7,392 research outputs found
Winifred Nicholson. Not Nailed Down
No full textMother of pearl shell; VO of Winifred Nicholson talking about Byam Shaw, her art school tutor, being disapproving of the colours she was using to paint such a shell. Artist mixing paints on palette. VO talking about the changeable nature of colours though "for a long time they have been nailed down like carpets." Paintings including Honeysuckle and Sweet Peas (c.1945-1946), while commentary describes her as "a joyful experimenter with colour" and as "an important painter who has been overlooked". Winifred Nicholson interviewed in 1980: "Colours make me want to paint. To jump for joy." Photographs of Nicholson. Judy Collins, The Tate Gallery, saying Winifred Nicholson wasn’t as famous as her husband, Ben, "because she didn’t court fame". Collins says that when both became recognised as part of the British Modern movement, he asked her to change her name, and she painted as Winifred Dacre. Photographs. Collins VO gives brief career details, and talks about starting her researches on Nicholson’s work. Exterior and interiors Banks Head, the Nicholsons’ house in Cumbria. Nicholson’s description over. Landscapes including view of house over fields; painting of same view, The Swaites (1923). Photograph of country lane; painting of similar view. Collins talks about her researches and being shown a letter from the 1960s in which Nicholson said "I never date my work, I never sign my work and I never give my work titles, because if I did, what would it leave the art historian to do." Donald Wilkinson shows painting of wild flowers on Iona which has the painting The Red Flower Pot (1930) on the back. Collins talking about letters written by Nicholson in response to requests for information in which she claims that such information is not important. Photographs of Winifred and Ben Nicholson. Winifred’s words over talking about meeting Ben. Painting showing the location of the Villa Capriccio Castagnola, on Lake Lugano. Photographs of Winifred. Nicholson’s VO talking about "a flowering point" in their painting; Mughetti (1922), painting of a pot of Lily of the valley given her by Ben. Cyclamen and Primula (1922). Collins VO talking about Nicholson’s "favourite composition" of a vase or pot of flowers in front of a window space overlooking hills or mountains (no middle ground) and quoting Nicholson as writing that she tried to "toss the light and the colours like a shuttlecock" between foreground and background . Paintings including Moss Roses and White Campanulas at Burwash (1937) and Narcissi in a Grey Pot. Paintings with commentary quoting Nicholson’s description of colours as "halts in the river of light" and saying that she tried to capture these moving colours which is one reason she painted fast. Donald Wilkinson describes Nicholson as painting fast but having thought a good deal about the subject first. Susie Honnor and Andy Christian: Honnor talks about Nicholson making pea-pod soup. Wilkinson talking about Nicholson’s sense of humour; her relationship with children, her "playing to win". Domestic subjects including The Warwick Family (1925-1926). Christian talks about Nicholson and her children, and about Ben Nicholson leaving her and their family; photographs. Berries in Window, Night, Fishbourne (1931-1932) Mughetti. Nicholson words VO talking about this painting as being "the idea of marriage" she had. Painting (Starry Eyed, 1927) and photographs of Ben and baby; VO commenting on Ben’s ideas for their "new relationship". Film and photographs of Paris to where Winifred moved with her children. Le Quai d’Auteuil (1932-1933). Photographs of the children; film of Paris. Collins VO talking about Nicholson’s contacts with Brancusi, Mondrian, Giacometti, etc., and her "acting as a significant link" between developments in Paris and London. Nicholson’s words VO, talking about "years of inspiration". Photographs of Bauhaus chairs, and contemporary pottery and buildings. Gouache of Cyclamen and Primula; more and more abstract versions of same, 1935-1936; Nicholson’s words VO talking about art becoming "functional". Untitled (1935-1936) and two abstracts. Nicholson talking in 1976 about the new idea that "you didn’t need to just copy like a photograph" or paint something "the colours that it was"; abstract painters dealt with "the spaces in between". Sun Circles (1936 and 1970). Nicholson interview. She talks about "the Abstract people" keeping to themselves: "they wouldn’t speak to the Surrealists". Views from moving trains. Nicholson’s words VO talking about her time in France and "saying goodbye", not just for herself "but for the whole world". Caption: "1939".
