1,424 research outputs found
Photo of Neil Stacey with a tuna on Sound Island.
No full textPhotograph of Neil Stacey with a caught tuna on Walter Beck's fishing premises on Sound Island, Newfoundland
Photograph of Neil Stacey holding Geoff Stacey.
No full textPhotograph of Neil Stacey holding baby Geoff Stacey
Photograph of the Stacey family from Sound Island, NL.
No full textPhotograph of the Stacey family from Sound Island. From L-R: Molly (née Stacey) Crocker, Ada Stacey, Louisa Stacey holding Alec Stacey, Ern Stacey, Neil Stacey and Ethel Stacey
Author interview: Q and A with Dr Noni Stacey on Photography of protest and community: the radical collectives of the 1970s
No full textIn this author interview, we speak to Dr Noni Stacey about her new book Photography of Protest and Community: The Radical Collectives of the 1970s, which examines how London-based photographers formed collectives that engaged with local and international political protest in cities across the UK. The book surveys the radical community photography produced by Hackney Flashers Collective, Exit Photography Group, Half Moon Photography Workshop, the producers of Camerawork magazine and the community darkrooms, North Paddington Community Darkroom and Blackfriars Photography Project
Using information technology : a practical introduction to computers & communications / Brian K. Williams, Stacey C. Sawyer.
No full textOn t.p. of previous ed. Stacey C. Sawyer's name appears first.Includes bibliographical references (p. 541-552) and index.xxiv, 554, 12 pages.
Can forests meet our energy needs? The future of forest biomass in Colorado
No full textPresented at the Can forests meet our energy needs? The future of forest biomass in Colorado conference, February 21, 2008, Colorado State University, Fort Collins, Colorado.Stacey Simms is the Biomass and Local Fuels Programs Manager at the Governor's Energy Office (GEO). In this position she has development, administrative and managerial responsibilities of projects related to woody biomass, anaerobic digestion and biofuels. Prior to joining GEO, Stacey worked at the American Lung Association of Colorado where she managed the Department of Energy's CLEAN CITIES program. While with CLEAN CITIES, Stacey supported the transition of more than 30 fleets in Colorado to biofuels and helped replace 1 billion gallons of fossil fuels with alternative fuels. Stacey started her career in renewable energy and public administration during her four year tour with the Peace Corps in El Salvador. Stacey graduated from Regis University in 2006 where she earned a Master's degree in Management with an emphasis on organizational leadership and project management
State fragmentation and citizen education: creating a culture of citizenship in Bogotá, Colombia
No full textMy dissertation is an ethnography of governance in Colombia. I argue that despite widespread understandings of the Colombian state as failed, it actually plays an important role in the everyday lives of citizens. I argue that the Colombian state continues to govern through two key mechanisms:1. the rapid construction of state institutions and policies that clutter symbolic and physical space 2. the education of citizens such that they learn to be active participants in providing services traditionally forthcoming from the state, like security and justice. I explore how these interconnected processes of state and citizen formation are articulated through citizen culture, a novel crime reduction policy that has turned the capital city of Bogotá into an international model of best governance practices.Ph.D.Includes abstractVitaby Stacey Leigh HuntIncludes bibliographical reference
Conjuring our beings: Stacey Gillian Abe and Immy Mali in conversational partnership
No full textThe series of Conversational Partnerships began in 2017 in African Arts vol. 50, no. 2, with a conversation between two artists: Eria Nsubuga SANE from Uganda and Sikhumbuzo Makandula from South Africa. The format of a “conversational partnership” (Rubin and Rubin 2012: 7) emphasizes the cocreation of meaning by the interviewer and interviewee as coauthors. This enables a move away from the art history format of the interviewer (usually a writer) assuming the role of the sole author and the interviewee (often an artist) having no status as an author despite the fact that her or his practice-led creation of knowledge is foundational to the content of the interview. Stacey Gillian Abe and Immy Mali participated in a joint artists' residency as part of the RAW program at Rhodes University in South Africa from November to December 2017. During this time, they engaged with each other's practice-led work, and they created this conversational partnership at a writing breakaway in the Eastern Cape
