2,005,460 research outputs found
Miss Ellen Terry As "Margaret" / [fotografiert von:] Window & Grove
Full text linkMISS ELLEN TERRY AS "MARGARET" / [FOTOGRAFIERT VON:] WINDOW & GROVE
[Künstlerfotografien zum Faustthema : Darsteller und Darstellerinnen des "Faust"] (-)
Miss Ellen Terry As "Margaret" / [fotografiert von:] Window & Grove (143) (1)
Fotografie: Miss Ellen Terry As "Margaret" (1
Archivist, Archaeologist, Author and the Tactile Window
Full text linkThe idea that the predominant way of engaging with architecture is through vision is not uncommon but also not always the most appropriate given that buildings are also experienced through tactile interventions. This consequence that emphasises visual aesthetics in order to appreciate and understand architecture probably has much to do with the assumed but rather vaguely defined role of the architect as designer in the practice of architectural design. A resulting misapprehension is that architects designing for visual appreciation think that they are actually designing physical space for embodied tactile engagement.
This prioritisation of vision in the way architects think about and approach design is questioned through the design project of the Tactile Window in which the position of the architect is redefined through inhabiting the roles of archivist, archaeologist and author during the design process.
A 16th century portrait of Queen Elizabeth I known as the Ditchley portrait, currently on display at the National Portrait Gallery is used as the source from which the design of the Tactile Window is derived from and refers back to. Questioning the validity of vision as the sole means of engaging with the work, information about the portrait and working methods gathered from the three carefully chosen positions mentioned above are drawn on and applied to the making of this Tactile Window that becomes an alternative Ditchley portrait. Through exploring the hidden historical and current narratives of and in the existing portrait, the presence of the portrait is alluded to on an alternative physical site. Key to this are the working methods of an invented archival system of design reasoning, the unearthing of archaeological texts and assuming of authorship within the individual frameworks of the roles of archivist, archaeologist and author.
The redefined role of the architect as archaeologist takes onboard the unearthing of associated drawings and writings as well as the methods of organising and applying the recovered information to the system set up by the archivist. This analysis of the graphic and text based information is used to formulate historical narratives that are woven into the design project. Whereas traditional archaeology stresses on the study of a site from a site with quantifiable limits to the physical context, the notion of archaeological sites in this instance refers to the places where the stored information is unearthed. Through the careful process of archiving and analysing this information, a new site that is located within both the physical and historical contexts of interest is discovered. The author then draws upon the elements in the archival system that includes the findings of the archaeologist to construct the alternative Ditchley portrait in this new site of the Echoing Cedar, the result of which bears no visual resemblance to the existing work.
The Tactile Window is a reading of the Ditchley portrait in which information about and in the painting is transformed into a design proposal for an inhabited structure. The intended method of interaction with this alternative portrait is not merely restricted to vision but relies on engagement with the other senses. This experience is enhanced by the interplay with certain site conditions such as wind and rain in order to allude to specific aspects of the Ditchley portrait that are not visually apparent in the existing work.
In the processes of excavating, finding and revealing the hidden information to create this alternative portrait, the effects of the visuals afforded by the existing portrait inadvertently begin to fade as the validity of a single means of visual expression is questioned
Window
No full textBACKGROUND Window contributes to the broad field of photography and the narrow field of site responsive artworks that address subjectivity and time. The peer community includes Ryan Gander (UK), Martin Creed (UK) and Roman Ondàk (SVK). Key characteristics of this scholarly debate include a self-reflexive approach, conceptualised materials and placement within the gallery. Recent exhibitions that have influenced this debate include Gander's work in Documenta 13 (2012). Window seeks to extend this field by using the material conditions of the gallery to visually and conceptually activate a printed photograph. In this instance, the cool breeze from an air conditioning system was used to repeatedly lift a printed image off the wall, creating a moment of flux. CONTRIBUTION This Creative work explores how the printed image and site-responsive installation can be used in combination to evoke a layered experience of subjectivity and time. In other words, how can the physical activation of a photographic image within a gallery context draw attention to subjectivity and time? This was achieved through a combination of the represented image (a photograph of a woman looking out a window in the Hermitage Museum) and the presentation strategy, which drew attention to receptivity and time. I am the sole author of this creative work. SIGNIFICANCE Window was exhibited as part of the curated exhibition 'The Object as Score' held at Margaret Lawrence Gallery. Curator Nathan Gray is a respected Australian artist who has produced large-scale commissions for the Australian Centre for Contemporary Art and the 19th Biennale of Sydney. The exhibition included internationally renowned artist Stuart Sherman as well as Australian artists Charlie Sofo and Danae Valenza. Margaret Lawrence Gallery is a contemporary arts space that showcases local and international artwork. The gallery was established in 2001 and receives funding through the Margaret Lawrence Bequest
FDICIA's discount window provisions
Full text linkA description of the evolution of supervisory policy toward failing banks over the past two decades, with particular emphasis on the modifications to Federal Reserve Banks' discount window administration as set forth by the Federal Deposit Insurance Corporation Improvement Act of 1991 (FDICIA).Federal Deposit Insurance Corporation Improvement Act of 1991 ; Discount window
Transcatheter closure of symptomatic aortopulmonary window in an infant
Full text linkAn aortopulmonary window is a rare congenital cardiac defect. In the majority
of symptomatic neonates and infants, primary surgical repair is the treatment
of choice. In selected infants, catheter closure of the defect with a device may
be feasible. This article reports on the successful closure of an AP window in a 12
month old infant, using a 6mm Amplatzer septal occluder. The procedure and
follow-up were uneventful.peer-reviewe
Effects of the dominant in Secret Window.
