Sentences with phrase «as archiving historical»

There are public interest exemptions to this right, such as archiving historical and scientific data.

Not exact matches

With the NCAA basketball tournament beginning this week, we were curious as to whether it would be wise to continue with this strategy for your March Madness betting, so we went to our historical archive to find out.

An archive of Twitter would be largely a repository of trivia — but it would also be an incredible historical record of our turbulent and world - changing times, as told through the digital medium that is doing much to make it that way.

Not many of us might have seen a research paper on the value of blogs as historical archives, by Dr Deborah Gabriel.

It allows visitors to explore extraordinary photographs and primary documents from the collections of the National Archives as they learn from firsthand accounts of historical events

The local history and technology class then began to scan historical documents and photographs, save transcriptions as html, create a searchable database and thus create an online historical archive of their community.

Methods faculty can use archives such as these to model lessons that engage students in historical inquiry.

Connor McLaughlin previously worked as the Dr. Kathy A. Agard Fellow in Community Philanthropy with Our State of Generosity project at the Dorothy A. Johnson Center for Philanthropy, conducting research on the history of Michigan's philanthropic infrastructure by archiving historical documents and oral history interviews.

The legendary Maserati 8CTF was immortalized by the Historical Vehicle Association last weekend as the first foreign manufactured automobile to be permanently archived into the United States Library of Congress, a new effort to authenticate historically significant automobiles.

[As a guest GSW article, professor and exhibit advisor Stephen Jacobs was nice enough to fill us in on the opening of a dedicated video game exhibit in New York state at the Strong Museum Of Play, including a host of excellent resources and archives from the history of gaming, from arcade machines to historical artifacts and beyond.]

Situating itself within current art historical and political debates, the exhibition considers work by self - taught, spiritually inspired and incarcerated artists, alongside other projects based in performance, socially engaged practice and the archive, as well as painting, drawing, sculpture and assemblage, that make insistent reference to place.

By contextualising the art within broader historical currents, Visual Century makes a major contribution towards the construction of an inclusive national archive, as well as to the development of an inclusive international art history.

For Oursler, the archive functions as an open visual resource, historical inquiry and — most intriguingly — a family history.

The rich imagery in Vertigo Sea is sourced from historical archives, nature photography, news as well as newly staged footage.

As well, the exhibition is a tribute to the rich archives and ethnicity of Sugar Hill, and creative proof of the omnipresent historical force in each of our lives.

One of the most accomplished curators anywhere, Hans Ulrich Obrist has devoted his life to the pursuit of a categorical understanding of the artistic tendencies of his time, both in his role as what he calls an «exhibition - maker» and as a kind of human archive of art - historical knowledge.

We see the responsibility of the gallery as threefold: to work for the long - term development of each artist's career, acting as a liaison to international galleries and museums as well as placing works in collections; to create an historical archive for each artist; and to act as an accessible public space in which the exhibitions become an exemplary gesture of the power of subjectivity to the audience at large.

Along with archive materials, some of which have not previously been exhibited, as well as collages designated by the artist as source materials and many of the original advertisements that he used from old issues of Life magazine, the show will reveal a historical cosmos.

Baechler has often referred to himself as collector, of imagery and references — biographical, art historical, visual ephemera — forming a rich archive in his work over the years.

Cooper Union students and faculty have access to the collections of the Research Library Association of South Manhattan (the Consortium) as well as the extensive resources found in the New York Metropolitan area, including the Art and Architecture Research Division of the New York Public Library, the Avery Architectural & Fine Arts Library of Columbia University, the New - York Historical Society and the multitude of museums and municipal libraries and archives.

Fusion Art can maintain an archive of the chosen artwork and display your entry for posterity as part of a historical site record of past themed shows.

Through enlivening these dated portraits with an updated palette and active washes of color, Fischer attempts to re-imagine the representation of history as only painting can by depicting intangible mental characteristics excluded from an object - based historical archive.

I employ historical archives and art history as raw materials to provoke a dialogue around body and gender politics, desire, and power dynamics.

Taking sources and techniques from historical archives, televised news, photojournalism, or sports and advertising culture as their starting point, each artist in Mass Mediations manipulates mass media to explore how prevailing ideologies are embedded these outlets.

Under the auspices of the Cultural Institute, Google is producing high resolution images of the Dead Sea Scrolls, digitizing the archives of famous figures such as Nelson Mandela, and bringing online the historical archives of many institutions through online exhibitions.

Known for the breadth of her art historical knowledge and her exceptional collaborations with artists such as Richard Artschwager, Barry LeVa, Karen Kilimnik, Maira Kalman, and Anne Tyng, Schaffner's work often coalesces around themes of archiving and collecting, photography, feminism, and alternate modernisms — especially Surrealism.

Gather historical information, such as photographs, drawings, letters etc from your family archive and use it as the basis of a collaborative piece exploring an aspect of history.

They see the responsibility of the gallery as three fold; to work for the long term development of each artists career, acting as a liaison to international galleries and museums as well as placing works in collections; to create an historical archive for each artist; and to act as an accessible public space in which the exhibitions become an exemplary gesture of the power of subjectivity to the audience at large.

