1,396,848 research outputs found
Gavin Tran
No full textGavin Tran is a Vietnamese-Canadian Film Editor and Filmmaker from Vancouver, BC who enjoys crafting the story and energy behind the keyboard in the editing room. He has graduated from Capilano University with a Bachelors's Degree in Motion Picture Arts back in 2020. His interests are in factual and fictional tales that explode with passionate creativity, originality, and emotion
Gavin Walter Carr Sr.
No full textFebruary 9, 1935 - February 28, 2015 Palo Alto Resident. After 80 wonderful years Gavin Carr Sr. passed away Saturday. He is survived by his loving wife, Patricia his children, Colleen Carr-Gessert (Paul), Gavin Carr Jr. (Anne) Karen Carr-Haley (Brent), his grandchildren Karen Gessert-Lewis (Ryan), Shannon Gessert, Brandon Gessert, Keenan Carr, Kobe Carr, Colton Carr, Rori Haley, Kelsey Haley and his great grandchildren Cremer Lewis and Beatrice Lewis. Gavin was a San Francisco native, he grew up in Atherton and moved to Palo Alto in 1962. For the last 65 years Gavin volunteered with the Bing Crosby Pro-Am (now the AT&T Golf Tournament) his true passion. Gavin served in the Army and Army Reserves stationed in Japan for the majority of his time. He continued his services as a police officer when he returned home later making a career in Real Estate. Gavin lived life to the fullest and was always surrounded with his loving family and fabulous friends. Services will be held at Alta Mesa Cemetery Friday, March 6, 2015 at 11:00 am. In lieu of flowers a donation can be made in Gavin's name to the Wounded Warrior Project
Gavin Bryars - ACE193.2
No full textEnsemble playing on revolving stage. Curtain call for Gavin Bryars’s first opera at its premiere in France, 1984. Commentary describes Bryars’s university years, playing a lot of music though studying philosophy. Photograph of Bryars with double bass. Bryars talking about the early free jazz improvisation group he played with, Derek Bailey on guitar and Tony Oxley on drums. Bryars VO himself and members of his Ensemble, talking about providing accompaniments at a Working Men’s Club where people like David Whitfield, Kathy Kirby, and Freddie and the Dreamers performed. Piano and xylophone piece continues; Bryars on his composition My First Homage. Caption: "My First Homage (1978), 1st performed at ‘The Kitchen’, N.Y. Played here by members of the Gavin Bryars Ensemble." Music continues. Photographs of Bryars. Commentary talks about his work on experimental music. Bryars on his composition Marvellous Aphorisms Are Scattered Richly Throughout These Pages (1969), which required him to secrete musical instruments in the pockets of a long coat. Photographs of Cornelius Cardew and John Cage. Bryars on his interest in tonality. Photographs of Percy Grainger and Erik Satie, both influences on experimental and avant garde music. Bryars talking about Satie and Grainger. Photograph of Lord Berners. Bryars on Berners’s early music. Bryars Out of Zaleski’s Gazebo (1977) which he says quotes from Berners, Grainger, and Siegfried Karg-Elert. Out of Zaleski’s Gazebo played by eight hands on two pianos. Caption: "Out of Zaleski’s Gazebo 1977. Played by members of Gavin Bryars Ensemble." Music continues
Translation as creative retelling : constituents, patterning and shift in Gavin Douglas' Eneados
No full textThe Thesis analyses and evaluates how Gavin Douglas (Eneados, 1513) has refocused Virgil's Aeneid, principally by giving more emphasis to the serial particularity inherent in the story, loosening the narrative structure and involving the reader in its retelling.
Chapter I pieces together (from the evidence not merely of what Douglas explicitly says, but of what his words imply) what for him a "text" in general is, and what accordingly it means for a translator or a reader to be engaged with it. This sets the scene for what follows.
The next four Chapters look in turn at how he re-expresses important (metaphysical) characteristics of the story. In Chapter II his handling of time is discussed, and compared with Virgil's: the Chapter sets out in detail how Douglas consistently refocuses temporal predicates, foregrounding their disjunctiveness and making them differently felt. In Chapter III spatial position and distance are analysed, and Douglas' way of dealing with space is found to display parallels with his treatment of time: networks are loosened and nodal points are accentuated. In Chapter IV the way in which he presents individuals is compared with Virgil's, and a similar repatterning and shift reveals itself: Douglas provides his persons with firmer boundaries. Chapter V deals with fate, where Douglas encounters special difficulties but maintains his characteristic way of handling the story. The aim of these four Chapters is to characterise formally how Douglas concretises and vivifies the tale of Aeneas, engaging his readers throughout in the retelling.
