6,314 research outputs found
Dissemination of innovative teaching and learning practice : the global studio
No full textThis project aims to disseminate teaching and learning resources from an innovative programme called the Global Studio to the ADM-HEA community. The area of innovation developed in the Global Studio was to link student teams across the globe in ‘designer’ and ‘client’ roles in order to undertake a product development project. This built on and extended the learning philosophy of learning in and through doing provided in a more traditional design studio. Throughout the project students worked in geographically distributed work groups in order to provide them with experience in using skills that would enable them to work successfully in distributed design teams
Edmonston, Gabriel - 1st General President, 1881
No full textImage 1 - Formal portrait photograph of Gabriel Edmonston from the Boyce studio in Washington, D.C. Edges of card are painted gold. (16.5 x 10.5 cm.) Image 2 - Back of Image 1. Handwritten words read "Mr ^Gabriel Edmonston / Washington D.C. / 1st Genl President / Return to Duffy / 84853 / Carpenters" (16.5 x 10.5 cm.) Image 3 - Oval portrait photograph of Gabriel Edmonston attached onto a board textured with flowers and decoration. (18 x 13 cm.) Image 4 - Oval portrait photograph of Gabriel Edmonston. Text under the photo reads "Gabriel Edmonston / 1st General President U.B. of C. & J. of A. / 1881." (25.5 x 20.5 cm.) Image 5 - Oval portrait photograph of Gabriel Edmonston. Text under the photo reads "Gabriel Edmonston / 1st General President U.B. of C. & J. of A. / 1881." The board has sustained water damage at some point. (21.5 x 17.75 cm.) Image 6 - Portrait photograph of Gabriel Edmonston. May have been included in the November 1956 issue of The Carpenter magazine. (25.5 x 20.5 cm.) Image 7 - Back of Image 6. Words in red pencil or crayon read "Nov. 56 The Carpenter." (25.5 x 20.5 cm.) Image 8 - Oval portrait photograph of Gabriel Edmonston. The photograph appears to have been drawn on with pencil in some places to add definition (his hair, ear, coat collar). (25 x 18 cm.) Image 9 - Back of Image 8 - Stamp reads "L.C. Handy Studios 494 MD. Ave., S.W. Washington, D.C." (25 x 18 cm.) Image 10 - Photocopy of a label and a piece of lined paper. The label is typed and reads "Gabriel Edmonston, First General President U.B.C.J.A. - Photographs." The paper is handwritten and reads "Nov 3, 1965 Wm Alex. Miller nephew of GE. Plaque designed by Josephine Brandle ? wife of A. Miller 2 Pictures of GE + obit. Mr. Hindley loss federal [?] [?] as a draughtman Francis J. Hindley 4415 Hessenden Wo. 6-4834"(28 x 21.5 cm.) Image 11 - Photograph of plaque with relief of bust of Gabriel Edmonston. It reads "In Memory of Gabriel Edmonston First General President of the United Brotherhood of Carpenters and Joiners of America 1881 - A Loving Tribute from Local Union 132 Washington D C." The bottom of the plaque has the emblem of the union. (24.5 x 19 cm.
The Creative Studio Practice of Contemporary Dance Music Sampling Composers
No full textThis article seeks to investigate some of the considerations that inform and help to determine the creative studio practice of contemporary sampling composers. Collaborative writing and production, specifically the co-opted collaboration implicit in using samples, will be assessed to consider those aspects of the production process which the participants consider to be authorial. These considerations include acts of listening, selecting and editing. In examining these matters this paper places emphasis on how sampling composers actively constrain their options in order to promote a creative relationship with their musical material. Techniques such as, firstly, traditional sample manipulation, secondly, the use of a sample as an initial building block for a composition from which the sample is then removed and, finally, live performance in the studio which is subsequently cut up and treated as a sample, will be discussed. Case studies, in the form of semi-structured interviews with sampling composers, will be drawn upon to assess approaches to and views about these forms of studio compositio
Designing 21st Century Standard Ware: The Cultural Heritage of Leach and the Potential Applications of Digital Technologies
No full textThis practice-based research investigates the potential applications of digital manufacturing technologies in the design and production of hand-made tableware at the Leach Pottery. The methodology for the research establishes an approach grounded in my previous experience as a maker that is informed by an open, experimental, emergent, and responsive framework based on Naturalistic Inquiry.
A critical contextual review describes the cultural heritage of Leach which, for the purposes of the research, is developed through the Leach Pottery as a significant site, the historical production of the iconic Leach Standard Ware and the contemporary production of Leach Tableware. This is followed by an examination of Potter’s Tools in the Leach production environment, and a review of makers’ digital ceramic practice.
