User:Easchiff/Sandbox

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tools[edit]

Sandbox region[edit]

Koenig's Sphere[edit]

The Land[edit]

The Land
Directed byRobert Flaherty
Screenplay byRussell Lord
Narrated byRobert Flaherty
CinematographyRobert Flaherty with Irving Lerner, Douglas Baker, Floyd Crosby, and Charles Herbert
Edited byHelen van Dongen
Music byRichard Arnell
Running time
42 minutes
CountryUSA
LanguageEnglish
  • 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]

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]

Cécile Decugis[edit]

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]

Viaggio in Italia[edit]

  • 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) [dk].

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. {{cite AV media}}: |format= requires |url= (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. {{cite news}}: Unknown parameter |subscription= ignored (|url-access= suggested) (help)

2071[edit]

The Thin Red Line[edit]

Lists of science and climate change plays[edit]

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.

Galileo (1974 film)[edit]

  1. Discuss scenes cut from film that were in American version. How many scenes were there? How many remain?
  2. There are Losey quotes on his intentions with Galileo.
  3. Extract mise-en-scene examples from Gardner's book.
  4. Images - Losey. Topol. mise-en-scene . Ely Landau?

Mark di Suvero[edit]

Low emissivity[edit]

A glass vacuum flask used to hold very hot or very cold fluids such as liquid nitrogen. There is a vacuum between the inside and outside glass walls of the flask; the low emissivity silvering of these walls is crucial to the flask's performance.

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.

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.

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]

Justine Wright[edit]

Argosy[edit]

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]

Third Culture[edit]

Dave Smith[edit]

Nathan the Wise[edit]

Goethe & Schiller[edit]

About the German-American community[edit]

  • "New Acquisitions". Max Kade Institute for German American Studies. Summer–Fall 2002. {{cite web}}: External link in |publisher= (help)
  • 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]

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:

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]

Public beach access (U. S. law)[edit]

Map titled "The Public Owns:". Each state is colored according to a category describing its laws. Four categories are indicated: 1-"Below mean low water", 2-"Wet beach below high water", 3-"Wet and dry beach", and 4-"Wet beach; access along dry beach". Category 1 states are Maine, Massachusetts, Pennsylvania, Delaware, and Virginia. Category 2 states are New Hampshire, Rhode Island, Connecticut, New York, Maryland, North Carolina, South Carolina, Georgia, Alabama, Mississippi, Florida, California, and Alaska. Category 3 states are Louisiana, Oregon, Washington, and Hawaii. Category 4 states are New Jersey and Texas.
Map of the United States summarizing the law governing public ownership of shorelands for each state.[16]

Stephen Antonakos[edit]

The Messeturm in Frankfurt, Germany. The lighting at the top was designed by Antonakos. The architect was Helmut Jahn; the building was completed in 1990.

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]

Museum collections[edit]

Included in the Sandler monograph?

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]

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]

Interviews with filmmakers[edit]

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]

Memoirs by film editors[edit]

DVD commentary tracks by editors[edit]

Websites[edit]

Film editor articles[edit]

Robert Leighton[edit]

Dede Allen as a mentor[edit]

The following co-editors got early editing credits for work with Allen.

Allen's bio for the Guild Fellowship and Service Award

Joe Hutshing co-editors[edit]

Thelma Schoonmaker[edit]

Claire Simpson as mentor[edit]

Neil Travis as mentor[edit]

Notability and some notable editors without articles[edit]

See also: WP:CREATIVE

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.

Sloman obituaries of film editors[edit]

Kay Ryan[edit]

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]

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]

  1. ^ Shepherd-Barr, Kirsten (2006). Science on Stage: From Doctor Faustus to Copenhagen. Princeton University Press. p. 26. ISBN 9780691121505.
  2. ^ 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.
  3. ^ 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.
  4. ^ 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).
  5. ^ 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".
  6. ^ 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".
  7. ^ 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.
  8. ^ a b DeBusk, Steve (February 16, 2010). "USA Supporting Data". Solutia, Inc.
  9. ^ unreferenced claim; back up with Fricke.
  10. ^ 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.
  11. ^ Gläser, Hans J. (December 19, 2006). "History of the development and industrial production of low-e coatings for high heat insulating glass units".
  12. ^ Hill, Russ (1999). Coated Glass Applications and Markets. Fairfield, CA: BOC Coating Technology. pp. 1–4. ISBN 0-914289-01-2.
  13. ^ 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.
  14. ^ "Origins of the DeepDive". Deloitte Development LLC. Retrieved 2014-07-15.
  15. ^ "Guide to the Lloyd A. Fallers Papers 1937-1977". Retrieved 2012-02-11.
  16. ^ 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.
  17. ^ 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.
  18. ^ Cummings interview.
  19. ^ Bui review.
  20. ^ a b Vrachopoulos review.
  21. ^ a b Bui interview.
  22. ^ 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.
  23. ^ "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..
  24. ^ Marzona monograph.
  25. ^ Heid monograph.
  26. ^ Babcock anthology.
  27. ^ "Stephen Antonakos: List of Public Works". Retrieved 2010-12-18.
  28. ^ Kimmelman review.
  29. ^ Antonakos, Stephen (2010). ""The Room" 1973". Retrieved 2010-12-19.
  30. ^ Glueck review.
  31. ^ 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)
  32. ^ Ryan, Kay. "Review: The Poems of Marianne Moore edited by Grace Shulman". Yale Review.
  33. ^ Catalog of Credit Classes (PDF). College of Marin. Spring 2007. p. 20.{{cite book}}: CS1 maint: date and year (link)

Timothy Murphy (poet)[edit]

Poems accessible through webpages[edit]

Miscellaneous prose[edit]

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