2,949 research outputs found
Sherry Jones and her Angus heifer
No full textSherry Jones and her Angus heifer to be shown at the New Mexico State Fair. Standing in front of the south facade of the Jones house
ESTIMATING THE ECONOMIC VALUES ASSOCIATED WITH EPDS FOR ANGUS BULLS AT AUCTION
No full textThe genetic traits that an Angus bull possesses convey the reproductive and economic value of the animal to potential buyers. This paper examines and draws comparisons between the value of actual production weights and production EPDs, while also establishing values for ultrasound EPDs. Results indicate that only one EPD, birth weight, was valued by buyers more than its corresponding actual weight, though actual weights and EPDs significantly impacted price. Ultrasound EPDs were also found to be significant, suggesting buyers of Angus bulls consider carcass information when purchasing bulls.Angus Bulls, Birth Weight, Carcass, EPDs, Hedonic Model, Livestock Production/Industries,
Dr. Angus Macleod. [Podcast]
No full textDr Angus Macleod is an Honorary Consultant Neurologist with NHS Grampian, specialising in movement disorders including Parkinson's. He is also a Senior Lecturer at the School of Medicine at the University of Aberdeen. This podcast focuses on his own research and also his views on the most promising areas of research currently underway
Angus Maddison and Development Economics
No full textThis paper was prepared for the Angus Maddison Memorial conference, held in November 2010 at the International Institute of Social History in Amsterdam. The paper reflects on Angus Maddison's contributions to development economics. It focuses on the following issues: 1. quantification in development economics and the framework of proximate and ultimate causality in growth and development; 2 the debate about levels of GDP per capita in the middle of the eighteenth century; 3 Maddison versus the Malthusians; 4 measurement of Chinese Economic Performance in the long run; 5. the impact of Western expansion on the non-Western world and 6. the role of institutions in economic development.Economic Growth, Development Economics, GDP per capita, China, Western Expansion, Institutions
Barbara Hung, Michael Stafford and Angus Jones, 50th Anniversary of IBL, 2013
No full textBarbara Hung, Michael Stafford and Angus Jones at 50th anniversary of Industry Based Learning (IBL) celebrations, ATC Building, Hawthorn Campus, 50 years of IBL celebrations, 18 July 2013
North of Scotland Parkinson's Research Interest Group (NoSPRIG) host Drs. Carl Counsell and Angus Macleod: live Q and A.
No full textThis webinar focused on a live question and answer session with Dr. Carl Counsell and Dr. Angus Macleod, following from their separate contributions to episodes 1 and 2 of the first series of the North of Scotland Parkinson's Research Interest Group (NoSPRIG) podcast
Amon Carter Jr., left, Grady Jones of Burrus Mills and Davis Owens of Goldthwaite, shown with the reserve champion Angus of the boys\u27 steer show
No full textAmon Carter Jr., left, Grady Jones of Burrus Mills and Davis Owens of Goldthwaite, shown with the reserve champion Angus of the boys\u27 steer show.https://mavmatrix.uta.edu/specialcollections_startelegram1950s/17345/thumbnail.jp
Film Still for I'm in a Forest, 2023.
No full textJPEG file uploaded by the Theatre and Dance Platform for the 2023 short film, I'm in a Forest.Film Still of dancers Geoffrey Watson and Harrison Richie-Jones in I'm in a Forest, 2023. Credits: Lucy Guerin and Angus Kemp, Directions; Lucy Guerin, Choreograhy; Jethro Woodward, Composition and Sound Design; Paul Lim, Lighting Design; Nick Moloney, Lighting Design Associate; Kate Davis, Costume Design; Harriet Oxley and Benjamin Handcock, Additional Costumes; Angus Kemp, Editor; Rudi Siira and Angus Kemp, Cimematography; Michael Ciarlo, Gimbal Operator; Dan Stonehouse, Colour; Estelle Conley, Producer; Brendan O'Connell, Executive Producer
Film Still for I'm in a Forest, 2023.
No full textJPEG file uploaded by the Theatre and Dance Platform for the 2023 short film, I'm in a Forest.Film Still of dancers Rebecca Jensen, Lilian Steiner, Georgia Rudd, Harrison Richie-Jones and Lee Serle in I'm in a Forest, 2023. Credits: Lucy Guerin and Angus Kemp, Directions; Lucy Guerin, Choreograhy; Jethro Woodward, Composition and Sound Design; Paul Lim, Lighting Design; Nick Moloney, Lighting Design Associate; Kate Davis, Costume Design; Harriet Oxley and Benjamin Handcock, Additional Costumes; Angus Kemp, Editor; Rudi Siira and Angus Kemp, Cimematography; Michael Ciarlo, Gimbal Operator; Dan Stonehouse, Colour; Estelle Conley, Producer; Brendan O'Connell, Executive Producer
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
- …
