130 research outputs found
[Oldbury Farm, Berrima, New South Wales, November 2000] [picture] /
No full textTitle devised by cataloguer based on information supplied by vendor.; Part of Historic Australian homesteads and gardens, 1994-2000 collection.; Condition: good. 'Oldbury Farm stands at the foot of Mount Ginnenbullen near Berrima and was built in 1828 for James Atkinson, author of the 1826 book Account of the State of Agriculture & Grazing in New South Wales. ... Photographed November 2000 [Berrima, N.S.W.]'--Trisha Dixon
Full transcript: Agyeya and the multitudes he contained
No full textAuthor and journalist Akshaya Mukul has recently published a book about the Hindi writer Sachchidananda Hirananda Vatsyayan, better known as Agyeya, titled Writer, Rebel, Soldier, Lover: The Many Lives of Agyeya. The following is a transcript of an interview with Mukul, conducted by Trisha Gupta, journalist, critic and professor at the Jindal School of Journalism and Communication”?. They discuss the book and the ‘multitudes’ that the writer contained. The following is a transcript of the interview. It has been edited for style and clarity
Editorial Note: The book review as "performance"
No full textThe growth of the Internet presents challenges to knowledge transfer; such knowledge is formed contextually and dialogically, a negotiated discursive construct that is created between people. The editorial makes a case for book reviews and review essays which are auto-ethnographic, "performative" and critical. The shift to a more dialogic exploration of emergent knowledge through the book review as social discourse is discussed. The essence of qualitative research itself is explored as the bedrock of book reviews. Reviews are considered as polyvocal attempts at interfacing with cultural/relational/linguistic accounts of the real. A narrative approach to reporting on reviewed books is encouraged, permitting authors to reveal themselves in the relationships presented through their writing. A case is made that a phenomenological approach to writing reviews would be more interested in the person who writes than in the act of writing itself.
It is through the creative representations of the reviewed book that reviewers can fashion their own individual Gestalt or worldview woven from the writing under review. The report itself mediates between researcher/writer and reviewer/reader. Such an approach opens up opportunities to write book reviews "performatively". Finally, reviewers are encouraged to create both a dialogue with the author under consideration as well as with their reader
Hyper-performer le stéréotype : l’écriture d’une scène de sexe comme stratégie post- conceptuelle chez Trisha Low
No full textInternational audience"Vol. II: The sexual assault of Trisha Low as circulated by love in a maze, or, virtue rewarded" is the title of the second part of The Compleat Purge, a poetic text published in 2013 by Trisha Low. It is emblematic of the way in which North American post-conceptualist poets seize their conceptualist heritage: they appropriate the words of others in order to reproduce them, to copy them, to pastiche them, but in an impure way. In this section, Low evokes, summons, and pastiche different types of literature that formulate female sexuality, and thus say something about the gender identity that is supposed to conform to these practices. Low cites these literary discourses in a way that emphasizes their stereotypical nature, including clichéd dialogue and a sex scene written as an adolescent fantasy. This is where Low's strategy is situated: she is not trying to subvert dominant cultural representations; on the contrary, she is exaggerating them; her practice performs a hyper-identification with the cultural and aesthetic codes she pastiches. As opposed to aiming at another type of representation separated from the dominant masculine ideology, the strategy set up by the author aims rather at an exaggeration of the normative scripts, an exaggeration which ends up exhausting them.« Vol. II : The sexual assault of Trisha Low as circulated by love in a maze, or, virtue rewarded » est le titre de la seconde partie de The Compleat Purge, texte poétique publié en 2013 par Trisha Low. Il est emblématique de la façon dont les poètes post-conceptuels états- uniens s’emparent de leur héritage conceptualiste : répéter les mots des autres, les transférer sur l’espace de la page, mais de manière moins exacte, moins protocolaire et froide, que leurs aînés. Dans cette partie, Low évoque, convoque et pastiche différents types de littératures qui formulent la sexualité féminine, et qui disent donc quelque chose de l’identité de genre qui est censée se conformer à ces pratiques. Low cite ces discours littéraires d’une façon qui mette en avant leur caractère stéréotypé, avec, notamment, des dialogues clichés et une scène de sexe écrite comme un fantasme adolescent. C’est précisément là que s’énonce la stratégie de Low : il ne s’agit pas de contredire les représentations culturelles dominantes, mais, au contraire, de les exagérer ; sa pratique performe une hyper-identification aux codes culturels et esthétiques qu’elle pastiche. À l’opposé d’une recherche d’écriture visant un autre type de représentation séparée de l’idéologie masculine dominante, la stratégie mise en place par l’auteure vise plutôt à une exagération des scripts normatifs
