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Sandbox region
[edit]Koenig's Sphere
[edit]The Land
[edit]The Land | |
---|---|
Directed by | Robert Flaherty |
Screenplay by | Russell Lord |
Narrated by | Robert Flaherty |
Cinematography | Robert Flaherty with Irving Lerner, Douglas Baker, Floyd Crosby, and Charles Herbert |
Edited by | Helen van Dongen |
Music by | Richard Arnell |
Running time | 42 minutes |
Country | USA |
Language | English |
- The Land. U.S. Department of Agriculture, Agricultural Adjustment Administration United States Film Service. 1942. Public domain version of the film, which was produced by employees of the US government.
- The Land has been restored at the Museum of Modern Art using a copy of the film originally donated by Robert Flaherty. See "The Land". Retrieved 2018-10-01.
Acquired from the artist. Restored with funding from the Celeste Bartos Film Preservation Fund and The Film Foundation
- Starr, Cecile (2000). "The Land". In Pendergast, Tom; Pendergast, Sara (eds.). International Dictionary of Films and Filmmakers. Vol. 1–Films (4 ed.). St. James Press. pp. 667–669. ISBN 1-55862-450-3. Retrieved 2018-09-29.
- Williams, Deane (December 2002). "Great Directors: Robert Flaherty". Senses of Cinema (23).
- Lord, Russell; Lord, Kate Kalkman (1950). Forever the Land: A Country Chronicle and Anthology. Harper. OCLC 570314. Includes the commentary from the film.
- Eppig, Margaret L. (2017). Russell Lord and the Permanent Agriculture Movement: An Environmental Biography (Thesis).
- The Land at IMDb
Literary and literal translations of poetry
[edit]The current section on translation in the Wikiproject is mainly concerned with literal translations.
A section on citation of literary translations should be included. I think these should follow the general guidelines for "reliable sources" (WP:SOURCE). Author is notable (has Wikipedia article). Poetry is published by an established publishing house or journal.
Citation of literary translations: For articles on poets and poems published in foreign languages, it may be helpful to include citations to literary translations. Such citations should follow rules similar to those for "reliable sources" in Wikipedia articles: the cited work should have been published by an established publisher or journal that incorporates curation in some form.
non-free video samples
[edit]- {{Template:Non-free video sample}}
- Wikipedia:WikiProject Film/Multimedia##Video samples
- Wikipedia:WikiProject Film/Multimedia#Examples and File:S08-first contact borg queen assembled.ogv
For music, there is a guideline that non-free samples should be 30 s or 10% of a song, whichever is less. Seems appropriate to video clips.
The rationale for the example from Star Trek looks good.
David Ludwig Bloch
[edit]- Thompson, Vivian Alpert (1988). "David Bloch". A Mission in Art : Recent Holocaust Works in America. Macon, GA: Mercer University Press. pp. 20–27. ISBN 9780865542068. OCLC 815991636.
- Block, David (1999). "The Light in the Shadows". National Technical Institute for the Deaf, Rochester Institute of Technology.
Cécile Decugis
[edit]- Cécile Decugis
- Cécile Decugis at IMDb
- LoBrutto, Vince (2012). The Art of Motion Picture Editing: An Essential Guide to Methods, Principles, Processes, and Terminology. Skyhorse Publishing. p. 82. ISBN 9781621532514.
- McGrath, Declan (2001). "Cécile Decugis". Editing & Post-production. Focal Press. pp. 64–75. ISBN 9780240804682.
- Feuillére, Anne (July–August 2004). "Portrait de Cécile Decugis, monteuse" (PDF). Projections (in French) (12): 14.
- "The 75 Best Edited Films". CineMontage. Motion Picture Editors Guild. May 1, 2012. Breathless is no. 27.
Les Mistons de François Truffaut All the Boys Are Called Patrick ou Charlotte et Véronique de Jean-Luc Godard Breathless de Jean-Luc Godard Shoot the Piano Player de François Truffaut Charlotte and Her Boyfriend de Jean-Luc Godard Cuixart, permanencia del barroco de Jean-André Fieschi The Smugglers de Luc Moullet My Night at Maud's d'Éric Rohmer Claire's Knee d'Éric Rohmer La Débauche de Jean-François Davy Love in the Afternoon d'Éric Rohmer L'Italien des Roses de Charles Matton Le Seuil du vide de Jean-François Davy Dreyfus ou l'Intolérable Vérité de Jean Chérasse Lily, aime-moi de Maurice Dugowson It's Raining on Santiago de Helvio Soto The Marquise of O d'Éric Rohmer Flocons d'or de Werner Schroeter Perceval le Gallois d'Éric Rohmer The Aviator's Wife d'Éric Rohmer Le Beau Mariage d'Éric Rohmer Pauline at the Beach d'Éric Rohmer Full Moon in Paris d'Éric Rohmer Natalia de Bernard Cohn Parpaillon de Luc Moullet
McCabe
[edit]- Social security death index lists Edmund J. Naughton, born March 7, 1926, died September 9, 2013. https://www.dobsearch.com/death-records/view.php?t=1477517321&searchnum=241788081044&sessid=0p0kk00gp3bb22g9l58700qur4
- bio printed in 1991 reprint of McCabe . See http://www.fistful-of-leone.com/forums/index.php?topic=1523.90;wap2 for text.
- Poster: http://www.kennelco.com/wp-content/uploads/2016/02/McCabe.jpg . Billing block text: Warren Beatty - Julie Christie in the Robert Altman - David Foster production of "McCabe & Mrs. Miller" Also starring Rene Auberjonois - Screenplay by Robert Altman and Brian McKay - Based on the novel "McCabe" by Edmund Naughton - Produced by David Foster and Mitchell Brower - Directed by Robert Altman -Panavision Technicolor from Warner Bros.
- Back of dust jacket for McCabe (1959): "After college he started collecting jobs and experience by hitchhiking across the country. In addition to being a writer, he has been a smelter worker in Montana, a Democratic Party worker in Manhattan, a messman on an ore boat on the Great Lakes, a high school teacher in Brooklyn, a motivation research interviewer and a police reporter." See http://www.dustjackets.com/pictures/14314.jpg?v=1417040188 .
- Grierson, Tim (November 16, 2016). "How Leonard Cohen's Music Turned 'McCabe & Mrs. Miller' Into a Masterpiece". Rolling Stone.
- score: Renzo Rossellini
- more on Pompeii excatioin (Callahan).
third character
- Naples as the third character. Brunette - "What rules Voyage to Italy is environment. Like Thomas Hardy's fictional Wessex, it becomes a powerful third character in the film, and its name is Italy. Most baldly stated, the film is about Katherine and Alex's confrontation with this otherness so utterly opposed to everything they know and understand. Where Alex is materialistic and superrational and Katherine is, initially, at any rate, overly aesthetic and otherworldly, Italy is sensual and earthbound."
- Rossellini quote: (Gallagher)-thus the third character, Naples. Synopsis: Alex & Katherine don't know what to say to each other in the alien environment of Naples. Rossellini: "It struck me that the only way a rapprochement could come about was through the couple finding themselves complete strangers to everyone else."
- Alex and Katherine's journey to Naples upends their marriage, and several critics have suggested that Naples itself acts as a "third character" in the film. Peter Brunette wrote of "a poweful third characer in the film, and its name is Italy. Most baldly stated, the film is about Katherine and Alex's confrontation with this otherness so utterly opposed to everything they know and understand. Where Alex is materialistic and superrational and Katherine is, initially, at any rate, overly aesthetic and otherworldly, Italy is sensual and earthbound." Tag Gallagher expressed a similar viewpoint, and quotes Rossellini as saying "It struck me that the only way a rapprochement could come about was through the couple finding themselves complete strangers to everyone else."
temps mort (dead time)
- discussion of temps mort. Draw from Brunette, Mulvey chapter.
- Brunette "In Voyage to Italy Rossellini's use of temps mort reaches a new level of complexity and suggestiveness, but develops clearly from the experiments undertaken in the uncut Italian version of Stromboli . In the much-remarked opening scene, for example, when we first see the Joyces driving along the highway toward Naples, the boredom is palpable. The car's engine hums soporifically, a train speeds in the opposite direction; immediately following the credits we have cut quickly to a train whistle that suddenly rends the image. "
- Mulvey, Laura (2006). "Roberto Rossellini's Journey to Italy/Viaggio in Italia (1953)" (PDF). Death 24X a second: Stillness and the Moving Image. Reaktion Books. ISBN 9781861892638. OCLC 61529345.
it was dismissed on release, with only a few critics understanding that it was carefully constructed to undermine conventions of event-driven narrative and open out space and time for thought. The places included in the film were carefully chosen for their resonances and associations, from which Rossellini creates an implicit, idiosyncratic, commentary on the cinema, its reality, its indexical quality, as well as its uncanny ability to preserve light.
- Flanagan, Matthew (November 2008). "Towards an Aesthetic of Slow in Contemporary Cinema". 16:9 (journal) .
