Habitat: arctic tundra, northern foothills of the Brooks Range, vicinity of mile 117, along Dalton hwy; tundra
Locality: North Slope Borough, Toolik Lake, Kuparuk River, Oxy. Creek area of Dalton Hwy
Habitat: Arctic tundra; Rock Type = calcareous.
Locality: North Slope Borough, Toolik Lake-Kaparuk River vicinity, northern foothills of Brooks Range, mile 117.1 along Dalton Highway.
Along the Wall: Photographs at the Berlin Wall, 1989 is a documentary photographic narrative created by Richard Schade. The photographs were exhibited first in Gallery K in the Max Kade German Cultural Center from November 3 - 26, 2014, and then in the Clifton Cultural Arts Center from January 17 - February 28, 2015. This is the entry wall text that accompanied both exhibitions.
This research is an ethnographic study of literacy as a socially constructed process, literacy viewed as a part of the acquisition and transmission of culture. The focal population was a group of low SES high school students, most of whom were African American, and their children (ages 7 weeks to 4 years), several of whom were enrolled in a day care center housed within the large, urban high school their parents attended in a midwestern U.S. city. The research was an attempt to understand the kinds of literacy, specifically the types and amounts of reading and writing, that were a part of the home and school lives of the student/parents, and their parents, and a part of the home and day care lives of their children.
I was commissioned by Concert Nova to produce this viual accompaniment to the score by George Crumb. Images were shot at the Monterey Aquarium.
Music: George Crumb, "Vox Baleanae," 1971
Submitted to the Faculty of the Information Engineering Technology Program in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science in Information Engineering Technology
Submitted to the Faculty of the School of Information Technology Program in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science in Information Technology.
Submitted to the Faculty of the Information Engineering Technology Program in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science in Information Engineering Technology
Paraprofessional education candidates (associate degree level) and pre-service teachers participated in Visible Thinking (Ritchart, Church & Morrison, 2011) activities during undergraduate coursework to understand, inform, and then reflect on current topics in education while forming professional identities. The Visible Thinking process and reflections will be shared relating to professional development and inquiry.
A viscometer for liquids of low viscosity was built to be used at temperatures up to ca. 1000°C with the liquid maintained under a vacuum or inert gas atmosphere. The viscometer follows the method first suggested by Helmholz (8) and later successfully developed by Chiong and Andrade (4). In this method, the liquid is enclosed in a sphere; and the sphere is set in rotatory oscillation about a vertical axis. From measurements of the damping of the oscillations and the period and moment of inertia of the rotating pendulum, absolute values of the viscosity are calculated using the equations derived by Chiong and Andrade (4).
Demo version of my first attempt at a multi-channel video installation. The work was highly influenced by Nam June Paik’s retrospective at the Whitney and by Steina Vasulka’s “The West”. This piece was produced while I was living and working at the Vasulka’s House/Studio in Santa Fe. I had persuaded them to let me house sit while they spent six months in Japan. Access to their equipment, particularly to 4 adjacent monitors and four ¾” video decks, was what made it possible to compose a multi image work. “Virtual Space” was originally an eight channel work, mounted as two 2X2 stacks of monitors facing each other across a narrow space. Standing in the middle, the viewer had to look back and forth between the two sides. One side (L) is an assembly of footage gathered at the Lightning Field (a land art project in southern New Mexico by artist Walter Di Maria.) The other side (V) features four views of the interior of the Vasulka’s live/work interior as a handheld camera slowly and continuously pans across interior surfaces in the space.
My first attempt at a multi-channel video installation. The work was highly influenced by Nam June Paik’s retrospective at the Whitney and by Steina Vasulka’s “The West”. This piece was produced while I was living and working at the Vasulka’s House/Studio in Santa Fe. I had persuaded them to let me house sit while they spent six months in Japan. Access to their equipment, particularly to 4 adjacent monitors and four ¾” video decks, was what made it possible to compose a multi image work. “Virtual Space” was originally an eight channel work, mounted as two 2X2 stacks of monitors facing each other across a narrow space. Standing in the middle, the viewer had to look back and forth between the two sides. One side (L) is an assembly of footage gathered at the Lightning Field (a land art project in southern New Mexico by artist Walter Di Maria.) The other side (V) features four views of the interior of the Vasulka’s live/work interior as a handheld camera slowly and continuously pans across interior surfaces in the space. Subsequently, each of the 2x2 grids of images composing the two sides (L&V) was transferred to a single tape. These are represented here as LX4 and Vx4.
