288 research outputs found
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No full textCatalogue essay by Shaun Wilson.
Published to accompany the exhibition held at s.p.a.c.e. Gallery, Launceston, Tasmania, 6-20 July 2007
Malcolm Wilson - Law School at Rose Hill
No full textMalcolm Wilson, class of 1936 reflects on his time at Fordham Law School\u27s Rose Hill Campus. His legal education lead him to the Manhattan Savings Bank where he served as Chairman of the Board, and served as Governor of the State of New York from 1973-1974.https://ir.lawnet.fordham.edu/alumni_biographical/1001/thumbnail.jp
Shaun Wilson Uber Memoria X
No full textUber Memoria X is a video play created in ten parts under the auspice of the wider 51 Paintings Suite collective of slow cinema art produced by Dr. Shaun Wilson. The Uber Memoria X series draws parallels from early silent cinema and reconfigured European Romanticist paintings through the guise of a gothic sublime. The video series investigates Wilson fascination with eighteenth and nineteenth century gothic imagery spawn from the nightmarish depictions of Fuseli, Goya, Friedrich and the literary work of Horace Walpole. While lacking in the quintessential gothic motifs of fangs, horns, blood, and pointed hats, Wilson instead takes a sentiment of gothic through the sublime which is implied through the gaze of a fixed attention by garnishing characters in worn and tarnished eighteenth century garb and subverted an understanding that, as Hitchcock lamented, implies something is about to happen or has just occured inasmuch pantomime as the awareness of a pending danger lurking outside of the video frame. As each act of the Uber Memoria X series unfolds, we subscribe to an oscillation between the reconfigured image and that of an affected cinematicness grafted through emotive values yielded in parallel but in doing so, subverts the image to reflect a memory of its former from staged reproductions of character poses played out from the original source paintings in ways that transpire a journey into the bleakness of the image and the futility of its reimagined state
Synthesis of p-nitrobenzyloxycarbonbyl-l-phenylalanyln-n-carbobenzoxy-l-histidyl-l-leucine methyl ester as an intermediate for the synthesis of a fluorogenic substrate for angiotensin-converting enzyme, 1979
No full textThe attempted synthesis of p-nitrobenzyloxycarbonyl-Lphenylalanyl-N-carbobenzoxy--L-histidyl-L- leucine methyl ester,an intermediate in the synthesis of p-nitrobenzyloxycarbonyl-Lphenylalanyl-N-carbobenzoxy-L-histidyl-L-leucine_4_hydroxy3-methoxybenzyl ester is described. This tripeptide intermediatewill be important in the development of a tripeptide fluorogenicsubstrate for angiotensin-converting enzyme because of its fluorescent probe.Analyses indicate that L-phenylalanyl-N-carbobenzoxy-Lhistidyl-L-leucine methyl ester hydrochloride tetrahydrate wasobtained as a result of cleavage of the p-nitrobenzyloxycarhonylgroup from p-nitrobenzyloxycarbonyl-L-phenylalanyl-N-carbohenzoxyL-histidyl-L-leucinemethyl ester.We attempted to prepare the tripeptide intermediate by theuse of the stepwise approach starting from the carboxyl terminalend and adding one N-protected acid after the other. DicarbobenzoxyLhistidine and L-leucine methyl ester were coupled by the dicyclohexylcarbodiimide method to form dicarbobenzoxy-L-histidyl-Lleucine methyl ester. The latter was treated with hydrobromic acidin dioxane and the crude dihydrobromide, after neutralization, wasreacted with p-nitrobenzyloxycarbonyl-L-phenylalanjne to formp_nitrobenzyloxycarbonyl-L-phenylalany1-N-carbobenzoxy-L-histidy1-L-leucine methyl ester
Settlement fictions: global south literature and the postcolonial urban imaginary
No full textThis dissertation traces the emergence of overlooked articulations of the megacity in contemporary postcolonial novels. Representations of non-Western cities and informal settlements or “slums” in global popular culture and Anglophone urban commentary enact a series of elisions -- making poor women and their economic and social activities invisible, allowing the volatile space of the street to stand in for all noteworthy space, and ignoring the progressive energies of slum-based social movements by equating them with religious extremism and other radicalisms. Postcolonial novelists, this dissertation argues, challenge these elisions by crafting what I term settlement fictions: narratives that foreground the unforeseen intra-community relationships, hidden spaces of work and laboring solidarities, and flexible approaches to spatial politics engendered by impoverished megacity life. Analyzing urban images of the Global South in film, journalism, visual culture, and literature, I suggest that contemporary African, Indian, and Caribbean writers, including Chris Abani, Zakes Mda, Rohinton Mistry, and Patrick Chamoiseau, loosen the bonds that have heretofore tightly associated the imagined megacity with the fate of postcolonial nations embedded in a global system of exploitative capitalism. While recognizing the importance of both neoliberalism and colonialism in shaping modern urbanization, the writers I discuss push critics to see non-Western megacities equally as incubators of original urban social practices. My work draws upon theories of everyday practice, transnational governance, the gendering of postmodern labor, and micro-politics to clarify the local, regional, and global significance of these practices.Ph. D.Includes bibliographical referencesby Carolyn Patricia Malco
