14,615 research outputs found
Sarah Turner - eco-artist and designer through craft-based upcycling
Get PDFSarah Turner is an eco-artist and designer who practices craft-based upcycling with waste plastic bottles and cans to create lighting, sculpture and decorative home interior products. Since 1998, her enthusiasm, creativity and good will have allowed her to gain several high-profile client commissions and to win awards from design, innovation and business competitions. The aim of this portrait is to introduce Sarah’s work and shed light on the resources, knowledge and skills involved in her practice and on the barriers to and drivers for her craft-based upcycling. We consider that Sarah’s work could be one of the stepping stones for a shift towards more sustainable craft practice, both in the United Kingdom and beyond. By exploring the right ingredients for craft-based upcycling, barriers liable to be faced and key drivers that stimulate motivation, we hope that this portrait will inspire and attract more designers and makers to embed upcycling in their future practice
Sarah L. Turner Allred
No full textTypescript of a biographical sketch of Sarah L. Turner Allred, from an interview. She was born in Provo, Utah, in 1854. Typed by Elgin Olipant of Provo in 194
This is not a pier
No full text(15 mins)
Commissioned short film that responds to the AHRC Poetry Beyond Text project. Catalogue and tour. Tour opened at Dundee contemporary arts, March 2011.
Sarah Turner has created a film for this project in which the artist contemplates the effect of traces. Film and photography, as a process, record the moment; Roland Barthes makes a critical observation when he states: "In an initial period, Photography, in order to surprise, photographs the notable; but soon, by a familiar reversal, it decrees notable whatever it photographs. The 'anything whatever' then becomes the sophisticated acme of value." For Turner, the fact that film is a photographic process made by things-as-they-are stands in contrast with the representation they become after the fact. She says about this work:
Magritte’s painting Ceci n’est pas une pipe stages the battle between words and images; the thing and the representation of the thing. There, neither is nor; the painted word and the painted image are a punning paradox, a playful staging of the arbitrary nature of both the visual and linguistic contract. Indexicality in film both taunts and haunts us with the idea that the thing is in fact the thing. Equally, language in cinema, mostly experienced as subtitles, is always authoritative; asserting, translating and determining the image. But film is always a haunting; a memory work. In the first sequence of the film we see thousands of starlings perform their murmuration over Brighton’s West Pier, which was closed to the public in 1975. The birds’ aerial ballet is poetry beyond text; the pier is no longer a pier but its ravaged structure forms the starling’s winter roost. When the sequence is repeated with subtitles, the affective experience of the visual choreography is reinterpreted, disrupted by the authority of text. But the words here are a language play, a non-play, a punning play on what is and isn’t a pier or appearing; the long planned restoration. All of this is displaced by the final title card: The pier was demolished in 2010. The experience of the birds exists only in memory, the experience of the first sequence: the memory that we no longer have access to, reinterpreted and undone by language, and, finally undone by history
Overheated Symphony
No full text‘For the Birds Eye View film festival 2008, Sarah orchestrated an ‘innovative cinematic symphony of women's voices from around the world’ in an interactive mobile phone filmmaking project. This groundbreaking project invited participants to engage, by making a quick film - between 40 seconds and 4 minutes long - on a mobile phone, in response to the theme: OVERHEATED. Submitted films could be viewed on You Tube or on the Birds Eye blog so that women had an opportunity to respond to other work and to engage in a dialogue of ideas.
The participative nature of the project was then extended through a live edit that took place at the Institute of Contemporary Art, London on the 9th March 2008. There, Sarah and sound designer Annabelle Pangborn, sampled moments from the submitted films using the structure of a symphony to edit the work. The completed symphony is now available via You Tube and BIRDS EYE VIEW’S website
The 'true use of reading' : Sarah Fielding and mid eighteenth-century literary strategies.
No full textPhDThe aim of this thesis is to explore, by examining her life and
works, how Sarah Fielding (1710-68) established her identity as an author.
The definition of her role involves her notions of the functions of
writing and reading.
Sarah Fielding attempts to invite readers to form a sense of ties
by tacit understanding of her messages. As she believes that a work
of literature is produced through collaboration between the writer and
the reader, it is an important task in her view to show her attentiveness
toward reading practice. In her consideration of reading, she has two
distinct, even opposite views of her audience: on the one hand a familiar
and limited circle of readers with shared moral and cultural values and
on the other potential readers among the unknown mass of people. The
dual targets direct her to devise various strategies. She tries to
appeal to those who can endorse and appreciate her moral values as well
as her learning. Her writings and letters testify that she is sensitive
to the demands of the literary market, trying to lead the taste of readers
by inventing new forms.
