is obvious that the Twelve Large Colour Prints were produced as a result of Blake’s series of colour printing experiments, starting with monocolour simple prints, going through the illuminated books progressing with more colours and higher skills
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