Collins and colleague examining Shepherd (1936). Collins VO talking about the exhibition being mounted covering Nicholson’s career and showing that she was more than "just a flower painter". Exhibits. Honeysuckle and Sweet Peas (c.1945-1946). Tate Gallery condition report. Collins VO saying that Nicholson formed the style of the Seven and Five Society. Paintings being packed for transport. Collins VO talking about height at which pictures should be hung. Photographs of Nicholson’s grandparents (George Howard, 9th Earl of Carlisle and his wife) and Castle Howard. Christian explaining that her private income meant she was never under pressure to sell paintings which gave her great autonomy. Collins on Nicholson’s exhibitions; labels on the backs of one or two paintings. Collins talking about Nicholson not signing her work and about the importance to her of her family. Family subjects including Kate and Jake, at the Isle of Wight (1931-1932) and Bathtime (1934). Honnor describing conversations she had with Nicholson about relationships. Paris Light (1933-1934). Wilkinson VO talking about Nicholson liking rainbows. Photographs of rainbow effects. Paintings. Wilkinson says Nicholson would ask "what sort of orange?" and "how would you paint that red and the violet?", the latter being "a very important colour to her". View from window. Eigg, Candle (1980). Wilkinson says he would telephone Nicholson to tell her about rainbows he saw. More photographs and painting of rainbow effects. A rainbow. Collins talking about Nicholson looking at the rainbow "as a sort of colour lesson". Flower Table (1938-1939), etc. Collins on Nicholson and Christian Science, and her ability to experience joy. The Gate to the Isles (1980). Hebridean Roses, Eigg (1980). Glimpse Upon Waking (1976). Photographs of Nicholson. Paintings. Nicholson filmed in 1976 through the window of her house. Interior of the house. Photographs of Nicholson. Christian talking about her optimism, and the excitement she found in life. Sooke Valley (c.1930). Nicholson’s words VO: "The picture will always be there… If it is a true picture, I shall never grow tired of it… However familiar I have grown with it, I shall not come to the end of its friendship." Nicholson drinking tea. Credits
Winifred Nicholson. Not Nailed Down - ACE180.4
No full textCollins and colleague examining Shepherd (1936). Collins VO talking about the exhibition being mounted covering Nicholson’s career and showing that she was more than "just a flower painter". Exhibits. Honeysuckle and Sweet Peas (c.1945-1946). Tate Gallery condition report. Collins VO saying that Nicholson formed the style of the Seven and Five Society. Paintings being packed for transport. Collins VO talking about height at which pictures should be hung. Photographs of Nicholson’s grandparents (George Howard, 9th Earl of Carlisle and his wife) and Castle Howard. Christian explaining that her private income meant she was never under pressure to sell paintings which gave her great autonomy. Collins on Nicholson’s exhibitions; labels on the backs of one or two paintings. Collins talking about Nicholson not signing her work and about the importance to her of her family. Family subjects including Kate and Jake, at the Isle of Wight (1931-1932) and Bathtime (1934). Honnor describing conversations she had with Nicholson about relationships. Paris Light (1933-1934). Wilkinson VO talking about Nicholson liking rainbows. Photographs of rainbow effects. Paintings. Wilkinson says Nicholson would ask "what sort of orange?" and "how would you paint that red and the violet?", the latter being "a very important colour to her". View from window. Eigg, Candle (1980). Wilkinson says he would telephone Nicholson to tell her about rainbows he saw. More photographs and painting of rainbow effects. A rainbow. Collins talking about Nicholson looking at the rainbow "as a sort of colour lesson". Flower Table (1938-1939), etc. Collins on Nicholson and Christian Science, and her ability to experience joy. The Gate to the Isles (1980). Hebridean Roses, Eigg (1980). Glimpse Upon Waking (1976). Photographs of Nicholson. Paintings. Nicholson filmed in 1976 through the window of her house. Interior of the house. Photographs of Nicholson. Christian talking about her optimism, and the excitement she found in life. Sooke Valley (c.1930). Nicholson’s words VO: "The picture will always be there… If it is a true picture, I shall never grow tired of it… However familiar I have grown with it, I shall not come to the end of its friendship." Nicholson drinking tea. Credits
Winifred Nicholson. Not Nailed Down - ACE180.2
No full textMother of pearl shell; VO of Winifred Nicholson talking about Byam Shaw, her art school tutor, being disapproving of the colours she was using to paint such a shell. Artist mixing paints on palette. VO talking about the changeable nature of colours though "for a long time they have been nailed down like carpets." Paintings including Honeysuckle and Sweet Peas (c.1945-1946), while commentary describes her as "a joyful experimenter with colour" and as "an important painter who has been overlooked". Winifred Nicholson interviewed in 1980: "Colours make me want to paint. To jump for joy." Photographs of Nicholson. Judy Collins, The Tate Gallery, saying Winifred Nicholson wasn’t as famous as her husband, Ben, "because she didn’t court fame". Collins says that when both became recognised as part of the British Modern movement, he asked her to change her name, and she painted as Winifred Dacre. Photographs. Collins VO gives brief career details, and talks about starting her researches on Nicholson’s work. Exterior and interiors Banks Head, the Nicholsons’ house in Cumbria. Nicholson’s description over. Landscapes including view of house over