2,267 research outputs found
Year book 1944: Diary property of Angus M. Woodbury
No full textDiary kept by Angus M. Woodbury during the year 1944, while he was a professor of zoology at the University of Utah. It mentions his research on animals and ecology in Utah, work on publications, giving lectures to convalescent soldiers housed at Camp Williams, family matters, social activities, and the social atmosphere of the United States during the Second World War
Diary of Angus M. Woodbury 1947
No full textDiary kept by Angus M. Woodbury during the year 1945, while he was a professor of zoology at the University of Utah. It mentions research on birds of Utah, vegetation belts in the Wasatch Mountain, protection of the desert tortoise, and animal ecology. He also mentions Audubon Society meetings, giving a lecture to the Utah Centennial Society, visits to soldiers at Camp Williams, and world affairs. He commented on the Marshall plan for Western Europe, and recognized the growing differences between the United States and the Soviet Union
Agent Angus by K.L. Denman
No full textDenman, K.L. Agent Angus. Victoria: Orca Book Publishers, 2012. Print. An Orca Currents book for reluctant middle school readers, the story follows Angus and his best friend Shahid on their mission to solve a mysterious theft. Canadian author K.L. Denman writes in her usual first-person narrative style with characteristic elements of mystery, science and romance. The story takes place at a school where a stink bomb incident has led to all the students gathering on the front lawn. Right from the book’s introduction (“I’m not a lucky guy. Today luck has chosen to place me next to the one and only Ella Eckles”), readers are taken inside Angus’ head and will be rooting for him along the way. When his crush’s cherished sketchbook goes missing, Angus poses as a mentalist who can solve the crime by reading people. He ‘proves’ his abilities to Ella by pointing out the shifty stink bomb perpetrator right before he is nabbed by the principal. Humorous elements run throughout such as when the boys consider various spy devices (Gordon the ‘too obvious’ robot, a rocket pack launched from a plane, pricey video cameras hidden in smiley face buttons or baseball hats which are not allowed in school, and affordable but oversized rear view sunglasses). Suspense builds as the various suspects are considered. Is the thief their fellow classmate, their art teacher or someone they least suspected? And what could their motive be? This quick read full of spying and intrigue will have readers flipping pages to solve the mystery of the sketchbook and find out if Angus will finally confront the truth. The fluid writing style with varying sentence lengths adds to the drama and pace of the story. This light-hearted story makes a great choice for reluctant readers but lacks deep meaning. It may not appeal to readers who are looking to be challenged. Those looking for a light, easy read will find it enjoyable.Recommended: 3 out of 4 stars Reviewer: Lori Williams Lori Williams has been teaching at Forest Grove School in British Columbia for the past 6 years and feels lucky to be part of a wonderful team of colleagues and students. This year she is teaching grade 5 at Forest Grove and is also a graduate student in the University of Alberta’s Teacher-Librarianship by Distance Learning program
Photograph - Williams, Professor Ross, Dean of Commerce with student Angus Barker
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/291056Williams, Professor Ross, Dean of Commerce with student Angus Barker.310642
Item: [2003.0003.08120] "Photograph - Williams, Professor Ross, Dean of Commerce with student Angus Barker
Environmental (waste) compliance control systems for UK SMEs
No full textWhile the ‘environment’ is often perceived as a heavily regulated area of business, in reality, directly-regulated businesses represent a small proportion of the business community. This study aimed to evaluate and outline potential improvements to compliance controls for small and medium-sized enterprises (SMEs), particularly those involved in the waste sector. Forty-four SMEs from England were interviewed/audited between April-September 2008. Using a UK-based system as a case-in-point, the Environment Agency’s (EA) Operational Risk Appraisal (‘Opra’)/Compliance Assessment Report (CAR) system was analysed. Environmental compliance performance indicators and an initial assessment methodology for SMEs were developed. The study showed:• Compliance with permitting legislation was poor in many areas.• Regulatory authorities are either unable/failing to implement their enforcement policies or unable/failing to identify non-compliances due to the infrequency or limited nature of their inspections.• Improvements are needed to the EA Opra/CAR system – control measures are not fully taken into account when calculating risk.Recommendations to improve SME compliance controls include using internationally applicable general and specific compliance and non-compliance performance indicators, re-designing the Opra system and using an initial assessment methodology based on understanding the hazardousness of SME categories, compliance levels and operator competency.<br/
The Daughter of Angus MacDonald
No full text"My father was Angus MacDonald, a clerk and chief trader of the Hudson's Bay Company who was later prominent settler of Montana and died in that state in 1889.
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Box 228: Vintage Prints, Boxes 1-4, n.d.
