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    Samson House: Specifications for the General Construction Phase 1

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    Specifications for the General Construction Phase I Restoration and Reuse for Mr. and Mrs. Hugh Samson, Rockbridge Farm, Little Compton, Rhode Island. Prepared by Joseph L. Nichols, Registered Architect, Newport, Rhode Island, December 27, 1977

    Samson House: Baker\u27s Report on the Tiverton House

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    Anne Baker\u27s architectural report and typed notes on the Tiverton House dismantled and re-erected by Hugh Samson. The notes from this report were recorded before the house was moved. All reference points and compass directions are from the original location and structure

    Samson House: Baker\u27s notes on the Re-Erection of the Barker and Brownell Houses

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    Baker\u27s narrative about the challenges encountered in re-assembling two very different historic houses from the 17th century. She includes what was restored and restored and tell where other architectural features came from

    Samson House: East Bay Window Article: Recycling Houses Opens History, December 7-8, 1977

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    Article titled Recycling Houses Opens History that appeared in The East Bay Window on December 7-8, 1977. Talks about the architectural significance of the Tiverton house that was uncovered during dismantling for re-erection in Little Compton

    Closing Session

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    The Dragon Horse in Journey to the West

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    Viewed as a vehicle for transportation and for glory, the horse carries the human story on its back, designed to be ridden, stalled (stored?), and forgotten, until the next ride or flight of fancy. The horse is taken as a symbol rather than as is—a corporeal, sentient being. In M. Oldfield Howey’s revealing title, the Western literary tradition sees the horse in the context of “magic and myth,” rarely as a subject of study unto itself. The twain of East and West does meet on this universal, anthropocentric elision of horses. In Wu Cheng’en sixteenth-century Chinese classic Journey to the West, three half-divine, half-beast disciples named Monkey, Pigsy, and Sandy escort their master Tripitaka in the quest westward with the goal of acquiring India’s Buddhist sutras for the Tang dynasty. The company of four would not have made it without the fifth and largely ignored member, the white Dragon Horse which carries the mortal monk on this long journey and back through eight-one preordained calamities. Although deemed a beast of burden and an extra, the Dragon Horse plays an essential role in the pilgrimage not only in ferrying the physically and temperamentally frail monk but also in his affinity to the protagonist, the powerful Monkey King. The Dragon Horse is closely tied to both the master and Monkey, the reason and the means of the pilgrimage. Bimawen (弼馬溫 Protector of Horses), Monkey’s euphemistic title granted by the Jade Emperor as a gesture of appeasement, puns with the identity of “One who Wards off Equine Epidemic” (避馬瘟) based on the folk belief that monkeys fend off equine diseases; nonetheless, the title implies that Monkey is the epidemic. The kinship between Monkey and the Dragon Horse is hereby established: both colossuses—“The Great Sage, Equal of Heaven” and the flying Dragon Prince—sunken to the bottom in shame. A minor character by comparison, the Dragon Horse does take center stage in three occasions: Chapter fifteen, thirty, and one hundred. As minimal as the Dragon Horse’s role is, he surfaces in myriad ways in recent spate of film adaptations, especially in Hong Kong director Pou-soi Cheang’s trilogy

    Learning by Playing: A Case Study of the Education in Photography by Digital Games

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    Aim. The study aims to explore the current state of digital game-based learning to reflect the extent, possibilities, opportunities, and limitations of its implementation in the specific field of education as visual art, especially photography. Method. The explorative study employed the method of theoretical analysis of available literature and other secondary sources related to the issue, and subsequently applied the method of an illustrative (descriptive) case study. Results. Photo modes of commercially available digital games, originally intended to increase the players’ retention and participation, have led to the birth of a new art form, virtual photography. The technology of photo modes in a larger variety of recent games has made virtual photography available to significantly more players. Photo modes provide artistic control and creative options alongside a whole catalogue of lenses, camera parameters, and other features, reducing the financial burden associated with the purchase of photographic equipment. Furthermore, photo modes offer more than just a substitutable alternative to traditional photography, as added artistic value is found within virtual worlds. Conclusions. Despite some limitations regarding the overall implementation of digital game-based learning in photography classrooms, photo modes of commercially available digital games are a suitable tool for educational efforts in photography through both self-development and measurement of outcome-based learning

    Equines and Colonialism in the Ohio River Valley

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    Kentucky’s days as a borderland of Anglo-American settlement through its trying times as a border state during the American Civil War make the region a place unique from the rest of the United States. As the self-proclaimed Horse Capital of the World, it is fitting that the horse illustrates life in the First American West. My ongoing doctoral dissertation—the larger research project from which this paper stems—grapples with the extra-functional roles of the horse and examines the animal’s influence in Kentucky’s recurrent liminal position. More specifically, the dissertation argues that the horse influenced power dynamics with regards to race, class, and masculinity: factors that shaped Bluegrass identity. European activity in the Ohio River Valley began in the late seventeenth century, and one of the first expeditions—that of Gabriel Arthur and James Needham in 1673—depended on the labor of enslaved Native Americans and horses. This paper situates Kentucky in a larger agricultural and equine economy that unfurled across Native land. Early European settlers observed the fertileness and abundance of Kentucky’s ecology and soon imported crops and livestock from the eastern colonies. Not surprisingly, this influx of Europeans and their ideas caused tension. The Bluegrass region, in particular, hosted the bloodiest conflicts between the English and the Native populations as settlers sought to establish new lives west of the Appalachians


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