160 research outputs found
Christopher Blake Riddle in a Senior Baritone Recital
No full textThis is the senior baritone recital of Christopher Blake Riddle. Mr. Riddle was accompanied on the piano by Jenny Salvers. This recital took place on November 24, 2003, in the McBeth Recital Hall in the Mabee Fine Arts Center
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The twelve large colour prints of William Blake: a study on techniques, materials and context
No full textThe aim of this thesis is to study in entirety the group of large colour prints which William Blake made between 1795 and 1805. The series of prints represents the single most important and complete development of Blake’s skill as an innovative printmaker. Although they include some of Blake’s best-known images, they have not been studied before in their entirety or from the point of view of analysing the techniques and methods Blake had used. My study will show how Blake executed these truly impressive prints in terms of materials, method and motives. The first half of the thesis deals with the materialistic aspects of Blake’s colour printing. In chapter one tracing the controversial two-pull discussion to the root, I will make clear the focus points as well as revealing the early tradition of experimental criticism on Blake’s colour printing method. Focusing on two important critics, W. Graham Robertson and Ruthven Todd, and the periods they lived, I attempt to reveal the role they played in a wider context. Also I show how the tradition of Blake’s art was inherited directly through the Ancients to the Pre-Raphaelite Brotherhood, which leads to Robertson and Todd. In the second chapter I deal with the development of Blake’s colour printing experiments. It is obvious that the Twelve Large Colour Prints were produced as a result of Blake’s series of colour printing experiments, starting with monocolour simple prints, going through the illuminated books progressing with more colours and higher skills
Faith, feeling and gender in the writing of Hartley, Wollstonecraft and Blake
No full textThis thesis examines David Hartley’s Observations on Man (1749) and elucidates how Hartley’s mechanical approach to mind, his conception of emotion, and the religious status he awards the body were newly relevant after 1791. In this way it identifies a ‘Hartlean culture’ within the Romantic period and seeks to explore how such an intellectual climate influenced the radical writers William Blake (1757–1827) and Mary Wollstonecraft (1759–1797). Blake and Wollstonecraft were acquainted with the famous bookseller Joseph Johnson, who republished Observations on Man in various forms and versions between 1775 and 1801. They also had an association with Johnson’s circle; the Hartlean concepts found throughout their work evidence Hartley’s latent popularity within intellectual culture, as well as the writers’ engagement with contemporary philosophical ideas. I propose that the renewed curiosity in Hartley during the 1790s reveals a specific religious and revolutionary culture wherein non-conformist views about Christianity and new ideas about the body, emotion and women flourished. Such a cultural moment renders Hartley a particularly important figure for debate since he integrated progressive values about equality and faith alongside advancing understanding of anatomy and mind. Hartley identified how God and happiness could be found physically within each person. He did this by combining a complex theory of vibrations and theory of association, where the body and mind functioned mechanically through a person’s feelings of pleasure and pain. These feelings manifested as physical vibrations and eventually led every person to desire goodness until finally, they can become ‘Godlike’ themselves. Hartley’s amalgamation of Christian and new theoretical concepts appealed to Blake and Wollstonecraft, and was much unlike the approach of Joseph Priestley who abridged Observations in 1775 to promote a wholly ‘scientific’ text. In this way, we can see resonances between Hartley, Blake and Wollstonecraft, even if they existed in different cultural contexts. In rethinking Blake and Wollstonecraft through Hartley, I offer new insights into their feminism. In particular I attend to how Hartlean culture enabled these writers to re-imagine gender and emotion: Wollstonecraft reinstates the female experience back into Hartlean concepts in order to promote women’s emotional potential and what she understands as the special power of the female-female bond. Blake responds to both Wollstonecraft and Hartley with his elevation of the feminine, one that envisions new potential for both sexes, emotionally and spiritually. In both cases, the writers share a fascination for the image of the female saviour, and they use terminology and concepts found in Hartley’s work to communicate their views. In being attentive to the shared vocabulary and ideas of these three writers’ works, this thesis highlights the importance of David Hartley and Hartlean culture for the field of Romantic Studies. It also illuminates Observations on Man as a vital contribution to the intellectual context of the 1790s
