66,603 research outputs found
Lépidoptères nouveaux du Maroc. Appendice : Une Zygène nouvelle [Lep. Zygaenidae], par H. Powell
No full textLe Cerf Fernand, Powell H. Lépidoptères nouveaux du Maroc. Appendice : Une Zygène nouvelle [Lep. Zygaenidae], par H. Powell. In: Bulletin de la Société entomologique de France, volume 39 (1),1934. pp. 11-13
L'uomo e le culture nella visione di Baden Powell
No full textLa pedagogia di Baden Powell, le sue riflessioni sulle culture africane e i loro insegnament
The Powell-Cotton Dioramas and the Re-interpretation of an Idyll
No full textThis research examines the natural habitat dioramas created by Major P.H.G. Powell-Cotton, in doing so
it affects a remembering of a sense of place where a diorama reflects in Mieke Bal's view a three-dimensionality
that draws on architectural space; it then considers the three dimensional representation of
the landscape within the diorama itself; the two-dimensional illusion of a trompe l'oeil landscape
painting; and the exterior space occupied by the viewer. The Powell-Cotton natural habitat dioramas exist
behind large glass screens their purpose follows an aesthetic relationship with the emergence of the
natural habitat diorama and the ability to transfix perception through the re-interpretation of an idyll. The
potential for this practice-based research was to explore the possibility of developing an aesthetic for
sculpture and architectural space. However in focussing on the Powell-Cotton dioramas the notion of
aesthetic attitude would lose ground due to their idiosyncratic, artificial, and extraordinary nature, it then
prepared the basis of interpretation in establishing 'theatres of landscape' as an open concept. With
landscape, a sense of place anticipates various positions and numerous delays; it recollects the cognitive
knowledge brought to the prospect that involves aspects in, of and about landscape. Regarding the
studio-based project, the diorama was placed between the real and the unreal, challenging Bal's rationale
of the cognitive relationship of a diorama to the concept of a discursive space. Where both artist and
viewer 'activates' this space with their presence, they bring their own recollection of landscape and by
assigning landscape with memory the potentiality is where cognition becomes accentuated. Whereas the
unknown and uncharted can refute reality, memory is dependent on what is known both formally and
informally, it places the natural habitat diorama in a visual system that is both constructive and
destructive. Therefore the research methodology examines the historical context of the diorama through a
doctoral thesis by Karen Wonders and an analysis of Louis Daguerre's diorama by Richard Altick.
Following Bal's analysis of the diorama, this created a dilemma - in what ways are the perceptions of the
observer determined, and how are they undermined? Jonathan Crary and Giuliana Bruno considered the
diorama's position in relation to film and film archaeology, which ultimately the diorama and natural
habitat diorama could not compete with. In asking what has Powell-Cotton's museum to offer in the 21st
century, this thesis examines the concept of a diorama, its objectives and correspondingly its failings. As
the dioramas in the Powell-Cotton Museum were undocumented, these dioramas and their written, visual
and architectural relationship to Louis Daguerre offer a contribution to knowledge concurrent with the
relationship of this practice based research project. Whereupon the research diary forms the basis of a
contribution to new knowledge in the construction of small and large-scale dioramas, sculpture and
installations. By challenging Bal's analysis this research practice would investigate natural and projected
light and the visual language of transparency, translucency and opacity in the representation of landscape
and landscape as motif, and progressing to the structural implications of 2D and 3D work
Colin Powell. Un enfant du Bronx
