scholarly journals Arthur John Rowledge, 1876-1957

1958 ◽  
Vol 4 ◽  
pp. 215-223
Keyword(s):  
Good Deal ◽  
Steam Engine ◽  
National Gallery ◽  
Crystal Palace ◽  
Science And Art ◽  
The Arts ◽  
The Family ◽  
Small Building

Arthur John Rowledge was born on 30 July 1876, at Peterborough. His father had a small building business which had been inherited from his grandfather who had worked on the building of the Crystal Palace at Sydenham. He was quite good at most trades and could sketch and make plans. His mother came from farming stock in Lincolnshire. There were three brothers and one sister in the family, Arthur John being the youngest of the four children. In his early boyhood he used to spend a good deal of his time at his maternal grandfather’s farm in Whaplode Fen, but he had to give this up when he started to attend school. His father interested him in sketching and the arts, taking him to the National Gallery. He also explained many scientific and mechanical things to him so that, for example, he knew how the steam engine worked when he was quite a small boy. He received his schooling at St Peter’s College School, Peterborough, where Mr Seabrook was Headmaster. There was also a school of science and art in the Minster yard which he attended whilst he was at the college school and also during his apprenticeship. He first studied art there, but later on, when he started work, concentrated on mechanical and scientific subjects, and in May 1891 obtained a Queen’s prize in the examination of the Science Schools. He was apprenticed to Barford & Perkins, Engineers, of Peterborough, and Mr Perkins who was then Works Manager, taught him a great deal. Although the works plant was crude, the fundamentals of many modern developments were there, particularly in the foundry and in the jig methods used.

Merchants and Marvels: Commerce, Science, and Art in Early Modern Europe. Edited by Pamela Smith and Paula Findlen. New York: Routledge, 2002. Pp. ix, 437. $27.95.

2003 ◽  
Vol 63 (1) ◽  
pp. 250-251
Author(s):  
Margaret C. Jacob
Keyword(s):  
New York ◽  
Los Angeles ◽  
Early Modern ◽  
Natural Philosophy ◽  
Modern Science ◽  
Arts And Sciences ◽  
Science And Art ◽  
The Arts ◽  
Modern Capitalism ◽  
Natural Philosophers

The Marxists had it right all along, they just got tripped up by their materialism. Early modern capitalism opened vast new worlds, particularly in the arts and sciences, only the traffic went both ways. Creative agents invented new markets and pushed commerce in directions that favored enterprises immensely cosmopolitan and innovative, often solely for the sake of beauty and display. Commerce offered a context but the nobility, and not an imagined bourgeoisie, had the edge when it came to exploiting the market for objets. Paintings could be traded for property, land, and houses. Princes could sponsor natural philosophers, and the fluidity in values meant that good investors, like good practitioners of the arts and sciences, took an interest in all aspects of learning. The interrelatedness of the representational arts and natural philosophy stands as one of the central themes in this tightly integrated collection of essays. We now have a vast historiography telling us that we should no longer teach early modern science without reference to the art of the time, and vice-versa. The point is beautifully illustrated by an exhibition recently held at the J. Paul Getty Museum in Los Angeles (spring 2002) on the art of Pieter Saenredam. Working in Utrecht in the 1630s, he used geometry to regularize and make precise the angles and corners found in the exquisite paintings he made of the city's churches. He knew as much about geometry as he did about chiaroscuro. At precisely the same moment, an hour or two away by barge, Descartes in Leiden put the final touches on his Discourse on Method (1637). In effect he explained to the world why precision and clarity of thought made possible the kind of beauty that Saenredam's paintings would come to embody.

scholarly journals Where there's smoke: digital storytelling for healing

2022 ◽  
Vol 9 (1) ◽  
pp. 48-49
Author(s):  
Deborah Starr ◽  
Lance Weiler
Keyword(s):  
End Of Life Care ◽  
Digital Storytelling ◽  
Healthcare Providers ◽  
Narrative Medicine ◽  
Columbia University ◽  
Film Festival ◽  
The Arts ◽  
The Family ◽  
Self Discovery ◽  
Immersive Theatre

