22,781 research outputs found
Postcard, Bob Preston: A Life in Photographs Patricia Preston Warren: I Am My Father\u27s Daughter at Studio@620, St. Petersburg, Florida
No full textA promotional postcard for a photographic exhibition at Studio@620 featuring historic black and white images by Bob Preston, a former staff photographer with The Independent and the St. Petersburg Times, alongside modern color images by his daughter, Patricia Preston Warren.https://digitalcommons.usf.edu/bdj_studioat620_postcards/1051/thumbnail.jp
Preston, South Dakota, 1976
No full textCaption: "Preston. Summer 1976; File #153. Little Preston-Balmoral, to the east of Ragged Top Mountain, is gradually being hauled away as thieves say to themselves 'I'd better take this valuable weathered siding for myself, before somebody steals it.' This is one of the things I am sorry about, having written a book that tells where these towns are. But weather and thieves too would find them, anyway.
Protecting Animals 36: Author Witi Ihimaera
No full textIn this very special episode of Knowing Animals I am joined by beloved New Zealand author Witi Ihimaera. Witi has written many books featuring nonhuman animals. He offers us a non-colonial lens through which to think about the human/nonhuman relationship
Disparate Vision: Preston S. Cohen’s Lightfall
No full textThis study investigates the relationships between the geometry of space, theory of perception and theory of narrative in the context of Preston Scott Cohen’s Lightfall – the atrium space of the Tel Aviv Museum of Art in Israel. The starting premise of the study is that it is possible to see the atrium space of the Tel Aviv Museum of Art as an inversion of the atrium space of Frank Lloyd Wright’s Guggenheim Museum in New York. Hence, the main hypothesis is that Cohen’s Lightfall transgresses the language of modernist architecture, moving from the constitution of exhibition space for pure gaze to the constitution of exhibition space for disparate vision. This means breaking with the homogeneous, universal space and time concepts of totalitarianism with the aim of building space-time concepts based on a disjunctive synthesis of narratives, ideologies and discourses of different societies, cultures and arts, or building space-time concepts in a continuous process of becoming. How does the architecture of Cohen’s Lightfall reject the totalitarian modernist interior of the museum as an institution designed solely for the observation of the work of art? How is the theory and practice of contemporary art and culture reflected in the aesthetics of Lightfall and, vice versa, how do the aesthetics of Lightfall influence the practice of contemporary art, culture and society? In other words, in what way does Cohen’s atrium space set the work of art not as autonomous, isolated, neutral and without context but as a unit of discourse? How does Cohen make the transition from the constitution of artistic space for pure gaze to the constitution of artistic space for disparate vision? This study draws on the theoretical investigations of Gilles Deleuze, Félix Guattari, Jacques Derrida, Gilbert Simondon and Pierre Bourdieu. Article received: December 23, 2016; Article accepted: January 20, 2017; Published online: April 20, 2017Original scholarly paperHow to cite this article: Pješivac, Željka. "Disparate Vision: Preston S. Cohen’s Lightfall." AM Journal of Art and Media Studies 12 (2017): 71-80.</jats:p
Disparate Vision: Preston S. Cohen’s Lightfall
No full textThis study investigates the relationships between the geometry of space, theory of perception and theory of narrative in the context of Preston Scott Cohen’s Lightfall – the atrium space of the Tel Aviv Museum of Art in Israel. The starting premise of the study is that it is possible to see the atrium space of the Tel Aviv Museum of Art as an inversion of the atrium space of Frank Lloyd Wright’s Guggenheim Museum in New York. Hence, the main hypothesis is that Cohen’s Lightfall transgresses the language of modernist architecture, moving from the constitution of exhibition space for pure gaze to the constitution of exhibition space for disparate vision. This means breaking with the homogeneous, universal space and time concepts of totalitarianism with the aim of building space-time concepts based on a disjunctive synthesis of narratives, ideologies and discourses of different societies, cultures and arts, or building space-time concepts in a continuous process of becoming. How does the architecture of Cohen’s Lightfall reject the totalitarian modernist interior of the museum as an institution designed solely for the observation of the work of art? How is the theory and practice of contemporary art and culture reflected in the aesthetics of Lightfall and, vice versa, how do the aesthetics of Lightfall influence the practice of contemporary art, culture and society? In other words, in what way does Cohen’s atrium space set the work of art not as autonomous, isolated, neutral and without context but as a unit of discourse? How does Cohen make the transition from the constitution of artistic space for pure gaze to the constitution of artistic space for disparate vision? This study draws on the theoretical investigations of Gilles Deleuze, Félix Guattari, Jacques Derrida, Gilbert Simondon and Pierre Bourdieu.