Hyper-performer le stéréotype : l’écriture d’une scène de sexe comme stratégie post- conceptuelle chez Trisha Low
No full textInternational audience"Vol. II: The sexual assault of Trisha Low as circulated by love in a maze, or, virtue rewarded" is the title of the second part of The Compleat Purge, a poetic text published in 2013 by Trisha Low. It is emblematic of the way in which North American post-conceptualist poets seize their conceptualist heritage: they appropriate the words of others in order to reproduce them, to copy them, to pastiche them, but in an impure way. In this section, Low evokes, summons, and pastiche different types of literature that formulate female sexuality, and thus say something about the gender identity that is supposed to conform to these practices. Low cites these literary discourses in a way that emphasizes their stereotypical nature, including clichéd dialogue and a sex scene written as an adolescent fantasy. This is where Low's strategy is situated: she is not trying to subvert dominant cultural representations; on the contrary, she is exaggerating them; her practice performs a hyper-identification with the cultural and aesthetic codes she pastiches. As opposed to aiming at another type of representation separated from the dominant masculine ideology, the strategy set up by the author aims rather at an exaggeration of the normative scripts, an exaggeration which ends up exhausting them.« Vol. II : The sexual assault of Trisha Low as circulated by love in a maze, or, virtue rewarded » est le titre de la seconde partie de The Compleat Purge, texte poétique publié en 2013 par Trisha Low. Il est emblématique de la façon dont les poètes post-conceptuels états- uniens s’emparent de leur héritage conceptualiste : répéter les mots des autres, les transférer sur l’espace de la page, mais de manière moins exacte, moins protocolaire et froide, que leurs aînés. Dans cette partie, Low évoque, convoque et pastiche différents types de littératures qui formulent la sexualité féminine, et qui disent donc quelque chose de l’identité de genre qui est censée se conformer à ces pratiques. Low cite ces discours littéraires d’une façon qui mette en avant leur caractère stéréotypé, avec, notamment, des dialogues clichés et une scène de sexe écrite comme un fantasme adolescent. C’est précisément là que s’énonce la stratégie de Low : il ne s’agit pas de contredire les représentations culturelles dominantes, mais, au contraire, de les exagérer ; sa pratique performe une hyper-identification aux codes culturels et esthétiques qu’elle pastiche. À l’opposé d’une recherche d’écriture visant un autre type de représentation séparée de l’idéologie masculine dominante, la stratégie mise en place par l’auteure vise plutôt à une exagération des scripts normatifs
Fostering a Sense of Place Through Literary Work
No full textEver wonder what happens to a book before it lands on an editor’s desk? Trisha spent her summer immersed in the New York City publishing scene through her work at InkWell Management, a literary agency with a client base ranging from Anthony Bourdain to Markus Zusak. This presentation will outline the role of literary agencies in the publishing landscape along with Trisha’s specific responsibilities at InkWell, explaining how her newfound knowledge of the industry and the respect that InkWell’s agents showed towards genre fiction worked in tandem to give her the confidence to plan for a future in writing romance and women’s fiction. Although her internship assured her that she would find fulfillment working as an agent or editor, it ultimately solidified that she has the passion and determination to make it as an author, and even more importantly, that she owes it to herself to try.This panel will explore the multiple layers of the literary world, highlighting the importance of creating place through social engagement and individual reflection.Two panelists interacted directly with the community by promoting accessibility to previously-published works as well as fostering a love of literature. The other panelists worked within the pre-publication process, from drafting to assisting agents in preparing client manuscripts for publication. Molly found her place in nonprofit development work and gained experience in fundraising and grant research in New York City. Katie promoted dialogue across communities in her hometown through a reading campaign which encouraged residents to read the same book in tandem. Trisha gained a sense of confidence regarding her future plans as she learned about the publication process from start to finish. Carlin found the value in writing on location, as well as using research and interviews to communicate her work’s setting