Full text linkThis paper seeks to identify and examine 'problematic' aesthetic strategies in David Koepp's Secret Window (2004). Arguing that the film fits into a specific 'puzzle film' category favouring self-deceiving protagonists and surprise twists, the paper seeks to account for the negative critical reaction accrued by the film's denouement. Most centrally, I invoke the Russian Formalist's concept of the 'dominant' in order to suggest how Secret Window subordinates textual elements to the film's narrative revelation. It is this prioritising of the main plot twist that accounts for many of the film's dramaturgically contentious tactics. The paper demonstrates the means by which Secret Window cuts against the grain of Hollywood storytelling norms; it suggests that the film manipulates character engagement in a way that exceeds the puzzle film's traditional reshuffling of sympathies; and it indicates how the film deploys generic convention and allusion to engender a highly self-conscious and repressive narration. These arguments aim to show that the film displays bold and sophisticated aesthetic strategies. More broadly, the paper argues that by analysing problematic examples of a film genre, we can usefully disclose the aesthetic principles that underpin the genre's more successful films
Window displays
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/324458Colour photograph of display of men's jackets and trousers. Stamped on reverse: Michael Cheshire Photography; 831648175591
Sub-item: [2012.0031.01187] "Window displays
Domestic gas consumption, household behaviour patterns, and window opening
No full textThis thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University, 19/03/1982.Domestic gas consumption for central heating is a function both of the efficiency of the heating system and the way in which it is used. While many studies have concentrated on the performance of systems and their controls, there have been few studies of occupant behaviour. The thesis therefore studies household behaviour patterns relating to domestic gas consumption. There are two main aims: firstly, to study a variety of these patterns and, secondly, to make a detailed investigation of one particular behaviour pattern, namely window opening. These two studies centre on 113 households on two local authority estates, where all the dwellings are of similar construction. The first study makes use of two main data sources: quarterly gas consumption readings and data obtained from an in-depth interview with each head of household. It identifies a variety of behaviour patterns and their underlying motivations. Additionally, this study shows that design heat loss and terrace position account for less than a third of the variance in winter consumption. A regression analysis using only behavioural and social variables resulted in a similar proportion of variance being explained. These two sets of independent variables could not justifiably be combined due to their inter-correlations. In conclusion, it was suggested that consumption may not be determined by a few variables of major significance but rather by a large number of inter-acting variables each with a small influence on consumption. The second study, window opening, makes use of three data sources: a series of systematic window observations, meteorological data and data obtained from postal questionnaires. The study identifies the objective correlates of estate-wide window opening, as well as the subjective motivations for the opening and closing of windows. It highlights the wide range of variation in window opening amongst householders. In addition, the study indicates that householders adopt characteristic window opening patterns which they can reliably report.British Ga
The Tactile Window
No full textThe idea that the predominant way of engaging with architecture is through vision is not uncommon but also not always the most appropriate given that buildings are also experienced through other senses such as touch. This consequence that emphasises visual aesthetics in order to appreciate and understand architecture probably has much to do with the assumed but rather vaguely defined role of the architect as designer in the practice of architectural design. A resulting misapprehension is that architects designing for visual appreciation think that they are actually designing physical space for embodied tactile engagement.
This prioritisation of vision in the way architects think about and approach design is questioned through the design project of the Tactile Window in which the position of the architect is redefined through inhabiting the roles of archivist, archaeologist and author during the design process.
A 16th century portrait of Queen Elizabeth I known as the Ditchley portrait, currently on display at the National Portrait Gallery is used as the source from which the design of the Tactile Window is derived from and to which it refers back to. Questioning the validity of vision as the sole means of engaging with the work, information about the portrait and working methods gathered from the three roles mentioned above are drawn on and applied to the making of this Tactile Window that becomes an alternative Ditchley portrait. Through exploring the hidden historical and current narratives of and in the existing portrait, the presence of the portrait is alluded to on an alternative physical site. Key to this are the working methods of an invented archival system of design reasoning, the unearthing of archaeological texts and assuming of authorship within the individual frameworks of the roles of archivist, archaeologist and author.
The role of architect as archaeologist takes onboard the unearthing of associated drawings and writings as well as the methods of organising and applying the recovered information to the system set up by the architect as archivist. Through the careful process of archiving and analysing this information, a new site that is located within both the physical and historical contexts of interest is discovered. The architect as author then draws upon the elements in this archival system to construct the alternative Ditchley portrait in the new site of the Echoing Cedar.
The Tactile Window is a reading of the Ditchley portrait in which information about and in the painting is transformed into a design proposal for an inhabited structure. The intended method of interaction with this alternative portrait is not merely restricted to vision but relies on engagement with the other senses. This experience is further enhanced by the interplay with certain site conditions such as wind and rain in order to allude to specific aspects of the Ditchley portrait that are not visually apparent in the existing work
The discount window
Full text linkAn abstract for this article is not availableDiscount window ; Federal Reserve banks
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