Finally, Chapter VI looks at certain general principles of translation theory (notably connected with the ideas of faithfulness and accuracy) and argues for a way in which Douglas' translation can be fairly experienced by the reader and fairly evaluated as a lively retelling which (albeit distinctive) is fundamentally faithful to Virgil
Book Review: Gavin Bowd, The Last Communard
No full textReview of Gavin Bowd, The Last Communard: Adrien Lejeune, the Unexpected Life of a Revolutionary, London & New York, Verso, 201
Lyrics of Gavin Woods
No full textThe first page has a handwritten note stating that it is page 1 of 5 originally.Item located in file hy-dm-weeks-wilson-1984-1987-001The item consists of two pages. The first refers to the lyrics of Gavin Weeks pertaining to "Natural Born Killers" and "Woodstock Refugee" whilst the second page consists of a list of names and numbers
Letter from J. E. Gavin (for Senator Hayden) to Roy W. James, Michael Hanley and H. A. Montgomery
No full textLetter from J. E. Gavin on behalf of Carl Hayden writing in regards to the insurance claims filed with the National Park
Gavin Bryars
No full textEnsemble playing on revolving stage. Curtain call for Gavin Bryars’s first opera at its premiere in France, 1984. Commentary describes Bryars’s university years, playing a lot of music though studying philosophy. Photograph of Bryars with double bass. Bryars talking about the early free jazz improvisation group he played with, Derek Bailey on guitar and Tony Oxley on drums. Bryars VO himself and members of his Ensemble, talking about providing accompaniments at a Working Men’s Club where people like David Whitfield, Kathy Kirby, and Freddie and the Dreamers performed. Piano and xylophone piece continues; Bryars on his composition My First Homage. Caption: "My First Homage (1978), 1st performed at ‘The Kitchen’, N.Y. Played here by members of the Gavin Bryars Ensemble." Music continues. Photographs of Bryars. Commentary talks about his work on experimental music. Bryars on his composition Marvellous Aphorisms Are Scattered Richly Throughout These Pages (1969), which required him to secrete musical instruments in the pockets of a long coat. Photographs of Cornelius Cardew and John Cage. Bryars on his interest in tonality. Photographs of Percy Grainger and Erik Satie, both influences on experimental and avant garde music. Bryars talking about Satie and Grainger. Photograph of Lord Berners. Bryars on Berners’s early music. Bryars Out of Zaleski’s Gazebo (1977) which he says quotes from Berners, Grainger, and Siegfried Karg-Elert. Out of Zaleski’s Gazebo played by eight hands on two pianos. Caption: "Out of Zaleski’s Gazebo 1977. Played by members of Gavin Bryars Ensemble." Music continues.
Newspaper billboard April 16, 1912, announcing the sinking of the Titanic. Photograph of the ship. Bryars on his liking for conceptual art, and the possibilities of producing a piece of conceptual music. His notebooks and manuscript. Newspaper pieces on the Titanic. Fragments of survivors’ reports. Drawings, etc. Music playing over. Bryars’ voice on his ideas for the sounds. Caption: "The Sinking of the Titanic 1969. ‘Possible materials include: stereo tapes, string ensemble, percussion, alarm-clock, cassette speech, music-box, visible sound fx.’ This is an excerpt from the recorded version made in 1975. Editions EG." Music continues. Underwater footage. "The Rare and Beautiful Music of Portsmouth Sinfonia"; photographs of participants in this orchestra which Bryars founded in 1970 while teaching at Portsmouth Art College. Bryars talks about the activities of the group. A programme of popular classics. The orchestra playing (very badly) the Dance of the Sugar Plum Fairy. Bryars on "the worst orchestra in the world". Transposing Tchaikovksy’s Piano Concerto down to make the key easier for the orchestra meant that their guest pianist found it extremely difficult, and thus meant that she played it in a way more in keeping with the rest. Bryars describing a performance of the 1812 Overture where all the explosives were set off at one time. Orchestra playing. Photograph of Bryars in mid-1970s. He explains that he spent this period researching and teaching art history. Caption quotes John Cage, "One way to write music, study Duchamp." Bryars says that he found literature, particularly the writing of Raymond Roussel, and word play a good inspiration for composing. Jean Ferry’s Une Autre Etude sur Raymond Roussel, Roussel’s Impressions d’Afrique. He suggest that his composition, The Cross-Channel Ferry, an homage to Jean Ferry, shows how he has incorporated word play into his own work. Part of The Cross-Channel Ferry, with Bryars’s VO explaining some of the themes, for example, the use of musical instruments ending in the letter "a", and Latin American rhythms also ending in "a". Music continues over film of the cross-channel ferry. Caption: "The Cross-Channel Ferry 1979. Performed here by George W. Welch band." Music continues over. Music continues over film of sea and seabird. Bryars talking about his return to composition with Ponukelian Melody (1975). Ponukelian Melody played. Bryars VO talking on the influence of Satie, partly his ideas on harmony, and partly in one section, the tempo. Caption: "Ponukelian Melody 1975. Arranged by Andrew Thomson for George W Welch." Music continues over. The George W Welch band. Leicester Polytechnic’s Scraptoft Campus. Bryars with class, explaining different ways of altering the pitch and tone of a piano by placing objects on the strings. Bryars conducting