Job’s Gethsemane: tradition and imagination in William Blake’s illustrations for the book of job
No full textBlake created two versions of his Illustrations of the Book of Job, and it is now agreed that about twenty years separates his first watercolour series and the final engraved set of plates. The first chapter is biographical and technical: it establishes that the Butts series of water-colours was the product of the tumultuous and creative years 1805-10, following a time wh6n Blake experienced a strong sense of vision and Christian regeneration; whereas the engraved set was produced 1821-1826, at the end of his life. It also reviews all Blake's treatments of the Job theme. The friends-turned-accusers seem to have been a central pre-occupation. Blake's illustrations contain important elements which are not found in the Old Testament text. I have followed Bo Lindberg's principle that explanation should be sought in the artistic tradition, and in the work itself The second chapter concentrates on the tradition available to Blake, following and supplementing Lindberg's examination of the influence of the apocryphal Testament of Job, and of the artistic tradition of seeing Job as alter Christus and as Christian. Chapters three to five, interpreting Blake's imaginative use of this material, are new both in focussing on the Butts set, and in exploring the importance to Blake of St.Teresa, Fenelon, Mme. Guyon, Hervey and other people of prayer. Also discussed are Joseph Hallett's radical biblical commentary, of which Blake owned a copy, variant proofs discovered by Robert Essick of the first and last engraved plates, and the thirteenth century Job wall- paintings discovered in 1800 in St. Stephen's Chapel, Westminster. Blake's Job was unique in the corpus of his work. Previous studies have followed Wicksteed in concentrating on the engraved set, and no one has explored the implications of the earlier dating now agreed for the watercolour series. The thesis is essentially concerned with Blake's Christocentric theme, and Job's inner journey of prayer, in these illustrations. Conclusions drawn differ substantially from Wicksteed's
Cross Elasticity of Supply: As Big a Secret in Canada as It Is in the U.S.
No full textIn a prior study, the author determined that cross elasticity of supply is rarely discussed in intermediate microeconomics, and industrial organization textbooks used in U. S. universities. He did, however, find that the American judicial system has increasingly relied upon the concept in defining product markets. In the present paper, the author examines cross elasticity of supply in economics textbooks in Canadian universities. Similar to his prior study, the author found virtually no mention of the concept in the Canadian textbooks. However, unlike the prior study, he found no appreciable reliance upon cross elasticity of supply in defining product markets by Canadian courts. Though perplexed over its lack of academic discussion, the author is encouraged by the deference paid to cross elasticity of supply by American courts.
UAS Disaster Response Study Away 2018: Post Disaster/Emergency Assessment & Aid
No full textStudents participated in a Study Away program providing disaster response, community outreach and first responder education centered upon the use of small unmanned aircraft systems (sUAS) during May 2018. Flight operations initially occurred in the Daytona Beach area from 8 May 2018 until 14 May 2018. Students practiced techniques and procedures necessary for real-world operational flights.
The group traveled through Texas and Oklahoma until the end of May 2018. The first event was held in Arlington, Texas, at the L3 Link Simulation & Training center. The next stop was Oklahoma City at the State Emergency Operation Center where the Embry–Riddle UAS Disaster Response Team received an initial briefing and prepared to assist with response and recovery efforts resulting from wildfires, tornados and other severe weather events.
The group worked with the Oklahoma Dept. of Wildlife Conservation to survey the Rhea and 34 Complex fires that occurred in April. This effort helped ranch owners begin to develop recovery plans. Students operated various sUAS gathering still images and video. A multispectral camera enabled analysis using the Normalized Difference Vegetation Index (NDVI) to ascertain vegetation health. Live video infrared imagery was used to search for large mammals.