This paper presents a prime aspect of Augmented and Virtual Reality development in the field of healthcare. We explored several recent works and articles and a comparison between generic application development and immersive technology-based application is included. The paper talks about more practical approaches that can be taken to enhance the effectiveness of the application.
The resources (infrastructure) to complete this study are provided by the University of Cincinnati’s Center for Simulation and Virtual Environment Research (UCSIM). And several experiments and projects in the field of health care are used as a reference to make conclusions.
Submitted to the Faculty of the School of Information Technology Program in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science in Information Technology.
Submitted to the Faculty of the Information Engineering Technology Program in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science in Information Engineering Technology
Submitted to the Faculty of the Information Engineering Technology Program in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science in Information Engineering Technology
Submitted to the Faculty of the Information Engineering Technology Program in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science in Information Engineering Technology
This 7 minute demo reel contains excerpts from several 2006-11 shows including:
- Discerning Crane, Herron School for the Arts, Indianapolis, 2010
- NWEMO All Stars, NOTACON, Cleveland, 2010
- Adam Tendler, performing Sonatas and Interludes by John Cage, New Genres Festival, Tulsa, 2009
- Meg Schedel, Odd Nosdam and Why?, SF Cinematheque, San Francisco, 2006
I was commissioned by Andy Marko of Semantics Gallery in Cincinnati to create a live show as the concluding event for his annual Autumedia Festival. The space at Semantics was filled with other work in the show, so he approached Third Party, another artist run space down the street, to host the performance. I sent a general call out to friends at CCM looking for improvising musicians with the idea of forming a fairly large ensemble. I had a a number of responses and the musical group was ultimately made up of Regan Brown (Bass Clarinet), Dave McDonnell (Sax and Electronics), Carrie Magin (Percussion), Steve Weimer (Keyboard), and Zach Larabee (Drums). I also invited Loraine Wible, former student and previous collaborator, with Discerning Crane, to contribute a second stream of images. When we got to the space I decided to throw Loraine's images obliquely across the long wall with mine in the center.
Performance organized in conjunction with Passages, my one-person show at the Weston Art Gallery in Cincinnati.
Suzanna Barnes (violin)
Regan Brown (winds & autoharp)
Zach Larabee (percussion)
David McDonnell (electronics & horns)
Loraine Wible (images)
Charles Woodman (images)
Live cinema audio/visual improvisation. Brief excerpts from four 2015 performances - San Francisco Cinematheque 4/15, Headlands Center for the Arts 5/15, Spazio Contemporanea, Brescia, Italy 6/15, Micro Mini Cinema, Cincinnati 8/15
Live cinema audio/visual improvisation. Brief excerpts from three recent performances - Albright-Knox Art Gallery , Lateral Thinking at 21C Museum/Hotel, Villa Douce, Riems, France
Excerpts from live audio visual improvisation on May 5, 2017 at the Mockabee in Cincinnati, OH.
David McDonnell - reeds and electronics
Ofir Klemperer - electronics
Zach Larabee - percussion
Charles Woodman, Loraine Wible, Sayak Shome - images
Edited excerpts of the performance documentation from 2/25/2012. Curator and long time viDEO sAVant supporter Steve Liggeitt, of Living Arts of Tulsa, paired the sAVant crew with a group of choreographer/dancers for this improvisational extravaganza.
Video by viDEO sAVant. Music by The Ubudis Quartet. The Ubudis Quartet combines Mexican guitarist Omar Tamez with Buffalo-based musicians Steve Baczkowski (saxophones, clarinets, and ethnic woodwinds), Jonathan Golove (electric cello), and John Bacon (percussion). Performed at the Albright-Knox Art Gallery in Buffalo, New York, this video presents a five minute edited sample of the Live Cinema performance.