Cahiers de Cinema
- Rivette, Jacques. "Letter on Rossellini". Tom Milne (translation).
- "Rossellini's Realism Erupts in a Fountainhead of Modern Film Scarred by a Scandal".
- Bazin, André (2011). "In Defense of Rossellini". André Bazin and Italian Neorealism (PDF). Hugh Gray (translation). Continuum. pp. 93–110.
the structure which Rossellini has created allows the viewer to see nothing but the event itself. This brings to mind the way in which some bodies can exist in either an amorphous or a crystalline state. The art of Rossellini consists in knowing what has to be done to confer on the facts what is at once their most substantial and their most elegant shape-not the most graceful, but the sharpest in outline, the most direct, or the most trenchant. Neorealism discovers in Rossellini the style and the resources of abstraction. To have a regard for reality does not mean that what one does in fact is to pile up appearances. On the contrary, it means that one strips the appearances of all that is not essential, in order to get at the totality in its simplicity. The art of Rossellini is linear and melodic. True, several of his films make one think of a sketch: more is implicit in the line than it actually depicts. But is one to attribute such sureness of line to poverty of invention or to laziness? One would have to say the same of Matisse. Perhaps Rossellini is more a master of line than a painter, more a short-story writer than a novelist. But there is no hierarchy of genres, only of artists.
This essay was originally published in French in 1955.
misc
- Grunes, Dennis. "Voyage in Italy (Roberto Rossellini, 1953)".
In each case she is accompanied by a guide (professionals; in one instance, a personal acquaintance instead), and somehow this accumulates into a stunning suggestion of Dante's The Divine Comedy, especially as Katherine moves from the hell of her marriage to the heaven of its redeemed state.
Vincent (play)
[edit]- Nimoy, Leonard. "Vincent".
I was extremely well received by audience and critics and subsequently toured 35 cities giving 150 performances as a Guthrie Theater presentation.
Vincent was developed from the play Van Gogh, which was an earlier one-man play written and performed by Phillip Stephens. Nimoy purchased the rights to the play from Stephens, and incorporated some of Stephens' writing into Vincent. - Starting in 1978, Leonard Nimoy starred in a one-man play called Vincent that he'd adapted from the play Van Gogh by Phillip Stephens. See Corry, John (September 28, 1979). "Broadway". The New York Times.
- A performance was televised in 1981, and a DVD based on that videorecording was released in 2006. See Vincent. Image Entertainment. 2006. OCLC 70202888.
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(help) - Vincent was published in 1984; see Nimoy, Leonard; Stephens, Phillip (1984). Vincent : a full-length play. Chicago: Dramatic Publishing Company. OCLC 12184908.
- The play has been performed many times by Jim Jarrett; see Taylor, Dan (March 26, 2009). "Sonoma County actor Jim Jarrett's one-man show paints picture of Vincent van Gogh". The Press Democrat.
The actor bought exclusive rights to Vincent in 1994, and began touring internationally with the show in 1996. At last year's Fringe Festival in Edinburgh, Scotland, he was chosen as a best solo performer finalist.
- The play was revived in 2012 in Los Angeles, with Richaud as Theo. See Brandes, Philip (October 9, 2012). "Review: Revisiting the brush strokes in Leonard Nimoy's 'Vincent'". The Los Angeles Times.
this insightful and often moving 1981 solo show penned by Leonard Nimoy transcends the usual clichés surrounding the high-maintenance artist with the tortured relationship to his aural appendage. ... Weaving Theo's reminiscences with excerpts from more than 500 letters Vincent wrote him, the monologue covers Vincent's failed attempt to become a preacher, his doomed efforts at romantic relationships and his discovery of his true calling as a painter. ... In contrast to the two distinct voices Nimoy employed in his original performances of the piece, Richaud renders both brothers with a single inflection style. The approach may more naturalistically fit the premise (resolutely conformist Theo reading aloud Vincent's letters), but it comes at the cost of less cleanly differentiated personalities.
- The play was revived in 2013 in Harrisburg, Pennsylvania. See Rogers, Marakay (March 3, 2013). "BWW Review: Leonard Nimoy's VINCENT Brilliantly Explores Art and Madness at Gamut". Broadway World.
- The play was revived about 2013 by Starry Night Theater with Briggs as Theo, and traveled around the country for over two years, culminating with an off-Broadway performance in New York City. See "About the play". Retrieved 2016-08-11. See Reilly, Darryl (April 16, 2016). "Vincent - James Briggs". theatrescene.net.
The Enigma of Kaspar Hauser: Themes
[edit]- Chaw's dissection of "art" is its destruction.
- Ebert: "The film's landscapes, its details from nature, its music, all embody the dream world Kaspar entered when he escaped the unchanging reality of his cellar. He never dreamed in the cellar, he explains. I think it was because he knew of nothing else than the cellar to dream about."
- Ebert: "'The Enigma of Kaspar Hauser' is a lyrical film about the least lyrical of men. Bruno S. has the solidity of the horses and cows he is often among, and as he confronts the world I was reminded of W. G. Sebald's remark that men and animals regard each other across a gulf of mutual incomprehension." Also Companion, p. 60. Relationship to chicken hypnosis?
- "empty moments that have a strange, secret beauty". Companion, p. 51 . "non-narrative"
- "it is not the unique individual who is abnormal but rather a social system of normativizing vision that casts them into that status. Companion, p. 501 .
- Chipperfield, Alkan (July 2001). "Murmurs from a Shadowless Land: Fragmentary Reflections on the Cinema of Werner Herzog". Senses of Cinema.
In the beginning was the landscape, only later do human beings appear. And rarely has landscape been used in cinema to such profound effect for articulating the subtle and ambiguous contours of the inmost dispositions of human beings. Only in music does Herzog find an equally ductile medium. Herzog's presentation of landscape is more elusive than Antonioni's "architecture of vision" or Tarkovsky's "sculptures in time" and it stands in stark contrast to Kurosawa's precise, geometrical structuring of space. ... 'My characters have no shadows. They come out of the darkness, and such people have no shadows, the light hurts them. They are there, and then gone, to their obscurity.' One of the most ambiguous figures of the cinema emerged from the darkness in this way: Bruno S. is no less mysterious than Kaspar Hauser, the character he plays in The Enigma of Kaspar Hauser (Jeder für sich und Gott gegen Alle, 1974). Kaspar appears for a moment, bringing with him a fragile glimmer of life from that other, sombre universe from whence he came and to which, ineluctably, he must return.
- Eder, Richard (July 10, 1977). "A New Visionary in German Films". The New York Times.
None of it would work without a believable figure in the role. ... It is an extraordinary fit. Bruno, with his strength and vulnerability, with his head tilted back and his eyes opened wide as if to receive every signal coming in, with his gift for the unexpected gesture, not only inhabits the role but seems to have fathered it.
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[edit]The Thin Red Line
[edit]- Pfeil, Fred (2004). "Terrence Malick's war film sutra: meditating on The Thin Red Line". In Schneider, Steven Jay (ed.). New Hollywood Violence. Manchester University Press. p. 165. ISBN 9780719067228. OCLC 56465522. Pfeil compares The Thin Red Line with Saving Private Ryan (directed by Steven Spielberg-1998) and Full Metal Jacket (Stanley Kubrick-1987).
Lists of science and climate change plays
[edit]- Shepherd-Barr, Kirsten (2006). "List of science plays". Science on Stage: From Doctor Faustus to Copenhagen. Princeton University Press. p. 219. ISBN 9780691121505. See also the discussion of plays featuring Galileo, p. 26
- "List of science plays". Archived from the original on 2003-02-01.
Galileo affair in art
[edit]The Galileo affair and Galileo's extraordinary scientific contributions have been treated in many plays, films, and even at least one opera. Many of the plays have been described recently by Kirsten Shepherd-Barr.[1] Of the plays based on the Galileo affair, Bertolt Brecht's Life of Galileo has been called a masterpiece, and is likely the best known. Its relationship to the history of the affair has been discussed by ... on to film.
- Kaufmann, Walter Arnold (1992). Tragedy and Philosophy. Princeton University Press. p. 344. ISBN 9780691020051. Lionel Abel Metatheatre (1963) p. 98 ("this is one of Brecht's best plays, perhaps his greatest"; Martin Esslin (Grove, 1960), Brecht: The Man and His Work, p. 304 "Brecht's masterpiece".
- Suvin, Darko (1994). "Heavenly food denied: Life of Galileo". In Thomson, Peter; Sacks, Glendyr (eds.). The Cambridge Companion to Brecht. Cambridge University Press. p. 139. ISBN 9780521424851. Calls play "reactionary masterpiece?"
- Azzarella, Dennis (1970). Galileo: The Challenge of Reason. Learning Corporation of America. ISBN 9780388015513. OCLC 9850353.
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(help) See also Alexander, Geoff. "Dennis Azzarella". Academic Film Archive of North America (AFANA).
- Discuss scenes cut from film that were in American version. How many scenes were there? How many remain?
- There are Losey quotes on his intentions with Galileo.