Students met and flew with Oklahoma State University (OSU) faculty and students at the OSU Unmanned Aircraft Flight Station, and then traveled to several sites in Oklahoma to provide demonstrations and professional education to public safety organizations
Towards A Cross-Domain Notation
No full textThe musical score is an inherently ambiguous object that contains symbols that imply and refer to something other than themselves. The score acts as an imperfect form of communication between the composer and musician and relies upon a shared domain of knowledge to ensure that communication occurs at all. In this dissertation, the author explores the implementation of a notational system that requires musicians to interact with the conceptual metaphors that give meaning to the symbols in the musical score. I call this system cross-domain notation. Chapter 1 explains the conceptual framework that underlies cross-domain notation. Chapter 2 describes the four primary elements of cross-domain notation: presence, absence, and the established and discovered meaning and how these interact and support one another. Chapter 3 shows different implementations of cross-domain notation and how those are augmented through the use of digital scoring. Chapter 4 reflects on the process of working with musicians using this notation and on the next steps in developing cross-domain notation in other areas of the scoring process
3D_DIG_Moho_and_LAB_Model_EChambers2024.nc
No full textREAD ME File For '3D_DIG_Moho_and_LAB_Model_EChambers2024_INTERPOLATED.nc'
Dataset DOI:
ReadMe Author: Emma L. Chambers, Dublin Institute for advanced Studies, ORCID: https://orcid.org/0000-0001-6969-2920
This dataset supports the publication:
AUTHORS: Emma L. Chambers*, Javier Fullea, Duygu Kiyan, Sergei Lebedev, Christopher J. Bean, Pat Meere, J. Stephen Daly, Nicola Willmot Noller, Robert Raine, Sarah Blake, Brian M. O’Reilly
TITLE: A new 3D temperature model for Ireland from joint geophysical-petrological inversion of seismic, surface heat flow and petrophysical data
JOURNAL: Geophysical Journal International
PAPER DOI IF KNOWN:
PREPRINT: EarthArXiv
PREPRINT DOI: https://doi.org/10.31223/X5RX3P
This dataset contains:
"3D_DIG_Moho_and_LAB_Model_EChambers2024_INTERPOLATED.nc" which has the final Moho and LAB depth models. Also included are latitude and longitude coordinate variables in both WGS84 and ITM coordinates. The model has been interpolated to 0.025 degree spacing laterally from an original 0.2 degree spacing.
This file is in NetCDF format. NetCDF files can be opened in most data analysis environments. For example in MATLAB use the netcdf.open command or in python xr.open_dataset(dataset.nc).
Date of data collection:
10/09/2024
Information about geographic location of data collection:
Dataset covers the Republic of Ireland and Northern Ireland in both WGS84 (latitude and longitude, EPSG:4326) and ITM coordinates (latITM and lonITM, EPSG:2157).
Licence:
CC BY-SA 4.0
Related projects and datasets:
3D_DIG_Temp_and_RMS_Model_EChambers2024.nc
3D_DIG_Temp_and_RMS_Model_EChambers2024_INTERPOLATED.nc
3D_DIG_Moho_and_LAB_Model_EChambers2024.n
3D_DIG_Temp_and_RMS_Model_EChambers2024.nc
No full textREAD ME File For '3D_DIG_Temp_and_RMS_Model_EChambers2024_INTERPOLATED.nc'
Dataset DOI:
ReadMe Author: Emma L. Chambers, Dublin Institute for advanced Studies, ORCID: https://orcid.org/0000-0001-6969-2920
This dataset supports the publication:
AUTHORS: Emma L. Chambers*, Javier Fullea, Duygu Kiyan, Sergei Lebedev, Christopher J. Bean, Pat Meere, J. Stephen Daly, Nicola Willmot Noller, Robert Raine, Sarah Blake, Brian M. O’Reilly
TITLE: A new 3D temperature model for Ireland from joint geophysical-petrological inversion of seismic, surface heat flow and petrophysical data
JOURNAL: Geophysical Journal International
PAPER DOI IF KNOWN:
PREPRINT: EarthArXiv
PREPRINT DOI: https://doi.org/10.31223/X5RX3P
This dataset contains:
"3D_DIG_Temp_and_RMS_Model_EChambers2024_INTERPOLATED.nc" which has the final best temperature model and associated uncertainty. Also included are latitude, longitude and depth coordinate variables in both WGS84 and ITM coordinates. The model has been interpolated to 0.025 degree spacing laterally from an original 0.2 degree spacing. See dataset without INTERPOLATED for actual final model.
This file is in NetCDF format. NetCDF files can be opened in most data analysis environments. For example in MATLAB use the netcdf.open command or in python xr.open_dataset(dataset.nc).
Date of data collection:
10/09/2024
Information about geographic location of data collection:
Dataset covers the Republic of Ireland and Northern Ireland in both WGS84 (latitude and longitude, EPSG:4326) and ITM coordinates (latITM and lonITM, EPSG:2157).
Licence:
CC BY-SA 4.0
Related projects and datasets:
3D_DIG_Moho_and_LAB_Model_EChambers2024.nc
3D_DIG_Moho_and_LAB_Model_EChambers2024_INTERPOLATED.nc
3D_DIG_Temp_and_RMS_Model_EChambers2024.n
Applause: a creative arts magazine
No full text"Applause is the literary journal of the University of Arkansas Fort Smith. Applause publishes student work annually."Volume 25, 201
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