298 research outputs found
Vanguardia fotográfica y cultura de las mercancías. Alquimia. Sistema Nacional de Fototecas: Fotografía y publicidad. Num. 20 Año 7 (2004) enero-abril
No full textDaniel Canogar, Ciudades efímeras. Exposiciones universales: espectáculo y tecnología, Madrid, Julio Ollero Editor, 1992, p. 32.Publio López Mondéjar. Historia de la fotografía en España, Madris, Lunwerg, 1997, p. 156.Marisa Giménez Cacho, "La Nueva Objetividad", en Luna Córnea, núm. 1, invierno de 1992-1993, pp. 94-95Salvador Dalí, "La fotografía, pura creació de l´espírit", en L´Amic de les Arts, núm. 18, septiembre de 1927. Reimpreso en Dalí fotógraf, Dalí en el seus fotógrafs (cat.), Barcelona, Caixa de Pensions, 1983.Dalí fue muy sensible a la mercantilización de la cultura de masas. Introdujo un envase de Coca-Cola en su pintura Poesía de América (1943). Más tarde sus colaboraciones publicitarias incluyeron cuatro anuncios televisivos para Alka-Seltzer, el chocolate Lanvin y el automóvil Datsun. Hizo bocetos para los calcetines Bryans, corbatas y perfumes. En 1964 también diseño una botella para el brandy Osborne.Patricia Johnston, Real Fantasies: Edward Steichen´s, Advertising Photography, Los Angeles, University of California Press, 1997, p. 36.La anécdota que transcribe George Hurrel de su primer encuentro con Steichen es ilustradora de la dinámica economía publicitaria y el efecto que tuvo sobre los fotógrafos. Sentados en su minúsculo cuarto oscuro, The Big Man le regalaba consejos. En tanto, pidió que le revelara unas placas e imprimiera los contactos mientras conversaban. Al final le entrego cuarenta dólares por el trabajo. Poco después Hurrel se enteró que Steichen había cobrado por la imagen de tres encendedores la bonita cifra de mil quinientos dólares. Una pequeña fortuna en los años treinta. Indudablemente, esto convenció a Hurrell para volverse el más sofisticado fotógrafo publicitario en Hollywood.La serie Jergens fue desarrollada para la agencia publicitaria J. Walter Thompson y tuvo diversas versiones, las que aparecieron en revistas estadounidenses de alcance nacional entre 1925 y 1931. En la primera estapa las manos fueron las de Helen Lansdowne Resor, principal soporte de Steichen en la agencia y patrona de las artes. Más tarde Resor será Trustee del Museo de Arte Moderno en Nueva York, y contribuyó a una nueva etapa de Steichen, la que desmbocará en la exhibición planetario conocida como The Family of Man.Herbert Lottman, El París de Man Ray, Barcelona, Tusquets, 2003, p. 63.En 1924 Lissitzky integró por primera vez un fonograma dentro de un cartel para publicitar a la tinta Pelikan.Anandi Ramamurthy, "Constructions of Illusion. Photography and Commodity Culture", en Liz Wells (ed), Photography, a Critical Introduction, Londres, Routledge, 1997, p. 154.Juan Coronel Rivera, "Guillermo Khalo, fotógrafo 1872-1941", en Guillermo Khalo, vida y obra (cat.), México, Conaculta-INBA, 1993, p. 88.Una parte de estas estructuras metálicas se presentó en la exhibición Metáforas, fotografía construida, curada por Emma Cecilia García y realizada en el Museo de Monterrey, en septiembre de 1996
The historical exhibition THE FAMILY OF MAN, compiled by Edward Steichen for the Museum of Modern Art, New York, 1955, in dialogue with the private collection TEUTLOFF PHOTO + VIDEO COLLECTION, THE CONTEMPORARY FAMILY OF MAN, 1968 to the present.
