162,187 research outputs found
Vom Schreibtisch und aus dem Atelier : ein Künstlerheim in Weimar ; persönliche Erinnerungen an Friedrich Preller d. Ä. / Von J. Gensel
No full textVOM SCHREIBTISCH UND AUS DEM ATELIER : EIN KÜNSTLERHEIM IN WEIMAR ; PERSÖNLICHE ERINNERUNGEN AN FRIEDRICH PRELLER D. Ä. / VON J. GENSEL
Vom Schreibtisch und aus dem Atelier : ein Künstlerheim in Weimar ; persönliche Erinnerungen an Friedrich Preller d. Ä. / Von J. Gensel (1)
Vom Schreibtisch und aus dem Atelier. Ein Künstlerheim in Weimar. (1
[Report to Chief J. E. Curry, by an unknown author #1]
No full textReport to Chief J. E. Curry, by an unknown author. The report contains a list of officers who gave depositions to the United States Attorney
[Report to Chief J. E. Curry, by an unknown author #2]
No full textReport to Chief J. E. Curry, by an unknown author. The report contains a list of officers who gave depositions to the United States Attorney
Die werk van Alexis Preller, 1934-1928, en 'n catalogue raisonné
No full textDissertation (MA)--University of Pretoria, 1986.Alexis Preller is op 6 September 1911 in Pretoria gebore, waar
hy ook op 13 Desember 1975 oorlede is.
Hy was die jongste van vyf kinders van Olivia Maria Sandenberg
en Mauritz Herman Otto Preller, ‘n neef van die bekende
Afrikaner-historikus en -taalstryder Gustav Preller. Tydens sy
skooljare aan die Pretoria Boys High School het Preller aktief
belanggestel in die toneel- en skryfkuns. Na die voltooiing
van sy skoolopleiding was hy werksaam in die stadsraad van
Pretoria. Gedurende 1932 raak hy bevriend met Norman Eaton,
wat hom aangemoedig het om na Groot Brittanje te gaan en hom as
kunsskilder te bekwaam. In 1933 het hy uit die betrekking wat
hy by die Pretoriase Stadsraad beklee het, bedank en die jaar
daarop na Groot Brittanje vertrek waar hy met J. H. Pierneef
kennis gemaak het. Tydens sy verblyf in Groot Brittanje het hy
sy kunsopleiding ontvang aan die Westminster School of Art
onder Mark Gertler. Na sy terugkeer na Pretoria in 1935 het hy sy eerste
eenmanstentoonstelling gehou. Sy werke het uit die staanspoor
getoon dat kleur ‘n belangrike element in sy werk sou wees.
Aanvanklik was hy sterk beinvloed deur Van Gogh en Gauguin. In
1937 vertrek hy na die suide van Frankryk waar hy tuisgegaan
het in Monte Carlo. Met sy terugkeer in 1938 het hy by die
Nuwe Groep aangesluit en deelgeneem aan hul eerste
tentoonstelling. Daarna het hy en Truter na Swaziland gereis.
In 1939 onderneem hy ‘n reis na die destydse Belgiese Kongo
(Zaire) wat 'n sterk stimulerende uitwerking op sy kuns gehad
het. Hy keer terug met talle idees en veral die ‘urn-kop’
(ritueel misvormde kop van Kongo-kinders) het onmiddellik en
telkens daarna in sy werk na vore gekom.
Tydens die Tweede Wereldoorlog (1939 - 45) het Preller in 1940
by die Suid-Afrikaanse Mediese Korps aangeslui t. Hy is die
volgende jaar na Noord-Afrika en meer spesifiek na Egipte waar hy in die 14de Veldambulanseenheid diens gedoen het. In
1942 word hy krygsgevangene geneem en na Italie gestuur. Na
onderhandelings met die Rooi Kruis word hy in 1943 gerepatrieer
na Suid-Afrika. Met sy terugkeer na sy vaderland in 1944 het
hy ‘n tentoonstelling van sy werke in Johannesburg gehou.
Hierin het nuwe idees na vore gekom en het Afrika-visioene en
oorlogsindrukke saamgevloei op sy skilderdoeke. In dieselfde
jaar laat bou hy sy eerste ateljee ‘Ygdrasil’ na die ontwerp
van Norman Eaton.