Hyper-performer le stéréotype : l’écriture d’une scène de sexe comme stratégie post- conceptuelle chez Trisha Low
No full textInternational audience"Vol. II: The sexual assault of Trisha Low as circulated by love in a maze, or, virtue rewarded" is the title of the second part of The Compleat Purge, a poetic text published in 2013 by Trisha Low. It is emblematic of the way in which North American post-conceptualist poets seize their conceptualist heritage: they appropriate the words of others in order to reproduce them, to copy them, to pastiche them, but in an impure way. In this section, Low evokes, summons, and pastiche different types of literature that formulate female sexuality, and thus say something about the gender identity that is supposed to conform to these practices. Low cites these literary discourses in a way that emphasizes their stereotypical nature, including clichéd dialogue and a sex scene written as an adolescent fantasy. This is where Low's strategy is situated: she is not trying to subvert dominant cultural representations; on the contrary, she is exaggerating them; her practice performs a hyper-identification with the cultural and aesthetic codes she pastiches. As opposed to aiming at another type of representation separated from the dominant masculine ideology, the strategy set up by the author aims rather at an exaggeration of the normative scripts, an exaggeration which ends up exhausting them.« Vol. II : The sexual assault of Trisha Low as circulated by love in a maze, or, virtue rewarded » est le titre de la seconde partie de The Compleat Purge, texte poétique publié en 2013 par Trisha Low. Il est emblématique de la façon dont les poètes post-conceptuels états- uniens s’emparent de leur héritage conceptualiste : répéter les mots des autres, les transférer sur l’espace de la page, mais de manière moins exacte, moins protocolaire et froide, que leurs aînés. Dans cette partie, Low évoque, convoque et pastiche différents types de littératures qui formulent la sexualité féminine, et qui disent donc quelque chose de l’identité de genre qui est censée se conformer à ces pratiques. Low cite ces discours littéraires d’une façon qui mette en avant leur caractère stéréotypé, avec, notamment, des dialogues clichés et une scène de sexe écrite comme un fantasme adolescent. C’est précisément là que s’énonce la stratégie de Low : il ne s’agit pas de contredire les représentations culturelles dominantes, mais, au contraire, de les exagérer ; sa pratique performe une hyper-identification aux codes culturels et esthétiques qu’elle pastiche. À l’opposé d’une recherche d’écriture visant un autre type de représentation séparée de l’idéologie masculine dominante, la stratégie mise en place par l’auteure vise plutôt à une exagération des scripts normatifs
Fiber to waveguide couplers for silicon photonics
No full textThesis (S.M.)--Massachusetts Institute of Technology, Dept. of Materials Science and Engineering, 2004.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.Includes bibliographical references (p. 75-78).As silicon photonics enters mainstream technology, we find ourselves in need of methods to seamlessly transfer light between the optical fibers of global scale telecommunications networks and the on-chip waveguides used for signal routing and processing in local computing networks. Connecting these components directly results in high loss from their unequal sizes. Therefore, we employ a coupler, which acts as an intermediary device to reduce loss through mode and index matching, and provide alignment tolerance. This thesis presents a potential fiber-to-waveguide coupler design for use in integrating such networks. A quadratic index stack focuses incident light from a fiber in one plane, while a planar lens and linear taper do likewise in the perpendicular plane. Once the mode is sufficiently compressed, the light then enters and propagates through the waveguide. We performed simulations using the beam propagation method and finite difference time domain, among other modeling techniques, to optimize coupling efficiency and gain an understanding of how varying certain parameters affects coupler performance. The simulation results were then incorporated into a mask layout for fabrication and measurement.by Trisha M. Montalbo.S.M
Author Correction: The future of Blue Carbon science
No full textCorrection to: Nature Communications https://doi.org/10.1038/s41467-019-11693-w, published online 05 September 2019.
The original version of this Article contained an error in the author affiliations.