fields; painting of same view, The Swaites (1923). Photograph of country lane; painting of similar view. Collins talks about her researches and being shown a letter from the 1960s in which Nicholson said "I never date my work, I never sign my work and I never give my work titles, because if I did, what would it leave the art historian to do." Donald Wilkinson shows painting of wild flowers on Iona which has the painting The Red Flower Pot (1930) on the back. Collins talking about letters written by Nicholson in response to requests for information in which she claims that such information is not important. Photographs of Winifred and Ben Nicholson. Winifred’s words over talking about meeting Ben. Painting showing the location of the Villa Capriccio Castagnola, on Lake Lugano. Photographs of Winifred. Nicholson’s VO talking about "a flowering point" in their painting; Mughetti (1922), painting of a pot of Lily of the valley given her by Ben. Cyclamen and Primula (1922). Collins VO talking about Nicholson’s "favourite composition" of a vase or pot of flowers in front of a window space overlooking hills or mountains (no middle ground) and quoting Nicholson as writing that she tried to "toss the light and the colours like a shuttlecock" between foreground and background . Paintings including Moss Roses and White Campanulas at Burwash (1937) and Narcissi in a Grey Pot
The role of educative thought in the life and work of Antonio Gramsci
No full textMany philosophers have propounded a vision of an improved society, what distinguishes Antonio Gramsci is his continuous effort to make it happen by understanding the process in order to put into practice. Gramsci's conviction about the importance of educative development came from both theory and experience. While there has been considerable examination of Gramsci's work in relation to the Prison Notebooks, this study will seek to address a lacuna in Gramsci scholarship. Using Gramsci's philological method, I analyse Gramsci's pre-prison activity; his pre-prison articles and letters, which, together with his letters from prison, formed part of his educative mission. This educative process was necessary, in order to construct a new party which would develop a collective will, collaboratively, with the masses.In this study therefore, I explore the contexts and formative experiences of the first part of his life together with the intellectual sources from which Gramsci developed his later theories, making central hitherto underemphasised connections between them which informed his writing and ideas. I intend to illustrate that Gramsci's underlying purpose in his writing, and political activity, was not only practical, on how to create a new socialist ruling class, but also educative in forming the mindset and values of his comrades. So that in addition to outlining his vision of a new order, he implicitly guided or explicitly explained the processes by which the necessary changes in social relations and moral climate could be made in order to achieve it. Each person had to engage with the values of the new order so that each could contribute to the construction of a new robust state. It was essential to build a hegemony at the most profound level, one which was dependent on collective understandings and a collective will
A Percyanovinylidene -Ruthenium Complex, Ru{=C=C(5)(CN)(3)[=C(CN)(2)](2)}(dppe)Cp*
No full textThe reaction between Ru(C=CC=CAg)(dppe)Cp* and tcne affords a novel percyanovinylidene complex by an unusual decyano-dimerization reaction of the cyanocarbon with the diynyl fragment. This complex is also obtained from tcne and Ru{C=CC=C[Au(PPh3)]}(dppe)Cp*, together with Ru{C=CC[=C(CN)2]C[Au(PPh3)]=C(CN)2}(dppe)Cp *, formed by the anticipated [2 + 2] cycloaddition and subsequent ring-opening reactions. © 2011 American Chemical Society.Michael I. Bruce, Jonathan C. Morris, Brian K. Nicholson, Brian W. Skelton, Allan H. White, and Natasha N. Zaitsev
Robotic path planning for non-destructive testing - a custom MATLAB toolbox approach
No full textThe requirement to increase inspection speeds for non-destructive testing (NDT) of composite aerospace parts is common to many manufacturers. The prevalence of complex curved surfaces in the industry provides motivation for the use of 6 axis robots in these inspections. The purpose of this paper is to present work undertaken for the development of a KUKA robot manipulator based automated NDT system. A new software solution is presented that enables flexible trajectory planning to be accomplished for the inspection of complex curved surfaces often encountered in engineering production. The techniques and issues associated with conventional manual inspection techniques and automated systems for the inspection of large complex surfaces were reviewed. This approach has directly influenced the development of a MATLAB toolbox targeted to NDT automation, capable of complex path planning, obstacle avoidance, and external synchronization between robots and associated external NDT systems. This paper highlights the advantages of this software over conventional off-line-programming approaches when applied to NDT measurements. An experimental validation of path trajectory generation, on a large and curved composite aerofoil component, is presented. Comparative metrology experiments were undertaken to evaluate the real path accuracy of the toolbox when inspecting a curved 0.5 m2 and a 1.6 m2 surface using a KUKA KR16 L6-2 robot. The results have shown that the deviation of the distance between the commanded TCPs and the feedback positions were within 2.7 mm. The variance of the standoff between the probe and the scanned surfaces was smaller than the variance obtainable via commercial path-planning software. Tool paths were generated directly on the triangular mesh imported from the CAD models of the inspected components without need for an approximating analytical surface. By implementing full external control of the robotic hardware, it has been possible to synchronise the NDT data collection with positions at all points along the path, and our approach allows for the future development of additional functionality that is specific to NDT inspection problems. For the current NDT application, the deviations from CAD design and the requirements for both coarse and fine inspections, dependent on measured NDT data, demand flexibility in path planning beyond what is currently available from existing off-line robot programming software