- Extract mise-en-scene examples from Gardner's book.
- Images - Losey. Topol. mise-en-scene . Ely Landau?
- Umbach, Klaus (3-12-1979). "Kann die Oper am Knoblauch genesen?". Der Spiegel.
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(help) - Walder, Dennis (2005). "Bertolt Brecht, Life of Galileo". In Brown, Richard Danson; Gupta, Suman (eds.). Aestheticism & Modernism: Debating Twentieth-century Literature 1900-1960. Psychology Press. p. 356. ISBN 9780415351683.
- Moss, Anne (1998). "Limits of Reason: an exploration of Brecht's concept of Vernunft and the discourse of science in Leben des Galilei". In Giles, Steve; Livingstone, Rodney (eds.). Bertolt Brecht. Rodopi. p. 135. ISBN 9789042003194.
Three versions of the play are most accessible: (1) the 'Danish version', conceived in Svendborg in 1938/39 entitled Die Erde bewegt sich/Leben des Galilei, and premiered in Zurich after Brecht had left Scandinavia for California, (2) the 'American version' (an English version entitled Galileo, presented in Los Angeles and New York in 1947, and (3) the 'Berlin version' (translated back into German to be presented in Cologne in 1955, and further revised during rehearsals with the Berliner Ensemble until the playwright's death in 1956).
- Hare, David (June 23, 2006). "Universal quality". The Guardian.
- Turner, Cathy (2006). "Life of Galileo: between contemplation and the command to participate". In Thomson, Peter; Sacks, Glendyr (eds.). The Cambridge Companion to Brecht (2 ed.). Cambridge University Press. p. 143. ISBN 9781139827737.
- Caute, David (1994). Joseph Losey: A Revenge on Life. Faber. pp. 165–181. ISBN 978-0-571-16449-3. Discussion of Losey's longstanding interest in filming Galileo.
- Willett, John (1968). "Eisler and Brecht". The Theatre of Bertolt Brecht: A study from eight aspects.
while for the Hollywood production of Galileo in 1947 Eisler wrote a long Moritat-like ballad and a series of short songs for boys' voices to go between the scenes.
- "EIN WELTSTAR STÖSST ZUM BRECHT-TEAM: CHARLES LAUGHTON UND BRECHT IN DEN USA".
- "Galileo and the Movies". Physics in Perspective. 12 (4): 372–395. December 2010. doi:10.1007/s00016-010-0027-4. S2CID 119981584.
To a large extent, therefore, Losey's 1974 Galileo is superimposed upon and is a faithful rendition of Brecht's 1947 drama, Das Leben des Galilei, except that some lines and scenes were eliminated, for example, scenes V and XV, leaving a total of fifteen scenes.
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suggested) (help) with photographs - Losey from Senses of Cinema. Discusses Cavani's Galileo (1968) and also Luigi Maggi's 1909 short film Galileo Galilei (US: Galileo, Inventor of the Pendulum). These authors give a comprehensive list of films based on Galileo's life. See also "Galileo at the cinema" (PDF). - Cohen, Robert (2013). "Bertolt Brecht, Joseph Losey, and Brechtian Cinema". In Goebel, Eckart; Weigel, Sigrid (eds.). "Escape to Life": German Intellectuals in New York: A Compendium on Exile after 1933. Walter de Gruyter GmbH. p. 142. ISBN 9783110258684. Comprehensive discussion of the relationship of Brecht & Losey. For Galileo, notes Losey's contributions to the NY production, after Brecht had left the country. Also notes Losey's efforts in support of The Hollywood Nineteen.
Mark di Suvero
[edit]- Kramer, Hilton (2011). The Age of the Avant-Garde: 1956-1972. Transaction Publishers. p. 395. ISBN 9781412813853. Early review of di Suvero's sculpture.
The term low emissivity (low-e) is applied to some surfaces used in thermal insulation, including metal foil "radiant barriers" in building insulation, silvered glass in older "thermos®" bottles, and the specially coated panes of glass in some windows. Low-e surfaces emit thermal radiation relatively weakly. In this context, thermal radiation is infrared light, which is invisible. The emission and absorption of thermal radiation can be a major source of heat loss in insulation; this loss is in addition to the loss of heat directly through the air.
Thus an ordinary glass window pane emits thermal radiation very well, and is a poor insulator. Glass has an emissivity that approaches the maximum possible value of 1.0 .[2] A glass pane that is coated with a low-e material typically has an emissivity that's less than 0.2. Coated panes can be designed so that they're transparent, and since the 1980s these coatings are used in commercial "low-e" windows. Mirror-like metallic coatings such as silver and aluminum aren't transparent, but have emissivities as low as 0.02. For more than a century these coatings have long been used as the low-e coating in glass vacuum flasks (see photograph), of which the common "thermos®" bottle is an example. Metal foils are often incorporated in insulation products, where they are known as "radiant barriers". They use the same principle of reducing emissivity that is used for windows and vacuum flasks.
Thermal radiation, R-values and U-values
[edit]The insulation between two surfaces is typically characterized by an "R-value".[3] Better insulators have larger R-values. Since air transfers heat between surfaces, it might seem that a vacuum would be a perfect insulator, with an infinite R-value. However, for two room-temperature glass surfaces separated by vacuum, the thermal radiation between them limits the R-value to 0.22 (metric units) or to 1.22 (conventional US units).[4][5] The R-value increases as the emissivity drops, and for the silvered surfaces in glass vacuum flasks it is about 16 (metric) or 89 (US).[6]
The "U-value" is also instead of the R-value to describe insulating properties. The U-value is the reciprocal of the R-value. Thus the R-values of 0.22/1.22 (metric/US) for an unsilvered, glass vacuum flask correspond to U-values of 4.6/0.82 .
Low-e windows
[edit]For windows, U-values describe the heat that flows from the interior of a building (with air temperature Ti) to the exterior (at air temperature To). A single pane of ordinary glass in a "single-glazed" window has a U-value of about 5.9/1.03 (metric/US).[7][8] The U-value is determined by several processes, including:
- exchange of thermal radiation between the interior of the building and the inside surface of the glass
- exchange of heat by the air inside the building
- exchange of thermal radiation between the exterior of the building and the outside surface of the glass
- exchange of heat by the air outside the building. This exchange is strongly affected by wind.
By changing the emissivity of the interior glass surface from 0.85 to 0.07, the U-value improves about 40%, from 5.9/1.03 to 3.4/0.59.[8] Applying a low-e coating to the outer surface of the glass has much less effect.[9]
Low-e surfaces are most commonly used for double-glazed windows, which use two panes of glass separated by a space filled with air or an inert gas such as argon. A simple, air-filled double-glazed window without a low-e coating has a U-value of about 2.51/0.44 (metric/US). Applying a low-e coating with emissivity 0.2 on the innermost glass surface improves the U-value of the double-glazed window about 23% to 1.94/0.34. This surface is called the 4th surface, where one counts from the outermost surface of the two panes of glass. A 32% improvement over unimproved double-glazing (to 1.72/0.30) occurs when the low-e surface is applied to the 3rd glass surface.[2]
There are several types of low-e coatings with differing properties, and there are a large number of possible designs for double-glazed and triple-glazed windows. The U-values for many of the designs are tabulated in handbooks.[2][10] Several of the different low-e coatings and treatments are described in the next section of this article.
History and technologies of low-e coatings
[edit]As evidenced by the development of the glass vacuum flask, the principles of low-e insulation were understood before 1900.[11] Nonetheless, there were no commercial window products available in the United States that used this approach as of 1973, when an embargo of oil exports to the United States heightened interest there in energy conservation and in alternate energy sources.
There are two primary methods in use: Pyrolytic CVD and Magnetron Sputtering.[12][13] The first involves deposition of fluorinated tin oxide (SnO2:F see Tin dioxide uses) at high temperatures. Pyrolytic coatings are usually applied at the Float glass plant when the glass is manufactured. The second involves depositing thin silver layer(s) with antireflection layers. Magnetron sputtering uses large vacuum chambers with multiple deposition chambers depositing 5 to 10 or more layers in succession. Silver based films are environmentally unstable and must be enclosed in an Insulated glazing or Insulated Glass Unit (IGU) to maintain their properties over time. Specially designed coatings, are applied to one or more surfaces of insulated glass.
- ("Dual Glazing vs. Single Pane".
- Wright, John L. (2012). "Using 4th Surface Low-e Coating on Windows in a Cold Climate: Background, Observations and Practical Strategies, a white paper". University of Waterloo.
Wndow losses: graphic. +20C inside, -10 C outside. From Harvey. Single glazed Single glazed low-e (window film) Double glazed Double glazed low-e
Hard-coatings. A low emissivity surface on a sheet of glass can be created during manufacture by spraying a solution such as tin chloride (SnCl4) and water onto very hot glass at around 600 °C (1,112 °F)). This creates a layer of tin oxide (SnO2) on the surface of the glass that's typically 100 to 400 nanometers (nm) thick, and that conducts electricity to a degree. The semiconducting layer is typically designed to reflect about 80% of the thermal radiation and 20% of the sunlight that's incident on it. ref-Harvey.
