Academic literature on the topic 'Arts not elsewhere classified'
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Journal articles on the topic "Arts not elsewhere classified"
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Oviatt, Charles G., David B. Madsen, and Dave N. Schmitt. "Late Pleistocene and early Holocene rivers and wetlands in the Bonneville basin of western North America." Quaternary Research 60, no. 2 (September 2003): 200–210. http://dx.doi.org/10.1016/s0033-5894(03)00084-x.
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AbstractField investigations at Dugway Proving Ground in western Utah have produced new data on the chronology and human occupation of late Pleistocene and early Holocene lakes, rivers, and wetlands in the Lake Bonneville basin. We have classified paleo-river channels of these ages as “gravel channels” and “sand channels.” Gravel channels are straight to curved, digitate, and have abrupt bulbous ends. They are composed of fine gravel and coarse sand, and are topographically inverted (i.e., they stand higher than the surrounding mudflats). Sand channels are younger and sand filled, with well-developed meander-scroll morphology that is truncated by deflated mudflat surfaces. Gravel channels were formed by a river that originated as overflow from the Sevier basin along the Old River Bed during the late regressive phases of Lake Bonneville (after 12,500 and prior to 11,000 14C yr B.P.). Dated samples from sand channels and associated fluvial overbank and wetland deposits range in age from 11,000 to 8800 14C yr B.P., and are probably related to continued Sevier-basin overflow and to groundwater discharge. Paleoarchaic foragers occupied numerous sites on gravel-channel landforms and adjacent to sand channels in the extensive early Holocene wetland habitats. Reworking of tools and limited toolstone diversity is consistent with theoretical models suggesting Paleoarchaic foragers in the Old River Bed delta were less mobile than elsewhere in the Great Basin.
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Qureshi, Bilal. "Elsewhere." Film Quarterly 70, no. 3 (2017): 63–68. http://dx.doi.org/10.1525/fq.2017.70.3.63.
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Ava DuVernay's Queen Sugar arrives at a defining moment in American cultural life, as politics and art converge in an unprecedented moment for black creativity. The unapologetic emergence of full-fledged black subjectivity onscreen runs parallel to a new chapter in the civil rights movement. Black Lives Matter has propelled long-overdue conversations about policing, the prison-industrial complex, inequality, and structural barriers into the mainstream. The ongoing renaissance in television enabled by streaming platforms and new revenue models has opened doors for artists to explore these issues with revived creative freedom. The feisty sitcoms and criminal dramas that have contained black lives for far too long have been surpassed in quality by works more ambitious, aesthetically daring, and politically relevant. Whether it is FX's Atlanta created by and starring Donald Glover, Marvel's Luke Cage on Netflix, or the intergenerational family politics of Queen Sugar, there isn't a more exciting time to watch black lives matter and shimmer on American screens.
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Qureshi, Bilal. "Elsewhere." Film Quarterly 70, no. 4 (2017): 77–82. http://dx.doi.org/10.1525/fq.2017.70.4.77.
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FQ Columnist Bilal Qureshi reflects on Deepa Mehta's film Earth at an important moment in Indian and global history. Writing from New Delhi, he had the opportunity to speak to Mehta in person about her life and work, and that discussion is woven into this column. Since making Earth almost twenty years ago, Deepa Mehta has seen her stature grow to include film festival premieres, an Oscar nomination, and a platform as one of the rare women auteurs on the international stage. She has lived in Canada since the 1970s, but her most celebrated films are not about immigrant displacement or hyphenated identity. Rather, she has always told Indian stories. From the groundbreaking story of a lesbian relationship between two housewives in suffocating arranged marriages (Fire, 1996) to the forced exile of widows in orthodox Hindu scripture (Water, 2005), she has confronted uncomfortable social realities in Indian society. Although she has been labeled an anti-national and had sets burned and cinemas attacked by the religious right for insulting traditional values, she has taken the challenges in stride and continued making films.
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Qureshi, Bilal. "Elsewhere." Film Quarterly 71, no. 1 (2017): 59–64. http://dx.doi.org/10.1525/fq.2017.71.1.59.
