Thinking Through The Photographic Encounter: Engaging With The Camera As Nomadic Weapon,
2014
School of Art, Stephen F. Austin State University
Thinking Through The Photographic Encounter: Engaging With The Camera As Nomadic Weapon, Cala Coats
Faculty Publications
This paper considers the photographic act as an affective and affirmative encounter--a reflexive, embodied, and relational community engagement that may produce a rupture in our habitual modes of thinking. The author uses the Deleuzo-Guattarian concept of the nomadic weapon to consider how the camera may become an affective trigger for self-reflexivity, catalyzing the potential of nomadic thinking in a participatory frame. By transposing uses of photography as visual research method across cultural geography, visual anthropology, sociology, and arts-based educational research, the author discusses shifts in the function of photography from a practice emphasizing image production to an embodied and performative …
A Field Guide To Snow And Ice,
2014
Rhode Island School of Design
A Field Guide To Snow And Ice, Paula Mccartney, Special Collections, Fleet Library
Photography
[48] pages : chiefly illustrations . Includes 48 black and white and full color plates printed with UV inks on uncoated paper. Leporello binding with multiple panel widths and stiff front and back covers. Spine closure printed on synthetic paper. With the spine detached from the front cover, the book becomes an installation piece approximately 34 feet in length. 34 ft = 1036.3 cm. With an essay by Mark Alice Durant. Designed by Paula McCartney. Printed by The Avery Group at Shapco Printing, Minneapolis, MN.
The End(S) Of Art: Faith-Learning Integration Statement,
2014
Bethel University
The End(S) Of Art: Faith-Learning Integration Statement, Lex Thompson
Faith Learning Integration Papers
This essay demands something that is a little bit theology and a little bit art, and can only address a little bit of each. The material that follows does not presume to speak universally or systematically for either. Not only would such a thing be folly, but it would also be impossible. Systematic theology and systematic aesthetics are always a mess. Multiple volumes are written trying to sort out impossible situations gotten into by trying to systematize God, humanity, the world, the imagination, images and the complex of relationships that exist between them. We need to hold onto some of …
Southwinds - Spring 2014,
2014
Missouri University of Science and Technology
Southwinds - Spring 2014
Southwinds: The Literary and Arts Magazine of Missouri S&T
THE LITERARY AND ARTS MAGAZINE OF MISSOURI UNIVERSITY OF SCIENCE AND TECHNOLOGY SPRING 2014 Southwinds is sponsored by the Department of English & Technical Communication
Ua60/5 Wku Dental Hygiene Class Of 2014,
2014
Western Kentucky University
Ua60/5 Wku Dental Hygiene Class Of 2014, Wku Dental Hygiene
WKU Administration Documents
Members of the 2014 dental hygiene class: Whitney Frey, SADHA representative, Amy Broadrick, historian; Julie Howard, secretary; Holly Bond, president; Maggie Day vice president; Kristin Mudd, treasurer; Brooke McNeal, historian; Samantha Miller, SADHA representative; Holly Doss, class representative; Caitlin Stephens class representative; Carrie Arnold, Tiffani Bennett, Morgan Browning, Angelia Calvo, Whiteny Elmore, Adela Granulo, Tina Keown, Sarah McDermott, Allison Miller, Jenna Partin, Paige Phillips, Lindsey Saling, Carolyn Smith, Tracy Smith, Jennifer St. John and Bridget Whitsitt.
Ua1c11/57 Sigma Theta Tau Photos,
2014
Western Kentucky University
Ua1c11/57 Sigma Theta Tau Photos, Wku Nursing
WKU Administration Documents
Unidentified Sigma Theta Tau photos.
Constellating Technology: Heidegger’S Die Gefahr/The Danger,
2014
Fordham University
Constellating Technology: Heidegger’S Die Gefahr/The Danger, Babette Babich
Research Resources
Heidegger’s question concerning technology was originally posed in lectures to the Club of Bremen. This essay considers the totalizing role of technology in Heidegger’s day and our own, including a discussion of radio and calling for a greater integration of Heidegger’s thinking and critical theory. Today’s media context and the increasing ecological pressures of our time may provide a way to think, once again, the related notions of event [ Ereignis] and ownedness [ Eigentlichkeit ].