- Gilmore, V. Elaine (March 1986). "Superwindows". Popular Science. p. 76.
'These coated glazings will one day be the norm, not the exception,' predicts Stephen Selkowitz, the head of Lawrence Berkeley Laboratory's windows and daylighting research group.
- "Window Films and Energy Saving" (PDF). International Window Film Association. February 7, 2012.
- Cremers, C. J.; Fine, H. A.; Alan Fine, H. (1990). Influence of composition upon the apparent conductivity and emissivity of glass as a function of temperature and thickness. ISBN 9780306436727. From Cremers, C.J.; Fine, H. Alan, eds. (1990). Thermal Conductivity. Springer Science & Business Media. ISBN 9780306436727.
- "The Low-E Window R&D Success Story". Windows and Building Envelope Research and Development: Roadmap for Emerging Technologies (PDF). U.S. Department of Energy. February 2014. p. 5.
- Rissman, Jeffrey; Kennan, Hallie (March 2013). "Low-Emissivity Windows" (PDF). American Energy Innovation Council. Retrieved 2014-08-05.
- "Window Technologies: Low-E Coatings". The Efficient Window Collaborative. Website maintained by a trade organization.
- Brown, Marilyn A.; Berry, Linda G.; Goel, Rajeev K. "Commercializing Government-Sponsored hnovations: Twelve Successful Buildings Case Studies" (PDF). Oak Ridge National Laboratory.
- Gläser, Hans Joachim (December 2012). "Ein Beitrag zur Geschichte der Wärmedämmschichten für Hochbauverglasungen" [A contribution to the history of insulating films for glazings in building construction] (PDF) (in German). Archived from the original (PDF) on 2014-08-22. Glaeser is a pioneer in low-e films for windows.
Deep dive
[edit]The "Deep Dive" is a term coined in the 1990s by the IDEO management consulting company to describe a planning exercise they had developed for corporate clients. The trademark "DeepDive" has been owned by Deloitte, Inc. since 2006.[14]
- 2001 book about IDEO starts with the deep dive.
- Boynton, Andrew; Fischer, William A. (June 2004). "Deep Dive! A Rigorous Team Process to Drive Innovation and Execution" (PDF). IMD Perspectives for Managers. 110. Lausanne: IMD. Retrieved 2014-07-15.
- "The Power Of Design". Business Week. May 16, 2004. Feature article on the IDEO management consulting firm, which developed the "deep dive" as a planning tool for corporate managers.
- Yu, Howard H.; Bower, Joseph L. (May 6, 2010). "Taking a "Deep Dive": What Only a Top Leader Can Do" (PDF). Retrieved 2014-07-15. Working paper issued by the Harvard Business School. The paper notes the use of the term "deep dive" in a book published in 2001 by Jack Welch and A. J. Byrne (see Welch, J.; Byrne, A. J. (2001). Jack: Straight From the Gut. Warner Business Books.
One of my favorite perks was picking out an issue and doing what I called a "deep dive." It's spotting a challenge where you think you can make a difference… then throwing the weight of your position behind it. I've often done this – just about everywhere in the company.
. - Horwath, Rich (August 1, 2009). Deep Dive: The Proven Method for Building Strategy, Focusing Your Resources, and Taking Smart Action. ISBN 978-1929774821.
Franck-Hertz
[edit]- Non-Poisson photon emission.
- Finer work done later by the Americans. Noted by Lemmerich?
- More details on Hg electronic levels? Or replace the generalized Bohr model figure with one specific to Hg?
- Nicoletopoulos, et al. work?
William Hornbeck
[edit]- Basinger, Jeanine. "William Hornbeck".
- Thompson, Kristin; Bordwell, David (Summer 1983). "From Sennett to Stevens: An Interview with William Hornbeck". The Velvet Light Trap: 34–40.
- Crittenden, Roger (2003). Film and Video Editing. Routledge. ISBN 9781135372699.
If Margaret Booth was the mother of film editing, then William Hornbeck was the father
Justine Wright
[edit]Argosy
[edit]- "Register of the The Argosy Pictures Corporation Archives, 1938-1958". Brigham Young University. Has a substantial introduction, unfortunately unsigned.
Wagon Master
[edit]- Eyman, Scott (2012). Print the Legend: The Life and Times of John Ford. Simon and Schuster. p. 163. ISBN 9781451685114.
The latitude Ford gave Toland to work in his favorite deep-focus style disproves the myth of Ford as a rigid technical authoritarian. (He was much harder on actors than he was on his crew.) While the compositional style would be the same, there is considerable difference in texture on Ford's films, even in the same period, from the shadowed, soft look that Joe August gave Ford (The Informer) to the diffused and glowing Bert Glennon pictures (Hurricane, Young Mr. Lincoln), to Toland's high contrast, razor-focus work in The Long Voyage Home and Grapes of Wrath.
- Welsh, James M. (November 1980). "John Ford's Wagon Master: Rite of Passage". American Classic Screen. 4 (2). This article was reprinted as Welsh, James M. (2010). "John Ford's Wagon Master: Rite of Passage". In Tibbetts, John C.; Welsh, James M. (eds.). American Classic Screen Features. Scarecrow Press. p. 213. ISBN 9780810876798.
- Place, Janey Ann (1974). The Western Films of John Ford. Citadel Press. OCLC 1198345.
- Limbrick, Peter (21 June 2010). Making Settler Cinemas. Palgrave Macmillan. ISBN 9780230107915. Several pages discussing the "mythic landscape" of Wagon Master. Not really related to the film itself; the film is used to exemplify how film and fiction treat the "settling" of the western US and the displacement of the native Americans.
Ackerman
[edit]- "Interview: Diane Ackerman, author of One Hundred Names for Love".
- "Show transcript: Diane Ackerman: "One Hundred Names for Love"".
- "Cultivating Delight".
- "Diane Ackerman".
- "US author and poet Diane Ackerman".
- "Author interview: Diane Ackerman discusses 'One Hundred Names for Love'".
- "A Conversation With Diane Ackerman".
- "Peter I. B. Lavan Younger Poets Award". Academy of American Poets. Selected by May Swenson, 1985.
- Warner, Marina (August 29, 2004). "'An Alchemy of Mind': Circuits". The New York Times.
Third Culture
[edit]- Snow, Charles Percy (1961). The Two Cultures and the Scientific Revolution. Cambridge University Press. ISBN 0521457300. Published version of Snow's 1959 Rede Lecture at Cambridge University.
- Fallers, Lloyd (October 1961). "C. P. Snow and the Third Culture". Bulletin of the Atomic Scientists. XVII (8): 306–309. doi:10.1080/00963402.1961.11454255. It is possible that Fallers' article is the first mention of a "third culture" in the context of Snow's original lectures. Fallers was a professor of anthropology at the University of Chicago.[15]
- Snow, Charles Percy (1963). "The Two Cultures: A Second Look". The Two Cultures: and A Second Look. Cambridge University Press.
- Krane, Harry H.; Wright, Gilbert H. (1972). The Third Culture: a New Education; an Integration of Technology with Art. Melbourne Group, I.C.I.T.A. ISBN 9780909663001.
- Brockman, John (1995). The Third Culture: Beyond the Scientific Revolution. Simon & Schuster. ISBN 0-684-82344-6.
- Shaffer, Elinor S. (1998). The Third Culture: Literature and Science. Walter de Gruyter. ISBN 9783110142921. Gives a history of the term; Brockman's book is not cited.
- Kelly, Kevin (1998). "The Third Culture". Science Magazine. 279 (5353): 992–993. doi:10.1126/science.279.5353.992. S2CID 143224854. Reflections on "the Third Culture" from the editor of Wired.
- Cartwright, John H.; Baker, Brian, eds. (2005). Literature and science: social impact and interaction. ABC-CLIO. ISBN 9781851094585. Discusses Brockman in larger context.
- Weibel, Peter, ed. (2005). Beyond Art: a Third Culture : a Comparative Study in Cultures, Art, and Science in 20th Century Austria and Hungary. Springer. ISBN 9783211245620.
- Vehse, Charles P. (2006). "From Outside-In to Inside-Out: Rethinking The Two Cultures and the Contribution of C. P. Snow" (PDF). Forum on Public Policy.
Dave Smith
[edit]- "Dave Smith (1942- )". Encyclopedia Virginia.
- "Dave Smith (1942- )". The Poetry Foundation.
- "Dave Smith CV".
Nathan the Wise
[edit]- Curthoys, Ned (2010). "A Diasporic Reading of Nathan the Wise". View on Comparative Literature Studies. 47 (1).
Goethe & Schiller
[edit]- Linguistic interference and first-language attrition: German and Hungarian ... By Gergely Tóth
- Kerry, Paul E. (2007). Friedrich Schiller: playwright, poet, philosopher, historian. Peter Lang. ISBN 9783039103072. Reviewed by Bledsoe.