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The Jewel in the Crown was based on a quartet of acclaimed novels by the British writer Paul Scott and told the interwoven stories of colonial officers and their families living in India as the empire collapsed around them. It aired over fourteen weeks on PBS's Masterpiece Theater, from December 1984 to March 1985, and arrived in the midst of a golden age of television that included groundbreaking miniseries such as The Thorn Birds (ABC, 1983) and Brideshead Revisited (ITV, 1981). The new British import produced by Granada Television became a critical and cultural sensation–the definition of appointment television. One in nine Americans with a television set tuned in, over several months, as it transported audiences to the unseen exotic landscapes of India and the twilight of the British Raj. Qureshi reflects on this series thirty years after it first aired on American television, and finds it unexpectedly subversive, sly, and prescient.
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Qureshi, Bilal. "Elsewhere." Film Quarterly 71, no. 2 (2017): 61–64. http://dx.doi.org/10.1525/fq.2017.71.2.61.
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Two Meetings and a Funeral is an 85-minute historical opus by the artist Naeem Mohaiemen about the rise and fall of the 1970s Third World resistance movements that once threatened the emergent Western neoliberal order. By juxtaposing archival footage with a contemporary walking tour through Algiers, Dhaka, and New York, Mohaiemen asks of the failed socialist movements in the global South: “What went wrong?” In the context of this writer's cinephilia, what drew me to watch and rewatch Naeem Mohaiemen's latest film was not only its timely subject matter but also its wondrous big-screen delivery. Mohaiemen savors the possibilities of an expansive three-screen presentation in high definition with 5.1-surround sound. Which prompts other fundamental questions: What exactly constitutes gallery art and what belongs in a cinema? Where does this expansive, gripping, and elegant piece of filmmaking truly belong?
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Qureshi, Bilal. "Elsewhere." Film Quarterly 71, no. 3 (2018): 77–80. http://dx.doi.org/10.1525/fq.2018.71.3.77.
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Columbus is the feature-film debut of Korean American director Kogonada, known to cinephiles for his video essays on auteurs. His film stars John Cho (Star Trek, Harold and Kumar) as Jin, a grieving son arriving in Indiana from Seoul to care for his ailing father, a renowned scholar of modernist architecture. The architectural imagery in Columbus serves as something more: it provides narrative punctuation, forming elegantly placed interludes in a moving story of the real people who live in and visit today's Columbus. It's a film about the forgotten heartland ambitions of young dreamers like Casey who face the precarious economic realities of a city beyond the thriving coasts. At a time when ideas of diversity, Middle Americanness, and technology-fueled attention-deficiency sit at the center of national cultural debates, Columbus elegantly glides across all those themes, speaking to yet not confronting them.
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Qureshi, Bilal. "Elsewhere." Film Quarterly 72, no. 1 (2018): 69–72. http://dx.doi.org/10.1525/fq.2018.72.1.69.
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Bilal Qureshi continues to look “elsewhere,” here musing on the contrast in stereotypes and complexities between a marquee movie, Tony Gilroy's Beirut, and an art-house work, Tamer Said's In the Last Days of the City. The overlapping theatrical release of the two films allows Qureshi to juxtapose their very different visions of the Middle East. While Beirut repeats familiar tropes from Hollywood's post-9/11 Arab thrillers, In the Last Days of the City's portrait of pre-revolutionary Cairo presents a welcome alternative to this clichéd gaze, presenting instead a more authentic and genuine representation of Middle Eastern subjectivity.
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Qureshi, Bilal. "Elsewhere." Film Quarterly 72, no. 2 (2018): 67–70. http://dx.doi.org/10.1525/fq.2018.72.2.67.
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War films push the limits and emotions of the cinematic form, but the genre has rarely given its women characters a fraction of the depth afforded the male characters on the front-lines. Indian filmmaker Meghna Gulzar's new film “Raazi” re-orients the conventional narrative of war, suggesting new possibilities for a storied cinematic tradition.
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Qureshi, Bilal. "Elsewhere." Film Quarterly 72, no. 3 (2019): 66–68. http://dx.doi.org/10.1525/fq.2019.72.3.66.