Columbia University School of the Arts’ Digital Storytelling Lab, in collaboration with Columbia’s Department of Narrative Medicine, developed Where There’s Smoke, a story and grief ritual that mixes interactive documentary, immersive theatre and online collaboration to invite healthcare providers and others into resonant conversations about life, loss and memory, and to imagine how stories can be used to create empathetic healing spaces. When Robert Weiler was diagnosed with terminal colon cancer, the complexity of healthcare and ensuing grief for the family, led his son Lance, a storytelling pioneer, to realize that a straightforward story wasn’t enough to explain and explore the experience, so he created Where There’s Smoke. Where There’s Smoke premiered in 2019 at the Tribeca Film Festival where it was hailed as an “absolute can’t miss” (Backstage). However, when COVID-19 submerged the world in loss, uncertainty, and isolation, Lance reimagined the piece as an online experience. He also combined the piece with protocols of Narrative Medicine as provided by faculty, Deborah Starr. The piece traces a heartbreaking journey through end-of-life care and grief, embracing grief as nonlinear and immersive, grief as an escape room with no escape. Participants sift through artwork, videos, and conversations and are provided with immersive moments for individuals, pairs and groups to have opportunities for self-discovery, unexpected intimacy, and ensuing healing. This is a personal yet universally relevant narrative, which gradually reveals itself to be something more…the possibility of immersive storytelling to create space for empathetic healing, grieving, and connecting.

scholarly journals Cine directo, aproximaciones pedagógicas de lo cotidiano

2020 ◽  
pp. 183
Author(s):  
Apolline Torregrosa
Keyword(s):  
Teacher Training ◽  
Traditional Education ◽  
National Gallery ◽  
Social Transformations ◽  
The Arts ◽  
Palabras Clave ◽  
The Social ◽  
Direct Cinema ◽  
Training Research ◽  
Formación Docente

Resumen: Este artículo establece relaciones entre el cine y la educación, pensando la dimensión del primero como un aporte valioso para las pedagogías actuales. Desde las múltiples ramas de las artes, el campo del cine y su diversidad de género, ofrece elementos enriquecedores para alimentar las prácticas pedagógicas y de investigación. Es el caso del cinema directo, que desde su planteamiento documental y social, contribuye a una reflexión artística y pedagógica, tanto desde los temas que trata como de los modos técnicos que presentan estos contenidos. En efecto, el cine directo emerge en el corazón de las transformaciones sociales de los años 60-70 y converge con los diferentes cambios de la misma época: giro narrativo en la investigación y giro de la educación tradicional hacia pedagogías alternativas. Veremos en este escrito, a través del género del cine directo, los aportes del cine en el campo de la educación, la investigación, y en lo social. Para ello, a partir del análisis de extractos de la película National Gallery de Frederick Wiseman, estableceremos interconexiones con la educación artística y la formación docente, tomando en cuenta los contenidos y maneras de filmar. En este sentido, el cine nos aporta un modo particular de mirar y analizar las transformaciones pedagógicas y el conocimiento emergente en nuestra época.  Palabras clave: formación docente, investigación-creación, interacciones interdisciplinares.  Abstract: This article establishes relations between cinema and education, considering the dimension of the first as a valuable contribution to current pedagogies. From the multiple branches of the arts, the field of cinema and its diversity of genre, offers enriching elements to feed pedagogical and research practices. This is the case of direct cinema, which from its documentary and social approach, contributes to an artistic and pedagogical reflection, both from the topics it deals with and from the technical modes that present these contents. Indeed, direct cinema emerges at the heart of the social transformations of the 60s and 70s and converges with the different changes of the same era: narrative turn in research and the shift of traditional education towards alternative pedagogies. We will see in this writing, through the genre of direct cinema, the contributions of cinema in the field of education, research and socially. For this, from the analysis of extracts from the film National Gallery by Frederick Wiseman, we will establish interconnections with artistic education and teacher training, taking into account the contents and ways of filming to present them. In this sense, cinema gives us a particular way of looking at and analyzing pedagogical transformations and emerging knowledge in our time.  Keywords: teacher training, research-creation, interdisciplinary interactions

PREMILINARY CATALOGUE OF THE ARCTIIDÆ OF TEMPERATE NORTH AMERICA, WITH NOTES

1890 ◽  
Vol 22 (1) ◽  
pp. 9-14 ◽  
Author(s):  
John. B. Smith
Keyword(s):  
North America ◽  
Good Deal ◽  
Large Series ◽  
Careful Study ◽  
The Family

The typical genus of the family—a general favorite with collectors and the source of a good deal of worry and uncertainty to describers. I have seen very large series of specimens of many species, and have seen nearly all the species. From a rather careful study of the species I can see no reason why they should not be as easily recognizable or limited as those of any other Lepidopterous genus—indeed, the problem strikes, me as a remarkably easy one, the key to which lies in the fact that no amount of obsolescence of maculation authorizes a species, while change of pattern can be easily detected even in speciments with the markings much broken.

scholarly journals El cuidado informal en tiempos de crisis. Análisis desde la perspectiva enfermera

