1,803 research outputs found
Dr. David Kitchen – Faculty Author Interview
No full textDavid Kitchen, Associate Dean of Strategic Planning and Summer Programs in the School of Professional & Continuing Studies, discusses his new book, Global Climate Change: Turning Knowledge into Action, published recently by Prentice-Hall. Taking a cross-disciplinary approach, Dr. Kitchen examines not only the physical science, but the social, economic, political, energy, and environmental issues surrounding climate change. His goal is to turn knowledge into action, equipping students with the knowledge and critical skills to make informed decisions, and participate in the public debate
Palynological Research Related to the Oaxaca Project (with S. Kitchen)
No full textFish on study of surface samples is incomplete.: Summaries of field and laboratory work undertaken 1967-70. Supplemental report by S. KitchenAdditional Report by Suzanne Kitchen (Arizona State University):The Pollen Surface-Sampling Program f:or the Oaxaca Projec
Kansas Kitchen Table Conversations
No full textKansas’s Kitchen Table is a project of two courses taught by Dr. Timothy J. Shaffer in the Department of Communication Studies at Kansas State University: Small Group Discussion Method, and Communication and Democracy. Students gather together friends, family, and neighbors to have conversations around the kitchen table about what matters to them and what it means to be part of a community. This presentation highlights what students have learned when they gather with friends and strangers for conversation about who we are, and who we want to be as citizens and members of a community
The dinner kitchen cook book, including report for 1928-1929 of the Smith College community kitchen,
No full text"The second section [p. 12-15] continues the report of the experiment ... of a dinner kitchen [which was published, 1928, under title: Cooked food supply experiments in an eastern college community, by Ethel P. Howes and Dorothea Beach."--Introd.Introductory.--Summary of dinner kitchen experiment, 1928-1929.--The practical dinner kitchen.--The dinner kitchen cook book, menus and recipes.Mode of access: Internet
Chapter “From the Outhouse to the Center of the House”. About the New Spatial and Cultural Dimension of the Kitchen in Contemporary Interior Design
No full textIn the article author shows how the significance of the kitchen has changed and what cultural and symbolic factors influenced that in modern home’s “geography” this space was marginalized. Author poses questions about the sustainability of some figures of imagination, which determined the spatial hierarchy in the home. Analyzing old-time architectural guides and treatises as well as contemporary magazines and websites devoted to interior design, author tries to show these changes and a new spatial and cultural dimension of kitchen
Chapter Kitchen Poverty. The Anthropological Sketch about Food and Space
No full textThe article applies to cooking and eating, which also belong to the scope of social assistance, provided to people experiencing homelessness or at risk of homelessness. Food and kitchen facilities are marked by the status of their users and recipients. People who can almost exclusively rely on outside help eat either what they can get from others (by begging, by searching the rubbish bins) or what they receive from others (all forms of official and voluntary food supply). Products that are used to prepare meals, as well as the manner and place of their preparation, consumption or issuance, are marked by people who use this form of help. The more so because this kind of feeding is subject to many restrictions included, among others in laws, regulations and other state guidelines and in internal institutional regulations. In this context, the kitchen appears primarily as a practice securing the biological possibility of survival and satisfying hunger. However, you can also find examples when eating practices provide emotional and social support. The symbol of solidarity may be a meal offered by Food not Bombs or a kitchen – a common place, where “sharing yourself ”, sharing emotions, and not just eating. The author shows the diversity of attitudes towards the kitchen, food and as nutrition, drawing examples from her own field research, conducted in 2009 in Lodz institutions specializing in helping people experiencing homelessness or being at risk
Noodle kitchen at the Queen Victoria Market, August 2001 [picture] /
No full textTitle from accompanying documentation, see acquisition file 204/24/00067.; Acquired in digital format; access copy available online.; Part of collection: Queen Victoria Market, 2001-2002.; Mode of access: Internet via World Wide Web
The Urban Farm at Southeast Ohio Regional Kitchen
No full textIMPACT. 1: The Urban Farm provides Hocking County's only fresh stream of local seasonable produce to improve nutrition in Meals on Wheels, senior food insecurity and the USDA Summer Food Service Program. -- 2. Certification as a farm was completed with one week left in the 2016 voucher season. One week's sales of $125 showed promise for program success going forward. -- 3. True sustainability is our goal. Voucher and business sales are providing a consistent income stream to allow farming without the need for yearly grant funding.OSU PARTNERS: OSU Extension, Hocking County, Agriculture and Natural ResourcesCOMMUNITY PARTNERS: HAPCAP - Hocking, Athens, Perry Community Action Partners; The Southeast Ohio Regional Kitchen; The Ohio Area Agency on Aging; Scenic Hills Senior Center, Logan, Ohio; Hocking County Commissioners; Hocking Valley Community Hospital; City of Logan, Ohio; Athens Hocking Recycling; Center LLC; Webb's Perennials LLC; Mike's Lumber LLCPRIMARY CONTACT: Timothy McDermott ([email protected])The Urban Farm at Southeast Ohio Regional Kitchen provides a stream of fresh locally grown produce available to Hocking County senior citizens using Senior Farmer's Market vouchers through the Ohio Area Agency on Aging. Extension developed a plan, partnered with local sponsors, and constructed an urban farm on land behind the local food bank. Vegetables and herbs are grown using bio-intensive production techniques, harvested and delivered based on menu choices and seasonality