About the German-American community
[edit]- "New Acquisitions". Max Kade Institute for German American Studies. Summer–Fall 2002.
{{cite web}}
: External link in
(help)|publisher=
- Conzen, Kathleen Neils (1989). "Ethnicity as Festive Culture: Nineteenth-Century German America on Parade". In Sollors, Werner (ed.). The Invention of Ethnicity. Oxford University Press. ISBN 9780195050479.
Schiller was also, however, a reminder that the dearest part of the homeland was not its soil but its spiritual treasures, which could accompany the German wherever he went as long as he remained true to heritage. Indeed, the freedom that Schiller celebrated was the freedom that Germans had found in America. Schiller, proclaimed a speaker at New York's celebration, was the best expression of that side of German character which most qualified the German despite his distinctiveness to become a true American citizen: the cosmopolitan dedication to the union of all good men in the service of freedom and truth that had become an essential trait of the German character through German classical literature, and especially through Schiller. German-Americans could "rest well in the shadow of his fame."
- Fiebig-von Hase, Ragnhild; Lehmkuhl, Ursula, eds. (1997). Enemy images in American history. Berghahn. ISBN 9781571810311.
- Hyde, Flippo (January 20, 2010). [german-way.com/blog/2010/01/20/goethe-schiller-in-san-francisco/ "Goethe and Schiller in San Francisco"]. The German Way & More (website).
{{cite web}}
: Check|url=
value (help) - Voss, Ernst (1929). Lessing, Otto E. (ed.). Vier Jahrzehnten in Amerika: Gesammelte Reden und Aufsätze. Stuttgart, Berlin and Leipzig: Deutsche Verlags-Anstalt. Has occasional essay on dedication of Schiller monument?
- Schem, Alexander Jacob (1873). Deutsch-amerikanisches Conversations-Lexicon, Volume 10. E. Stieger. p. 578.
Syracuse, City and principal locale of Onondaga County, New York, lies on Onondaga Lake and the small creek of the same name, as well as the New York Central Railroad, and is the southern terminus of the Oswego-Syracuse and the northern terminus of the Syracuse-Binghamton-New York railroads. The city is well laid out and has attractive, wide, and straight streets, an attractive Courthouse and Arsenal, good public schools, a high school, a "Business College" and "Syracuse University", the state school for imbeciles, as well as a public library, 7 national and several other banks, and 12 newspapers and journals. Syracuse has a great number of factories of numerous types, most importantly the great salt works, the most significant in the United States. The salt is particularly plentiful in the region of the salt springs near Onondaga Lake. Germans will find among the churches of Syracuse: 3 Lutheran churches, 1 Catholic church and 2 synagogues, a German Methodist church, and among the newspapers two in the German language, specifically the "Syracuse Union" (published by A. von Landbert, weekly, 21styear) and the "Syracuse Central Demokrat" (published by J. A. Hofmann and Son, weekly, 16th year). Germans have 3 lodges of the Odd Fellows, 2 Harugari lodges, a "Rothmänner" (Red Men's) lodge, a gymnastics club, 3 singing clubs and several religious societies. Syracuse was founded in 1787, but remained an unknown locale until the completion of the Erie Canal (1825), since which it has grown extraordinarily fast. Syracuse was incorporated as a city in 1847. Its population was 28,119 in 1860, and 43,051 in 1870, and is divided into 8 wards. There are 17,200 Germans.
David Friedenthal
[edit]- NY Times obit (pay)
- Marian Griffiths obit http://www.nytimes.com/2008/09/29/arts/design/29griffiths.html
Adrien Stoutenburg
[edit]- http://www.newyorker.com/search/query?query=%22Adrien%20Stoutenburg%22&page=2&queryType=nonparsed first poem in the New Yorker. March 30, 1957. The Allergic [ABSTRACT]
- Carruth, Hayden (Spring 1965). "First Books and Others: The Quarter's Poetry". The Hudson Review. 18 (1): 140. doi:10.2307/3848736. JSTOR 3848736.
Why a woman living in California should choose to write about five men dying in Antarctica is somewhat mystifying. The result is what you'd expect, and I'm sorry to say that whatever scrap of good repute had remained to the Lamont poetry prize has been dispelled by conferral on this book, rather than upon any of half a dozen other first books mentioned in this review.
Hitler Lives
[edit]Possibility that the release of this film amounted to plagiarism? See:
- Leder, Harald. "Der Film, der seinen Zweck verfehlte". Der Spiegel. Retrieved January 1, 2009.
Horton
[edit]http://www.latrobe.edu.au/screeningthepast/shorts/reviews/revdec/nzf.html
Pork Pie: This was the breakthrough film, "the first New Zealand film to recover its costs from the domestic market alone," the one that "altered New Zealanders' reluctance to watch locally made movies," the one that, with Paul Maunder's Sons for the return home (1979), was the first New Zealand feature "to screen in the market at Cannes" (76). It also involved so many of Murphy's family and friends that they "became known as 'The Murphia'" (ibid.).
Bloody Sunday
[edit]The production team for Bloody Sunday reunited several of the principals of the 1999 television film The Murder of Stephen Lawrence, which also had Redhead as producer, Greengrass as director, Strasburg as cinematographer, and Douglas as editor.
http://www.filmlinc.com/fcm/9-10-2002/greengrass.htm
The Neglected Miracle
[edit]http://www.webcitation.org/5YLpOUNcb from http://www.filmarchive.org.nz/feature-project/pages/Neglected-Miracle.php
Barry Barclay
[edit]Flickr photo http://www.flickr.com/photos/49968788@N00/53623037/
Non-free content
[edit]I am proposing that content uploaded under non-free licenses should explicitly include the year of publication or of the copyright notice, and that the non-free content guideline should be edited to note this. The specific motivation I have is that about 85% of pre-1964 content with a US copyright notice is now in the public domain due to non-renewal of copyright, but I estimate that thousands of such public domain works have been uploaded to Wikipedia under "fair use". Movie posters from before 1964 are a good example. Since all copyrighted material does ultimately enter the public domain, the guidelines and tags should reflect this fact better. Here is the current text:
- While identifying a source is not specifically required by the non-free content policy, editors are strongly encouraged to include a source of where a non-free file came from on the media's description page; many of the non-free rationale templates already include a field for this information. This can aid in the cases of disputed media files, or evaluating the non-free or free nature of the image. Lacking a source is not grounds for media removal, but if the nature of the media file is disputed, the lack of a source may prevent the file from being retained. Non-free media must be from a published source; the unpublished non-free media is forbidden. Identification of the source will aid in validating the previous publication of the material.
Signs of the Times (U. S. trade magazine)
[edit]- "Signs of the Times". ST Media. Lists initial date as 1906.
- Jakle, John A.; Sculle, Keith A. (2004). Signs in America's auto age: signatures of landscape and place. University of Iowa Press. p. 12. ISBN 9780877458906.
Public beach access (U. S. law)
[edit]- Origins are in the Public trust doctrine
- Slade, David C. (1997). Public Trust Doctrine: 2nd Edition (PDF). Coastal States Organization.
Stephen Antonakos
[edit]Stephen Antonakos (born November 1, 1926, Laconia, Greece) is an American artist who is noted for his works in minimal art, for his "landmark" studio works in the 1960s incorporating neon lighting, and since the 1970s for his large-scale public installations.[17][18][19][20]
Stephen Antonakos immigrated with his family from Laconia to New York at the age of four, and was raised in New York City. He served in the U.S. army from 1945-47. Following his military service Antonakos studied art at Brooklyn Community College, receiving a certificate in 1949. Antonakos was employed for many years as a commercial artist; he worked mostly on pharmaceutical illustrations.[21]
In the 1950s, Antonakos worked independently in several media: paintings, drawings, and collages of found objects; he received some recognition for this work in 1960 when one of his pieces was selected (with others by Claes Oldenburg, Jim Dine, and Allan Kaprow) for an exhibition, "New Forms, New Media", at the Martha Jackson Gallery; this exhibition has been called "the first major survey of assemblages".[21] In 1960 Antonakos introduced neon into his collages. Although neon lighting for signage had become commonplace in the 1920s, it was only in the 1960s that its use in studio artworks by Antonakos and several other artists attracted significant attention.[22]
Antonakos has described this transition, "My use of neon is really my own. I began with it around 1960 and very soon it became central to my work. The geometric forms, usually incomplete circles and squares, were a tremendous excitement to me. It is very difficult to separate light from space – even when the art is directly on the wall. For years I have been investigating the great subtlety and range of neon using forms that haven’t changed that much since the beginning. Its spatial qualities interested me – formal relationships within a work and with the architecture of the room or building and the kinetic relationship that a viewer may feel in the space of the light. I feel that abstraction can have a very deep effect visually, emotionally, and spatially."[23]
Antonakos' neon works in the 1960s are now included in discussions of minimal art,[24][25][26] Quote Marzona about "blue box"? Discuss Flavin and other minimal/neon artists?
