The Artist’s Garden: Reshaping the Landscape

This practice-led research in painting investigates the artist's garden tradition and explores formal aspects and distinctive features of garden culture which I have observed in Australia and in England. My relationship to my own garden and my reflections on the processes of gardening are central to this project. I discuss the philosophical and conceptual underpinnings of my relationship with gardening and describe the processes of making garden landscape paintings of a variety of garden types, ranging from large formal English estate gardens visited on fieldwork, to much smaller private gardens in places such as Newcastle, Moree and the Blue Mountains. Parallels are drawn between the art of gardening and the art of painting.The resulting body of work includes numerous en plein air paintings as well as large-scale studio paintings, and I discuss the practical and aesthetic issues involved in working between these two modes. Two key artist gardeners feature for discussion and analysis: John Glover and Stanley Spencer. My reflections on garden design traditions and gardening as a practice have been informed by several valuable texts, two of the most significant are Robert Pogue Harrison's Gardens: An Essay on the Human Condition which gives a broad-ranging philosophical account of our human connection to gardens; and the collection of writings compiled in The Genius of Place: The English Landscape Garden, edited by John Dixon Hunt and Peter Willis, which gave me a better understanding of the development of the English garden landscape

Visual impairment: its impact upon and implications for aesthetic experience

With this research programme, I will be looking at how visually impaired people interpret the sensory inputs that artwork evokes together with the spatial environment that visually impaired people engage with. The study intertwines concepts of aesthetics that have specific relevance for visually impaired people, together with the processes and concepts associated with vision. The study refers to some common beliefs regarding blindness and provides some evidence of links between art and blindness. The study reflects upon how human cognitive processes are different for blind people, the use of verbal description used by visually impaired people and comments upon the logical reasoning processes developed by people with sight loss. Finally the study teases out methods of media manipulation, the interplay of different sensory stimulus and the control that visually impaired people endeavour to exert over an unseen environment. The nature of this research will be developed into a programme which explores and revisits the central themes of study using a system of concentric evolution. (See methodology section.) As a result, this 'intertwining study' will examine the values of each strand of research and will provide data regarding the aesthetic understanding and creative processes used by people with visual impairment, together with an appreciation of the methods blind people engage with to understand and use spatial properties

THE ANALYSIS OF THE RELATIONSHIP BETWEEN ART AND FASHION ONTHE EXAMPLE OF CHRISTIAN DIOR

Ovaj završni rad podijeljen je u tri tematske cjeline. U prvoj se raspravlja o odnosu mode i umjetnosti, drugu čine život i djelo Christiana Diora, a u trećoj se cjelini analizira odnos umjetnosti i mode na primjeru Christiana Diora, s naglaskom na analizu nekoliko njegovih odjevnih predmeta. Odjevnim se predmetima pristupa s dva različita gledišta-odjevni predmet kao umjetničko dijelo i odjevni predmet kao produkt dizajna. Završni rad, osim analize radova, obuhvaća i kraću biografiju Christiana Diora kao modnog tvorca i ikonu koja je inspiracija dizajnerima danas. Kroz cijeli rad naglasak je stavljen na apstraktno mišljenje, naročito pri analizi Diorovih odjevnih predmeta. Korišteni su i paralelni primjeri iz svijeta mode i svijeta umjetnosti. Na temelju podrobne analize dolazi se do zaključka da se odjevni predmeti sagledavaju u cjelini jer svi predstavljaju gotovo savršenstvo spoja umjetnosti i dizajna.This work is divided in to three thematic units. The first part describes the relationship between art and fashion, the second the life and work of Christian Dior and in the third part, the text analyses the connection between art and fashion on the example of Christian Dior, with the emphasis on the analysis of several Dior's pieces. In the analysis, the garments are viewed from two different view points - as works of art and as productsof design. This text, besides the analysis of his work, includes Christian Dior's short biography, for he is a fashion designer and an icon that inspires designers even today. Through out the work, emphasis was placed on abstract thinking, especially in the analysis of Dior's clothing. Parallel examples from the world of fashion and the world of art are also used. Based on the analysis conducted in this text, it is safe to conclude that fashion items have to be viewed as a perfect combination of both art and fashion