Article received: December 23, 2016; Article accepted: January 20, 2017; Published online: April 20, 2017
Original scholarly paper
How to cite this article: Pješivac, Željka. "Disparate Vision: Preston S. Cohen’s Lightfall." AM Journal of Art and Media Studies 12 (2017): 71-80. doi: 10.25038/am.v0i12.16
I Think I Am Philip K. Dick
No full textFor years, noted writer Laurence A. Rickels often found himself compared to novelist Philip K. Dickthough in fact Rickels had never read any of the science fiction writers work. When he finally read his first Philip K. Dick novel, while researching for his recent book The Devil Notebooks , it prompted a prolonged immersion in Dicks writing as well as a recognition of Rickelss own long-documented intellectual pursuits. The result of this engagement is I Think I Am: Philip K. Dick , a profound thought experiment that charts the wide relevance of the pulp sci-fi author and paranoid visionary. I Think I Am: Philip K. Dick explores the science fiction authors meditations on psychic reality and psychosis, Christian mysticism, Eastern religion, and modern spiritualism. Covering all of Dicks science fiction, Rickels corrects the lack of scholarly interest in the legendary Californian author and, ultimately, makes a compelling case for the philosophical and psychoanalytic significance of Philip K. Dicks popular and influential science fiction.Intro -- Contents -- Introjection -- Part I -- Endopsychic Allegories -- Schreber Guardian -- Belief System Surveillance -- Part II -- Deeper Problems -- Veil of Tears -- Go West -- Dick Manfred -- Timing -- Glimmung -- Part III -- Spiritualism Analogy -- Imitating the Dead -- Indexical Layer -- Ilse -- Hammers and Things -- Crucifictions -- Over There -- Martyrology -- Can't Live, Can't Live -- Lola -- Umwelt, Mitwelt, and Eigenwelt -- Outer Race -- The German Introject -- Part IV -- Materialism, Idealism, and Cybernetics -- Startling Stories -- A Couple of Years -- Android Empathy -- Homunculus and Robot -- ALL OF YOU ARE DEAD. I AM ALIVE. -- Go with the Flow -- Part V -- Room for Thought -- Caduceus -- Jump -- Still -- A Wake -- Spätwerk -- Let the Dead Be -- Play Bally -- Das Hund -- Notes -- BibliographyFor years, noted writer Laurence A. Rickels often found himself compared to novelist Philip K. Dickthough in fact Rickels had never read any of the science fiction writers work. When he finally read his first Philip K. Dick novel, while researching for his recent book The Devil Notebooks , it prompted a prolonged immersion in Dicks writing as well as a recognition of Rickelss own long-documented intellectual pursuits. The result of this engagement is I Think I Am: Philip K. Dick , a profound thought experiment that charts the wide relevance of the pulp sci-fi author and paranoid visionary. I Think I Am: Philip K. Dick explores the science fiction authors meditations on psychic reality and psychosis, Christian mysticism, Eastern religion, and modern spiritualism. Covering all of Dicks science fiction, Rickels corrects the lack of scholarly interest in the legendary Californian author and, ultimately, makes a compelling case for the philosophical and psychoanalytic significance of Philip K. Dicks popular and influential science fiction.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
AN EXAMINATION OF POLYNUCLEOTIDE PHOSPHORYLASE’S PROTECTIVE EFFECTS ON ESCHERICHIA COLI MG1655 WITHIN ACTIVATED MACROPHAGES
No full text(Statement of Responsibility) by Jonas Preston Slackman(Thesis) Thesis (B.A.) -- New College of Florida, 2014RESTRICTED TO NCF STUDENTS, STAFF, FACULTY, AND ON-CAMPUS USE(Bibliography) Includes bibliographical references.This bibliographic record is available under the Creative Commons CC0 public domain dedication. The New College of Florida Libraries, as creator of this bibliographic record, has waived all rights to it worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law.Faculty Sponsor: Clore, Am
Liftings for noncomplete probability spaces
No full textThe current state of knowledge concerning liftings for noncomplete probability spaces is discussed. This is a somewhat expanded version of the author's talk given at the 1991 Summer Conference on General Topology and Applications in Honor of Mary Ellen Rudin and Her Work.PT: S; CR: BURKE MR, IN PRESS P AM MATH S BURKE MR, 1991, ISRAEL J MATH, V73, P33 BURKE MR, 1992, ISRAEL J MATH, V79, P289 CARLSON T, THEOREM LIFTING CHRISTENSEN JPR, 1974, TOPOLOGY BOREL STRUC FREMLIN DH, 1989, HDB BOOLEAN ALGEBRAS, P877 INOESCUTULCEA A, 1966, 5TH P BERK S MATH ST, V2 IONESCUTULCEA A, 1967, CONTRIBUTIONS PROB 1, P63 IONESCUTULCEA A, 1969, TOPICS THEORY LIFTIN JECH TJ, 1978, SET THEORY JOHNSON RA, 1980, P AM MATH SOC, V80, P234 JUST W, IN PRESS T AM MATH S KUPKA J, 1983, INDIANA U MATH J, V32, P717 LOSERT V, 1983, LNM, V1080, P95 MAHARAM D, 1958, P AM MATH SOC, V9, P987 SHELAH S, 1983, ISRAEL J MATH, V45, P90 TALAGRAND M, 1982, P AM MATH SOC, V84, P379 VONNEUMANN J, 1931, CRELLES J MATH, V165, P109; NR: 18; TC: 0; J9: ANN N Y ACAD SCI; PG: 4; GA: BZ86BSource type: Electronic(1
The AM Canum Venaticorum binary SDSS J173047.59+554518.5
No full textThe AM Canum Venaticorum (AM CVn) binaries are a rare group of hydrogen-deficient, ultrashort period, mass-transferring white dwarf binaries and are possible progenitors of Type Ia supernovae. We present time-resolved spectroscopy of the recently discovered AM CVn binary SDSS J173047.59+554518.5. The average spectrum shows strong double-peaked helium emission lines, as well as a variety of metal lines, including neon; this is the second detection of neon in an AM CVn binary, after the much brighter system GP Com. We detect no calcium in the accretion disc, a puzzling feature that has been noted in many of the longer period AM CVn binaries. We measure an orbital period, from the radial velocities of the emission lines, of 35.2 ± 0.2 min, confirming the ultracompact binary nature of the system. The emission lines seen in SDSS J1730 are very narrow, although double-peaked, implying a low-inclination, face-on accretion disc; using the measured velocities of the line peaks, we estimate i ≤ 11°. This low inclination makes SDSS J1730 an excellent system for the identification of emission lines
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