In the 1970s Antonakos began to receive commissions for large-scale public neon installations. The first two were temporary exhibitions in Grand Rapids, Michigan and at the Fort Worth Art Museum.[27] Antonakos' first permanent public exhibition was Red Neon Circle Fragment on a Blue Wall in Dayton, Ohio. He has now done dozens of permanent and temporary installations. Thalia Vrachopoulos has written of this increase in the scale of Antonakos' work that, "Green Neon Incomplete Circle (1974), The Room (1973), and Incomplete Neon Square (1977) evince Antonakos’s ability to manipulate color and form while enlarging scale."[20] Writing of an exhibition devoted to art in architecture that included some of Antonakos' works, Michael Kimmelman is less enthusiastic: "Considering works produced for Rockefeller Center and the Cranbrook Academy of Art outside Detroit, this century can claim distinguished examples of collaboration among architects, sculptors and painters in this country. But the International Style inspired by Le Corbusier and Mies van der Rohe spawned a legacy of "plop" art - generic public sculpture and painting made to adorn indistinguishable glass skyscrapers."[28]
A number of Antonakos' artworks involve entire rooms or chapels. Daniel Marzona writes of these works, "The recognition by Antonakos of the power of coloured light led to the creation of more complex public sculptures using the industrial language of neon to compete with the outside world and all its various distractions." Antonakos' work for the 1973 exhibition Sculpture Off the Pedestal in Grand Rapids, Michigan was a self-contained room.[29] These rooms became chapels later in his career. The most noted may be his work Chapel of the Heavenly Ladder (1997?), of which Grace Glueck has written, "For some time Stephen Antonakos, known for his works in neon, has been involved with projects of a religious nature, and the objects here give a good if limited account of recent endeavors. ... Even without the neon, in this small scale, it's an impressive work."[30]
Monographs
[edit]- Battcock, Gregory (1995). Minimal Art: A Critical Anthology. University of California Press. ISBN 9780520201477.
- Heid, Birgitta (2000). "4.4 Dan Flavin und die "Neon"-Kunst: Ein Vergleich" (PDF). Dan Flavins 'installations in fluorescent light' im Kontext der Minimal Art und der Kunstlicht-Kunst (Ph.D. thesis). Ruprecht-Karls-Universität. In German. For the dissertation abstract (German and English) and links to the illustrations, see this webpage.
- Kernan, Nathan (2008). antonakos: 151 images and an essay. Johannesburg: David Krut Publishing. ISBN 9780981404295.
- Marzona, Daniel; Grosenick, Uta (2004). Minimal art. Taschen. p. 34. ISBN 9783822830604.
At the beginning of the sixties Antonakos discovered fluorescent light, which soon became his primary medium. During the 60s Antonakos' ground-breaking fluorescent-light sculptures were included in many important group exhibitions, ...
Discusses Blue Box (1965). - Sandler, Irving (1999). Stephen Antonakos. Hudson Hills Press. ISBN 9781555951641. Large format book incorporating color photographs of many of Antonakos' artworks.
Reviews
[edit]- Ayers, Robert (May 1, 2010). "Stephen Antonakos at Lori Bookstein". ARTnews.
- Bui, Phong (November 2008). "Stephen Antonakos: Here and Beyond". The Brooklyn Rail.
Having begun his career in the early 1950s, Antonakos's urge to make assemblages from found objects had turned, by 1960, toward a greater emphasis on formal concerns among geometric shapes. This resulted in his landmark works in neon, out of which emerged his longtime interest in the maximal application of "lightness" with the most attainable means of minimal explorations.
- Glueck, Grace (May 7, 1999). "ART IN REVIEW; Stephen Antonakos -- 'The Chapel of the Heavenly Ladder and Other Works'". The New York Times.
For some time Stephen Antonakos, known for his works in neon, has been involved with projects of a religious nature, and the objects here give a good if limited account of recent endeavors. ... Even without the neon, in this small scale, it's an impressive work.
- Kimmelman, Michael (May 27, 1988). "Review/Art; The Integration of Art And Public Architecture". The New York Times.
This haphazard assortment points up how disappointing and unadventurous architectural art has generally been. Considering works produced for Rockefeller Center and the Cranbrook Academy of Art outside Detroit, this century can claim distinguished examples of collaboration among architects, sculptors and painters in this country. But the International Style inspired by Le Corbusier and Mies van der Rohe spawned a legacy of "plop" art - generic public sculpture and painting made to adorn indistinguishable glass skyscrapers.
- Vrachopoulos, Thalia (June 2009). "Stephen Antonakos: Complex Simplicity". Sculpture Magazine. 28 (5). International Sculpture Center.
In the early '70s, Antonakos increased his scale while continuing to examine the potential of neon. Fluorescent tubes were already being used by artists such as Dan Flavin and Chryssa to create pulsating light sculptures. But whereas Flavin denied any transcendental meaning in his works, Antonakos recognized it as an important element. While Flavin used raw industrial neon, Antonakos bent, shaped, and colored his light sculptures. Green Neon Incomplete Circle (1974), The Room (1973), and Incomplete Neon Square (1977) evince Antonakos's ability to manipulate color and form while enlarging scale.
Preview only; full text by subscription.
Interviews
[edit]- Bui, Phong (December 07-January 08). "Stephen Antonakos in Conversation with Phong Bui". The Brooklyn Rail.
{{cite news}}
: Check date values in:|date=
(help) - Cummings, Paul (1975-05-09). "Stephen Antonakos interview, 1975 May 9 (transcript)". Archives of American Art. The Smithsonian Institution.
- Kosmidou, Zoe (January 1998). "The Architecture of Light and Space: An interview with Stephen Antonakos". Sculpture Magazine. 17 (1). International Sculpture Center.
- Schiess, Christian (1994). The Light Artist Anthology: Neon and Related Media. ST Media Group International. ISBN 9780944094006. Schiess' anthology includes interviews with Stephen Antonakos, Valerij Bugrov, Chris Freeman, Peter Freeman, Michael Hayden, Craig Kraft, Dante Leonelli, Cork Marcheschi, Bill Parker, Alejandro & Moira Sina, Keith Sonnier, and Willem Volkersz.
Museum collections
[edit]Included in the Sandler monograph?
- Ruby and Yellow Neon (1967). Smith College Museum of Art; two other pieces at Smith College.
External links
[edit]- "Stephen Antonakos". Stephen Antonakos. 2010. Retrieved 2010-12-14. Antonakos' personal website, which includes many images of his artworks.
- "Antonakos@Benaki Athens". Retrieved 2010-12-19. Photographs of Antonakos' artworks from the exhibition Stephen Antonakos: A Retrospective, 18 December 2007 - 9 March 2008 at the Benaki Museum, Athens.
DYK hooks
[edit]- ...Stephen Antonakos's 1960s neon artworks are recognized as "landmarks" - although they were created more than forty years after the advent of neon lighting?
New York State Office of Parks, Recreation, and Historical Preservation
[edit]- "Office of Parks, Recreation, and Historical Preservation" (PDF). New York State Division of the Budget. 07-08 : $276M total, $85M fees.
- "Data Appendix" (PDF). LIsts Empire Passport fees, other fee revenue for various state agencies, including the Parks.
- "New state park commissioner aims to renovate and raise funds - 8 January, 2007". The Palisades Parks Conservancy.
Clark Reservation State Park
[edit]- Write to Frank Volcko, Town Historian, for old pictures of Macfarlane hotel.
- Onondaga Historical Society - source for Macfarlane history.
- northeastnaturalist - photo of American hart's tongue.
- meromixis article.
- bio of Frances Theodora Parsons
Helen Levitt
[edit]Major Shows
- 1943: "Helen Levitt: Photographs of Children", curated by Nancy Newhall, Museum of Modern Art.
- 1991: "?", curated by Philips and Hambourg (?), Metropolitan Museum of Art and San Francisco Museum of Modern Art. Catalog.
- 1997: "Crosstown", curated by Ellen Handy, International Center for Photography. Reference is Strauss. Also Laurence Miller gallery bio.
Ideas for extension of article.
- Dikant's distinction between "art photography" and "social photography".
- Dikant's comment that her 1943 showing was not the beginning of a brilliant career.
List of Syracuse University people needing articles
[edit]Bibliography - Film Editing & Film Editors
[edit]Esthetics and Theory
[edit]- Orpen, Valerie (2003). Film Editing: The Art of the Expressive. Wallflower Press. ISBN 9781903364536. Review
- Fairservice, Don (2002). Film Editing: History, Theory, and Practice : Looking at the Invisible. ISBN 9780719057779.
Interviews with filmmakers
[edit]- LoBrutto, Vincent (1991). Selected Takes: Film Editors on Editing. Praeger Publishers. ISBN 0275933784.
- Oldham, Gabriella (1995). First Cut: Conversations with Film Editors. University of California Press. ISBN 9780520075887.
- Crittenden, Roger (2006). Fine Cuts: The Art of European Film Editing. Focal Press. ISBN 9780240516844.