No full textLe Borgne Claude. Colin Powell. Un enfant du Bronx. In: Politique étrangère, n°2 - 1996 - 61ᵉannée. pp. 437-438
Lettre de Grant Powell à W. Morris sur l'argent voté par le Conseil Législatif pour défrayer les dépenses d'un comité du Conseil pour inspecter le tracé du canal Welland
No full text2 pages, originalLettre de Grant Powell à W[illia]m Morris sur : l'argent voté par le Conseil Législatif pour défrayer les dépenses d'un comité du Conseil pour inspecter le tracé du canal Welland
Bud Powell benefit concert at the Salle Wagram
No full textThis film has no sound and contains mostly clips of the Bud Powell benefit concert at the Salle Wagram. Donald Byrd (trumpet), Johnny Griffin (tenor saxophone), Art Taylor (drums), Georges Arvanitas (piano), Michel Gaudry (bass) perform at the Bud Powell benefit concert at the Salle Wagram. There are other clips from the benefit concert that include the following musicians: Rene Urtreger (piano), Alby Cullaz (bass), Daniel Humair (drums), and Roger Guerin (trumpet). At 3:46, Paudras speaks with two men. At 4:22, Le Double Six (Mimi Perrin, Caudine Barge, Moniwue Aldebert, Bob Smart, Jean-Claude Briodin, Louis Aldebert) perform. At 24:23, Hazel Scott (vocalist), Rene Urtreger (piano), and Pierre Michelot (bass) perform at the concert. At 5:03, Hazel Scott performs. At 7:37, Jean Louis Chautemps (tenor saxophone), Jacques Di Donato (alto saxophone), Jean-Luc Ponty (violinist), Jef Gilson (piano), Henri Texier (bass) perform at the benefit concert. At 8:24, Mae Mercer (vocalist) performs with Michel Sardaby (piano), and Charles Bellonzi (drums). The film ends with stills of poster for the Bud Powell benefit concert at the Salle Wagram, Grand Festival De Jazz Moderne on March 13, 1964.One video file (mp4)This project was supported by a Recordings at Risk grant from the Council on Library and Information Resources (CLIR). The grant program is made possible by funding from The Andrew W. Mellon Foundation
Bud Powell home movies and benefit concert at the Salle Wagram
No full textThe film is silent and begins with footage of Edenville, a resort town in Normandy, France. Bud Powell with Francis Paudras, and other friends are at an outdoor restaurant or cafe. There are clips of Bud Powell in Francis Paudras's car. The clips of Powell's funeral procession in New York City in 1966 includes scenes of the Lee Morgan quintet playing on a Jazzmobile. At 8:20 are Thelonious Monk and Nellie Monk at Orly airport in Paris, France. At the airport with Monk are George Wein, Jean-Louis Ginibre, Andre Francis, Charlie Rouse, and Butch Warren. Lucien Malson, Bud Powell, Jean-Pierre Leloir, Nicole Grassian, Francis Paudras, and Ben Riley greet Monk outside the airport. There is also a clip of Bud Powell and Francis Paudras at Paudras's apartment in France. At 13:10, Thelonious Monk, Charlie Rouse, and Butch Warren are on stage. Next are clips of Monk and Powell, possibly backstage. There is footage of Powell at the sanatorium (Bouffemont)) and the sanatorium kitchen. Powell and Paudras are also in an auditorium, most likely for sanitorium performance. At 19:15, Donald Byrd (trumpet), Johnny Griffin (tenor saxophone), Art Taylor (drums), Georges Arvanitas (piano), and Michel Gaudry (bass) perform at the Bud Powell benefit concert at the Salle Wagram. There is a second band performing at the concert which includes Rene Urtreger (piano), Alby Cullaz (bass), and Daniel Humair (drums). The third band includes Roger Guerin on the trumpet and possibly Rene Urtreger. At 23:03, Paudras speaks with two men. At 23:40, Le Double Six (Mimi Perrin, Caudine Barge, Moniwue Aldebert, Bob Smart, Jean-Claude Briodin, Louis Aldebert) perform. At 24:23, Hazel Scott (vocalist), Rene Urtreger (piano), and Pierre Michelot (bass) perform at the concert. At 25:44, there is a brief clip of Hazel Scott singing and playing the piano. At 25:55, Jean Louis Chautemps (tenor saxophone), Jacques Di Donato (alto saxophone), Jean-Luc Ponty (violinist), Jef Gilson (piano), and Henri Texier (bass) perform at the benefit concert. At 27:37, Mae Mercer (vocalist) performs with Michel Sardaby (piano), and Charles Bellonzi (drums). The film ends with stills of poster for the Bud Powell benefit concert at the Salle Wagram, Grand Festival De Jazz Moderne on March 13, 1964.This project was supported by a Recordings at Risk grant from the Council on Library and Information Resources (CLIR). The grant program is made possible by funding from The Andrew W. Mellon Foundation.One video file (mp4)two rolls were combined and slugge