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FQ Columnist Bilal Qureshi reflects on the “Getting Real” conference for documentary filmmakers through the lens of Steve Loveridge's film, Matangi/Maya/M.I.A. (2018). Despite giving the initial impression of being a standard rockumentary, the film reveals itself to be an unsettling meditation on gender, race, politics, and the entertainment industry's chronic limitations regarding voices from “elsewhere.” As such, it provides Qureshi with an ideal subject through which to explore “Getting Reel”'s discussion of documentary's crisis of inclusion and the critical need to expand opportunities for marginalized voices.
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Qureshi, Bilal. "Elsewhere." Film Quarterly 72, no. 4 (2019): 63–67. http://dx.doi.org/10.1525/fq.2019.72.4.63.
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FQ Columnist Bilal Qureshi examines two recent German historical dramas that address the cultural and artistic process of grappling with the country's Nazi and Communist past: Florian Henckel von Donnersmarck's Werk ohne Autor (Never Look Away, 2018) and Christian Petzold's Transit (2018). He queries the two films’ highly divergent receptions at home and abroad and asks what Germany's rejection of the lush romanticism of Never Look Away—and embrace of Christian Petzold's unresolved puzzles—can tell us about the shifting grounds of how history is seen and interpreted on-screen in this moment.
Dissertations / Theses on the topic "Arts not elsewhere classified"
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Jenkins, Jessica. "Visual arts in the urban environment in the German Democratic Republic." Thesis, Royal College of Art, 2014. http://researchonline.rca.ac.uk/1681/.
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Since the unification of East and West Germany in 1990, most of the urban fabric of the former East Germany has been altered beyond recognition or completely dismantled. However, during the four decades of the German Democratic Republic, public spaces and the works of visual arts within them were the subject of intense critical discussion, and formed the basis for the development of theories on the socialist character of art and architecture, which evolved from the late 1960s as Komplexe Umweltgestaltung "Complex Environmental Design". This thesis makes an original contribution to knowledge by making visible and elucidating the cultural-political significance of that urban visual culture, dematerialised and dispersed since the fall of the Berlin Wall. It examines the political, social and artistic function of murals, paintings, sculptures, applied arts, form design, and visual communication within East German architecture and public spaces, and seeks to complexify the commonly understood historical narrative which traces a rupture from the doctrine of an extravagant Socialist Realism to a form of impoverished Modernism. This change is better understood as a gradual and halting evolution, in which art as a medium for projecting the ideal of socialism was displaced by an understanding of design as a means of sustaining the experience of it. Furthermore, the narratives, formal and material qualities of some of the works examined – overlooked even in contemporary re-appraisals of East German art history – rather than being marginal to Socialist Realism, actually opened up spaces for its development. The thesis centres on forms of public art during and after the transition to the industrial mass production of architecture in the mid 1950s. The early phase in the 1950s is illustrated through the two first industrial cities, Eisenhüttenstadt and Hoyerswerda, built to serve iron and coal production respectively. The "scientific and technological revolution", proclaimed by SED first secretary Walter Ulbricht in the 1960s, was to accelerate the process of modernity, in the understandings of the function of urban planning and the role of design for planning, architecture and consumer culture. This change saw a move towards functionalist-oriented planning for Halle Neustadt (from 1964), the centre of new chemical and synthetics production, and a radical move to modernity in the re-construction of city centres up until 1969. This radical change exposed the conception of architecture as an art (Baukunst) favoured by traditionalists in the Bauakademie in particular, to challenges by modernisers who held that art should be considered as primarily functional and thus separate from art. Complex Environmental Design, as this work will demonstrate, gradually replaced the Socialist Realist ideal of Baukunst and the "synthesis" between art and architecture, and became established by the mid 1970s as an interdisciplinary practice in which all visual art forms – architecture, fine arts, crafts, form design, graphic design and landscape design – were to be integrated within the complex planning of the built environment. I shall argue that this inclusion of all artistic disciplines in the design of the built environment formed a compromise between competing ideas between "synthesis" or the separation of art and architecture. Halle Neustadt was key in the conceptual transition to complex environmental design. The thesis goes on to look at how the artistic conception of the 1973 World Festival