Interactive Illustration of Collage for Children with Folktale E-book

It is always challenging to teach children foreign languages, due to the difficulty of learning and their short attention span. To address the challenge and take advantage of the popularity of touchable tablets and smartphones, we propose an educational folktale e-book (EFE-Book) application with an interactive illustratable tool. EFE-Book is developed to teach preschool children to learn foreign languages by telling folktales with illustrations. To encourage effective learning, EFE-Book provides an interactive collage tool that enables users to create collage-based illustrations by hand. We propose a Voronoi diagram based approach to model paper tiles for the development of EFE-Book. With EFE-Book, the user can create colored paper tiles and attach them to the predesigned sketch through touch interface, such as Apple iPad

Art to empower: designing and implementing a contemporary visual culture art education for urban elementary institutions with implications for classroom practice

The following paper offers a comprehensive historiography of the curricular trends and approaches for the teaching of elementary visual arts within the discourse of Art Education. The exploration begins with an overview of the modernist, Discipline Based Art Education curriculum, including its origins and implementation within the U.S., public K-8 school system. In this section I offer an assessment of DBAE???s curricular strengths and weaknesses. Next, the text moves into an examination of post-modern, contemporary curricular approaches to teaching visual arts, more specifically, the visual culture theory. With this, I introduce a discussion about the current reality of arts education within the urban, public school system of Chicago, Illinois. This section offers insight into current art education trends and exposes the discrepancy of resources for visual arts education among Chicago???s elementary institutions. Finally, I offer a sample visual arts curriculum designed to empower students to take responsibility for their learning and success

James Stirling and the Tate Gallery Project in Albert Dock, Liverpool, 1982-88

El proyecto de James Stirling para adecuar el viejo almacén de Albert Dock para la Tate Gallery en Liverpool contenía dos niveles de intervención. El primero afectó a la intervención en su interior, que el arquitecto pudo desarrollar, coincidiendo en el tiempo con un momento de madurez personal y con el final de algunas obras claves de su trayectoria. Analizaremos las estrategias que Stirling utilizó para organizar el programa museístico, poner en valor la herencia estructural del proyecto de Jesse Hartley, sin renunciar a las mejores condiciones expositivas que la experiencia en el diseño de instalaciones similares le había permitido alcanzar. El segundo nivel de intervención, cuya propuesta fue rechazada y no pudo realizar, contemplaba el proyecto de nuevos accesos y conexiones con el viejo edificio. Fue una época en la que las autoridades estaban apostando por la readecuación y rehabilitación de toda la zona de los docks, de la que Albert Dock era y es la joya de la corona. Analizaremos los contenidos gráficos y escritos del irrealizado croquis de 1982 y veremos la aspiración de Stirling de vincular la visibilidad del museo con la propia historia de la ciudad y la arqueología vital de su propia memoria, planteando estrategias formales que, aun estando presentes en parte en otras obras, muestran una innovación que surge del diálogo con las arquitecturas y los paisajes preexistentes que sirven de soporte al proyecto.James Stirling’s project to adapt the abandoned Albert Dock warehouse for the Tate Gallery in Liverpool involved two levels of action. The first affected the inside of the building, a task that the architect was able to complete, coinciding in time with his personal maturity and with the completion of some key works in his career. We analyse the strategies Stirling used to organise the museum project, showcasing the structural legacy of Jesse Hartley’s project without renouncing the best exhibition conditions that his experience in designing similar premises had allowed him to reach. The second action level, one he could not bring to fruition because the proposal was rejected, contemplated new entrances to and connections with the old building. It was an era in which the authorities were focused on readapting and restoring the entire dock area, of which the Albert Dock was –and is– the crown jewel. We analyse the drawings and notes for the unachieved 1982 proposal, which reveal Stirling’s aspiration of linking the visibility of the museum with the city’s own history and the essential archaeology of his own memory. We can see how he formulated formal strategies that, although partially present in other works, show an innovation that arises from the dialogue with the pre–existing architectures and landscapes that anchor the project

Using websites to disseminate research on urban spatialities

This paper reviews a selection of websites that explore urban geographies. Many sites use the web as a depository for large amounts of research data. However, many are using websites to disseminate research findings, and the paper focuses on these. It suggests that, thus far, there are three significant ways in which urban researchers are exploiting the potentialities of web technologies to interpret urban spaces: by evoking a sense of the complexity of urban spatialities; by inviting site visitors to engage actively and performatively with the research materials; and by emphasising the sensory qualities of urban spaces. The paper discusses how one website in particular invites its visitors to engage with complex, sensory urban spatialities. The paper compares geographers' use of collage and montage as part of this discussion, and ends by reflecting on current work and commenting on its future development

Boston University Symphony Orchestra, March 2, 2006

This is the concert program of the Boston University Symphony Orchestra performance on Thursday, March 2, 2006 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were "Le Baiser de la Fée" by Igor Stravinsky, "Tidal Light" by Richard Cornell, and "La Mer" by Claude Debussy. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Lisa Blas: Meet Me at the Mason Dixon

The Schmucker Art Gallery at Gettysburg College is extremely pleased to mount the remarkable series of paintings, photographs, and mixed-media installation by contemporary artist Lisa Blas entitled Meet Me at the Mason Dixon. This exhibition is an official part of Gettysburg area’s 150th Commemoration of the American Civil War as well as Gettysburg College’s Kick-Off event for this significant anniversary. Gettysburg provides an especially appropriate backdrop for the exhibition, as the artist took the history of this “hallowed ground” and its current resonances as the subject of her work. Blas traveled the Gettysburg National Military Park, as well as to the Antietam National Battlefield, the Smithsonian Institution, the National Archives and the Museum of the Confederacy in Richmond, Virginia, among many other sites, to investigate how national identity and cultural myths are shaped in response to this momentous period of American history. The title of this exhibition, Meet Me at the Mason Dixon, invokes an encounter at a historical boundary line known for centuries of conflict. The Mason-Dixon Line originally was intended to solve a British colonial dispute. Later, it divided the northern from the southern United States based on the legality of slavery, and as such, symbolizes the massive fracturing of the country during the American Civil War. To contemporary artist Lisa Blas, however, the Mason-Dixon emblematizes the tensions implicit in the concept of historical memory. How are traumas witnessed and remembered? What becomes codified as history, and what other narratives are thereby repressed? What age-old divisions haunt us in the present? Blas comprehends such questions as open-ended, visualizing the past as fundamentally, and persistently, conflicted. [excerpt]https://cupola.gettysburg.edu/artcatalogs/1006/thumbnail.jp

Regularity of Edge Ideals and Their Powers

We survey recent studies on the Castelnuovo-Mumford regularity of edge ideals of graphs and their powers. Our focus is on bounds and exact values of $\text{ reg } I(G)$ and the asymptotic linear function $\text{ reg } I(G)^q$, for $q \geq 1,$ in terms of combinatorial data of the given graph $G.$Comment: 31 pages, 15 figure

Boston University Symphony Orchestra, March 7, 2013

This is the concert program of the Boston University Symphony Orchestra performance on Thursday, March 7, 2013 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Density 21.5 by Edgard Varèse, Shadow of Sound by Salvatore Sciarrino, and La mer by Claude Debussy. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund