11,609 research outputs found
Mr Ian Macdougall and Alan Smart
No full textThese photos were NOT used in reporter.Mr. Ian Macdougall, Visitor ANU. One year music board fellowship. Mr. Macdougall was previously a science teacher at Canberra High School. 2nd man with curly hair is Alan Smart.
Event: The university is providing facilities for involvement in concerts for students.
Photographer: David Brooks, O'Connor, ACT
The Life Room
No full textThe life room used to be at the heart of every art school until the last decade of the 20th century. It was the staple of every adult education art programme and foundation coarse until they too almost became extinct. Both Alan Brooks and myself where perhaps the last generation of artists in the UK to have this as a compulsory part of our art educations. We saw them as outdated modes of practice in our youth and rallied to the cry in favour of their phasing out, yet it is with a fond nostalgia that I think back to my time drawing or painting from the life model in my late teens and early twenties. Far from being an erotic experience it was a practice to be endured and dropped as soon as one got into the art school of their choice, but the discipline that hours of staring at flesh beyond its prime was learning to look. Struggling to make it relevant or contemporary, young artists would try and claim something new from the repetitive dullness of this tradition.
Being flung back into such restrictive repetition has been the downside of the last eighteen months and many artists found that enforced lockdown strangled their creative flow. Alan Brooks found himself in such a predicament, unable to continue the paintings that he had been working on. When he gets to these junctions in his career he often goes back to the basics of pencil and paper and turns to his personal archive of photographs for inspiration. Brooks collects images of art schools, some of which he attended. Married to an off-hand comment from a friend, that life drawing might break his creative block, that, whilst an appalling concept for Brooks, did sow the seed for a series of drawings of life rooms taken from the photographs in his archive. Rather than study the model Brooks would spend the next few months studying the artists and students captured in these rooms from the past.
Alan Brooks makes micro-intricate drawings and paintings from photographs, rendering every grain or pixel by hand in a laborious process that takes many months to complete. What arrives are facsimiles that have passed directly through the artist, turning the mechanical process back into a way of seeing something afresh. It is in this process that Brooks discovers the image and makes it his own. These works are always part of a conceptual series and never one-off, gymnastic flourishes of his skill. It is the process of spending time with an image and studying every blemish and scratch, the whole only being revealed on completion, that Brooks seeks. For the viewer there is the initial suspension of belief, that these are actually drawings and then the image unfolds tempting us to spend the time looking, that Brooks himself has sacrificed. Once the mind starts to question what it is looking at, interpretations start to arise beyond the source material
A comparison of Fourier and POD mode decomposition methods for high-speed Hall thruster Video
No full textThese files contain the code used to perform the analysis and images in "A comparison of Fourier and POD mode decomposition methods for high-speed Hall thruster Video". II hope that others will find this code useful for their own work. I do ask that you please cite this zenodo doi (10.5281/zenodo.5150716) or the published article whenever you use this code.
Feedback is always welcome and appreciated!
John "Jack" Brooks
[email protected]
1982-1983: The Foreigner
No full textFrom left: Kenneth Albers as Froggy and Alan Brooks as CharlieThe Foreigner;Grayscal
1980-1981: Cyrano De Bergerac
No full textFrom left: Alan Brooks as Christian and Anne Kerry as RoxaneCyrano de Bergerac;Grayscal
Garth Brooks
No full textPhotograph used for a newspaper owned by the Oklahoma Publishing Company. Caption: "Sandy Brooks pictured with husband Garth Brooks and Janis Gill.
Alan Brooks of Lubec, Myrna Bouchey of Jonesport, Hugh Curran of Surry, Bill and
No full textAlan Brooks of Lubec, Myrna Bouchey of Jonesport, Hugh Curran of Surry, Bill and Jane Lawless of Ellsworth, Michelle Walker of Belfast, Anne Dellenbaugh of Brunswick, Deb Soule of Rockland, Theresa Laurie of Gardiner and Kristi and Michael Golden of Waterville, all practicing Buddhists, answer questions about Buddhism
Alan Moore Comics as Performance, Fiction as Scalpel
No full textEclectic British author Alan Moore (b. 1953) is one of the most acclaimed and controversial comics writers to emerge since the late 1970s. He has produced a large number of well-regarded comic books and graphic novels while also making occasional forays into music, poetry, performance, and prose. In Alan Moore: Comics as Performance, Fiction as Scalpel , Annalisa Di Liddo argues that Moore employs the comics form to dissect the literary canon, the tradition of comics, contemporary society, and our understanding of history. The book considers Moore's narrative strategies and pinpoints the main thematic threads in his works: the subversion of genre and pulp fiction, the interrogation of superhero tropes, the manipulation of space and time, the uses of magic and mythology, the instability of gender and ethnic identity, and the accumulation of imagery to create satire that comments on politics and art history. Examining Moore's use of comics to scrutinize contemporary culture, Di Liddo analyzes his best-known works-- Swamp Thing, V for Vendetta, Watchmen, From Hell, Promethea , and Lost Girls . The study also highlights Moore?s lesser-known output, such as Halo Jones, Skizz , and Big Numbers , and his prose novel Voice of the Fire. Alan Moore: Comics as Performance, Fiction as Scalpel reveals Moore to be one of the most significant and distinctly postmodern comics creators of the last quarter-century.Intro -- Contents -- Preface and Acknowledgments -- Introduction -- CHAPTER 1. Formal Considerations on Alan Moore's Writing -- CHAPTER 2. Chronotopes: Outer Space, the Cityscape, and the Space of Comics -- CHAPTER 3. Moore and the Crisis of English Identity -- CHAPTER 4. Finding a Way into Lost Girls -- Conclusion -- Notes -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- ZEclectic British author Alan Moore (b. 1953) is one of the most acclaimed and controversial comics writers to emerge since the late 1970s. He has produced a large number of well-regarded comic books and graphic novels while also making occasional forays into music, poetry, performance, and prose. In Alan Moore: Comics as Performance, Fiction as Scalpel , Annalisa Di Liddo argues that Moore employs the comics form to dissect the literary canon, the tradition of comics, contemporary society, and our understanding of history. The book considers Moore's narrative strategies and pinpoints the main thematic threads in his works: the subversion of genre and pulp fiction, the interrogation of superhero tropes, the manipulation of space and time, the uses of magic and mythology, the instability of gender and ethnic identity, and the accumulation of imagery to create satire that comments on politics and art history. Examining Moore's use of comics to scrutinize contemporary culture, Di Liddo analyzes his best-known works-- Swamp Thing, V for Vendetta, Watchmen, From Hell, Promethea , and Lost Girls . The study also highlights Moore?s lesser-known output, such as Halo Jones, Skizz , and Big Numbers , and his prose novel Voice of the Fire. Alan Moore: Comics as Performance, Fiction as Scalpel reveals Moore to be one of the most significant and distinctly postmodern comics creators of the last quarter-century.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
1983-1984: Kingdom Come
No full textFrom left: Daniel Mooney as Kal Ansen, Ellen Lauren as Kaja Ansen, Rose Pickering as Gro Endressen, and Alan Brooks as Ola EndressenKingdom Come;Grayscal
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