2018 ◽  
Vol 17 (2) ◽  
pp. 515-541 ◽  
Author(s):  
Manoli Cantillo Monjo ◽  
Teresa Lleopart Coll ◽  
Sandra Ezquerra Samper
Keyword(s):  
Assessment Tools ◽  
Gender Inequalities ◽  
The Arts ◽  
Current Perspective ◽  
The Social ◽  
The Family ◽  
And Gender ◽  
New Research ◽  
Practice Methods ◽  
Use Of Assessment

Objetivos: Cuantificar y caracterizar la producción científica enfermera sobre cuidados informales del período 2007-2016, observar la evolución de la temática durante estos años, adquirir una perspectiva actual sobre el estado de la cuestión y realizar propuestas sobre futuras líneas de investigación e intervención.Metodología: Revisión bibliográfica llevada a cabo mediante dos estrategias: una cuantitativa, y una segunda estrategia cualitativa. Resultados: El tipo de artículo más publicado es el estudio original cuantitativo, aunque se detecta un crecimiento de las publicaciones con enfoque cualitativo. Los temas más tratados son el perfil de la persona cuidadora, los impactos de la atención en su salud y en otros aspectos de su vida cotidiana, las propuestas de intervenciones profesionales para promover el cuidado personal y para evitar la sobrecarga de las personas cuidadoras y, por último, el uso de herramientas de evaluación para la planificación de la atención a las mismas.Conclusiones: Las publicaciones enfermeras identifican con acierto la centralidad del cuidado informal y el giro asistencial hacia el domicilio y la familia. No problematizan, sin embargo, el actual trasvase de responsabilidades hacia el cuidado desde las administraciones públicas hacia el ámbito familiar, ni analizan en profundidad las desigualdades socioeconómicas y de género reinantes en el actual escenario de cuidados. El abordaje a estos dos elementos puede contribuir a abrir nuevas líneas de investigación e intervención en el campo de la enfermería. Goals: To quantify and characterize the scientific production in nursing on informal care from 2007 to 2016, to observe the evolution of the theme during this period, to acquire a current perspective on the state of the arts, and to suggest future directions of both research and professional practice. Methods: Bibliographical review undertaken through two strategies: a quantitative strategy and a qualitative one. Results: The most frequent type of published article is quantitative although there is an increase of qualitative publications. Among the most frequent themes are: the study of the caregiver’s profile, as well as the impacts of care on their health and on their everyday life; practical professional recommendations to promote care and self-care and to prevent caregivers’ overload; and, finally, the use of assessment tools for planning attention of caregivers. Conclusions: While nursing publications rightly identify the centrality of the family and the household in the new care scenario, they do not problematize the current transfer of responsibility for care from public administrations toward the realm of the family. Neither do they problematize the social, economic, and gender inequalities that take place in the context of care. To approach these two themes can contribute to create new research and professional lines in nursing.

Treaty obligations: science and art in Antarctica

2017 ◽  
Author(s):  
Mike Pearson
Keyword(s):  
International Treaties ◽  
Cultural Space ◽  
Past Climate ◽  
Science And Art ◽  
Cruise Ships ◽  
Environmental Controls ◽  
The Arts ◽  
Climate Patterns ◽  
Military Activity ◽  
Unique Status

In this chapter Mike Pearson takes us to Antarctica. This continent is a vital record of past climate patterns, and our future depends on the fate of its covering of ice. Pearson considers how international treaties have imposed strict environmental controls on what is permissible on the continent, and discusses its unique status as an area where military activity is banned. These controls cover the scientists who are stationed there and the relatively small number of visitors that will arrive in cruise ships. He notes that science holds an unchallenged hegemonic position and that the Treaty makes no acknowledgement of the arts and that the advent of tourism was unforeseen. In this context, he considers how more recent programmes have aimed to promote understanding and appreciation of the values of Antarctica through the contribution of writers, artists and musicians. He considers how such initiatives as the Antarctica Pavilion at the 56th Venice Art Biennale have challenged the scientific domination of the continent by claiming Antarctica as a cultural space.