No full textDiese Dissertationsschrift untersucht die historische Fotoausstellung The Family of Man und setzt sie in einen kontextuellen Dialog mit der Teutloff Collection, einer privaten zeitgenössischen Fotosammlung, mit dem Ziel eine dauerhafte dialogische Präsentation beider Sammlungen zu befördern und für zukünftige Diskussionen zu öffnen.The Family of Man, von Edward Steichen für das Museum of Modern Art, New York, konzipiert und 1955 eröffnet, ging bis 1965 als Wanderausstellung um die Welt und gilt als einflußreichstes Fotoprojekt des 20. Jahrhunderts. Mit ihrer pazifistischen Ausrichtung kann die bildgewaltige Installation auch als Visualisierung der Menschenrechtsdeklaration der Vereinten Nationen von 1948 gesehen werden. Die letzte vollständige Kopie wurde auf Wunsch Steichens seinem Geburtsland Luxemburg übergeben. Kuratorisch und konservatorisch betreut wird sie von den Steichen Collections CNA (Centre National de lAudiovisuel), dem staatlich geführten nationalen Zentrum für audiovisuelle Kunst Luxemburgs. Im Jahre 2003 kam The Family of Man auf die Liste des UNESCO Weltdokumentenerbes und wird auf Schloss Clervaux, Luxemburg, ausgestellt.The Family of Man hat Generationen von Kulturschaffenden beeinflusst. Sie inspirierte auch Lutz Teutloff, der unter dem Titel The Contemporary Family of Man eine Sammlung humanistischer Fotografie als zeitgenössische Antwort auf Edward Steichens Opus Magnum aufbaute. Nach Teutloffs Tod gelang der Autorin die erfolgreiche Vermittlung und Übergabe eines großen Teils der Sammlung an das CNA. Mit der Sicherung dieser privaten Fotosammlung für die Öffentlichkeit durch die Übernahme der Steichen Collections CNA und der geplanten dialogischen Präsentation gelingt ein Brückenschlag zu einem UNESCO Weltdokumentenerbe, der auf beide Sammlungen einen neuen Fokus setzt.This dissertation paper examines the historical photographic exhibition of The Family of Man and places it in contextual dialogue with the Teutloff Collection, a private contemporary photographic collection, with the aim of promoting a permanent dialogical presentation of both collections and opening it up for future discussion.The Family of Man, conceived by Edward Steichen for the Museum of Modern Art, New York, and opened in 1955, went around the world as a travelling exhibition until 1965 and is considered the most influential photographic project of the 20th century. With its pacifist orientation, the visually powerful installation can also be seen as a visualisation of the United Nations Declaration of Human Rights of 1948. At Steichen's request, the last complete copy was given to his country of birth, Luxembourg. It is curated and conserved by Steichen Collections CNA (Centre National de l'Audiovisuel), Luxembourg's state-run national centre for audiovisual art. In 2003, The Family of Man was added to the UNESCO World Documentary Heritage List and is exhibited at Clervaux Castle, Luxembourg.The Family of Man has influenced generations of cultural practitioners. It also inspired Lutz Teutloff who built a collection of humanist photography under the title The Contemporary Family of Man as a contemporary response to Edward Steichen's Opus Magnum. After Teutloff's death, the author successfully brokered and transferred a large part of the collection to the CNA. By securing this private photo collection for the public through the acquisition of the Steichen Collections CNA and the planned dialogical presentation, a bridge to a UNESCO World Documentary Heritage is being built that places a new focus on both collections.von Sabine Weichel ; Erste Gutachterin: Prof. Dr. Jutta Ströter-Bender (Universität Paderborn), Zweiter Gutachter: Prof. Dr. Wolfgang Bender (Universität Bayreuth)Tag der Verteidigung: 28.11.2018Universität Paderborn, Dissertation, 201
South Dakota Farmers Union 1964 Convention
No full textJohn Baker speaks at the South Dakota Farmers Union convention about how the family farm leads to world peace. He speaks about commodity programs, consumer and export programs, and community programs. Senator George McGovern speaks about the upcoming presidential election. Thomas H. Steichen speaks about farmer cooperatives
South Dakota Farmers Union 1964 Convention