Affiliation 24 incorrectly read ‘School of Applied Sciences, Edinburgh University, Edinburgh EH11 4BN, UK’
This has now been corrected in both the PDF and HTML versions of the Article.Full Tex
The Study of the Expressive Space Found in the Works of Trisha Brown
No full text본 연구는 트리샤 브라운(Trisha Brown) 작품에 나타난 표현공간에 관한 연구를 함으로써 실험적이고 탐구적인 정신으로 다양한 공간 사용을 시도한 그녀의 안무방법의 성과를 논의하기 위해서 활발한 활동 시기인 1970년대부터 1990년대의 대표적 작품을 연구하였다. 그녀는 기존의 무대공간에 대한 상식을 극복하고 새로운 춤 공간의 확보를 제시하면서 창작 작업을 새롭게 인식하고 펼쳐나갔던 점을 본 연구에서 중요하게 다루면서 트리샤 브라운의 공간개념의 표현성을 밝히고자 한다.
세계대전 이후 유럽과 미국을 중심으로 나타난 포스트모더니즘의 시작은 현대무용에 의식적, 무의식의 일대변화를 가졌다. 이것은 전통적 서술형식과 극적 형태의 무용으로 고착화 되어가는 매너리즘으로부터 현대무용을 움직임의 본질을 중시하는 춤 형태로 되살리려고 한 일상적인 동작과 현상들을 수용하면서 형식면에서 보다 자유롭고 단순하게 창작의 범위에 있어 모든 가능성을 보여주었다. 근본적인 형식과 내용에서 탈피하고자 하는 움직임을 시작으로 급진적 사상을 가진 무용가들에 의해 오늘날의 ‘포스트 모던 댄스’를 형성하였고, 많은 전위적인 안무가들은 실험적이고 다양한 안무방법을 개발시켰다. 예술전반에 포스트모더니즘의 영향으로 다양한 건축양식이 들어서게 되고 이것을 접하게 된 무용가들에 의해 무대 공간을 더욱더 독창적으로 활용함으로써 다채로운 표현 방법의 변화된 양상을 나타내었다. 저드슨에서 그랜드 유니온, 자신의 무용에 이르기까지 공간에 있어 새로운 유형의 체계를 확립한 트리샤 브라운은 관객이 참여할 수 있는 많은 작품들로 교환의 장을 제공하게 된다.
트리샤 브라운은 저드슨 그룹의 초기 멤버로써 후기 현대 무용이라는 명명 하에 혁신으로 외부공간의 사용에서부터 극장으로의 다양한 공간 사용을 선보였다. 극장으로서의 목적으로는 보통 쓰이지 않거나, 때로는 눈에 띄지도 않은 그런 지역과 장소를 자유롭게 사용한 그녀는 작품의 표현에 있어 탁월한 공간 선택을 강하게 지향하였으며, 타 장르와의 예술적 협력으로 무용을 총체적 예술로 이끌었고 하나의 공간 안에서 안무를 할 때 전형적인 무용 동작에서 벗어난 움직임으로 신체를 탐구하고자 하였다. 또한 자신만의 독창적 표현공간의 사용으로 관객들에게 새로운 경험을 안겨줌으로써 그 시대의 진정한 아방가르드로 평가받고 있다.
오늘날 현대 예술이 지향하는 것이 무한한 창작에 있다는 것을 비추어 볼 때 트리샤 브라운이 나타내고자 하는 공간에 따른 안무의 전개방식은 후기 현대무용의 변화의 양상을 반영한다고 할 수 있다.
따라서 본 연구에서는 공간의 개념과 특성을 알아보고 트리샤 브라운의 안무 형태를 대표하는 작품 「Walking on the Wall」,「Set and Reset」, 「If You Couldn't See Me」을 통해 다양한 공간 사용을 살펴보았다. 또한 작품을 안무 개념, 공간 사용, 움직임, 으로 나누어 연구하였으며 이 요소들을 통해 그녀가 작품 속에서 공간을 어떤 의미로 사용하고 그것을 통해 표현하고자 했던 가능성을 얻고자 한다.