Games took up a form of complex environmental design, which functioned as both a new form of monumentality, as well as opening up a space for more democractic forms of public art. Methodologically, the research seeks to understand the influence of key actors in the field who were not resistant to the cultural political framework but sought to mediate change within it. Interviews with architects, critics, artists and designers, including architectural critic Bruno Flierl, architect, Sigbert Fliegel, artists Willi Neubert and Manfred Vollmert, designers, Rolf Walter, Lutz Brandt and Axel Bertram together with analyses of their work, and how their ideas were represented by themselves and others, particularly in professional fora, form the basis for an examination their influence. By looking at historical moments in different loci, it becomes apparent that what I term "clusters of influence" formed which pushed forward conceptual transitions. Key sources are the professional journals in which art and architecture were discussed (Deutsche Architektur, Bildende Kunst, Form und Zweck, Farbe und Raum and Neue Werbung) as well as some news and features aimed at the general public such as Neues Deutschland, Neue Berliner Illustrierte and Für Dich. Archival research has focused on the seminars and congresses organised by the professional institutions, the Verband der Bildende Künstler (Artists Union) and the Deutsche Bauakademie (German Building Academy) as well as the records of the local SED in Halle and a number of offices for architectural art which were established across the GDR in the late 1960s. The search for socialist character both in content and form which had an impact on the visual arts of the built environment in the GDR was informed by shifting definitions of the concepts of "function" and "beauty", in which historical legacies, in particular, the Bauhaus, were critically appropriated in a way which served the sometimes involuntary and sometimes intentional interplay between artistic disciplines. The research reveals how these concepts and legacies were drawn together, and plays particular attention to the way in which colour and ornament emerged as central in serving the need for the constituent parts of the urban landscape to be socialist, functional and beautiful.
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Briffa, Vincent. "Through the screen : re-examining screen culture in the light of new imaging technologies." Thesis, University of Central Lancashire, 2009. http://clok.uclan.ac.uk/21146/.
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Bradfield, Marsha. "Utterance and authorship in dialogic art : or an account of a barcamp in response to the question, "what is dialogic art?"." Thesis, University of the Arts London, 2013. http://ualresearchonline.arts.ac.uk/6063/.
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The written aspect of this practice-based thesis ‘collates’ a one-day event exploring the question, ‘What is dialogic art?’ into a textual account. The practical aspect threads through this account, with reference to its dissemination elsewhere made frequently. The event ‘documented’ here is a ‘barcamp’, a kind of ‘unconference’ that combines presentations with responsive discussion. This barcamp brings together practitioners of art, activism, education, philosophy, sociology, sociolinguistics, literary theory and criticism, and others to explore dialogic art through a dialogue that moves amongst their respective points of view. The barcamp’s collation tracks the contributors’ discursive struggle to co-author dialogic art as a dialogue-based approach to contemporary art practice. ‘The dialogic’ that qualifies this art accretes through the barcamp as an artistic disposition preoccupied with the constitutive agency of dialogue, understood here in an expanded sense. This disposition explores the myriad relations that preoccupy authorship qua authorship. These include the material and conceptual thresholds organising creative agents and their cultural production: participation and collaboration, process and outcome, the author and the authored. The epistemological foundation of this barcamp can be defined as dialogic because it understands knowledge as arising from social relations and enacted through intersubjective exchange. Similarly, the ontological basis for this project issues from a post-structuralist sense of subjectivity as simultaneously dispersed and multiple, distributed amongst authors. These philosophical perspectives underpin the theory of subjectivity evolved through dialogic art. This theory recommends the art’s authors as ‘responsive subjects’—artist-agents who are themselves reciprocally authored through their artistic practice. This reciprocal authorship explodes the twin myths of the independent artistauthor and the discrete artwork without abandoning the facticity of their historical existence. Always contingent, dialogic artworks and their artist-agents are presented in this project as polyphonic portraits of heterogeneous becoming achieved through dialogic exchange.
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Tillotson, Jenny. "Interactive olfactory surfaces : The Wellness Collection : a science fashion story." Thesis, Royal College of Art, 1997. http://ualresearchonline.arts.ac.uk/5408/.