No full textRecording Date: 1964-10-13
File Identifier:MA012-AV-0063_02
John Baker speaks at the South Dakota Farmers Union convention about how the family farm leads to world peace. He speaks about commodity programs, consumer and export programs, and community programs. Senator George McGovern speaks about the upcoming presidential election. Thomas H. Steichen speaks about farmer cooperatives
Edward Steichen's Influence on the Value of Photography
No full textIX, 74 p.The author examines how photography has been elevated from science to an art form through the photographer's talent and skill in creative processes, following the life and career of Steichen, who was one of the 20th century pioneers in promoting photography as art, She investigates how the critics regard his works and their aesthetic value, and demonstrates how collectors value photography relative to painting, and by looking at the work of Steichen, estimates the value the art market places on the various attributes of photographs. The author contends that for photography to be considered on par with other art forms, a photographer must envision the artwork from beginning to end and possess the technical skills to process the image in creative and innovative ways. In addition, for the value of photography to approach that of other media, patrons of photography must be educated in the finer points of the medium in order to appreciate its aesthetic as well as technical content
Double Take: Selected Views From the Photography Collection At Bryn Mawr College 1860s-Present
No full textDouble Take is the first major exhibition at Bryn Mawr College to show works exclusively from its photography collection. Most of these works, like the rest of the College\u27s photography collection, have never before been exhibited. Double Take then is meant to offer a suggestive sampling of the collection\u27s breadth. Exhibited artists include media pioneers, such as, Eadweard Muybridge, Thomas Eakins, Adolphe Braun, Eugene Atget; Modernists, such as Ansel Adams, Andre Kertasz, Edward Steichen, Paul Strand, Edward Weston, Lotte Jacobi; survey and documentary photographers, such as Lewis Hine, William Henry Jackson, Walker Evans, Edward Curtis; and Philadelphia photographers, such as Laurence Salzmann, Zoe Strauss, William Earle Williams. Reviews http://www.philadelphiaweekly.com/arts-and-culture/art/Double-Take-Bryn-Mawr.html. --author-supplied descriptio
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Maltose Biochemistry and Transport in Plant Leaves
Get PDFFinal Technical Report for DOE grant DE-FG02-04ER15565 Maltose Biochemistry and Transport in Plant Leaves PI Thomas D. Sharkey University of Wisconsin-Madison Starch is a desirable plant product for both food and biofuel. Leaf starch is ideal for use in biofuels because it does not compete with grain starch, which is used for food. Starch is accumulated in plant leaves during the day and broken down at night. If we can manipulate leaf starch breakdown it may be possible to design a plant that provides both grain starch for food and leaf starch for biofuel. The pathway of leaf starch breakdown was not known when this work started. Preliminary evidence had shown that maltose was the primary product of leaf starch breakdown (Weise, Weber & Sharkey, 2004) and that it was metabolized by a disproportionating enzyme called amylomaltase but given the initials DPE2 (Lu & Sharkey, 2004). In this work we showed that only one form of maltose was metabolically active (Weise et al., 2005a) and that maltose was located in two different places when the amylomaltase was knocked out but only inside the chloroplast when the maltose transporter was knocked out (Lu et al., 2006a). This allowed us to estimate the energetics of maltose export and to show that maltose export is more efficient than glucose export (Weise et al., 2005b). We examined how daylength affected starch breakdown rate and found that starch breakdown rate could respond to changes in daylength within one day (Lu, Gehan & Sharkey, 2005). We also were able to show a second starch breakdown pathway by chloroplastic starch phosphorylase (Weise et al., 2006). Work to this point was summarized in a review (Lu & Sharkey, 2006). We were