Role of cytochrome c heme lyase in the import of cytochrome c into mitochondria
No full textThe import of cytochrome c into Neurospora crassa mitochondria was examined at distinct stages in vitro. The precursor protein, apocytochrome c, binds to mitochondria with high affinity and specificity but is not transported completely across the outer membrane in the absence of conversion to holocytochrome c. The bound apocytochrome c is accessible to externally added proteases but at the same time penetrates far enough through the outer membrane to interact with cytochrome c heme lyase. Formation of a complex in which apocytochrome c and cytochrome c heme lyase participate represents the rate-limiting step of cytochrome c import. Conversion from the bound state to holocytochrome c, on the other hand, occurs 10-30-fold faster. Association of apocytochrome c with cytochrome c heme lyase also takes place after solubilizing mitochondria with detergent. We conclude that the bound apocytochrome c, spanning the outer membrane, forms a complex with cytochrome c heme lyase from which it can react further to be converted to holocytochrome c and be translocated completely into the intermembrane space
The tail of the Jurassic fish Leedsichthys problematicus (Osteichthyes: Actinopterygii) collected by Alfred Nicholson Leeds - an example of the importance of historical records in palaeontology
No full textThe specimen of the tail of <i>Leedsichthys problematicus</i>, now in The Natural History Museum, London, was one of the most spectacular fossil vertebrates from the Oxford Clay Formation of Peterborough, but as an isolated find it shares no bones in common with the holotype of the genus and species. However, a letter from Alfred Nicholson Leeds and related documents cast valuable new light on the excavation of the tail, indicating that it was discovered with cranial bones, gill-rakers, and two pectoral fins, thereby including elements that can potentially be compared with those of the holotype. The documents also clearly indicate that The Natural History Museum's specimen is not part of the same individual as any other numbered specimen of <i>Leedsichthys</i> as had been speculated on other occasions. The maximum size of the animal represented by The Natural History Museum's specimen was possibly around 9 metres, considerably less than previous estimates of up to 27.6 metres for <i>Leedsichthys</i>. Historical documentary evidence should therefore be rigorously checked both when studying historical specimens in science, and in preparing text for museum display labels
Journeys into Seeing: Amateur Film-making and Tourist Encounters in Soviet Russia, c. 1932
No full textThis article examines in detail amateur film imagery of Soviet-era Russia held in the North West Film Archive at Manchester Metropolitan University. It discusses footage made and shown during the early 1930s by an early regional cine enthusiast, and places the material within the context of contemporary developments of amateur film aesthetics, of meta-narratives of international relations, and most significantly of local inflections in the Manchester area of cultural exchange between the United Kingdom and the USSR. The article explores issues of East-West relations, identities and visual memory-making within broader considerations of amateur film practice, travel narration and tourism history
Robotic path planning for non-destructive testing of complex shaped surfaces
No full textThe requirement to increase inspection speeds for non-destructive testing (NDT) of composite aerospace parts is common to many manufacturers. The prevalence of complex curved surfaces in the industry provides significant motivation for the use of 6 axis robots for deployment of NDT probes in these inspections. A new system for robot deployed ultrasonic inspection of composite aerospace components is presented. The key novelty of the approach is through the accommodation of flexible robotic trajectory planning, coordinated with the NDT data acquisition. Using a flexible approach in MATLAB, the authors have developed a high level custom toolbox that utilizes external control of an industrial 6 axis manipulator to achieve complex path planning and provide synchronization of the employed ultrasonic phase array inspection system. The developed software maintains a high level approach to the robot programming, in order to ease the programming complexity for an NDT inspection operator. Crucially the approach provides a pathway for a conditional programming approach and the capability for multiple robot control (a significant limitation in many current off-line programming applications). Ultrasonic and experimental data has been collected for the validation of the inspection technique. The path trajectory generation for a large, curved carbon-fiber-reinforced polymer (CFRP) aerofoil component has been proven and is presented. The path error relative to a raster-scan tool-path, suitable for ultrasonic phased array inspection, has been measured to be within + 2mm over the 1.6 m 2 area of the component surface
- …