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"Physics is a function of size ..." The aim of the research is to create a new interactive communication system by 're-cabling' fabrics for releasing fragrances in 21st century fashion design. A new development, taking inspiration from biology, conjures up Multi-Sensorial Fabrics - based around the sense of smell. Using the theory that 'Smell Is Nanotechnology' and that biology works by nano-machines, biological actions can be miniaturised (such as 'sensing' in the animal world) to create an integrated system called 'The Wellness Collection'. Fragrances (and eventually medication, monitoring devices and digital information) will be actively 'pulsed' electronically through a cabling device system which will 'mimic' the human senses and in particular the scent glands in our bodies and be literally incorporated into the fabric structure. Technology with therefore be integrated in fabrics and carried in invisible clothing. The system also acts as a new vehicle for designer perfumes, reducing the application of alcohol on skin and microencapsulation. Traditional textile design concerns passive issues relating to colour and texture (and performance purposes to a certain degree). However, this research concentrates on a more active approach to textile design, introducing the living active garment as a second skin. The aim is to combine a number of contrasting areas from the Arts and Sciences. For example : - Perfumery. Fashion Designs. Textile & Fibre Technologies. Space Age Clothing. Biosensing Techniques. 'Micro Tube' Technology. Fluid Control. 'Smart intelligence'. Human Biology & Psychology. Human Skin, Circulation & Nervous Systems. Medical Textiles. Controlled Drug Delivery Systems. Alternative Therapies. Nanotechnology. Although some might consider this project to be high risk, it is a general fact that creative and 'novel' research originates from multi disciplinary fields. Emphasis on this important fact must be acknowledged throughout the thought process of the following project which is documented as a thorough ‘library’ of valuable research information. The Science Fashion approach may therefore seem very futuristic, but as technology itself reduces in size such an approach becomes increasingly realistic.
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Gfader, Verina. "Doubling in a practice of animation." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/6430/.
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This is a practice based Ph.D. in Fine Arts. The subject of the research deals with strategies of doubling as a means to explore the relation between what technology promises and the fantasy of the viewer/user. The visual material that constitutes my research attempts to raise, in various interrelated ways, a set of core questions regarding the nature of surface as receptacle of images and to take into account the filiation that new media partake of, namely that computer-aided art is seen as a subset of fine art. Indeed, the first line of enquiry is to address what constitutes the 'picture plane' of a computer screen. Interrogating the nature of the digital Image and Its relations to the viewer/user, my question is "how does computer-aided art (animation, video and interactive installation) address the connection between surface and image, particularly when digital manipulation is used to consistently postpone a totalising view of the image?" This includes the analysis of how static and dynamic states of the image are generated in (digital) art, or where the phenomenon of doubling raises questions about what kind of visual economy operates with respect to art that uses advanced technologies. I critically analyse these aspects occurring in work by artists, whose practice deals with certain modes of addressing the totalising view of an image, an image that appears virtually complete. As a practising artist, in terms of the media I choose to work with, doubling is enabled by providing a certain degree of Interactivity with the computer screen, giving the viewer the illusion of control over the production of the image. However, the illusory nature of this control is revealed by the systematic Incompleteness of the image being 'painted' on the screen. Apart from provoking and frustrating the desire for totalising visuality, the deliberate incompleteness of the images holds open questions of scale, animation, and the relationship of image to surface. Given the nature of the medium in which the moving images were created, the pieces share the potential for continuing the loop in which they play ad infinitum. But, as the cyclicity of the loops makes manifest, nearly all of them are also predicated on an ontological duality whereby the same object, the same entity, can transform into something phenomenally other through the permeable interplay between emergent and receding aspects inherent within it. So integral to image-forming I find this doubling that I have extended the theme to my own public Identity, by sometimes functioning under an alias, the name of Sissu Tarka.
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Cartiere, Cameron. "RE/placing public art : the role of place specificity in new genre public art." Thesis, University of the Arts London, 2003. http://ualresearchonline.arts.ac.uk/2301/.