THE ANALYSIS OF THE RELATIONSHIP BETWEEN ART AND FASHION ONTHE EXAMPLE OF CHRISTIAN DIOR

Ovaj završni rad podijeljen je u tri tematske cjeline. U prvoj se raspravlja o odnosu mode i umjetnosti, drugu čine život i djelo Christiana Diora, a u trećoj se cjelini analizira odnos umjetnosti i mode na primjeru Christiana Diora, s naglaskom na analizu nekoliko njegovih odjevnih predmeta. Odjevnim se predmetima pristupa s dva različita gledišta-odjevni predmet kao umjetničko dijelo i odjevni predmet kao produkt dizajna. Završni rad, osim analize radova, obuhvaća i kraću biografiju Christiana Diora kao modnog tvorca i ikonu koja je inspiracija dizajnerima danas. Kroz cijeli rad naglasak je stavljen na apstraktno mišljenje, naročito pri analizi Diorovih odjevnih predmeta. Korišteni su i paralelni primjeri iz svijeta mode i svijeta umjetnosti. Na temelju podrobne analize dolazi se do zaključka da se odjevni predmeti sagledavaju u cjelini jer svi predstavljaju gotovo savršenstvo spoja umjetnosti i dizajna.This work is divided in to three thematic units. The first part describes the relationship between art and fashion, the second the life and work of Christian Dior and in the third part, the text analyses the connection between art and fashion on the example of Christian Dior, with the emphasis on the analysis of several Dior's pieces. In the analysis, the garments are viewed from two different view points - as works of art and as productsof design. This text, besides the analysis of his work, includes Christian Dior's short biography, for he is a fashion designer and an icon that inspires designers even today. Through out the work, emphasis was placed on abstract thinking, especially in the analysis of Dior's clothing. Parallel examples from the world of fashion and the world of art are also used. Based on the analysis conducted in this text, it is safe to conclude that fashion items have to be viewed as a perfect combination of both art and fashion

THE ANALYSIS OF THE RELATIONSHIP BETWEEN ART AND FASHION ONTHE EXAMPLE OF CHRISTIAN DIOR

Ovaj završni rad podijeljen je u tri tematske cjeline. U prvoj se raspravlja o odnosu mode i umjetnosti, drugu čine život i djelo Christiana Diora, a u trećoj se cjelini analizira odnos umjetnosti i mode na primjeru Christiana Diora, s naglaskom na analizu nekoliko njegovih odjevnih predmeta. Odjevnim se predmetima pristupa s dva različita gledišta-odjevni predmet kao umjetničko dijelo i odjevni predmet kao produkt dizajna. Završni rad, osim analize radova, obuhvaća i kraću biografiju Christiana Diora kao modnog tvorca i ikonu koja je inspiracija dizajnerima danas. Kroz cijeli rad naglasak je stavljen na apstraktno mišljenje, naročito pri analizi Diorovih odjevnih predmeta. Korišteni su i paralelni primjeri iz svijeta mode i svijeta umjetnosti. Na temelju podrobne analize dolazi se do zaključka da se odjevni predmeti sagledavaju u cjelini jer svi predstavljaju gotovo savršenstvo spoja umjetnosti i dizajna.This work is divided in to three thematic units. The first part describes the relationship between art and fashion, the second the life and work of Christian Dior and in the third part, the text analyses the connection between art and fashion on the example of Christian Dior, with the emphasis on the analysis of several Dior's pieces. In the analysis, the garments are viewed from two different view points - as works of art and as productsof design. This text, besides the analysis of his work, includes Christian Dior's short biography, for he is a fashion designer and an icon that inspires designers even today. Through out the work, emphasis was placed on abstract thinking, especially in the analysis of Dior's clothing. Parallel examples from the world of fashion and the world of art are also used. Based on the analysis conducted in this text, it is safe to conclude that fashion items have to be viewed as a perfect combination of both art and fashion

