HOME Investment Partnerships Program Final Rule Online University

poster abstractThe Indiana Housing and Community Development Authority (IHCDA) requested proposals from one or more organizations to plan, coordinate and deliver training and technical assistance services to not-for-profits that promote knowledge, service delivery and innovation for staff and leadership, and strengthen the overall capacity of said stakeholders to positively impact individuals, families and communities. As a result, Meridth Hammer submitted a response to IHCDA’s request for proposals and was awarded the bid to create a series of online web-based, interactive, on-demand training modules, each covering a different topic concerning federal requirements governing the use of HOME funds. Each training module consists of a video of a live training delivered by an instructor, a PowerPoint presentation, a set of pre-test questions, and post-test questions. The training modules are hosted in a website that allow users to perform the pre-tests and post-tests, view the training videos and allow IHCDA to track the results. Each user or participant is required to create an online account. IHCDA was given the ability to review information regarding each participants test results and progression through the training modules. Each participant agrees to a “learning covenant” at the time of registration for each training module which obtains the participant’s agreement to participate in a pre-test, a post-test, and sixty day surveys in order to measure retention of information and effectiveness of the training modules. This survey will also contain questions that will be used to ascertain which policies, procedures, or practices the participant has changed in his or her organization in order to ensure compliance with the learning outcomes of a particular training module. Presently, the first in the series of online training modules has been created. And the creation of at least a dozen additional training modules is underway. Martin White has been instrumental in video production and editing of the actual video that will become a part of the training module

Chemical and physical influences on aerosol activation in liquid clouds: a study based on observations from the Jungfraujoch, Switzerland

A simple statistical model to predict the number of aerosols which activate to form cloud droplets in warm clouds has been established, based on regression analysis of data from four summertime Cloud and Aerosol Characterisation Experiments (CLACE) at the high-altitude site Jungfraujoch (JFJ). It is shown that 79 % of the observed variance in droplet numbers can be represented by a model accounting only for the number of potential cloud condensation nuclei (defined as number of particles larger than 80 nm in diameter), while the mean errors in the model representation may be reduced by the addition of further explanatory variables, such as the mixing ratios of O3, CO, and the height of the measurements above cloud base. The statistical model has a similar ability to represent the observed droplet numbers in each of the individual years, as well as for the two predominant local wind directions at the JFJ (northwest and southeast). Given the central European location of the JFJ, with air masses in summer being representative of the free troposphere with regular boundary layer in-mixing via convection, we expect that this statistical model is generally applicable to warm clouds under conditions where droplet formation is aerosol limited (i.e. at relatively high updraught velocities and/or relatively low aerosol number concentrations). A comparison between the statistical model and an established microphysical parametrization shows good agreement between the two and supports the conclusion that cloud droplet formation at the JFJ is predominantly controlled by the number concentration of aerosol particles

Revisiting the art of Francis Bacon and his contemporaries

The nine items that I am submitting for a PhD by publication (two books and seven articles, amounting to some 220,000 words in total) constitute, I claim, a coherent body of research in terms of both subject-matter and of underlying art-historical methodology. The field studied is British figurative painting during the 1940s and 1950s, with particular reference to the art of Francis Bacon, who emerged as an innovative and influential figure at that time. Other British artists under scrutiny include Graham Sutherland, Lucian Freud and Frank Auerbach. My main interest is in visual intelligence and the process of visual translation within creativity, as discussed in the accompanying, 12,000 word reflective essay. I seek to analyse how artists feed in a highly purposeful and inventive manner off one another (Bacon and Sutherland in the 1940s), off their predecessors (such as Edgar Degas, Waiter Sickert, Chaim Soutine, Pablo Picasso and Alberto Giacometti) and, especially in the case of Bacon, off various kinds of photographic imagery, above all propaganda emanating from pre-war Nazi Germany. This approach serves to embed the interpretation of meaning and content, a crucial concern for all these artists against the backdrop of a profoundly traumatic period in world history, within the analysis of formal language and of the process whereby artists and extend and manipulate to their own ends available resources of two-dimensional imagery

David Hockney’s Early Etchings: Going Transatlantic and Being British

David Hockney’s early autobiographical prints, My Bonnie Lies Over the Ocean 1961 and the series A Rake’s Progress 1961–3, are examined in relation to contemporary developments in American art and literature, the artist’s affinities with his British modernist contemporaries and predecessors, and other aspects of his emerging sense of artistic and sexual identity

Between a Rock and a Blue Chair: David Hockney’s Rocky Mountains and Tired Indians (1965)

Travel and cultural exchange between the United Kingdom and the United States of America became a key feature of the 1960s, shaping the world view of many a British artist, curator, architect, writer, film-maker, and academic. Against that wider backdrop, I offer here a focused reading of David Hockney’s 1965 painting, Rocky Mountains and Tired Indians. With its faux-naive idiom and overt but quirkily un-modern American theme, the work conveys the artist’s singular take on what it felt like to be a Brit at large in the US, an environment at once wondrously exotic and at times strikingly banal. Close analysis discloses Hockney’s rich repertoire of artistic and literary allusions in Rocky Mountains, and the meanings and associations these may have encapsulated