- Perkins, Roy; Stollery, Martin (2008). British Film Editors: The Heart of the Movie. British Film Institute. ISBN 9781844570089.
Valerie Orpen's list of essential references
[edit]- Barr, Charles (1962). "Some other aspects of editing", Scope
- Bordwell, David and Thompson, Kristin (1986). Film Art (Second Edition)
- Burch, Noel & Lane, Helen R. (trans.) (1973). Theory of Film Practice (Secker and Warburg).
- Carroll, Noel (1996). Theorizing the Moving Image (Cambridge).
- Dmytryk, Edward (1984). On Film Editing (Focal).
- Fairservice, Don (2001). Film Editing: History, Theory, and Practice. (Manchester).
- Henderson, Brian (1976). "The Long Take", in Bill Nichols (ed.) Movies and Methods: An Anthology (Univ. of California).
- Murch, Walter (1995). In the Blink of an Eye: A Perspective on Fim Editing (Silman-James).
- Perkins, V. F. (1991). Film as Film (Penguin).
- Reisz, Karel and Millar, Gavin (1996). The Technique of Film Editing (2nd Edition) (Focal).
- Salt, Barry 91992). Film Style and Technology: History and Analysis (Starword).
Additional articles
[edit]- Rochlin, Margy (1995-07-23). "In the editing room, many propose, few dispose". The New York Times.
Memoirs by film editors
[edit]- O'Steen, Sam - Cut to the Chase: Forty-Five Years of Editing America's Favorite Movies
- Rosenblum, Ralph - When the Shooting Stops, the Cutting Begins
- Williams, Elmo - Elmo Williams: A Hollywood Memoir
- Winters, Ralph E. - Some Cutting Remarks: Seventy Years a Film Editor
- Robert Parrish - Growing Up in Hollywood and Hollywood Doesn't Live Here Anymore
- Lyon, Francis D. "Pete" (1993). Twists of Fate: An Oscar Winner's International Career. Evanston Publishing. ISBN 1879260107.
- Clark, Jim; Myers, John H. (2010). Dream Repairman: Adventures in Film Editing. Landmarc Press. ISBN 9780979718496.
DVD commentary tracks by editors
[edit]- Dances with Wolves, on extended edition, Neil Travis
- Kingdom of Heaven, director's cut, Dody Dorn
Websites
[edit]Film editor articles
[edit]Robert Leighton
[edit]- Fernandez, Walter (March 2010). "BOB ON ROB: Leighton's Career as Reiner's Editor". Cinemaeditor. 60 (1): 18.
Dede Allen as a mentor
[edit]The following co-editors got early editing credits for work with Allen.
- Jim Miller on The Breakfast Club
- Craig McKay (film editor) on Reds
- Vivien Hillgrove Gilliam
- William S. Scharf
- Angelo Corrao
- Jeff Gourson
- Gerald B. Greenberg
- Stephen A. Rotter
- Claire Simpson on Reds
Allen's bio for the Guild Fellowship and Service Award
Joe Hutshing co-editors
[edit]- "Cutterin Thelma Schoonmkaer: Die Königin des Schnitts". Die Zeit (in German). Extended appreciation of Schoonmaker & her work with Scorsese.
Claire Simpson as mentor
[edit]- Joe Hutshing on Wall Street, also Scalia, Brenner, Livolsi
Neil Travis as mentor
[edit]Notability and some notable editors without articles
[edit]For film editors, one simple, if stringent, criterion for notability is nomination for a major award such as the Academy Award for Film Editing or the BAFTA Award for Best Editing. See Category:Film editing awards for a listing of related Wikipedia articles; the "red links" in these articles provide a shopping list of outstanding editors without articles. Another criterion is membership in an honorary organization of filmmakers such as the American Cinema Editors or the Academy of Motion Picture Arts and Sciences.
- Sandra Adair, A.C.E. - longtime collaborator with director Richard Linklater. ACE Eddie nomination for Linnklater's The School of Rock (2003). Sandra Adair at IMDb. http://www.linkedin.com/pub/6/b7b/176 .
- John Bloom (film editor) - won Academy Award for Gandhi (film), nominated for The French Lieutenant's Woman (film), A Chorus Line (film). Eddie for Angels in America. John Bloom at IMDb Prince, Stephen (2002). A New Pot of Gold: Hollywood Under the Electronic Rainbow 1980-1989 (Volume 10 of History of the American cinema). University of California Press. p. 196. ISBN 9780520232662.
John Bloom surmounted the daunting task of telling a story backwards in Betrayal, starting with the ending and working towards the beginning, and he made the shots work using this peculiar time scheme. Bloom also provided one of the decade's best examples of editing for tight narrative effect in Under Fire, an extremely well edited film.
Thompson, Roy (1993). Grammar of the Edit. Focal Press. p. 64. ISBN 9780240513409.The combined edit, without doubt the most difficult of all edit types, is also the most powerful. It is the highest achievement of the editor. ... Probably one of the best recent examples can be found in the feature film The French Lieutenant's Woman. The director and editor, Karel Reisz and John Bloom, chose two unusual, but well planned, shots to move the story from an interior modern hotel conservatory setting (in which the actors are rehearsing a film scene) to an exterior woodland setting where the actors are wearing their historical costumes.
- Wendy Greene Bricmont, A.C.E. - Annie Hall. A.C.E.. Wendy Greene Bricmont at IMDb, de:Wendy Greene Bricmont
- Lisa Fruchtman. "dead link to alumni mag article".
- David Gamble (film editor), A.C.E. - Shakespeare in Love (won BAFTA, Oscar nom., more nom.) David Gamble at IMDb. Otherwise few credits. Brit. Blood & Chocolate?
- James Haygood. Editor for earlier Fincher features: Fight Club, Panic Room. Frazer, Bryant (April 24, 2008). "Film Editor James Haygood on 30-Second Stories: A Career in Spots, Music Videos, and Fincher Features". Film & Video. James Haygood at IMDb
- Michael Jablow - Old School
- Harry Keramidas - A.C.E., BAFTA nomination for Back to the Future. Harry Keramidas at IMDb
- William Kerr (film editor) - Superbad. McGavin, Patrick Z. (2006). "The movie deftly pirouettes around the three scenarios: Fogell mixed up with the cops’ misadventures, Evan and Seth trying to extricate themselves from an increasingly strange social gathering and the available women of the suddenly raging party. In shifting aggressively between moments of private embarrassment, dovetailing incidents and quick thinking, “Superbad” continually subverts expectations. The comedy takes on multiple fronts. It’s classic, developed through rhyming movements and physical cutting, playing off all manner of contrasts and feeling, the anarchy and preposterousness of the kids constantly upsetting the civil, organized world." http://www.emanuellevy.com/article.php?articleID=6494
- Lynzee Klingman, A.C.E.- Oscar nominee for One Flew Over the Cuckoo's Nest, de:Lynzee Klingman
- Thomas Stanford - won Oscar for West Side Story. Wrote article: "An Editor's Director—Nonpareil". Editors Guild Magazine.
Sloman obituaries of film editors
[edit]- Sloman, Tony (25 June 2003). "John Jympson: Film editor on smash-hit British movies". The Independent.
- Sloman, Tony (19 December 2002). "Peter Tanner: Film editor of timeless British classics who spent 60 years in the cutting rooms". The Independent.
- Sloman, Tony (12 December 1997). "Obituary: Alfred Roome". The Independent.
- Sloman, Tony (29 July 1992). "Obituary: Reginald Beck". The Independent.
- Kirby, David (October 28, 2008). "Cracking Wise". The New York Times.
In Ryan's early collection, Strangely Marked Metal (1985), there is a poem entitled "Lunch with Marianne Moore". Ryan has published a review of Moore's letters,[31] as well as of a recent collection of her poetry.[32]
Kay Ryan's teaching
[edit]Ryan has taught basic skills English at the College of Marin since 1971. "Ryan believes that for her students knowledge is power. 'Teaching basic skills is really like saving lives, says Ryan. 'There is nothing more important or more satisfying.'"[33]
NYS Natural Heritage Area: Eastern Lake Ontario Barrier Beach and Wetland Complex
[edit]Sandy Island Beach State Park
[edit]- locator map: Sandy Island Beach on Lake Ontario.
- photo of Sandy Pond?
Southwick Beach State Park
[edit]- Photos needed: walkover+beachgrass community. Should show: beachgrass, wormwood, cottonwood, and sand dune willow. Tricky to photograph.
- Perhaps something on birding.
- zebra mussel shells.