The Promethean, Volume 20, \u3cem\u3eBring on the Buzzards\u3c/em\u3e, 2012

Every year, the staff of The Promethean has the same goals. We want to create a bold journal full of quality literature and artwork. We want to push the limits of both our contributors and our readers. We want to create a memorable journal that Concordia University-Portland can be proud of. This year, we decided to accomplish these goals by going back to our roots. We decided that we would use the story of Prometheus, our journal\u27s namesake, as our inspiration. Prometheus was a god who saw that humans needed fire to survive. Against the will of the other gods, he shared fire with humanity. As punishment, he was chained to a rock and had to endure having his liver eaten by buzzards. Each day his liver grew back; each night the buzzards returned. We, like Prometheus, would have the courage to give the people what they needed - powerful, honest literature - and utter a shout of Bring on the Buzzards! to any naysayers who tried to stop us. It has become tradition for The Promethean to have an annual writing contest. For our theme this year, we again stuck with the Prometheus legend. We chose Spark and told students that they could do with that what they would. We also continued the trend of the last few years by adding a challenge: writers could use only 500 words to craft their contest entry. This limit required writers to choose their words carefully, and work hard to craft a complete scene in a short amount of space. We were not disappointed. We received many submissions to our contest, all of which were well crafted. We chose as our judge Concordia and Promethean alumnus Vanessa Wendland. All of the submissions Vanessa received were written with serious thought and intention behind them. The top three submissions received cash prizes as well as publication in this year\u27s journal. Three honorable mentions are also published in the journal. The contest winning stories are labeled as such, and the top three have a short paragraph from our judge, explaining the merit she found in the work. As managing editor and a senior at Concordia, this edition of The Promethean holds a special place in my heart. I have been on the staff for four years and have seen many pieces come to our editors. This year we received more submissions from a larger variety of students than in previous years. Many of these pieces speak directly to either our journal or contest theme. The fact that we are reaching out to more students, inspiring them not only to write, but to have the courage to submit their writing gives the editor part of me great joy. For those who say that technology is killing literature, I invite them to read our journal, or any collection of writing from today\u27s generation, and take hope that the fire of literature is still burning bright. I want to thank my staff for being so amazing, especially with the onslaught of last minute submissions. The fact we were able to continue having in-depth discussions under such time constraints makes me proud to be a Concordia student. This year, a large portion of the writing center staff served as editors, which led to a focus on making each piece the best it could be. This journal also wouldn\u27t be what it is without our wonderful advisor, Dr. Kim Knutsen or the support of the other faculty and staff at Concordia. With that, I present to you the 2011/2012 edition of The Promethean: Bring on the Buzzards.https://digitalcommons.csp.edu/cup_archives_promethean/1035/thumbnail.jp

데이터사이언스를 위한 확률과 통계

이 노트는 본저자가 2020넌 가을학기 서울대학교 데이터사이언스대학원에서 강의한 ‘데이터사이언스를 위한 확률과 통계(Probability and Statistics for Data Science)’ 과목의 강의 슬라이드를 모아서 출간한 것이

Walter Georgii\u27s Klaviermusik, Part II: a Translation and Commentary.

In the European musical world, one of the most significant personalities of recent years was Walter Georgii (1887-1967). He was respected not only as one of Germany\u27s most prominent pianist-pedagogues, but also as one of the most authoritative writers in the areas of piano performance and literature. One of Georgii\u27s most important writings was a large work entitled Klaviermusik, the third edition of which appeared in 1956. The book is divided into two parts. The first part involves a comprehensive examination of the literature for solo piano and the second part involves an examination of the literature for piano duet; both sections are written in an historical-descriptive fashion with critical evaluations of selected pieces. Following Part II is a short Appendix devoted to piano pieces written for one hand and for three, five, and six hands. The literature discussed in Part II of Klaviermusik ranges from the very earliest pieces for four hands at one keyboard (ca. mid-eighteenth century) to the mid-twentieth century. Georgii\u27s comments, though sometimes brief, are authoritative and thorough. Klaviermusik is indeed a scholarly, highly-significant work which could be of great benefit to all students of the piano. However, the fact that it has remained untranslated has rendered it useless to many who cannot read the original German. Included in the present study is a translation from German to English of Part II of Klaviermusik, along with a section of Commentary amplifying certain features of Georgii\u27s writing. The translation, in its entirety, follows the introductory chapter. The Commentary following the translation is divided into chapters corresponding to those in Georgii\u27s writing. In the chapter following the Commentary, the translator reached several conclusions concerning the merits of studying piano duet repertoire as well as the value of Georgii\u27s writing on the subject. Among his recommendations were that a more intense study of the literature for four hands at one piano be included in college piano repertoire classes and that the present translation of Klaviermusik be used toward that end