The thesis opens with an overview of Sarah Fielding's career,
followed by a consideration of her critical attention to the roles of
reading. I go on to examine the narrative structures and strategies
she deploys, with a particular emphasis on her use of the epistolary
method. The following chapter deals with her attention to the reading
of the moral message tangibly embodied in her educational writing. It
is followed by an analysis of the activity which earned her a reputation
as a learned woman. Various as the forms of her works are, they invariably
reflect her attempt to balance herself between the two demands of
inventiveness and familiarity
Tinker Day Turner 1926
No full textPhoto from A. E. Turner\u27s scrapbook Album. (Turner was Class of 1930). Pictured is Marjorie Fort (Class of 1928) on far left (wearing beret) and Sarah Middleton (class of 1927) center. Student on right unknown.https://digitalcommons.hollins.edu/phototinker/1021/thumbnail.jp
First person - Sarah Alghamdi
No full textABSTRACT
First Person is a series of interviews with the first authors of a selection of papers published in Disease Models & Mechanisms, helping early-career researchers promote themselves alongside their papers. Sarah Alghamdi is first author on ‘ Contribution of model organism phenotypes to the computational identification of human disease genes’, published in DMM. Sarah is a PhD student in the lab of Robert Hoehndorf at King Abdullah University of Science and Technology, Thuwal, Saudi Arabia, investigating artificial intelligence, specifically knowledge representation and reasoning over biomedical data
Portrait of the English anthropologist Gregory Bateson, New Guinea, 1929 [picture] /
No full textPart of the collection: Sarah Chinnery photographic collection of New Guinea, England and Australia.; Gregory Bateson, famous English anthropologist, New Guinea research in Bainings and Sepik, eventually lived and worked in the United States. Author of "Naven" and other works. -- Accompanying notes from family.; Inscription: "1929" -- On label. "Gregory Bateson, 'Naven' and other works" -- In red ink.; Sarah Chinnery no.: Part 2.; Also available in an electronic version via the internet at: http://nla.gov.au/nla.pic-vn4506462
Portrait of the anthropologist Professor Hortense Powdermaker from Queens, New York, in New Guinea, 1929 [picture] /
No full textPart of the collection: Sarah Chinnery photographic collection of New Guinea, England and Australia.; Inscriptions: "Professor Hortense Powdermaker, (Queens N.Y., U.S.A.) 'Life in Lesso [i.e. Lesu]' and other works" --In red ink. "1929" -- In pencil.; Professor Hortense Powdermaker, American anthropologist 1929 research in Lesu, New Ireland, New Guinea. Author of "Life in Lesu" and other works. -- Accompanying notes from family.; Sarah Chinnery no.: Part 2.; Also available in an electronic version via the internet at: http://nla.gov.au/nla.pic-vn4506463
Sarah Fielding: Satire and Subversion in the Eighteenth-Century Novel
No full textThis study of Sarah Fielding (1710―68) is an original contribution to Fielding scholarship that has a dual purpose: to support those who are striving to re-introduce her to the modern literary landscape in an effort to restore her eighteenth-century literary standing, and to firmly establish Fielding as an early feminist writer. It is argued here that throughout her oeuvre Fielding challenged prevailing traditions that denied women a choice, particularly in education, employment and marriage. These themes are also considered in the political treatises of Mary Astell (1666―1731) and Mary Wollstonecraft (1759―97), who are now widely recognised as feminist writers.
It is further argued that Fielding’s subversion in fiction of the English patriarchal system is underscored by her unorthodox performance in the literary arena. This is fully explored alongside her use of sentimentalism as a literary tool with which she challenges her seemingly inhumane society. Fielding’s interest in ‘the Labyrinths of the Mind’ (in modern terms, human psychology) will also be addressed as will her placement in the history of feminism and her placement in the sentimental novel tradition. Fielding’s performance as a literary critic will be compared with the few female authors who, like her, dared to publish literary criticism during her writing career. Accordingly, extracts from Fielding’s novels and her two critical pamphlets will be thoroughly examined.
An updated biography of Fielding that is also included here will provide evidence for a further claim, that her fiction is autobiographical in part. A comprehensive account of Fielding’s performance as a literary critic forms the final chapter of this work. It is the first full-length examination of her contribution to the genre and includes an appraisal of her recently unearthed critical pamphlet entitled A Comparison Between the Horace of Corneille and The Roman Father of Mr. Whitehead (1750) that is yet to be formerly attributed to her. Ultimately this study of Fielding will go far beyond what has previously been written about this remarkable eighteenth-century author, particularly regarding her feminist activity
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