- http://www.ssc.uwo.ca/anthropology/cje/Publicationpdfs/Glacial%20Lake%20Levels.pdf
The marshes
[edit](from Minc)
Floristic variability among coastal wetlands can be characterized in terms of specific vegetative zones. Moving from deeper water to the shore, typical zonation includes (1) the Submergent Marsh containing submergent and/or floating vegetation; (2) Emergent Marsh characterized by shallow water or saturated soils, and typically dominated by bulrushes, cat-tails, and other emergent species, but also containing submergent and/or floating vegetation; and (3) a narrow but diverse Shoreline or Strand Zone, at or just above the water line where seasonal water-level fluctuations and waves cause erosion, usually dominated by annual herbs. Inland from the water's edge, additional zones can be identified: (4) the Herbaceous or Wet Meadow zone characterized by saturated or periodically flooded soils, and dominated by sedges, grasses, and other herbs; and (5) the Shrub Swamp and (6) Swamp Forest zones, both characterized by periodic standing water, and dominated by woody species adapted to a variety of flooding regimes. Not all zones are present or well-developed in every wetland.
The emergent zones of this type feature very high densities of the canopy-forming submergent species, coontail and Canadian pondweed, along with duckweeds (common and star). spatterdock and fragrant water lily are also common. All of these reflect the well-protected and nutrient-rich waters of the lagoons, although star duckweed may be associated with cold, spring-fed streams. High densities of this last species are distinctive to the Lake Ontario and St. Lawrence sites, as is the prevalence of flat-stemmed pondweed.
The herbaceous zone is a wet meadow in which narrowleaf cattail typically dominates, along with Canadian reedgrass and marsh fern. Cattail is particularly sensitive to flooding; its dominance in Lake Ontario corresponds historically to the recent period of lake-level regulation. In contrast, species adapted to the cyclical exposure of shoreline mud flats are poorly represented in these sites.
The shrubby zones divide into two distinct types. Buttonbush thicket features a mix of water willow and buttonbush, along with speckled alder; marsh fern and arrow arum dominate mucky openings within the thickets. In contrast, poor shrub fen was encountered in areas of low water flow behind barriers, typically distant from the active stream channel. Here, poor fen shrubs (leatherleaf, bog myrtle, cranberry, and bog rosemary) dominate, while Sphagna spp. and purple pitcherplant attain high cover values in the groundcover.
References
[edit]- ^ Shepherd-Barr, Kirsten (2006). Science on Stage: From Doctor Faustus to Copenhagen. Princeton University Press. p. 26. ISBN 9780691121505.
- ^ a b c Harvey, L. D. Danny (2006). A Handbook on Low-Energy Buildings and District-Energy Systems: Fundamentals, Techniques and Examples. Routledge. pp. 62–90. ISBN 9781844072439. Harvey's tabulated calculations give U-values about 10% less than reported by other sources, and are based on somewhat different paramters: Ti = 10 C, To = -20 C.
- ^ An R-value is defined in terms of the heat flow H between two surfaces with a temperature difference ΔT between them. If the area of the surfaces is A, the heat flow is defined as: H = ΔT·A/R. In metric units, the dimensions of the R-value are thus (square meters)×(degrees Celsius)/watts, which is usually written m2C/W. In conventional US units, R has units of (square feet)×(degrees Fahrenheit)×(hours)/(Britsh thermal units (BTU)); these are usually written as ft2·F·h/BTU. The metric values are smaller than the US conventional values by a factor of 5.68. See 2009 ASHRAE Handbook - Fundamentals (I-P ed.). American Society of Heating, Refrigerating and Air-Conditioning Engineers (ASHRAE). p. 38.1.
- ^ The R-value has been calculated from the tabulated thermal conductivities of a vacuum in Table 5-2 of Kauzmann's text: Kauzmann, Walter (2012). Kinetic Theory of Gases. Dover. p. 185. ISBN 9780486273433. OCLC 761852439. Originally published in 1966 by W. A. Benjamin. The vacuum value corresponds to R=0.159 (metric).
- ^ For two glass surfaces separated by vacuum, the raw vacuum value of 0.159 (metric) is increased by the factor ((2/e)-1)=, where e=0.85 is the emissivity of glass. This yields 0.22 (metric) as the R-value for a pair of glass surfaces separated by vacuum. See "Danny".
- ^ The emissivity of a silver film is about 0.02. The R-value of a simple vacuum gap is increased by the factor ((2/e)-1)=99, where e=0.02 is the emissivity of the silver film, which yields R=15.7 (metric). See "Danny".
- ^ This is a calculated, "center of glass" value for a 3 mm pane. Interior temperature of 20 C, exterior temperature of -10 C, exterior wind speed of 2 m/s. Different sources do give somewhat different values for the center-of-glass value, reflecting differing assumptions about these parameters.
- ^ a b DeBusk, Steve (February 16, 2010). "USA Supporting Data". Solutia, Inc.
- ^ unreferenced claim; back up with Fricke.
- ^ Carmody, John; Selkowitz, Stephen; Lee, Elanor S.; Arasteh, Dariush; Willmert, Todd (2004). Window Systems for High-Performance Buildings. W. W. Norton & Company. p. 24. ISBN 0-39373121-9. Not accessible online.
- ^ Gläser, Hans J. (December 19, 2006). "History of the development and industrial production of low-e coatings for high heat insulating glass units".
- ^ Hill, Russ (1999). Coated Glass Applications and Markets. Fairfield, CA: BOC Coating Technology. pp. 1–4. ISBN 0-914289-01-2.
- ^ Carmody, John; Selkowitz, Stephen; Heschong, Lisa (1996). Residential windows : a guide to new technologies and energy performance (1st. ed.). New York: Norton. ISBN 0-393-73004-2.
- ^ "Origins of the DeepDive". Deloitte Development LLC. Retrieved 2014-07-15.
- ^ "Guide to the Lloyd A. Fallers Papers 1937-1977". Retrieved 2012-02-11.
- ^ Titus, James G. (January 2009). "Chapter 8: Public Access" (PDF). In Titus, James G. (ed.). Coastal Sensitivity to Sea-level Rise: A Focus on the Mid-Atlantic Region. U. S. Environmental Protection Agency. pp. 117–122.
- ^ Kostelanetz, Richard; Brittain, H. R. (2001). "Stephen Antonakos". A Dictionary of the Avant Gardes: Second Edition. Psychology Press. pp. 21–22. ISBN 9780415937641.
Though neon has always been popoular in commercial signage, Antonakos appropriated it for modern art by using it abstractly, typically for curved lines apparently suspended in space.
Gives Antonakos birthdate. - ^ Cummings interview.
- ^ Bui review.
- ^ a b Vrachopoulos review.
- ^ a b Bui interview.
- ^ Popper, Frank (2009). "Neon". Grove Art Online. Oxford University Press. In a brief history of neon lighting in art, Popper notes Gyula Košice's late 1940s work in Argentina as a very early example. Popper notes several prominent artists who employed neon in the 1960s, including Stephen Antonakos, Joseph Kosuth and Bruce Nauman, Martial Raysse, Chryssa, Piotr Kowalski, and François Morellet.
- ^ "Art of Glass: Artists Bios". Chrysler Museum of Art. 1999. Retrieved 2010-12-18.. The quotation is attributed to Stephen Antonakos Blue Line Room. Samuel P. Harn Museum of Art. 1997..
- ^ Marzona monograph.
- ^ Heid monograph.
- ^ Babcock anthology.
- ^ "Stephen Antonakos: List of Public Works". Retrieved 2010-12-18.
- ^ Kimmelman review.
- ^ Antonakos, Stephen (2010). ""The Room" 1973". Retrieved 2010-12-19.
- ^ Glueck review.
- ^ Ryan, Kay (Summer 1998). "Review: The Selected Letters of Marianne Moore edited by Bonnie Costello". Boston Review.
{{cite journal}}
: CS1 maint: date and year (link) - ^ Ryan, Kay. "Review: The Poems of Marianne Moore edited by Grace Shulman". Yale Review.
- ^ Catalog of Credit Classes (PDF). College of Marin. Spring 2007. p. 20.
{{cite book}}
: CS1 maint: date and year (link)
- http://www.ablemuse.com/book-reviews/l-krisak_murphy-review.htm Krisak's review of Set the Ploughshare
- http://www.ablemuse.com/book-reviews/c-muse_murphy-review.htm Muse's review of Ploughshare. Note that she dislikes "sorrows"
- http://www.star.ac.uk/darkhorse/archive/CambridgeMurphyInterview.pdf Interview with Murphy
- http://poetry.seablogger.com/?page_id=6 Review of Deed of Gift by Alan Sullivan.
- http://www.shitcreekreview.com/issue3/II/TimothyMurphyAFineLine.htm copy of above.
Poems accessible through webpages
[edit]- http://www.poemtree.com/Murphy.htm Links to about 20 poems
- http://www.versedaily.org/thedrownedimmortal.shtml "The Drowned Immortal" (Li Po)
- http://theformalist.evansville.edu/NemerovWinners/1996.htm "The Track of the Storm"
- http://www.wcupa.edu/_ACADEMICS/sch_cas/poetry/the_deed_of_gift.asp Links to 5 poems from Deed of Gift
- http://www.the-chimaera.com/January2008/Feature/Murphy.html Several poems posted.
Miscellaneous prose
[edit]- http://www.umbrellajournal.com/winter2006/prose/MortalStakes.html A Poet Reflects on the Drinking Life.