125 research outputs found
Welcoming party
No full textWelcoming party at Giddy River 14 miles from Gove, during 1969 crossing of Arnhem Land. Left to right: Alison Darby (secretary to Wentworth); Daphne Calder (Mrs. Sam Calder); Kevin Martin; Mrs. Bettina Gorton (wife of Prime Minister); Pete Petersen (district Welfare Officer, Gove); Maurie Driscoll (personnel officer, Nabalco); Ted Cooper (driver).Evans, Ted.Date:196
Book Review: This Is How It Is: True Stories from South Africa
No full textBook Title: This Is How It Is: True Stories from South AfricaBook Author: Published by Life Righting CollectiveJohannesburg: Jacana Media, 2018. ISBN: 978-1-928232-56-8
The Courier, Volume 4, Issue 7, October 29, 1970
No full textStories:
Homecoming 1970 ‘Most Successful’ in DuPage History (photos)
Marathon Session Disrupts Senate
Campus Center Noisy? Well, It’s Like a Steel Mill
Bomb Threat Reported Monday, Prankster Blamed
Adelman Makes Pitch
Instructional Council to Probe Class Size
Name \u27Pantagleize\u27 Cast
Homecoming Week Activities Big Success
‘Older Generation Can’t Keep Up With the Times,’ Says UN Expert
Coffee with Rep. Dyer
People:
Dickie Martin
William Adelman
Giddy Dyer
Alex Gabriel
Mary Jo Schneide
Clyde Meets Elbe - 34 knotts
No full textThis group project involved eight artists responding to the site 'Amerikahafen' in Cuxhaven. During a three week residency and with the support of local people, concepts and proposals were turned into artworks which were located in the Steubenhoft building on Amerikahafen (harbour). This is a site of real historical significance not only to the region, but to the country as a whole.
'Clyde Meets Elbe' snowballed out of an invitation from Curator Christine Biehler to develop a new project - the third part of a four part year long curatorial project called 34 Knotts. The curatorial rationale was about moving the activities of the Kunstverein Gallery into the city of Cuxhaven to engage more with people and place.
The author developed work for the exhibition, raised funds, helped select the other artists involved and co-ordinated parts of the project. Also exhibiting were: Dave Sherry, Allan Giddy, Hannah Brackston, Lewis Watson, Rae-Yen Song, Michael Barr and Jennifer Martin
Harmony and discord within the English ‘counter-culture’, 1965-1975, with particular reference to the ‘rock operas’ Hair, Godspell, Tommy and Jesus Christ Superstar
No full textPhDThis thesis considers the discrete, historically-specific theatrical and musical sub-genre of ‘Rock Opera’ as a lens through which to examine the cultural, political and social changes that are widely assumed to have characterised ‘The Sixties’ in Britain. The musical and dramatic texts, creation and production of Hair (1967), Tommy (1969), Godspell (1971), Jesus Christ Superstar (1970) and other neglected ‘Rock Operas’ of the period are analysed. Their great popularity with ‘mainstream’ audiences is considered and contrasted with the overwhelmingly negative and often internally contradictory reaction towards them from the English ‘counter-culture’. This examination offers new insights into both the ‘counter-culture’ and the ‘mainstream’ against which it claimed to define and differentiate itself.
The four ‘Rock Operas’, two of which are based upon Christian scriptures, are considered as narratives of spiritual quest. The relationship between the often controversial quests for re-defined forms of faith and the apparently precipitous ‘secularization’ and ‘de-Christianization’ of British society during the 1960s and 1970s is considered.
The thesis therefore analyses the ‘Rock Operas’ as significant, enlightening prisms through which to view many of the profound societal debates – over ‘faith’ and ‘belief’ in the widest senses, sexuality, the Vietnam war, generational conflict, drugs and ‘spiritual enlightenment’, and race – which were, to some considerable extent, elevated onto the national, political agenda by the activities of the broadly-defined ‘counter-culture’. It considers subsequent representations of the ‘counter-culture’ as the root of a contested but enduring popular legacy of ‘The Sixties' as a period of profound cultural change
‘Carrot/Stick’ - a Social Sculpture created for 'La Lune: Energy Producing Art' an off-site exhibition.
No full textContribution to the off-site exhibition La Lune: Energy Producing Art curated by Allan Giddy (Director of ERIA). La Lune was a temporary outdoor sculpture exhibition which in part responded to the site at Long Reef Headland. It has been produced by Warringah Council in conjunction with the Environment Research Initiative for Art (ERIA) at the College of Fine Arts (COFA), University of New South Wales (UNSW). The exhibition follows on from Australia's first solar exhibition Desert Equinox, Held in Broken Hill in 2012. La Lune further explores the idea of energy in art, expanding from purely solar, to energy as it occurs and exchanges in various other ways and forms.
My own contribution was a series of high-viz runners T-shirts complete with reflective motivational slogans on front and back. These garments were gifted to local runners if they agreed to wear them whilst running a specific route through the sculpture exhibition. The audience for the work included those who wore the garments and those who encountered the work by chance.
Presented by Warringah Council in conjunction with the Environmental Research Initiative for Art, College of Fine Arts, University of New South Wales. Sponsored by Long Reef Golf Club.
Artists:
Peter Cerneaz
Chris Meigh-Andrews
Justin Carter
Margaret Seymour
Angela Robinson
Bonita Ely
Michael Donohue + Noel McLaughlin
Helen Sturgess
Allan Giddy
Michael Lewarne
Alexandra Byrne
Ed Horne + Charlotte Hayward
Tool Room (Francois Breuillaud-Limondin + Anthony Napoli)
Peter Woodford-Smith
Martin Sims
Atanas Djonov
Thor Beowulf
Karl DeWaa
Recommended from our members
From the Fairground of Dreams
No full textSet in two parts, the shorter opening section starts as a bubbling under the surface, building to a frenetic, giddy climax showcasing some exciting percussion and rhythms before submerging below again. The second section uses harmonics, more spacious melodic lines, solos and muted instruments to enhance the dream-like quality that the piece depicts. However, the excitement and contrast of the first section returns, exemplifying the multiple moods and confusion of both the fairground that the title suggests and the cacophony of emotions, memories and images that are ever present in our dreams
Anxious, Dismal, Giddy, Aggressive: Seth Kim-Cohen interviewed by Mark Peter Wright for Ear Room.
No full textA conversation with author Seth Kim-Cohen
resources
No full textThe Zip-file include 8 Folders. Each containing phylogenetic trees and alignments for one dataset
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