Tydens ‘n volgende besoek aan Europa in 1946 het hy twee maande
lank die versamelings in die groot kunsmuseums in Londen en
Parys bestudeer en in die Louvre die klassieke Griekse beeldhoustukke
bestudeer. In die volgende jaar het Preller sy
ateljee verkoop en na die Seychelle vertrek. Na sy besoek aan
die Seychelle het Preller twee tentoonstellings in Johannesburg
en Pretoria gehou waarop skulp- en vismotiewe maar ook
Christuskoppe in sy werk voorgekom het.
Deur middel van sy gebruik van kleur en die invloed van die
inheemse kuns in sy werk, het hy Suid-Afrika bewus gemaak
daarvan dat ‘n Europese benadering nie summier op die Suid Afrikaanse
toneel oorgedra kan word nie.Alexis Preller was born in Pretoria on 6 September 1911 where
he died on 13 December 1975.
He was the youngest of the five children of Olivia Maria
Sandenberg and Mauritz Herman Otto Preller, a cousin of the
well known Afrikaner historian and activist for Afrikaans,
Gustav Preller. During his school years at the Pretoria Boys'
High School, Preller was actively interested in the art of
writing and drama. After completing his school education he
worked for the City Council of Pretoria. In 1932 he made
friends with Norman Eaton who encouraged him to go to Great
Britain in order to study art and train as an artist. In 1933
he resigned the position he had held in the City Council of
Pretoria and in the following year he left for Great Britain
where he met J.H. Pierneef. During his stay in Great Britain
he attended the westminster School of Art under Mark Gertler.
On his return to Pretoria in 1935 he held his first one man
exhibition. From the start it was obvious from his works that
colour would be an important element in his work. Initially he
was strongly influenced by Van Gogh and Gauguin. In 1937 he
left for France where he stayed in Monte Carlo. On his return
to South Africa in 1938 he joined the New Group and participated in their first exhibition. After this he and Truter
travelled to Swaziland. In 1939 he travelled to the then
Belgian Congo (Zaire) which had a most stimulating effect on
his art. He returned with numerous ideas, especially the "urn
head" (ritual misshapen head of Congo children) which occurred
in his work immediately and over and over again in his ensuing
work.
During the Second World War (1939- 1945) Preller joined the
war effort by enlisting in the South African Medical Corps in
1940. In 1941 he was sent to Egypt where he served in the 14th
Field Ambulance unit. In 1942 he was taken prisoner of war and
sent to Italy. After negotiations with the Red Cross he was
repatriated to South Africa in 1943. On his return to his
fatherland in 1944, he held an exhibition of his work in
Johannesburg. In these paintings fresh ideas were presented.
Africa-visions and war impressions converged on his canvasses.
In the same year his first studio, Ygdrasil, was built according
to designs drawn up by Norman Eaton.
On his next visit to Europe in 1946 he spent two months
studying the collections of the large art museums in London and
Paris. In the Louvre he studied classical Greek sculpture. In
1947 Preller sold his studio and left for the Seychelles. On
his return from the Seychelles Preller held exhibitions in
Pretoria and Johannesburg in which shell and fish motives as
well as Christ heads appeared.
Through his use of colour and with the influence of indigenous
art in his work, he brought an awareness to South Africa that
an European approach cannot be summarily transposed to the
South African scene.Visual ArtsMAUnrestricte
Murder on the mountain: author talk with Peter J. Wosh
No full textAuthor talk by Peter J. Wosh on May 5th, 2022, on his book, "Murder on the Mountain: crime, passion, and punishment in gilded age New Jersey.