The contextual review is followed by an explication of ‘standards’ presented through visual lineages of Standard Ware and Leach Tableware to define ‘standard’ at a design (macro) level, followed by an examination of how ‘standard’ operates at a making (micro level) level. This chapter presents new knowledge in relation to defining the visual field of Leach Pottery tableware production and its standards of design.
A chapter focussed on practice presents the outcomes and analysis of my engagement with digital manufacturing technologies which resulted in the development of new tools to support Leach Tableware production and the interrogation of Leach forms, in different mediums, which led to the creation of Digital-Analogue Leach forms. The practice culminated in the design and development of new 21st century Standard Ware: a range of 9 forms, called Echo of Leach, that were developed by myself using digital and analogue methods: the designs were realised by myself, the Leach Studio, and a further four makers. The outcomes of the research were presented in a three month exhibition at the Leach Pottery in 2013.
The conclusions of the research draw on the key points raised in the analysis of the practice and relate these to the approaches to making pottery that are highlighted in the cultural heritage of Leach in the contextual review. These are also discussed in relation to ways in which these findings could be taken forward into development of knowledge about Standard Ware, especially in a broader studio pottery context
Postcard, Spinning Brass into Gold, at Studio@620 in St. Petersburg, Florida
No full textA promotional postcard for Spinning Brass into Gold, an intimate evening with renowned author Michael Connelly, held at Studio@620 on November 19, 2008. The event served as a benefit for the studio\u27s educational initiatives, offering attendees access to one of the greatest mystery writers of the time and including a copy of his newly released thriller, The Brass Verdict.https://digitalcommons.usf.edu/bdj_studioat620_postcards/1352/thumbnail.jp
Postcard, Project Unspeakable at Studio@620 in St. Petersburg, Florida
No full textA promotional postcard for Project Unspeakable, a staged reading directed by Bonnie Agan, with a discussion featuring author James W. Douglass about his book JFK and the Unspeakable: How He Died and Why It Matters. The event, held at Studio@620, delves into the role of Unspeakable by Thomas Merton in the assassinations of John F. Kennedy, Malcolm X, Martin Luther King, Jr., and Robert Kennedy.https://digitalcommons.usf.edu/bdj_studioat620_postcards/1123/thumbnail.jp
Postcard, Mark Haber: An Evening of Readings at Studio@620 in St. Petersburg, Florida
No full textA promotional postcard for An Evening of Readings with author Mark Haber, hosted by Summerfolk Press and Studio@620. The event featured the debut of his newly published collection, Deathbed Conversions, a series of fifteen short stories exploring the absurdity of existence. The evening included a reception, readings, and a book signing.https://digitalcommons.usf.edu/bdj_studioat620_postcards/1238/thumbnail.jp
Postcard, Black and Blue at Studio@620 in St. Petersburg, Florida
No full textA promotional postcard for Black and Blue, an exhibition and book signing by author and artist Andra Douglas at Studio@620. The event showcases mixed-media artwork inspired by Douglas’s experiences in professional women’s tackle football, exploring themes of resilience and empowerment.https://digitalcommons.usf.edu/bdj_studioat620_postcards/1286/thumbnail.jp
Warren G. Harding with men photograph
No full textDated 1920, this photograph shows Warren G. Harding standing with two men on the porch steps of his home in Marion, Ohio. The man standing next to Harding wears a campaign ribbon on his left lapel.
This photograph is part of a photograph album in the Warren G. Harding Photograph Collection (P146). Warren G. Harding, the 29th President of the United States (1921-1923), was born in Blooming Grove, Ohio, in 1865. At age 14, Harding attended Ohio Central College in Iberia, Ohio, where he edited the campus newspaper and became an accomplished public speaker. He married Florence Kling de Wolfe in 1891, and embarked on his political career in 1900 by winning a seat in the Ohio legislature. After serving two terms as an Ohio Senator, Harding served as Lieutenant Governor in 1904 for two years before returning to the newspaper business. Although he lost the 1910 gubernatorial race, Harding was elected to the U.S. Senate in 1914. Political insider Harry Daugherty promoted Harding for the Republican presidential nomination in 1920. His front porch campaign was centered on speeches given from his home in Marion, Ohio, pledging to return the country to “normalcy” in this post World War I era. Harding easily won the election, gaining 61 percent of the popular vote. On August 2, 1923, Harding unexpectedly died from a massive heart attack while touring the western United States, and is entombed in the Marion Cemetery
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