Representing indigenous cultures: Alaska Native contemporary art exhibits in Anchorage

Dans cet article j'évalue comment l'art contemporain autochtone de l'Alaska est présenté au public en examinant les perspectives des artistes, des expositions sur l'art, et les réactions des spectateurs. Mon but est de justifier le besoin d'examiner la représentation des cultures autochtones de l'Alaska dans les musées et les lieux publics d'art à Anchorage en Alaska. En particulier, je veux souligner l'importance des présentations d'art autochtone de l'Alaska d'après leur contexte, en utilisant des perspectives multiples et des médias d'interprétation fondés sur la collaboration entre les lieux d'exposition, les artistes et les communautés autochtones. De bonnes présentations didactiques peuvent en effet répondre aux différentes exigences de divers publics. Elles peuvent en plus profiter de l'attention spéciale donnée à l'art autochtone américain et euro-américain ailleurs, et défier les idées préconçues qui diminuent les réalisations des artistes autotchones et limitent les perceptions des cultures autochtones de l'Alaska.In this article, I evaluate how Alaska Native contemporary art is presented to the public by examining artists’ perspectives, artwork exhibits and viewer reception of the art. My goal is to substantiate the need to critically address how Alaska Native cultures are represented at museum and public art venues in Anchorage, Alaska. In particular, I seek to emphasize the importance of creating contextualized presentations of Alaska Native art using multiple perspectives and interpretative media based on collaboration between exhibitors and Native artists and communities. More inclusive informative presentations can begin to address the differing requirements of a variety of audiences, utilize the critical attention given to Native American and Euro-American art elsewhere, and provoke a re-thinking of stereotyped preconceptions that continue to diminish the accomplishments of Alaska Native artists and limit perceptions of Alaska Native cultures

The history of music

Citation: Burtis, Francis Charles. The march of the jews. Senior thesis, Kansas State Agricultural College, 1891.Morse Department of Special CollectionsIntroduction: Fortunately history has something to record beside bloodshed and wrong. It is well that the song of the morning stars and the heavenly chant of "Peace on earth and good will to men", have been preserved as well as the stories of assassination, adultery, and massacre, and if there is reason why we should burrow into the past to learn the lessons of government, which is the method by which "One man ruleth over another unto his own hurt," so is there reason why we should delve into the past and consider the origin and progress of that divine art which has soothed the savage breast and has inspired man to noble deeds, comforted humanity in the depths of sorrow, lightened the laborer's toil and drawn man most powerfully heavenward. The origin of music is older than the "Art preservative". Whether ape-like men imitated with the voice the song of the birds, the roar of the thunder, the dripping of the waters, the breaxing of the waves and the whistling of the winds through the forest,or whether a God-born Adam waking with the dawn broke forth in irresistable praise of the Creator is perhaps debatable, but as far back as go any of the ancient writings, whether on parchment or on the rocks, there are evidences that man found beauty in sound as well as in sight and that the most ancient peoples voiced the glories of their histories, that the most ancient lovers sang of their loved ones, and that even savage mothers crooned the folk-lore.to their babes

Four Reasons Why Pre-service and Practicing Teachers Should Present at Professional Conferences

During the Fall 2013 semester, two pre-service teachers, one practicing teacher, and a university professor from Peoria, Illinois presented a speed learning session at the Association for Middle Level Education (AMLE) Annual Conference in Minneapolis, Minnesota. After disseminating information about an innovative classroom partnership, attending and presenting at the conference provided an authentic professional experience for the teacher-presenters. In addition to describing the background, travel planning process, and conference experience itself, this article offers four reasons why pre-service and practicing teachers should present at professional conferences: increased confidence and motivation, classroom applications, connections with fellow professionals, and reciprocal support

Efficiency of the type A.T.B. Form D. general electric alternator

Citation: Biddison, P. McDonald, Pittman, Tom Lawrence, and Thomas, Henry. Efficiency of the type A.T.B. Form D. general electric alternator. Senior thesis, Kansas State Agricultural College, 1904.Morse Department of Special CollectionsIntroduction: Revolving Field Alternator. No. 62299 Type A.T.B. Form D. Class 12 - 150 - 600 33 Amperes. Volts No load 2030 - Full load 2300. The above machine is installed in the Manhattan Ice, Light, and Power Company's plant at Manhattan, Kansas. This Alternator is put out by the General Electric Company and is known as one of the “smaller” machines. In this kind of machine the “barrel” winding is used, employing only one kind of coil. The armature coils are held in place by means of beach wood wedges which also serve to protect the coils from any foreign matter that may work into the air gap. The armature case is made of a good quality of sheet iron annealed and the laminae insulated by japan

The erosion of a channelized stream in an urbanized basin at Winding Hollow Country Club, Columbus, Ohio

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The effect of enclosure surfaces, with temperature separations ranging to 75F, on the thermal and comfort sensations of sedentary subjects

Call number: LD2668 .T4 1969 B