4,249 research outputs found
Trade bookbinding in the British Isles, 1660-1800 by Stuart Bennett
No full textreviewA review of "Trade Bookbinding in the British Isles, 1660-1800" by Stuart Bennett
Leonard Patrick Molina receiving the University of Arizona's 75th Anniversary Medallion of Merit, Tucson, Arizona
No full textA black and white photograph of Leonard Patrick Molina receiving the University of Arizona's 75th Anniversary Medallion of Merit from Fleming Bennett as Patricia P. Paylore and Phyllis Ball observe the exchange. The description on the back reads: "Leonard Patrick Molina (seated) of 106 Madison Street, Yuma, receives The University of Arizona's 75th Anniversary Medallion of Merit from Fleming Bennett, University Librarian. The merit award, presented to the Molina family of Yuma and accepted on their behalf by Leonard Molina, recognizes the family's outstanding service to the state and to the university's teaching and research programs by the presentation to the University Library of the diaries of Louis J. F. Jaeger, who operated the Yuma Crossing Ferry over 100 years ago, along with other papers of historical value. The pioneer papers were inherited by Leonard Molina from his grandmother, Mrs. Conception Jaeger Martinez, daughter of the famed Yuma Crossing ferry operator. The presentation was formally announced at the opening of the new Special Collections Division of the University of Arizona Library on Sunday afternoon, Jan. 10. Leonard Molina was delayed in reaching the university in time for the ceremonies, and the medallion was accepted on his behalf by Phyllis Ball, Special Collections Librarian. The medallion was then given to Leonard Molina at the library on Monday morning, Jan 11. Watching as Mr. Bennett makes the presentation are (1. to r.) Miss Patricia P. Paylore, assistant librarian, and Miss Ball.
The construction of Karen Karnak: The multi-author-function
No full textThis thesis is situated within the comparatively recent developments of Web 2.0 and the emergence of interactive WikiMedia, and explores the mode of authorship within a Read/Write culture compared to that of a Read/Only tradition. The hypothesis of this study is that the role of the audience has become merged with the author, and as such, represents new functions and attributes, distinct from a more conventional concept of authorship, in which the roles of audience and author are more separate. Read/Write and participatory culture, as defined by this study, is focused on collaboration, and includes the influences of D.I.Y. culture, Open-Source practices and the production of text by multiple authors. Multi-authorship presents a re-thinking of several concepts which support the notion of the individual author, since the focus of multi-authorship is not on attribution and ownership of a finished text, but on the continued malleability of a text. Modes of multi-authorship, demonstrated in the use of the pseudonyms Alan Smithee and Karen Eliot, represent declarative authors whose names signify multiple origins, whilst concurrently indicating a distinct body of work. The function of these names form an important context to this study, since primary research involves the construction of an experimental mode of multi-authorship utilising WikiMedia technology and the interaction of thirty nine participants, who are invited to create a body of work under the collective pseudonym Karen Karnak. The data generated by this experiment is analysed using aspects of Michel Foucault's author-function to identify and determine power structures inherent in the WikiMedia context. The interplay of power structures, including concepts such as identity, ownership and the body of work, affect the resulting mode of authorship and contribute to the construction of Karen Karnak, suggesting further areas of research into the emerging multi-author
We can all get along here, Los Angeles, 1992
No full textWe can all get along here, 1992, Venice Blvd. and Lafayette Road, exterior median under bridge. Three girls of different nationalities sacks of flowers. To their left is lady justice, and to their right is a large peace sign. Done in conjunction with a project bringing together professional muralists with high school students. By Alice Patrick, assisted by George M. Sanchez, Sylvia Bennett, Ricardo Diaz, Mary Ann Palmer, Rosa E. Bolanos. Acrylic, 10' x 60'. Sponsored by Museum of African-American Art -- Dunitz, Street gallery, rev. 2nd ed., p. 80-53. "We all can get along here. Let's try to work it out" -- on the mural
Visual guidance of landing behaviour when stepping down to a new level
No full textNoWhen stepping down from one level to another, the leading limb has to arrest downward momentum of the body and subsequently receive and safely support bodyweight before level walking can begin. Such step downs are performed over a wide range of heights and predicting when and where contact between the landing limb and the lower level will be made is likely a critical factor. To determine if visual feedback obtained after movement initiation is habitually used in guiding landing behaviour, the present study determined whether pre-landing kinematics and the mechanics of landing would be modulated according to the type of visual feedback available during the stepping down phase. Ten healthy participants (32.3 ± 7.9 years) stepped, from a standing position, down from three different heights onto a forceplatform, either coming immediately to rest or proceeding directly to walking across the laboratory. Repeated trials were undertaken under habitual vision conditions or with vision blurred or occluded 2¿3 s prior to movement initiation. Pre-landing kinematics were assessed by determining, for the instant of landing, lead-limb knee and ankle angle, stepping distance, forwards positioning of the body CM within the base of support and the forwards and downwards body CM velocity. Landing mechanics for the initial contact period were characterized using lead limb vertical loading and stiffness, and trail limb un-weighting. When vision was occluded movement time, ankle plantarflexion and knee flexion were significantly increased compared to that determined for habitual vision, whereas forwards body CM positioning and velocity, vertical loading and stiffness, and trail limb un-weighting, were significantly reduced (p < 0.05). Similar adaptations were observed under blurred conditions, although to a lesser extent. Most variables were significantly affected by stepping task and step height. Subjects likely reduced forwards CM position and velocity at instant of landing, in order to keep the CM well away from the anterior border of the base of support, presumably to ensure boundary margins of safety were high should landing occur sooner or later than expected. The accompanying increase in ankle plantarflexion at instant of landing, and increase in single limb support time, suggests that subjects tended to probe for the ground with their lead limb under modified vision conditions. They also had more bodyweight on the trail limb at the end of the initial contact period and as a consequence had a prolonged weight transfer time. These findings indicate that under blurred or occluded vision conditions subjects adopted a cautious strategy where by they ¿sat back¿ on their trail limb and used their lead limb to probe for the ground. Hence, they did not fully commit to weight transfer until somatosensory feedback from the lead limb confirmed they had safely made contact. The effect of blurring vision was not identical to occluding vision, and led to several important differences between these conditions consistent with the use of impoverished visual information on depth. These findings indicate that online vision is customarily used to regulate landing behaviour when stepping down
Spatial frequency tuning of upright and inverted face identification
No full textAbstractPrevious research suggests that observers use information near the eyes and eyebrows to identify both upright and inverted faces [Sekuler, A. B., Gaspar, C. M., Gold, J. M., & Bennett, P. J. (2004). Inversion leads to quantitative, not qualitative, changes in face processing. Current Biology, 14(5), 391–396]. Here we ask whether more significant differences between upright and inverted face processing exist in the spatial frequency domain. Thresholds were measured in a 1-of-10 identification task with upright and inverted faces presented in no noise, white Gaussian noise, and in low-pass and high-pass filtered noises with various cutoff frequencies. In Experiment 1, all faces were presented in fronto-parallel view; in Experiment 2, viewpoint varied across trials. Thresholds were higher for inverted faces, but the magnitude of the inversion effect did not vary across conditions or experiments. Moreover, the shapes of the noise-masking functions obtained with low-pass and high-pass noise were the same for upright and inverted faces, did not vary between experiments, and revealed that identification was based on information carried by a 1.5 octave wide band of spatial frequencies centered on approximately 7 cycles per face width. Finally, individual differences in the magnitude of the inversion effect were not related to individual differences in the frequency selectivity of face identification. The results indicate that the face inversion effect for identification judgments is not due to subjects using different bands of spatial frequencies to identify upright and inverted faces
Age related differences in learning with the useful field of view
No full textSource type: Electronic(1
University bands, November 19, 1989
No full textRecorded during a live performance at Miller Auditorium, Western Michigan University, Kalamazoo, Michigan, November 19, 1989, 3:00 p.m., the 107th concert of the School of Music’s 1989-1990 season.1st-5th works: University Symphonic Band, Richard J. Suddendorf, conductor ; Ann Porter, graduate assistant conductor (in the 2nd work) ; Barbara Sudeikis, mezzo-soprano (in the 3rd work). 6th-9th works: University Concert Band, Patrick Dunnigan, conductor ; Miles Mortensen, graduate assistant conductor (in the 8th work).Information from performance program.Russian and Ludmilla overture / Mikhail Glinka ; trans. Hindsley -- Melita: a chorale prelude / Thomas Knox -- Folk songs for mezzo-soprano and band. Mrs. McGrath ; All the pretty little horses ; Yerakina (Greek) ; A fiddler (Yiddish) / Bernard Gilmore -- Music for Prague 1968 / Karel Husa -- The dam busters march / Eric Coates -- Tribute (1985) / Mark Camphouse -- Color (1984). Stanes Morris ; Stingo ; Daphne ; Argeers ; The slip / Bob Margolis -- The glory of the Yankee navy (1909) / John Philip Sousa -- Suite of old American dances. Cake walk ; Schottische ; Western one-step ; Wallflower waltz ; Rag / Robert Russell Bennett
The collected Leonard J. Arrington Mormon history lectures
No full textIncludes bibliographical references.Faith and intellect as partners in Mormon history / Leonard J. Arrington -- Making space for the Mormons / Richard Lyman Bushman -- "My idea is to go right through right side up with care": the exodus as reformation / Richard E. Bennett -- The theater in Mormon life and culture / Howard R. Lamar -- Mormon domestic life in the 1870s: pandemonium or arcadia? / Claudia L. Bushman -- The importance of the temple in understanding the Latter-day Saint Nauvoo experience: then and now / Kenneth W. Godfrey -- Signifying sainthood, 1830-2001 / Jan Shipps -- Encountering Mormon country: John Wesley Powell, John Muir, and the nature of Utah / Donald Worster -- Rachel's death: how memory challenges history / Laurel Thatcher Ulrich -- "I didn't want to leave the house, but he compelled me to": a personal examination of a Mormon family / F. Ross Peterson
Voices of inheritance : aspects of British film and television in the 1980s and 1990s
No full textDuring the 1990s the notion of the heritage film has become a taken for granted
category of British cinema. Rather than dispute the merits of particular films that lie
within this genre I question the construction of the relation between the idea of
heritage and contemporary British film and television. Using the critical literature
established by the contending cultural histories that address the rise of heritage in
British culture, I highlight other, frequently personal and national engagements with
inherited pasts. The concentration upon inheritance lends a greater emphasis to
what is passed on from the past and endures in the present.
The modes of articulating these inherited pasts are formally distinctive and
constructed out of the vocabulary of documentary and fiction. The corpus of texts
begins with the apparently radical avant garde film-making of Derek Jannan and
moves through the work of the Black Audio Film Collective to the apparently
conservative television documentaries of Alan Bennett. These key voices are then
situated in relation to the hegemonic definition of heritage and current debates
concerning British film and television. The persisting opposition which defined
British cinema during the 1980s posits an unofficial cinema characterized by dissent
and urban decay against an official cinema represented by the heritage film. My
corpus of texts challenges this opposition. The different engagements with inherited
pasts take place from different speaking positions and represent a diminishing
publicly funded tradition of film and television production. The range of positions
from margins to centre reveal that there was a contestation of the cultural sources
which are aggregated into the construction of heritage during the 1980s and 1990s
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