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This research is an exploration of the development and influence of place-specificity within the field of new genre public art. Over the last several years the term place-specificity and its variance, place-specific has occurred frequently in art reviews and exhibition catalogues particularly in relation to installations, permanent public art works, and public interventions. While place-specificity is now a recognised term in the current lexicon of public art discussion, within many texts the phrase place-specific is often indiscriminately interchanged with site-specific, implying that the two terms are synonymous. While the relationships between site, space, and place are actively explored within fields such as geography,cultural studies and architecture, distinctions between site-specificity and place-specificity have rarely been critically addressed in discussions of public art. Based on both theory and curatorial practice, this thesis explores a range of perspectives on the role of place within socially engaged public art practice. The study examines the difference between site and place and how place influences our perceptions of specific locations through memory, history and experience. The thesis explores place as a subject, an artistic influence, and a social and cultural signifier. Also examined is how artists use place as a means of connecting to specific locations and audiences, as well as a way of exploring their personal histories and memories. Utilising a combination of approaches, this study incorporates naturalistic enquiry, conversation as a method, a think-tank, interviews, and video documentation to uncover how a group of public art practitioners reflect on place-specificity within their work, how they utilise place, and are influenced by place. The research reflects on the potential of place-specific public art to celebrate unique cultural differences, inspire international collaboration, and provide a forum for local distinctiveness in the face of globalization The study also serves as one model for practice-based research utilising curatorship as a practice. This study identifies further areas for potential research within various aspects of art and design as well as other disciplines. The thesis is accompanied by a suite of DVD's which document the curatorial practice and address place-specific themes that emerged from the research.
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Sakuma, Hana. "The notion of 'we' : articulating ethical moments in art." Thesis, University of the Arts London, 2006. http://ualresearchonline.arts.ac.uk/5643/.
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Broadly speaking, this research involves a philosophical and socio-political investigation of creative force entailed in the realm of art. It focuses on how to assess the elusive aspect of power that is engaged with the notion of `we'; and explores what the notion contributes to art-making. The written thesis consists of four chapters, each of which is concerned with the notion of `we' in different ways. Firstly, a matter of ethics that is involved in the notion of `we' will be looked at using Derrida's reading on Levinas's idea of the Face of the Other; Deleuze's image of thought; Deleuze's becoming; Derrida's hospitality and responsibility. Secondly, the ways in which curators and artists-as-curators engage with the authoritarian voice entailed within the curatorial practice will be discussed by looking at some works of display and exhibition making. Thirdly, artwork made by artists such as Cildo Meireles and Jeremy Deller will be evaluated from the point of view that the artist does not necessarily play the role of the author who controls the meaning of their own work. In the light of this, how artists establish their different artistic strategies will be assessed. In the fourth section, some of the texts which I have produced during the research period and which are accompanied with visual images of my works will be presented to demonstrate the mutual interdependence of my writing and making. Throughout the research period, studio-oriented work, collaborative works including co-curation and co-organizing events, artist's talks, and writing as art have been developed and realized with a particular emphasis on looking at the ways and kinds of communication that are possible through works of art. This includes my final show at Chelsea College of Art & Design (19-21 May 2006); the solo shows 100 Books Which I Didn't Buy at Unit 2 (2005, London) and from the middle through the middle at Changing Room (2002, Scotland); co-curation of the video screening SCRAMBLE at Brunei Theatre (2002, London) and CCA (2003, Glasgow); the symposium Interrupting Connections: performative Interventions at West Space (London, 2003).
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McPeake, Aaron. "Nibbling at clouds : the visual artist encounters adventitious blindness." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/5871/.