본 연구를 통해서 트리샤 브라운의 작품에 나타난 표현 공간의 사용은 무용에 있어 공간의 자유성을 제시해 주었으며, 관객의 위치에서 움직임을 연구함으로써 관객과의 거리감을 좁혀주어 대중적 예술을 확대시켰다. 또한 저명한 예술가들의 매체들을 동원해 공동으로 무대를 연출한 성과는 무용사적 의미와 함께 안무 창작에 있어 다각적으로 시도한 실험의 장을 펼쳤던 점으로 다른 후기 현대무용가들 뿐만 아니라 오늘날 무용가들에게도 신선한 예술작업의 접근을 도모할 수 있는 안무방식을 제공하였다.;This thesis is aimed to investigate into the expressive space attested in the works of Trisha Brown so as to discuss the achievements of chorographical methods of her who attempted to use the space in a variety of ways and in an experimental and investigative spirit. The present author has examined the works of Trisha Brown created in 1970s and 1990s when she was the most active, with a view to determine the chorographical achievements of her who overcame the usual practices of the existing stages and presented a new space for dances.
Postmodernism, which began to appear in Europe and America after the world wars, has consciously and unconsciously overhauled modern dances. It has saved modern dances from the mannerism concentrating on traditional descriptions and dramatic dances and revived them into the dances focusing on the essence of bodily movements. Also, it has accommodated routine human movements and phenomena and shown all the possible ranges of freer and simpler creation. Radical dancers, who want to shed off the fundamental forms and contents of dances, have contributed to the emergence of 'postmodern dances' and many futuristic choreographers to the development of experimental and various chorographical methods. The effect of postmodernism has penetrated into all the phases of art and resulted in varied construction modes, which have influenced dancers to use their stages in a more unique and different way. Trisha Brown, who established a new type of spatial system ranging from Judson Group to Grand Union and her own dances, provided her large audience with an arena for exchange and interaction through her many works.
Trisha Brown, who was one of the initial members of Judson Group, innovatively started to use various spaces including an outside space and a theatre under the name of modern dances. She freely used such secluded places and spaces as were not regarded normally as a theatre. Her works are characterized by an excellent selection of spaces and enhance dances into an overall art in artistic cooperation with other artistic genres. Her choreography realized in a space is inclined to quest after a human body through movements derailing from typical dance motions. She may be praised as a true avant-garde of her contemporary age since she used her own unique space of expression and let her audience experience new experiences.
This study has investigated various spaces of Trisha Brown by way of her representative choreographic works. Moreover, her works were grouped into such factors as choreographic concepts, spatial uses, and movements with a view to understand in what meanings she uses the space and what possibilities she attempts to explore.
Considering that modern art is pursuing after infinite creation, the way Trisha Brown develops her choreography in accordance with the space reflects the trend of changes in post-modern dances.
This study found that the achievements in her use of varied spaces have great significance in that Trisha Brown attempted to experiment on a variety of choreographic creations unprecedented in the dance history and that her attempts provided her junior dancers with stimulation to challenge fresh artistic and choreographic works.논문개요 ... v
Ⅰ.서론 ... 1
A. 연구의 필요성 및 목적 ... 1
B. 연구의 방법 및 제한점 ... 3
Ⅱ. 이론적 배경 ... 4
A. 공간의 개념 및 배경 ... 4
B. 무용공연에서의 표현공간의 의미와 가치 ... 8
C. 포스트 모던댄스의 표현공간의 형성 및 발전 ... 12
Ⅲ. 트리샤 브라운의 예술세계 ... 18
A. 트리샤 브라운의 무용활동 ... 18
B. 트리샤 브라운의 무용사상과 안무 형태 ... 23
Ⅳ. 트리샤 브라운 작품과 표현공간 ... 28
A. Walking on the Wall (1971) ... 28
1. 안무개념 ... 28
2. 공간사용 ... 29
3. 움직임 ... 31
B. Set and reset (1987) ... 32
1. 안무개념 ... 32
2. 공간사용 ... 33
3. 움직임 ... 35
C. If You Couldn't See Me (1994) ... 36
1. 안무개념 ... 36
2. 공간사용 ... 37
3. 움직임 ... 39
Ⅴ. 결론 ... 41
참고문헌 ... 44
ABSTRACT ... 4
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