Mr. Melvin J. Collier, RWWL AUC, June 2011
No full textThis video is a conversation with Mr. Melvin J. Collier. Mr. Collier talks about his book, "From Mississippi to Africa: A Journey of Discovery". Daniel Le, AUC Woodruff Library, is the interviewer
A Tripartite Post-Recession Rebalancing
No full textIn this latest Advance & Rutgers Report, entitled “A Tripartite Post-Recession Rebalancing,” Dean James W. Hughes and Professor Joseph J. Seneca deliver an incisive assessment of the current market conditions and obstacles in the path of our economic recovery. They offer a statistical cautionary tale that the private and public sector need to hear and acknowledge in order for the economy to make continued progress.This report was published as Issue Paper Number 7, November 2011, in Advance & Rutgers Report
Evidence for the decay B0→J/ψω and measurement of the relative branching fractions of meson decays to J/ψη and J/ψη′
No full textFirst evidence of the B 0 → J / ψ ω decay is found and the B s 0 → J / ψ η and B s 0 → J / ψ η ′ decays are studied using a dataset corresponding to an integrated luminosity of 1.0 fb -1 collected by the LHCb experiment in proton-proton collisions at a centre-of-mass energy of sqrt(s) = 7 TeV. The branching fractions of these decays are measured relative to that of the B 0 → J / ψ ρ 0 decay:frac(B (B 0 → J / ψ ω), B (B 0 → J / ψ ρ 0)) = 0.89 ± 0.19 (stat) - 0.13 + 0.07 (syst),frac(B (B s 0 → J / ψ η), B (B 0 → J / ψ ρ 0)) = 14.0 ± 1.2 (stat) - 1.5 + 1.1 (syst) - 1.0 + 1.1 (frac(f d, f s)),frac(B (B s 0 → J / ψ η ′), B (B 0 → J / ψ ρ 0)) = 12.7 ± 1.1 (stat) - 1.3 + 0.5 (syst) - 0.9 + 1.0 (frac(f d, f s)), where the last uncertainty is due to the knowledge of f d / f s, the ratio of b-quark hadronization factors that accounts for the different production rate of B 0 and B s 0 mesons. The ratio of the branching fractions of B s 0 → J / ψ η ′ and B s 0 → J / ψ η decays is measured to befrac(B (B s 0 → J / ψ η ′), B (B s 0 → J / ψ η)) = 0.90 ± 0.09 (stat) - 0.02 + 0.06 (syst)
The vanishing author in computer-generated works: a critical analysis of recent Australian case law
No full textAbstract
The use of software is ubiquitous in the creation of many copyright works, yet the requirement in copyright law that every work have a human author who engages in independent intellectual effort means that its use may prevent copyright subsistence. Several recent Australian cases have refocused attention on authorship as an essential criterion of copyright subsistence, and these cases suggest that much computer-produced output may be authorless and thus lack copyright protection. This article, the first in a two-part series, analyses how each case deals with the question of authorship of computer-produced works and why the use of software diminishes copyright protection for a significant number of computer-generated works. The article critiques the application of conventional notions of human authorship developed in the pre-computer age to modern productions and suggests alternative approaches to authorship that satisfy both the major objectives of copyright policy and the need to adapt to the computer age. The article argues that, without a broader judicial approach to authorship of computer-generated works, Parliament must remedy the lacuna in protection for these ‘authorless’ works. Possible solutions for reform are suggested. In a forthcoming article, the author comprehensively examines those reform proposals
Dynamic causal modelling revisited
No full textThis paper revisits the dynamic causal modelling of fMRI timeseries by replacing the usual (Taylor) approximation to neuronal dynamics with a neural mass model of the canonical microcircuit. This provides a generative or dynamic causal model of laminar specific responses that can generate haemodynamic and electrophysiological measurements. In principle, this allows the fusion of haemodynamic and (event related or induced) electrophysiological responses. Furthermore, it enables Bayesian model comparison of competing hypotheses about physiologically plausible synaptic effects; for example, does attentional modulation act on superficial or deep pyramidal cells - or both? In this technical note, we describe the resulting dynamic causal model and provide an illustrative application to the attention to visual motion dataset used in previous papers. Our focus here is on how to answer long-standing questions in fMRI; for example, do haemodynamic responses reflect extrinsic (afferent) input from distant cortical regions, or do they reflect intrinsic (recurrent) neuronal activity? To what extent do inhibitory interneurons contribute to neurovascular coupling? What is the relationship between haemodynamic responses and the frequency of induced neuronal activity? This paper does not pretend to answer these questions; rather it shows how they can be addressed using neural mass models of fMRI timeseries
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