able to show that the amylomaltase in plants could substitute for the amylomaltase in bacteria (Lu et al., 2006b). In this paper we also showed the importance of a second enzyme called alpha-glucan phosphorylase in starch breakdown. Finally, we were able to determine the enzymatic mechanism of the amylomaltase (Steichen, Petty & Sharkey, 2008). These results have laid the groundwork for manipulating plants for improved biofuel production. Lu Y., Gehan J.P. & Sharkey T.D. (2005) Daylength and circadian effects on starch degradation and maltose metabolism. Plant Physiology, 138, 2280-2291 Lu Y. & Sharkey T.D. (2004) The role of amylomaltase in maltose metabolism in the cytosol of photosynthetic cells. Planta, 218, 466-473 Lu Y. & Sharkey T.D. (2006) The importance of maltose in transitory starch breakdown. Plant, Cell and Environment, 29, 353-366 Lu Y., Steichen J.M., Weise S.E. & Sharkey T.D. (2006a) Cellular and organ level localization of maltose in maltose-excess Arabidopsis mutants. Planta, 224, 935-943 Lu Y., Steichen J.M., Yao J. & Sharkey T.D. (2006b) The role of cytosolic α-glucan phosphorylase in maltose metabolism and the comparison of amylomaltase in Arabidopsis and E. coli. Plant Physiology, 142 878-889 Steichen J.M., Petty R.V. & Sharkey T.D. (2008) Domain characterization of a 4-α-glucanotransferase essential for maltose metabolism in photosynthetic leaves. J. Biol. Chem., 283, 20797-20804 Weise S.E., Kim K.S., Stewart R.P. & Sharkey T.D. (2005a) Beta-maltose is the metabolically active anomer of maltose during transitory starch degradation. Plant Physiology, 137, 756-761 Weise S.E., Schrader S.M., Kleinbeck K.R. & Sharkey T.D. (2006) Carbon balance and circadian regulation of hydrolytic and phosphorolytic breakdown of transitory starch. Plant Physiology, 141, 879-886 Weise S.E., Sharkey T.D., van der Est A. & Bruce D. (2005b) Energetics of carbon export from the chloroplast at night. In: Photosynthesis: Fundamental aspects to global perspectives, the proceedings of the 13th international congress on photosynthesis, pp. 816-818. International Society of Photosynthesis/Alliance Communications Group, Lawrence. Weise S.E., Weber A. & Sharkey T.D. (2004) Maltose is the major form of carbon exported from the chloroplast at night. Planta, 218, 474-48
METADIALOG: Stata module to provide sub-menu and dialogs for meta-analysis commands
No full textThis module provides Stata Version 8 dialog boxes (.dlg files) and the commands needed to create a Meta-Analysis sub-menu that contains the publicly available meta-analysis commands. The 14 dialogs, included in this package, that may be placed on the menu are: meta, metan, metap, metareg, metacum, funnel, metafunnel, labbe, metannt, metaninf, metaninf, galbr, metabias, and metatrim. The actual programs (.ado files) must be installed separately. Please read the instructions in the included help file, meta_dialog.hlp, to install the menu and use the dialogs.meta-analysis
CF2: Stata module to compare two datasets
No full textcf2 is a slight variation of cf to list the observations where differences exist. Option verbose must be specified to obtain the listing. Like cf, cf2 compares varlist of the data in memory (master data) to the corresponding variables in filename (using data). cf2 returns 0 if the specified variables are identical and 9 if there are any differences. Only the variable values are compared. Variable labels, Value labels, notes, characteristics, etc. are not compared. In the listings, variable names given for the 'using' dataset are a slight modification of the actual variable names given in the 'master' dataset. 'Using' varnames are truncated to a maximum of 7 characters and then are preceded by an underscore character. This is version 2.1.7 of the software.data handling
STAK: Stata module to do simple reshapes or stacks
No full textstak vertically stacks the variables in varlist into a single new variable and has options for retaining the varlist and other variables in the data set. The emphasis is simplicity: no data preparation is required; no options are required; and all options have extremely short abbreviations.stacking, data manipulation, vec operator
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