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This thesis, Nibbling at clouds: the visual artist encounters adventitious blindness, examines how visual artists who have come to lose all or most of their eyesight in later life continue to engage with their art practice. This relates directly to my own conditio, where vision has deteriorated in recent years to a point where my visual acuity stands at a tenth of normal vision, and as a consequence I am registered blind. The condition and art practices are in many ways inseparable, as behavioural changes in response to the deterioration of vision are largely unavoidable due to powerful physical, social and psychological influences. The research draws on the personal experience of the author as well as an analysis of phenomena experienced by the adventitiously blind artists interviewed: Sargy Mann, Keith Salmon, Sally Booth and Jane Phillips. There are several pressing factors which impact on artistic practice following the loss of eyesight. These include mental health issues, physical rehabilitation, subject or modal choices in the studio, declaring one's condition (or not) particularly in terms of exhibition and more broadly, regarding the contemporary social understanding of blindness, particularly in the field of visual arts. Because of my subjective experienc of loss of vision, part of the thesis takes the form of a self-interview serving as a 'narrative washing line'. The self-interview acts as a continuous narrative throughout the document, and is punctuated by several 'volumes' addressing the above-mentioned disparate and more formal factors. Exploring the extent of my own 'making' capabilities, the research process involved working with methods and materials which were new to me including film, photography and bronze sculpture. Because of the lack of literature in the field, my use of other artists' testimonies has been emphatic. Methodologically the artwork draws on literary work, including Joyce and Borges, in conjunction with personal experience to provide the option for multiple possible readings. My resulting artworks and works by the artists interviewed are documented and discussed throughout the body of the text in the context of blindness as contributing force in making and articulating the artists' ideas, rather than being only a detrimental influence. The work's primary contribution to knowledge is through providing an account of how a visual artist renegotiated his beliefs, emotions and goals following the breakdown in self and environment caused by the onset of adventitious blindness. It also points to the value of various practices of reflective examination in the process.
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Lori, Ope. "The oppositional gaze : contemporary image-making practice and the implications of skin colour ideals." Thesis, University of the Arts London, 2014. http://ualresearchonline.arts.ac.uk/6762/.
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The thesis explores the uneven distribution of power between and of the black/white female dichotomy and, while using them as a strategic tool within the visual work, questions the implications of skin colour in constructions of femininity within visual representations. Historically as a marker of skin colour, white women and those with a lighter skin complexion have taken the role of the feminine, in comparison to the black woman and those with darker skin tones, who traditionally occupy a space of the nonfeminine. Within the thesis, this privileging of lighter and white skin, based on white aesthetics and beauty value judgments, has been named as colourism. The body of practice based work, produced as an intrinsic part of the thesis, will attempt to develop and explore this issue and develop a particularly black aesthetic response to the cultural construct of the ‘feminine’. Through researching contextual material made up of other artist’s images and films, that challenge traditions of the gaze, the thesis develops visual strategies to help re-position black, and thereby white, women’s place in visual representations, and further questions gender and identity. In approaching these questions, the thesis draws from various discourses, such as cultural studies, feminist film theory, visual cultures and fine art practice and theory. The thesis argues for new ways of constructing visual pleasures within looking relations, which go beyond the visual, which call for a conscious process of breaking away from a representational language based on the phallocentric. The presented image-making strategies aim to destroy the normative understandings of visual pleasure, using colour and the belief in the power of the erotic (Audre Lorde 1984), to enable new ways of thinking through black and white women’s positions within these debates. This thesis uses the processes of personal image-making practice within a body of original artworks using video and photography, to direct towards the 3 theoretical fields in which this research is positioned. It uses a practice leading the theory methodology.
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Haslam, Susannah E. "After the educational turn : alternatives to the alternative art school." Thesis, Royal College of Art, 2018. http://researchonline.rca.ac.uk/3479/.
