2,209 research outputs found
Mary Jane Gribble Angus
No full textMary Jane Gribble Angus was an early resident of the Jensen, Utah area. She was the first wife of John Alexander Angu
Mary Jane Gribble Angus
No full textMary Jane Gribble Angus was born in 1895. She died in 1905 and is buried in the Jensen Cemetery in Jensen, Utah
Angus Family
No full textThe children of John and Mary Jane G. Angus are Christina, Delroy, Wilford, Delbert, Elmer, and Mary. The photo could have been taken in 1901 or 1902. It can be found on page 315 of the Jensen Utah Book
Angus Children
No full textThe children of John and Mary Jane G. Angus are Christina, Delroy, Wilford, Delbert, Elmer, and Mary. The photo could have been taken in 1901 or 1902. It can be found on page 315 of the Jensen Utah Book
Angus Mc. Alester, Esq; - - - - - appellant. Jane, the widow of John Dun, - - - respondent. The appellant's case [electronic resource].
No full textDocket title: 'Angus McAlester, Esq; ---- appellant. Jane Dunn, widow, ----- respondent. .. To be heard at the bar of the House of Lords, on Friday the 27th day of April, 1759.'.Signed: Ro. Dondas. Al. Forrester, April 20, 1759.In this edition, catchword on p.3: The.NACO HTC.Electronic reproduction.English Short Title Catalog,Reproduction of original from British Library
Hawaiian Appliqué quilt, by quilter from New Zealand
No full textImage of Hawaiian Appliqué quilt created circa 1932 by a quilter from New Zealand. Also includes questionnaires describing the quilt completed by Rachel Middleton Jensen as part of the Utah Quilt Guild\u27s documentation days held from 1988-1994. This quilt required one year to make and was given to Angus Taylor Wright and Martha Jane Middleton in 1933 by a native sister of New Zealan
Angus pure: a New Zealand branded beef programme
No full textThe New Zealand Kellogg Rural Leaders Programme develops emerging agribusiness leaders to help shape the future of New Zealand agribusiness and rural affairs. Lincoln University has been involved with this leaders programme since 1979 when it was launched with a grant from the Kellogg Foundation, USA.Angus Pure is a branded Beef program owned 50 percent by the New Zealand Angus
Association, the remaining 50 percent is privately owned. New Zealand Angus
Association has 325 active members supplying Angus genetics to commercial beef
farmers as part of their branded program. The objective of this program is to create a
greater demand and awareness for Angus genetics throughout New Zealand, and
obtain premiums for the commercial beef farmer and pedigree bull breeders. This is a
mirror imagine of an already existing program run in America called CAB (Certified
Angus Beef) and in Australia called CAAB. (Certified Australian Angus Beef) CAB is a
specification based branded beef program, which was founded by the American Angus
producers in 1978 to increase the demand for their breed of cattle by promoting Angus
cattle as having a greater consistent high quality beef value via superior taste. This
brand unlike the New Zealand Angus Pure brand is owned solely by their member
base. So why did the New Zealand Angus Association decide to create a beef brand
within a already saturated internal and export market, what was their goal and how did they expect to achieve this
A new species of Diporiphora from the Goneaway Tablelands of Western Queensland
No full textCouper, Patrick, Melville, Jane, Chapple, Angus Emmott And Stephanie N. J. (2012): A new species of Diporiphora from the Goneaway Tablelands of Western Queensland. Zootaxa 3556: 39-54, DOI: 10.5281/zenodo.28289
Autumn leaves : sound and the environment in artistic practice
No full textThis publication is a book that represents an innovative, international and multi-disciplinary approach to conceptualising the dynamic relationships between sound and the environment. The editorial process involved directly commissioning textual, graphic and photographic work. The vast majority of the book represents new work, produced specifically for this publication. For the purposes of tracing historical development, an article from 1974 and three older projects have been revived and recontextualised. In addition to the editorial responsibility, the researcher wrote the introduction and conducted three original interviews. The book draws work from visual, sound and performance art, acoustic science, anthropology, cultural studies, public policy, and architectural theory. Just as it is true to say that these disciplines have not previously been brought together in this way, equally, it is no exaggeration to identify the contributors as the leading international