Planning kitchen area wiring
No full textTitle from PDF caption (viewed on August 21, 2017).This archived document is maintained by the State Library of Oregon as part of the Oregon Documents Depository Program. It is for informational purposes and may not be suitable for legal purposes.Mode of access: Internet from the Oregon Government Publications Collection.Text in English
Traversing the boundaries? Art and film in Indonesia with particular reference to Perbatasan/boundaries: Lucia Hartini, paintings from a life
No full textThe repressive political conditions of the New Order state and the social dislocation caused by rapid industrial and technological development unquestionably affected the nature of artistic and cultural production in Indonesia. This thesis considers the dynamic of these conditions within a focused long-term study of the art and life of Indonesian "Surealis" painter, Lucia Hartini. My doctoral dissertation comprises this thesis and the forty-two minute documentary film Perbatasan / Boundaries: Lucia Hartini, Paintings from a Life (1999 – 2002) which I filmed in Indonesia and presents Lucia Hartini and her art in the context of her times from the historical standpoint of Reformasi and millennial change. Art historically, this thesis informs us of a wider journey, that of selected twentieth century Indonesian contemporary artists exploring concepts of simulacra, hyper-reality, the meta-real and the surreal through the stylistic use of photo-realism.
Lucia Hartini is known for her "Beautiful Surrealism". A founding member of the "Surealis Yogya", formed in 1985, she was the only woman from the original group to continue painting professionally from the late 1970s, throughout the New Order, and into the era of Reform. The consideration of Lucia Hartini's work in this thesis acknowledges the gradual shift in her concerns. Lucia's paintings respond to her natural and social environment, as well as to the challenges and dramatic changes in her life. This thesis charts the journey of her artistic maturation, so richly embodied in her third solo exhibition, "Irama Kehidupan / The Spirit of Life", in January 2002. Through a critical commentary on paintings selected from her oeuvre and the textual analysis of Perbatasan / Boundaries, I discuss Lucia Hartini’s subject matter, unique systems of image formation and use of detail, her particular contribution to the characteristic qualities of Indonesian "Surealisme". I regard the techniques, conceptual approaches and processes of filmmaking as intrinsic to this exploration, a methodological perspective arising from Hendro Wiyanto (2001) observation that Indonesia's "Surealis" artists present us with "reality bundled as a dream".
Lucia Hartini’s work raises questions of gender and personal transformation. This thesis argues that, for many years, the tensions created by the contrary forces of political repression and social transformation characterising much of New Order Indonesia, were reflected in her art. In a microcosmic-macrocosmic sense, Lucia and her art quietly contributed to attitudinal and social change in Indonesia. Works painted between 1986 and 1996 autobiographically chart a shift from personal distress to a growing sense of empowerment, followed by life-changing spiritual growth. I contextualize these paintings socially by studying the changing interstices between Lucia Hartini’s private life, her professional creative practice and the public persona she adopted in Indonesia’s emergent civilian society. My approach is informed by a conceptual framework based on difference, hybridity and its transformations, on the psychology of borderlands, negotiation and the transcendence of boundaries, witnessed through a study of the spiritual practice and quest for religious tolerance important to Lucia and evident in her art. This thesis reveals those boundaries which were transcended and those which remain negotiable.
Twice filming Lucia Hartini’s art, I was also affected by the dramatically different conditions of production prevailing in 1992 in New Order Indonesia and those possible between 1999 and 2001 during Reformasi. These differences are highlighted in the textual analysis of Perbatasan / Boundaries. Engaging comparisons between contemporary Indonesian art and Indonesian documentary and feature films, I discuss important attempts to solve the problems associated with restrictions on freedom of expression in paintings made prior to Reformasi. I consider the different uses of figurative realism to depict subjects deemed controversial by the state, and the creation of credible representations in art and convincing characterisations in filmmaking. The dramatically real yet poetic work of the Indonesian Neo-realist filmmakers of the 1950s exemplified one such solution. Their films and ideas prompted comparisons with the photo-realism, poetic intent and dramatic juxtapositional image making of the "Surealis Yogya". The relationship I perceive between Neo-realist cinematic practice and contemporary international documentary filmmaking encouraged me to make a documentary about Lucia rather than a purely creative or experimentally surreal work. Because of Reformasi and the changes wrought by Lucia’s personal development, Perbatasan / Boundaries: Lucia Hartini, Paintings from a Life (1999 – 2002) is the documentary which my first short experimental video, Pusaran / Vortex: From the Kitchen to Outer Space (1992 - 1993), made during the New Order, could not be
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