Sentences with phrase «oral interviews as»

William will use the photographs and oral interviews as the basis of a new book, called The Ruins of Villa Iolas.

Not exact matches

I all but begged him to let me do a series of oral - history interviews with him to record his story, central as it was to a critical phase of Silicon Valley's development.

Space Stories: Oral Histories from the Pioneers of the American Space Program has been published as an e-book containing condensed versions of selected interviews.

He has also been able to draw upon the memos, notes and diaries of ministers, officials and advisers as well as numerous oral interviews in the United Kingdom, but significantly in the USA.

[1][5][6] Whilst in the Lords, Jenkin was interviewed in 2012 as part of The History of Parliament's oral history project.

The University of Pittsburgh already had a program it called the Survival Skills and Ethics Program, which addresses many academic and professional topics such as grant - writing, writing a research article, oral presentations, choosing a lab, interviewing, and the job search.

Media are invited to attend the poster and oral presentations — presenters will be available for interviews as well as Dr. Douglas Jones, Vice Dean, Basic Medical Sciences, Schulich Medicine & Dentistry, Western University.

Especially interesting are the oral histories from many of his colleagues and friends including special interviews from such notables as Billy Graham and Robert S. McNamara.

Researchers can learn how to access the other materials held at the Niels Bohr Library, such as the collection of oral history interviews that includes over 3,000 hours of interviews with thousands of physicists, astronomers, and others.

I was reminded of the «yet sensibility» as I read through one of my student's oral history projects last year in which she interviewed a Rosie the Riveter from World War II.

This free workshop plan and resources pack encourages students to explore the relevance and reliability of oral history interviews as historical sources, consider how oral history differs from other evidence, plan and prepare an oral history project, and interpret and present the information they discover.

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.

In interviews with several hundred business, nonprofit, philanthropic, and education leaders, the author identified seven «survival skills» that 21st century students need to succeed as workers and citizens: (1) critical thinking and problem - solving; (2) collaboration and leadership; (3) ability and adaptability; (4) initiative and entrepreneurialism; (5) effective oral and written communication; (6) accessing and analyzing information; and (7) curiosity and imagination.

An Oral History of Nickelodeon's Golden Age is the wondrous result of author Mathew Klickstein's hundreds of interviews with the folks — both behind the scenes and on camera — who brought us such beloved TV show gems as «Double Dare,» Clarissa Explains It All,» «The Ren & Stimpy Show» and, of course, «You Can't Do That on Television.»

Our transcription services are designed for the client who only needs the occasional audio file transcribed as part of a project, e.g., the doctoral student with a handful of interviews to be included with a dissertation or the family historian who needs an oral history included in a manuscript.

As Les Ordway and George Shields remembered during oral history interviews taken by the Cannon Beach Historical Society, locals in Cannon Beach immediately took action, forming a beach patrol called «the Guerrillas,» guards were also placed at the Arch Cape Tunnel.

LeRonn P. Brooks conducts an extensive interview with painter James Little as part of the BOMB Magazine Oral History Project.

Quotes and excerpts must be cited as follows: Oral history interview with Hans Burkhardt, 1974 November 25.

Quotes and excerpts must be cited as follows: Oral history interview with Richard Diebenkorn, 1985 May 1 - 1987 December 15.

Quotes and excerpts must be cited as follows: Oral history interview with Harold Rosenberg, 1970 December 17 - 1973 January 28.

AS - AP makes available online several oral history interviews with the founders, current and former directors, and curators of significant alternative art spaces in the United States.

As part of its mission to document the history of alternative art spaces, AS - AP has been commissioning the production of oral history interviews with the founders, former and current directors, and curators of significant alternative art spaces throughout the United States: http://as-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationAs part of its mission to document the history of alternative art spaces, AS - AP has been commissioning the production of oral history interviews with the founders, former and current directors, and curators of significant alternative art spaces throughout the United States: http://as-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationAs part of its mission to document the history of alternative art spaces, AS - AP has been commissioning the production of oral history interviews with the founders, former and current directors, and curators of significant alternative art spaces throughout the United States: http://as-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationAS - AP has been commissioning the production of oral history interviews with the founders, former and current directors, and curators of significant alternative art spaces throughout the United States: http://as-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationAS - AP has been commissioning the production of oral history interviews with the founders, former and current directors, and curators of significant alternative art spaces throughout the United States: http://as-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizatioral history interviews with the founders, former and current directors, and curators of significant alternative art spaces throughout the United States: http://as-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationas-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationas-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizatioral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizatiOral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationas key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationas key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationas a means of capturing first - person accounts of specific events, individuals, institutions and organizationas a means of capturing first - person accounts of specific events, individuals, institutions and organizations.

AS - AP makes available online several oral history interviews with the founders, current and former directors, and curators of

Quotes and excerpts must be cited as follows: Oral history interview with Vito Acconci, 2008 June 21 - 28.

Quotes and excerpts must be cited as follows: Oral history interview with Sheila Hicks, 2004 February 3 - March 11.