No full textPhotograph of Pam Williams sitting near a house with a dog named Angus
Autumn leaves : sound and the environment in artistic practice
No full textThis publication is a book that represents an innovative, international and multi-disciplinary approach to conceptualising the dynamic relationships between sound and the environment. The editorial process involved directly commissioning textual, graphic and photographic work. The vast majority of the book represents new work, produced specifically for this publication. For the purposes of tracing historical development, an article from 1974 and three older projects have been revived and recontextualised. In addition to the editorial responsibility, the researcher wrote the introduction and conducted three original interviews. The book draws work from visual, sound and performance art, acoustic science, anthropology, cultural studies, public policy, and architectural theory. Just as it is true to say that these disciplines have not previously been brought together in this way, equally, it is no exaggeration to identify the contributors as the leading international lights in the field: Chris Watson, Tim Ingold, Hildegard Westerkamp, Christina Kubisch, Alvin Lucier, David Toop. The book is published by Double Entendre, the French publisher of the premier sound arts journal, Vibro. The book is accompanied by an audio compilation published by the German record label, Gruenrekorder (Gruen 053). www.autumn-leaves.gruenrekorder.de. The researcher co-curated the compilation, selecting relevant work that illustrated the book’s themes. The book was the catalyst for a one-day symposium at the Tate Britain called The Performance of Sound (May 19th, 2006), which the researcher co-organised. The researcher was invited to speak on the book at the Audio Extranautes: Flux, Distance, Sociability symposium at the Villa Arson in Nice in December 2007. Autumn Leaves has been reviewed in the French journal Mouvement; in MCD where the reviewer reported that “this book deserves to be translated into French”; and Soundscape: The Journal of Acoustic Ecology. Soundscape 7 (1), Autumn, 2007 reprinted an interview conducted by the author from the book. Autumn Leaves, edited by CRiSAP co-director Angus Carlyle, seeks to draw together a number of different perspectives on how the environment is made audible through sound. The perspectives contained in the book are made manifest through more traditional textual analyses, interviews, image-based works (both photography and graphic illustration) and ‘artist’s pages’ (which combine different registers of information).
Among the articles included in the book are a superb deconstruction of the concept of soundscape by anthropologist Tim Ingold; an intriguing analysis of sound from an acoustic point-of-view (or point-of-audition) by Bill Davies; Steve Goodman’s dynamic opening up of city sound to a bass materialism provoked by Greg Lynn’s ‘blob’ architecture; Salome Voegelin’s evocative mapping of sci-fi aesthetics onto the project of acoustic ecology; a wonderful meditation on the heard and the unheard by David Toop; Sylvain Marquis powerfully drawing out the ‘presence’ of Phill Niblock; Rahma Khazam finding new ways of listening through an inspired conceptual conversation between art, architecture and relational aesthetics; and a re-print of Hildegard Westerkamp’s pioneering discussion of soundwalking from 1974.
Interviews include a wide-ranging discussion with Alvin Lucier about his work and working practices; an exploration of Christina Kubisch’s long-standing commitment to teasing out the complexities of the sounds that surround us; Peter Cusack providing an exciting account of his Sound of Dangerous Places project; Chris Watson talking us through his inspirational field-recording; and Max Dixon offering fresh perspectives on how the development of strategies for noise in urban environments meshes policy with research into bio-acoustics, acoustics and creative practice.
Images include Dan Holdsworth’s haunting representations of anechoic chambers through Charles Fox’s photographs of microphone arrays in the wilderness, Axel Stockburger’s ASCII art evocations of video-game space and Nicholas Gansterer’s intricate diagrams of our heard world.
What remains of the book is devoted to the artists’ pages. In these a whole host of contemporary practitioners spanning the disciplines of graphic design, music, photography, performance and visual art offer their provocative takes on sound and the environment. Here we encounter John Wynne and Tim Wainwright presenting their collaborative work in Harefield Hospital; Aki Onda pursuing his Cinemage project; Claudia Wegener finding poetry in ear- and eye-witnessing; an unpacking of the theories and technologies behind the exciting Locus Sonus audio streams; NYSAE opening up its portfolio of acoustic ecology-inspired activities; Goran Vejvoda mobilising a modular manifesto from his three decades of sound art; the Gruenrekorder label reviewing the thinking behind its 40 releases; Jem Finer show-casing his Score For A Hole in the Ground; Cathy Lane mapping her memories of the Hebrides; Zoe Irvine making an art of places out of abandoned audio tape; and Mira Choi introducing her noise-responsive graphic software.
The editorial work and its presentation has been a collaborative venture with the designer Ian Noble.
Autumn Leaves is CRiSAP's first book and is edited by CRiSAP Co-Director Angus Carlyle[/b] and published by the exciting French sound art initiative Vibro / Double Entendre. It contains work by a variety of artists including several of CRiSAP's members - Salomé Voegelin, John Wynne, Peter Cusack, Cathy Lane and David Toop
Box 251: N. Negatives 2, 1895-1925, c. 1920-1960
No full textPhotograph of Pam Williams sitting in a yard with a dog named Angus. She holds his leash in one hand and smiles. Angus is wearing a harness. House can be seen in the background
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Box 251: N. Negatives 2, 1895-1925, c. 1920-1960
No full textPhotograph of Pam Williams sitting in a yard with a dog named Angus. She holds his leash in one hand and smiles. Angus is wearing a harness. House can be seen in the background
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