musicians accompanying a dance piece. Bryars and students playing a piece by Carla Bley. Photographs of Bryars at piano and with double bass, and with Charlie Haydn and cellist. Bryars talking about Bill Frisell’s Throughout (1982), which he adapted (as Sub Rosa) for an ensemble. Music. Piano, violin, clarinets, xylophone played with bow, Bryars on bass. Caption: "Sub Rosa 1986. Dedicated to Bill Frisell. Gavin Bryars Ensemble." Music continues over. Part of performance of the opera, Medéa (1984), one result of his collaboration with Robert Wilson. Bryars talking about Medéa, Civil Wars (1984), and other projects he worked on with Wilson. Medéa continues. Bryars saying that this was a sympathetic treatment of the character, allowing her to be in control. Medéa continues. Bryars VO says he didn’t have to worry about other operatic models. Bryars saying his music could be detached and cool. Medéa continues. Caption. " Medéa 1982-84. Libretto after Euripides. Direction & Design: Robert Wilson. Conducted by Richard Bernas. With Medea sung by Yvonne Kenny, Jason sung by Louis Otey." Music continues over. Bryars on the calmness of the opera, with characters detached from the action. Medéa continues. Bryars on the lighting and its effects. Medéa continues. Bryars on his research into ancient Greek music, which resulted in him eliminating the violins and adding a large tuned percussion section. Medéa continues.
Bryars talking about works which grew out of Civil Wars and Medéa, such as Allegrasco. Allegrasco played Musicians include Bryars on bass. Bryars VO on the influence of Busoni. Caption: "Allegrasco 1983-86. Gavin Bryars Ensemble."
Music continues. Bryars on his writing for "squeaky door" musicians. The Arditti Quartet playing Bryars’s String Quarter No.1. Bryars says this piece was written for them to play in Vienna on their normal instruments, and then on Raad instruments which offer, for example, particularly bright harmonics, different tonal possibilities, etc. Music continues. Bryars talks about his original idea for this work, having each player representing a different composer and playing a piece which reconciles their apparent differences, though lack of time meant that this wasn’t fully developed. Music continues. Caption: "String Quartet No.1 1985, ‘Between the National & the Bristol’. First performed in Vienna and here played on electronic Raad instruments by the Arditti Quartet." Music continues over, with Bryars VO. Bryars explains the title of the Quartet. Music continues. Electronics board operator adjusting sound. Credits
Letter, Gavin (?) W. Wilson to William A. Corbett [July 21, 1863]
No full textLetter, Gavin (?) W. Wilson to William A. Corbett, July 21, 1863https://repository.stcloudstate.edu/joswilson-letters/1010/thumbnail.jp
The first statewide, open access dataset tracking public records requests in New Jersey
No full textState freedom of information laws are vital mechanisms for providing public access to government records and supporting civic engagement through the effectuation of a public policy of transparency at the state level within the United States, not unlike their federal counterpart, the Freedom of Information Act (FOIA). New Jersey state law facilitates public access to government records under the Open Public Records Act (OPRA). Codified at N.J.S.A. 47:1A-1 et seq., OPRA applies to state, county and local public authorities but exempts the judicial and legislative branches from its disclosure requirements. Since OPRA took effect in 2002, it has been difficult to track the full extent of law's impact across New Jersey's 21 counties, 565 municipalities, and numerous state agencies, school districts and independent authorities, all of which must individually respond to requests under the law. To the best of the author's knowledge, no official source has compiled detailed metadata tracking the content and disposition of OPRA requests at the state, regional and municipal levels within New Jersey using individual requests, and authorities rarely proactively disclose their responses to requests they receive, necessitating further data collection to support research into the impacts of this law. This article presents the OPRAmachine dataset: data containing detailed metadata on public records requests submitted to state & local public authorities in New Jersey since October 2017 collected through the implementation of information and communication technologies (ICT) to facilitate the freedom of information request process. The data was collected using an open-source web interface that allowed users to submit an OPRA request to public authorities, with responses stored in a database and made available via the internet. After their request received a response, users were asked to answer a single survey question describing the status of their request, with their answer used to classify the request. Descriptive statistics, tables and frequencies were produced for the dataset and are included in this article. These data will assist state policymakers and other interested parties with assessing trends in OPRA requests across multiple types of public authorities & geographic regions. These data can inform more efficient government records management procedures, foster civic engagement by increasing government transparency and can inform the development of possible reforms to the OPRA law by showing trends in requests & responses that can be used to evaluate the law's implementation throughout the state.Peer reviewe
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