Archives and objects associated with the site of an exhibition often serve as a bridge between art - historical investigations and current reflections, a process that seems to generate its own version of history and how a painting is situated in the present.

In Lost Illusions / Illusions perdues, Pierce investigates historical materials from the Visual Arts department as well as the Paul D. Fleck Library and Archives at Banff Centre.

Along with archive materials and documents designated by the artist as source materials, some of which have not previously been exhibited, the show will reveal a historical cosmos.

Set within an immersive wall painting the installation «Ahy - kon - uh - klas - tik» combines a trans - historical selection of works from the Van Abbemuseum's collection, sculpture and assemblages by Brook Andrew, rarely seen documents and publications from the museum's library as well as the artist's own extensive archives that focus on popular and official documents relating to colonial and stereotyped agendas of the global south.

14 Reesa Greenberg also expressed her appreciation for exhibitions, such as Telling Histories: An archive and three case studies in the Munich Kunstverein in 2003, which tried to breathe new life into the historical debate regarding controversial exhibitions with the explicit aim of revealing their relevance for contemporary, politically committed artists and institutions.

The «Beyond GRAMMATRON: 20 Years into the Future» symposium and exhibition features presentations and panels focused on the convergence of net art and electronic literature as well as the curation and archiving of historical works of digital art.

Filmed at the Mary Queen of Scots Bower, Chatsworth, Derbyshire — where Mary was detained by Elizabeth I — to create the work the artist also delved into the library's extensive archive, responding to artefacts including 1970s copies of Sappho («The only lesbian magazine in Europe»), historical texts on the persecution of «witches», and a collection of misogynist cartoon postcards depicting women as serpent - tongued nags.

Whatever the facts, Blachly and Shaw's roles as the delusional guardians of an almost certainly nonexistent archive have allowed them to employ a dizzying array of often contradictory strategies, layering irony, and apparent incompetence on sincere historical inquiry and emotion to create disorienting and comical experiences that leave viewers tantalizingly unsure as to the meaning or ultimate purpose of the Chadwicks» often Herculean efforts.

This exquisitely designed and balanced piece reaches back into the historical archive to recreate, in pen and ink, a cover from a rare Czechoslovakian design periodical, Výtvarné Snahy (Art Endeavors), that was published in Prague over four years and stands as an icon of Lisstzky and Maholy - Nagy's New Typography movement.

It's also true to say that, since the 1960s, and especially since open - access historical archives have been made available online by many institutions, in recent decades research facilities available to the general public (as well as teachers) have improved beyond measure.

Some works incorporate stylistic devices and subject matters that seem dated, passé or quasi-extinct; others capture traumatic moments of the historical past; some are recreations of previous works, creating the sensation that they are pursued by a lost or distant original; there are ghostly images and morbid symbols of the past as ruins and apocalyptic landscapes; and, finally, there are creations that analyze the role that archives play in collective memory and personal obsession.

Component A comprises the production and analysis of an extensive archive of retrospective forecasts to be used to assess and understand historical decadal prediction skill, as a basis for improvements in all aspects of end - toend decadal prediction, and as a basis for forecasting on annual to decadal timescales.

Almost all the data we have in the CRU archive is exactly the same as in the Global Historical Climatology Network (GHCN) archive used by the NOAA National Climatic Data Center [see here and here].

I am suggesting using the Great Lakes as a broader measure, homogenizing many local areas into a much larger water shed basin with a reasonable historical measurement archive readily available.

On the question of studying the primary literature: pre-hockeystick, the historical multi-century temperature record compiled by Hubert Lamb was based (I believe) on archive records of such things as the date of grape harvests, and the classic work was the massive «Histoire du climat depuis l'an mil,» (1967) by Emmanuel le Roy Ladurie.

The international conference «TRACE 2018 — Tree Rings in Archaeology, Climatology and Ecology» will bring together scientists and students that use tree rings as archives of environmental, historical, and climatological information.

In the face of a rapidly changing climate today, we can turn to the landscapes around us as well as their historical archives to give us the best possible hints of the magnitude and rapidity of past climate shifts, and their relevance for our future.

As part of the Early Weather Data research stream, scientists worked to digitise and extend some of southeastern Australia's key meteorological records held by the Bureau of Meteorology, National and State Archives and a range of pre-Federation observatories and historical societies.

It is an archive of the GISTEMP station record from Nov 2011 when we discontinued the use of NCDCs GHCNv2 dataset and is provided only as a historical facility.

Some of these photo's exist, however, as single photos they are useless, because what is measured are changes in average temperature, anomalies, not absolute temperatures, so what is needed is an historical archive of photos, e.g. a continuing series that shows changes at the sites.

Estimates of surface temperature changes further back in time must therefore make use of the few long available instrumental records or historical documents and natural archives or «climate proxy» indicators, such as tree rings, corals, ice cores and lake sediments, and historical documents to reconstruct patterns of past surface temperature change.

An increase in the number of satellite and drone technologies also means that there is more data ending up in archives that might be utilised as historical evidence.