The Male : Female Ratio Among the Siblings of Delinquents

1975 ◽  
Vol 126 (3) ◽  
pp. 249-251 ◽  
Author(s):  
R. V. G. Clarke ◽  
P. Softley
Keyword(s):  
At Risk ◽  
Family Size ◽  
Good Deal ◽  
Female Ratio ◽  
The Family ◽  
Male Female Ratio ◽  
Male Activity

Those interested in the family backgrounds of delinquents have paid a good deal of attention to family size and position in family (see Mannheim, 1965, for a review), but little to the ratio of brothers to sisters. This is surprising, since it can be argued that boys who come from families with a preponderance of brothers may be particularly at risk of delinquency; for example, their parents might find it difficult to control them; they might be more likely to play out on the streets and thus have greater opportunities for delinquency; and, since delinquency is a predominantly male activity, they might have a greater chance of being set a bad example through the behaviour of their brothers.

scholarly journals So Easy to See: Muriel Rukeyser and Berenice Abbott’s unfinished collaboration

2019 ◽  
Vol 28 (1) ◽  
pp. 87-105
Author(s):  
Rowena Kennedy-Epstein
Keyword(s):  
Atomic Bomb ◽  
Social Progress ◽  
Disciplinary Boundaries ◽  
Science And Art ◽  
The Arts ◽  
Scientific Experts ◽  
Muriel Rukeyser ◽  
Lost Potential ◽  
The 1960S ◽  
The Relationship

This essay reassembles from archival materials the lost collaboration between Muriel Rukeyser and Berenice Abbott, So Easy to See, which pairs Abbott’s innovative Super-Sight photographs with Rukeyser’s poetic-theoretical discussions of ‘seeing’ in order to discuss lesbian desire, the atomic bomb, the relationship between art and science, and female genius. The work was repeatedly rejected by male editors and curators, who demeaned and undervalued the innovative nature of the project, in part because Abbott and Rukeyser dared to assert themselves as scientific experts; nevertheless, it is an intellectually rich and artistically innovative collaboration by two of the twentieth century’s most versatile artists. From the early 1940s through the 1960s, in a period in the U.S. defined by the elevation of the sciences over the arts, they shared a similar goal: to develop new methods for demonstrating the uses of and relationships between the arts and the sciences. Through their collaboration, Rukeyser and Abbott worked against accepted gendered and disciplinary boundaries, in order to show how ‘science and art meet and might meet in our time’ as sources of imaginative possibility and social progress. In doing so, they engendered questions about what kinds of collaborative and artistic practices are sanctioned, about the ontology of things and the everyday, about materialist philosophy and about the radical possibilities of interdisciplinarity. By making visible this lost collaboration, this essay participates in the recovery of an innovative and exciting modernist collaboration, and asks us to see both the lost potential of its inventiveness as well as to contextualise its disappearance. In order to see their work on ‘seeing’, we must also undertake an exploration into the cultural mechanisms that obfuscated it at mid-century.

scholarly journals Science, art and geometrical imagination

2009 ◽  
Vol 5 (S260) ◽  
pp. 248-273
Author(s):  
Jean-Pierre Luminet
Keyword(s):  
Relativistic Cosmology ◽  
World Model ◽  
Science And Art ◽  
Regular Polyhedra ◽  
The Arts ◽  
Closed World ◽  
History Of ◽  
Harmonic Proportion ◽  
Emotional Approach

AbstractFrom the geocentric, closed world model of Antiquity to the wraparound universe models of relativistic cosmology, the parallel history of space representations in science and art illustrates the fundamental rôle of geometric imagination in innovative findings. Through the analysis of works of various artists and scientists like Plato, Dürer, Kepler, Escher, Grisey or the author, it is shown how the process of creation in science and in the arts rests on aesthetical principles such as symmetry, regular polyhedra, laws of harmonic proportion, tessellations, group theory, etc., as well as on beauty, conciseness and an emotional approach of the world.

scholarly journals Coming Home: Connecting Older Liberians in the Diaspora with the Family and Friends at Home

Refuge ◽  
2008 ◽  
pp. 60-68 ◽  
Author(s):  
Serena Chaudhry
Keyword(s):  
New York ◽  
Public Awareness ◽  
Research Strategy ◽  
Participatory Action ◽  
Staten Island ◽  
The Arts ◽  
The Family ◽  
Island Community ◽  
Resilience Framework ◽  
At Home

Coming Home is an arts initiative that uses photography and film to connect older Liberians in the Diaspora with friends and family at home. A group of elders in Staten Island came together to create messages for the author to carry to friends and family in Liberia. The author delivered the messages, filmed responses, and returned them to the Staten Island community. The project will culminate in a multimedia exhibit featuring the stories, photos, and films. The author used components of Photovoice, a participatory action research strategy, and Social Network Theory as well a resilience framework to guide the arts initiative. In this article the author describes the process of developing and implementing this project with Liberian elders in the New York Diaspora and discusses the ways in which its methodological approaches amplify the voices of community elders, address their culture and values, and raise public awareness about their special needs.

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