A Ptolemaic Egyptian Cartonnage Mask: Analysis of Authenticity and Provenance
No full textSingle page posterMuseums strive to determine the authenticity and provenance of the artifacts they preserve. Such research also increases the educational value of acquired objects, allowing a rich history and cultural context to be shared with museum patrons. This project was conducted to research the cultural relevance, and confirm the authenticity and provenance of artifact eg11:1, a Ptolemaic funeral mask acquired for the Jordan Schnitzer Museum of Art in the early 1950s. In my research, I have compiled a body of evidence through the combination of art historical research of stylistic elements of the mask, biographical research of various persons associated with the artifact, and the analysis of its pigments using a focused ion beam-scanning electron microscope (FIB-SEM). The stylistic similarities of the mask to ancient objects, associations with a prominent antiquities dealer of Egypt, and the presence of traditional pigments and materials prove the likely authenticity of the artifact. Additionally, I believe that the mask would lend itself well to public exhibition and education, on account of its intriguing history and cultural background
A Review of <i>Bacterial Pathogenesis</i> Bacterial Pathogenesis: A Molecular Approach, Third Edition; WilsonBrenda ASalyersAbigail AWhittDavidWinklerMalcom E; ( 2011). American Society for Microbiology Press, Washington, DC. 526 pages. Illustrated.
No full text
Review of:
Bacterial Pathogenesis: A Molecular Approach, Third Edition;
Brenda A. Wilson, Abigail A. Salyers, David Whitt, and Malcom E. Winkler; (2011). American Society for Microbiology Press, Washington, DC. 526 pages. Illustrated.
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Uber memoria (Series 1-30)
No full textThis is a series of single channel videos depicting a series of moving paintings that present a philosophical enquiry and overcome barriers for visually understanding the complex nature of connections and ruptures between memory and place. The works show time in reverse while they reappropriate various character-based portraits derived from medieval religious paintings at St. Michael's church, Schwaebisch Hall, Germany. Wilson's work has strongly influenced gothic sensibility and has had high cultural impact, helping to establish a genre identity internationally. Images were re-created through performative video as a way of repositioning memories of the original images into locations that themselves hold memories. Wilson's videoart influences include Bill Viola and Eija-Liisa Ahtila. "Wilson's hangover durationals best illustrate how cinema can affect another medium and comment on it. He steals memories from filmic locations, ones that carry the loaded weight of time and uses film techniques to burden us with their significance." "Only by using video could Wilson temporally hold us in his Altered States-like hyperbaric chamber. To use film would cost Wilson a fortune and slow him down (and it's the work he wants to slow down not the process." "It's within this militarised zone that video art can forge a universal appeal and communicate to more than a couple of art students."
Lee, B (07). Artlink, Vol.27, No.3, pp28-31. Also shown at venues in Aust., Europe and the USA; eg U-Turn, Glendale College Gallery, LA, curated by Larissa Hjorth and Kate Shaw (supported by Arts Vic. International Fund). Expert Malcom Bywaters used the series for an enquiry into important contemporary Australian artworks which focus on issues of memory and place. In 2006 Wilson was visiting Prof. at the Hochshule der Medien Stuttgart and founded the International Conf. on Film and Memorialisation series, with the first at the Uni. of Applied Sciences, Schwaebsich Hall
The logic of the violence in the civil war: the armed conflict in Colombia
No full textThis paper proposes a reading of the armed conflict from an evolutionary design that takes into account the Logic of Violence in the Civil War. Their aim is to assess the dynamics of conflict and changes from its author's scientific output. A context of conflicts that includes new expressions of violence and the relative failure of the paramilitary reintegration involves using new analytical models (argumentation, game theory and inconsistent information). The recent evolution of emerging gangs and their expansion into areas that were paramilitary camps requires monitoring not only of the government and the authorities, but those investigating the conflict in the present tense. The author provides heuristic research support from Schelling’s theory of strategy, Nozick’s agencies and the protection, and Gambetta’s recent contributions to the relationship between organized crime and drug cartels.Civil_war, Colombia, armed conflict, strategic_theory, Gambetta, Nozick, Schelling
Idabel Chamber of Commerce
No full textPhotograph of Idabel Chamber of Commerce in 1945. Twelve men are standing outside Chamber of Commerce Office. From left to right: Percy Martin, Louis Kirk, SR, Malcom Butler, C.R. O'Neal, I.K. Wilson, S.B. Helms, Frank Wooten, Mose Fine, Travis Guthrie, Russ Dugan, R.C. Baum, and W.A. Loftin
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