lights in the field: Chris Watson, Tim Ingold, Hildegard Westerkamp, Christina Kubisch, Alvin Lucier, David Toop. The book is published by Double Entendre, the French publisher of the premier sound arts journal, Vibro. The book is accompanied by an audio compilation published by the German record label, Gruenrekorder (Gruen 053). www.autumn-leaves.gruenrekorder.de. The researcher co-curated the compilation, selecting relevant work that illustrated the book’s themes. The book was the catalyst for a one-day symposium at the Tate Britain called The Performance of Sound (May 19th, 2006), which the researcher co-organised. The researcher was invited to speak on the book at the Audio Extranautes: Flux, Distance, Sociability symposium at the Villa Arson in Nice in December 2007. Autumn Leaves has been reviewed in the French journal Mouvement; in MCD where the reviewer reported that “this book deserves to be translated into French”; and Soundscape: The Journal of Acoustic Ecology. Soundscape 7 (1), Autumn, 2007 reprinted an interview conducted by the author from the book. Autumn Leaves, edited by CRiSAP co-director Angus Carlyle, seeks to draw together a number of different perspectives on how the environment is made audible through sound. The perspectives contained in the book are made manifest through more traditional textual analyses, interviews, image-based works (both photography and graphic illustration) and ‘artist’s pages’ (which combine different registers of information).
Among the articles included in the book are a superb deconstruction of the concept of soundscape by anthropologist Tim Ingold; an intriguing analysis of sound from an acoustic point-of-view (or point-of-audition) by Bill Davies; Steve Goodman’s dynamic opening up of city sound to a bass materialism provoked by Greg Lynn’s ‘blob’ architecture; Salome Voegelin’s evocative mapping of sci-fi aesthetics onto the project of acoustic ecology; a wonderful meditation on the heard and the unheard by David Toop; Sylvain Marquis powerfully drawing out the ‘presence’ of Phill Niblock; Rahma Khazam finding new ways of listening through an inspired conceptual conversation between art, architecture and relational aesthetics; and a re-print of Hildegard Westerkamp’s pioneering discussion of soundwalking from 1974.
Interviews include a wide-ranging discussion with Alvin Lucier about his work and working practices; an exploration of Christina Kubisch’s long-standing commitment to teasing out the complexities of the sounds that surround us; Peter Cusack providing an exciting account of his Sound of Dangerous Places project; Chris Watson talking us through his inspirational field-recording; and Max Dixon offering fresh perspectives on how the development of strategies for noise in urban environments meshes policy with research into bio-acoustics, acoustics and creative practice.
Images include Dan Holdsworth’s haunting representations of anechoic chambers through Charles Fox’s photographs of microphone arrays in the wilderness, Axel Stockburger’s ASCII art evocations of video-game space and Nicholas Gansterer’s intricate diagrams of our heard world.
What remains of the book is devoted to the artists’ pages. In these a whole host of contemporary practitioners spanning the disciplines of graphic design, music, photography, performance and visual art offer their provocative takes on sound and the environment. Here we encounter John Wynne and Tim Wainwright presenting their collaborative work in Harefield Hospital; Aki Onda pursuing his Cinemage project; Claudia Wegener finding poetry in ear- and eye-witnessing; an unpacking of the theories and technologies behind the exciting Locus Sonus audio streams; NYSAE opening up its portfolio of acoustic ecology-inspired activities; Goran Vejvoda mobilising a modular manifesto from his three decades of sound art; the Gruenrekorder label reviewing the thinking behind its 40 releases; Jem Finer show-casing his Score For A Hole in the Ground; Cathy Lane mapping her memories of the Hebrides; Zoe Irvine making an art of places out of abandoned audio tape; and Mira Choi introducing her noise-responsive graphic software.
The editorial work and its presentation has been a collaborative venture with the designer Ian Noble.
Autumn Leaves is CRiSAP's first book and is edited by CRiSAP Co-Director Angus Carlyle[/b] and published by the exciting French sound art initiative Vibro / Double Entendre. It contains work by a variety of artists including several of CRiSAP's members - Salomé Voegelin, John Wynne, Peter Cusack, Cathy Lane and David Toop
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