An analysis of semi-supervised learning with the Guelph Cluster Class algorithm
No full textTraining a classifier requires a supply of example problems and the correct classification (label) for each. In some practical situations examples are plentiful, but obtaining labels for them is costly. Several algorithms exist for learning classification when only a small number of examples are "labelled" at the outset and the remainder are "unlabelled." This thesis presents continued work on the Guelph Cluster Class algorithm developed by Dara, Stacey and Kremer. Specifically, it investigates how the algorithm performs on ten real-world data sets over a range of parameter settings, and whether cluster validity indices can guide the setting of the parameters. An examination of a simple clustering problem points to explanations for the algorithm's behaviour, and tests of a variant algorithm that capitalizes on these observations are presented. Finally, this thesis explores whether clustering information can guide the selection of examples which, if labelled, would be especially informative for classifier training
FACTORY. Exhibited in - Woman’s Hour Craft Prize (touring exhibition)
No full textDissemination context:
FACTORY was shortlisted as one of twelve entries out of 1500 applicants for the inaugural Woman’s Hour Craft Prize – a BBC, Crafts Council and V&A initiative which celebrates the most innovative contributions to craft practice in the last five years. It consisted of a strand of work developed out of Brownsword’s solo exhibition FACTORY at Icheon World Ceramic Centre, South Korea (22/04- 28/05/17), which comprised of two work station’s and a low-level plinth onto which an accumulation of discarded bone-china flowers were deposited. These resulted from Brownsword’s intervention into ex-industry artisan Rita Floyd’s craft, whereby he instructed every flower she made to be discarded - drawing attention to the rapid displacement of intangible heritage in North Staffordshire. During its tour FACTORY was sometimes activated by Floyd and her last remaining apprentice Stacey Wright, through a series of live performances in the gallery space.
Exhibition text:
'Neil Brownsword creates installations using ceramics, film and performance. His work takes the ceramics industry of his native Staffordshire as its primary subject, observing its people and production systems. He has sought to challenge the marginalisation of craft skill in industrial contexts, and to highlight the danger of specialist knowledge being lost. Recent work has been made in collaboration with former industry artisans, revealing their people-embodied skills and exploring the value of the industry's intangible cultural heritage. Brownsword was awarded the Grand Prize at the 2015 Gyeonggi International Ceramic Biennale, South Korea'.
See: https://vanda-production-assets.s3.amazonaws.com/2017/09/05/09/57/32/a5a71f90-8062-415c-8081-4bf274ac39c7/News_Release_WHCP_exhibition_FINAL.pdf
FACTORY was featured on BBC Front Row (9 /9/2017) BBC Radio 4, Front Row http://www.bbc.co.uk/programmes/b092jw1m 9 September 2017, and BBC Radio 4, Womans Hour https://www.bbc.co.uk/programmes/b08xxdsl 21 July 2017
Tour details:
Victoria & Albert Museum, Cromwell Rd, London SW7 2RL, 7 September 2017 - 5 February 2018. (V&A visitor figures 146957) https://www.vam.ac.uk/exhibitions/womans-hour-craft-prize; The Forum, Millennium Plain, Norwich, NR2 1TF. 12 Mar - Sat 7 Apr 2018 https://theforumnorwich.co.uk/whatson/2018-03-28/Makers'%20Month%20Exhibitions%202018/Woman’s%20Hour%20Craft%20Prize%20Exhibition; Woman’s Hour Craft Prize, Mottisfont, National Trust, Nr Romsey, Hampshire, SO51 0LP. 25 April - 24 June 2018 https://www.nationaltrust.org.uk/mottisfont/features/the-womans-hour-craft-prize-at-mottisfont; Bristol Museum & Art Gallery, Queens Rd, Bristol, BS8 1RL. 7 July 2018 - 02 September 2018 https://www.bristolmuseums.org.uk/bristol-museum-and-art-gallery/whats-on/bbc-womans-hour-craft-prize/; Rheged Centre, Redhills, Penrith, Cumbria, CA11 0DQ. 14 September - 28 October 2018. https://www.rheged.com/event/womans-hour-craft-prize/; Chester Visual Arts The Old Library, Northgate Street, Chester CH1 2EF. 30 November 2018 – 16 March 2019 https://www.chestervisualarts.org.uk/womans-hour-craft-prize-exhibition/; The Light House, 11 Mitchell Lane, Glasgow, Scotland G1 3NU. 30 Mar – 27 May 2019 http://www.thelighthouse.co.uk/visit/exhibition/womans-hour-craft-prize
Other exhibitors included - Laura Ellen Bacon, Alison Britton, Lin Cheung, Phoebe Cummings, Caren Hartley, Peter Marigold, Celia Pym, Romillly Saumarez Smith, Andrea Walsh, Emma Woffenden and Laura Youngson Coll
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