Bud Powell, le solitaire
No full textCollection : Jazz de chocComprend : CONFIRMATION / Parker ; Bud Powell (piano), Georges Duvivier (Bass), Art Taylor (drums) - STAR EYES / De Paul, Raye ; Bud Powell (piano), Georges Duvivier (Bass), Art Taylor (drums) - LULLABY IN RHYTHM / Sampson, Goorman, Profit, Hirsch ; Bud Powell (piano), Georges Duvivier (Bass), Art Taylor (drums) - MEDIOCRE / Powell ; Bud Mowell (piano), Percy Heath (bass), Kenny Clarke (drums) - ALL THE THINGS YOU ARE / Kern, Hammerstein II ; Bud Mowell (piano), Percy Heath (bass), Kenny Clarke (drums) - EPISTROPHY (Budapest) / Clarke, Monk ; Bud Mowell (piano), Percy Heath (bass), Kenny Clarke (drums) - DANCE OF THE INFIDELS / Powell ; Bud Mowell (piano), Percy Heath (bass), Kenny Clarke (drums) - SALT PEANUTS / Gillespie, Clarke ; Bud Mowell (piano), Percy Heath (bass), Kenny Clarke (drums) - HEY GEORGE / Powell ; Bud Mowell (piano), Percy Heath (bass), Kenny Clarke (drums)BnF-Partenariats, Collection sonore - BelieveContient une table des matière
1st Festival Jazz d'Antibes, Juan-le-Pins, France
No full textBud Powell as a special guest with Charles Mingus performs "I'll Remember April" at the 1st Festival Jazz d'Antibes, Juan-le-Pins, France. July 13, 1960. The performers include Charlie Mingus (bass), Bud Powell (piano), Eric Dolphy (alto saxophone), Ted Curson (trumpet), Booker Ervin (tenor saxophone), Dannie Richmond (drums). At 15:23, there is audio of the voice and guitar of Sister Rosetta Tharpe, from a television broadcast from the same Antibes festival in 1960. The first is "His Eye is on the Sparrow." Then there is a short interview with Tharpe which goes directly into her performance with the Sims-Wheeler band of "Gimme That Old Time Religion." At 22:20, the audio continues abruptly with the Wilbur de Paris band playing "That's a Plenty." The performers are Sidney de Paris (trumpet), Wilbert Kirk (drums), John Smith (guitar/banjo), Garvin Bushell (clarinet), Hayes Alvis (bass) and Sonny White (piano). At 26:50, the Wilbur de paris band performs "The Battle Hymn of the Republic."One audio file (m4a)This project was supported by a Recordings at Risk grant from the Council on Library and Information Resources (CLIR). The grant program is made possible by funding from The Andrew W. Mellon Foundation
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Rebecca Powell: Évaluation complète des anticorps réactifs au SRAS-CoV-2 dans le lait maternel pour déterminer leur potentiel en tant que traitement contre le COVID-19 et comme moyen de prévenir l'infection des bébés allaités
No full textCette présentation a été faite par Rebecca Powell. Le titre de la présentation est: "Évaluation complète des anticorps réactifs au SRAS-CoV-2 dans le lait maternel pour déterminer leur potentiel en tant que traitement contre le COVID-19 et comme moyen de prévenir l'infection des bébés allaités.”
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Chaque mois, l'équipe COVID Information Commons (avec le Northeast Big Data Innovation Hub) rassemble un groupe de chercheurs étudiant de nombreux aspects de la pandémie actuelle, pour partager leurs recherches et répondre aux questions de notre communauté. Ces événements mettent en valeur les efforts continus des scientifiques dans la lutte contre le COVID-19, notamment les opportunités de collaboration
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