This digital exhibit documents the development of these two notable architects» affiliation, and includes nearly 150 photographs; plus primary source materials such as correspondence; lectures; musings and writings; and other media, including a video interview with Fay Jones's wife Gus, created by the David and Barbara Pryor Center for Arkansas Oral and Visual History.

Artists as parents: Greg.org writes about Susan Weil's interviews for the Robert Rauschenberg Foundation Oral History Project.

AS - AP's website provides access to information about the history and existence of these centers of artistic activity, as well as access to unique primary resources, including transcripts of oral history interviews, and other types of documentatioAS - AP's website provides access to information about the history and existence of these centers of artistic activity, as well as access to unique primary resources, including transcripts of oral history interviews, and other types of documentatioas well as access to unique primary resources, including transcripts of oral history interviews, and other types of documentatioas access to unique primary resources, including transcripts of oral history interviews, and other types of documentation.

Trained in twentieth - century Modernist avant - garde movements, she has continued her investigations of subcultures, outsider artists, and emerging art movements with such original work as the essay «A Partial and Incomplete Oral History of the Mission School» in the BAMPFA catalog Barry McGee; the exhibition catalog Energy That Is All Around; and the introduction to Bruce Conner: The Afternoon Interviews.

-- Alfonso Ossorio, 1968 Oral history interview, Archives of American Art, Smithsonian Institution Celebrating Alfonso Ossorio's centennial birthday, Michael Rosenfeld Gallery is pleased to present Alfonso Ossorio — Congregations: The First Decade, 1959 - 1969, an exhibition of twenty - four of the mixed - media assemblages coined by the artist as «congregations» that have become emblematic of Ossorio's vision and capacity for innovation.

Quotes and excerpts must be cited as follows: Oral history interview with Leo Castelli, 1969 July.

Quotes and excerpts must be cited as follows: Oral history interview with Josef Albers, 1968 June 22 - July 5.

Quotes and excerpts must be cited as follows: Oral history interview with Guerrilla Girls Jane Bowles and Alma Thomas, 2008 May 8.

Quotes and excerpts must be cited as follows: Oral history interview with Robert Motherwell, 1981 Feb. 15.

She contributes to exhibitions and publications, and produces filmed interviews with artists as supervisor of Glenstone's Oral History Program.

Quotes and excerpts must be cited as follows: Oral history interview with Judy Chicago, 2009 August 7 - 8.

Quotes and excerpts must be cited as follows: Oral history interview with Guerrilla Girls Rosalba Carriera and Guerrilla Girl 1, 2007 Dec. 1.

Quotes and excerpts must be cited as follows: Oral history interview with Guerrilla Girls Zora Neale Hurston and Agnes Martin, 2008 May 17.

Quotes and excerpts must be cited as follows: Oral history interview with Norman Lewis, 1968 July 14.

Quotes and excerpts must be cited as follows: Oral history interview with Donald Judd, 1965 February 3.

Quotes and excerpts must be cited as follows: Oral history interview with Lynda Benglis, 2009 November 20.

Quotes and excerpts must be cited as follows: Oral history interview with Anne Truitt, 2002 April - August.

Interview of Esther Gottlieb Conducted by Phyllis Tuchman, October 22, 1981 This interview was conducted as part of the Archives of American Art's Mark Rothko and His Times oral history project, with funding provided by the Mark Rothko FInterview of Esther Gottlieb Conducted by Phyllis Tuchman, October 22, 1981 This interview was conducted as part of the Archives of American Art's Mark Rothko and His Times oral history project, with funding provided by the Mark Rothko Finterview was conducted as part of the Archives of American Art's Mark Rothko and His Times oral history project, with funding provided by the Mark Rothko Foundation

< As a part of its Oral History Project documenting the life stories of New York City's African American artists, BOMB magazine published an interview with Eldzier Cortor (left), who died last November.

Quotes and excerpts must be cited as follows: Oral history interview with Anni Albers, 1968 July 5, Archives of American Art, Smithsonian Institution

The insightful Raymond Foye contributed to this catalog in an interview with Phong Bui, where he recounts Francesco Clemente on painting as the «last oral tradition in the west»... I only wish I could see the show in person at @MaruaniMercier in Brussels, up until May 19, 2018.

Now, in their own voices, we have the narratives of many of those lawyers as recounted in a series of oral interviews.

Subsection 231.1 (1) of the Act is not so wide as to compel an indeterminate number of people for oral interviews.

In a series of interviews with legal writing expert Bryan Garner, Supreme Court Justices affirmed the importance of briefs to the appellate process and the need for lawyers to write clearly.7 In a recent study, Judge Richard Posner found that judges view writing as equally if not more important than oral advocacy.8 Continuing legal education programs offered by state bar associations frequently address the need for effective legal writing.9 No one disputes that lawyers should write well.10

Then, classtime can be devoted to simulations or role plays in which the students use the material they learned on video to engage in essential lawyering skills — such as negotiations, interviews, or oral arguments.