Ua1c11/30 Ivan Wilson Photo Collection,
2014
Western Kentucky University
Ua1c11/30 Ivan Wilson Photo Collection, Wku Archives
WKU Archives Collection Inventories
Photographs removed from MSS 356 Ivan Wilson Papers.
Ua1c11/41 June Garrott Photo Collection,
2014
Western Kentucky University
Ua1c11/41 June Garrott Photo Collection, Wku Archives
WKU Archives Collection Inventories
Photographs of June Rose Garrott.
Ua1c11/39 Steely Veach Photo Collection,
2014
Western Kentucky University
Ua1c11/39 Steely Veach Photo Collection, Wku Archives
WKU Archives Collection Inventories
Photographs created by and of Steely Veach.
Ua1c11/67 Randall Capps Photo Collection,
2014
Western Kentucky University
Ua1c11/67 Randall Capps Photo Collection, Wku Archives
WKU Archives Collection Inventories
Photographs and negatives of WKU Forensics Teams and unidentified theater productions.
Ua1c11/34 Julian Harper Photo Collection,
2014
Western Kentucky University
Ua1c11/34 Julian Harper Photo Collection, Wku Archives
WKU Archives Collection Inventories
Photographs donated by Julian Harper.
Entre Entree,
2014
Rhode Island School of Design
Entre Entree, Stephen Keppel, Hans Gremmen, Special Collections, Fleet Library
Photography
[200] pages : all illustrations. "Edition: 500 copies. Includes a print (30 x 21 cm) signed by the Keppel, housed in a black paper folder. Includes a 7"" vinyl record in paper sleeve. Record has title: ""Auto Danse"" (4:03), b-side has title: Périphérique (4:36). ""'Auto Danse' is a project by Neeltje ten Westenend and Stephan Keppel, Paris, 2014. Composition and performance by Harry de Wit.""--record label. For the creation of 'Entre Entree', Stephan Keppel spent one year in Paris and it's suburbs. By reproducing the endless variations of the city's surfaces - with his set of printers, camera's and partly …
Ua1c11/40 Thomas Tichenor Photo Collection,
2014
Western Kentucky University
Ua1c11/40 Thomas Tichenor Photo Collection, Wku Archives
WKU Archives Collection Inventories
Photographs and negatives created by and of Thomas Cherry Tichenor.
Ua1c11/36 Robert Johnston Photo Collection,
2014
Western Kentucky University
Ua1c11/36 Robert Johnston Photo Collection, Wku Archives
WKU Archives Collection Inventories
Photographs donated by Robert Johnston.
Parnassus 2014,
2014
Taylor University
Parnassus 2014
Parnassus
The 2014 edition of the student literary journal, Parnassus, published by Taylor University in Upland, Indiana.
Lorna Simpson, By Joan Simon Et Al., Prestel: Munich, 2013 (Book Review),
2014
Old Dominion University
Lorna Simpson, By Joan Simon Et Al., Prestel: Munich, 2013 (Book Review), Vittorio Colaizzi
Art Faculty Publications
[First paragraph] The images and essays in this catalogue, which documents Lorna Simpson's (b. 1960) first museum exhibition in Europe,1 trace an increasing emphasis on the enigmatically personal at the expense of the linguistic, although her work remains concerned with the discursive behavior of images as they reveal assumptions about race and gender. Simpson, as the author and contributors show, activates looking by short-circuiting the possessive aspects of the gaze.
Ua1c11/23 Wku Libraries Photo Collection,
2014
Western Kentucky University
Ua1c11/23 Wku Libraries Photo Collection, Wku Archives
WKU Archives Collection Inventories
WKU University Libraries photograph albums.
Ua1c11/15 W.H. Lowe Photo Collection,
2014
Western Kentucky University
Ua1c11/15 W.H. Lowe Photo Collection, Wku Archives
WKU Archives Collection Inventories
Collection of slides photographs and negatives taken by W.H. Lowe of WKU campus, family and friends.
Ua1c11/35 Gertrude Bale Photo Collection,
2014
Western Kentucky University
Ua1c11/35 Gertrude Bale Photo Collection, Wku Archives
WKU Archives Collection Inventories
Photographs donated by Gertrude Bale estate.