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This research problematises the contemporary phenomenon of alternative arts education after art’s ‘Educational Turn’, encompassed by evidence of a critical discourse between 2006 and 2016. The thesis addresses the questions: what are the alternatives to models of the alternative art school having emerged through the Educational Turn? And, how might dialogic engagement with organisations outside of the Turn propose something other for the future of alternative arts education? Contemporary art’s capacity to instrumentalise education, through its reimagining by artists and the co-option of ‘the alternative’ by arts institutions, must be countered by considering organisational models that sit outside of the Educational Turn. The field is contextualised by a ‘crisis in education’ in the UK, contributing to an abundant manifestation of ‘alternative’ art schools. An often-overlooked plurality exists to ‘the alternative’ that, in its co-option by contemporary art, is rendered homogenised. Existing discourse considers artistic, self-organised and curatorial practices, framed by institutional and infrastructural critique, but neglects to step outside of the Turn to imagine other models for alternative arts education. ‘Knowledge mobility’, ‘the dialogic’ and ‘(trans)formation’ form a framework for the thesis, functioning according to a methodology of critique and proposition. The research derives ‘knowledge mobility’ to critique the Turn’s instrumentalisation of education, by examining existing discourse and practice that problematise the paradoxes of the Turn and frame knowledge as a form of social organisation. The research aligns ‘the dialogic’ from Mikhail Bakhtin and Paulo Freire, with Julia Kristeva and Roland Barthes’ ‘intertextuality’ and Maurice Blanchot’s ‘infinite conversation’. The function of ‘the dialogic’ is twofold: as a structural metaphor and conversational research practice. Four dialogues with organisations operating outside of the remit of the Turn consider the productive and transformative capacities of models not framed as alternative art schools. These are with: Leeds Creative Timebank, IF Project, THECUBE and Syllabus programme. Negotiating critical and applied interpretations of ‘knowledge mobility’, findings from these are reconciled with the research through a process of ‘(trans)formation’, resulting in the proposition of speculative principles to contribute to the field of alternative arts education. The research has been produced as part of the UK Arts and Humanities Research Council’s (AHRC) Creative Exchange knowledge exchange hub, providing the context for stepping outside of the domain of contemporary art. The value of this approach for the field of alternative arts education is in its capacity to have drawn together thinking from each organisation. This research makes its contribution to the field of alternative arts education by working dialogically with organisations where the practice of knowledge is central, establishing a connection between organisations outside of the Turn, which would otherwise be excluded from its discourse, with contemporary art. The research formulates and puts into practice methods of critique, conversation and proposition: producing a critical vocabulary, lens and through deriving speculative propositions towards a possible future for alternative arts education.
Books on the topic "Arts not elsewhere classified"
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Marcan, Peter. Arts address book: A classified guide to national (U.K. & Ireland) and international organisations ... 2nd ed. High Wycombe, Bucks., England, U.K: Peter Marcan Publications, 1986.
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Marcan, Peter. Arts address book: A classified guide to national (U.K. and Ireland) and international organisations with details of their activities and recent publications. 3rd ed. High Wycombe, Bucks, England, U.K: P. Marcan Publicans, 1989.
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Britain, Great. Miscellaneous Manufacturing Not Elsewhere Classified. Stationery Office Books, 1996.
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Blake, Quentin. Deliveries from Elsewhere. Quentin Blake Editions, 2019.
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Britain, Great. Manufacture of Electrical Equipment Not Elsewhere Classified. Stationery Office Books, 1996.
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Office, Central Statistical. Manufacture of Domestic Appliances Not Elsewhere Classified. Stationery Office Books, 1996.
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Britain, Great. Manufacture of Other Transport Equipment Not Elsewhere Classified. Stationery Office Books, 1996.
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Grant, Jon E., and Marc N. Potenza. Overview of the Impulse Control Disorders Not Elsewhere Classified and Limitations of Knowledge. Edited by Jon E. Grant and Marc N. Potenza. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780195389715.013.0012.
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Several disorders have been classified together in the American Psychiatric Association’s Diagnostic and Statistical Manual (4th ed.; DSM-IV) as impulse control disorders not elsewhere classified. These impulse control disorders have been grouped together based on perceived similarities in clinical presentation and hypothesized similarities in pathophysiologies. The question exists whether these disorders belong together or whether they should be categorized elsewhere. Examination of the family of impulse control disorders generates questions regarding the distinct nature of each disorder: whether each is unique or whether they represent variations of each other or other psychiatric disorders. Neurobiology may cut across disorders, and identifying important intermediary phenotypes will be important in understanding impulse control disorders and related entities. The distress of patients with impulse control disorders highlights the importance of examining these disorders. More comprehensive information has significant potential for advancing prevention and treatment strategies for those who suffer from disorders characterized by impaired impulse control.
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Expect Anything, Fear Nothing: The Situationist Movement in Scandinavia and Elsewhere. Autonomedia, 2012.
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Group, Research, and The Agricultural Chemicals Not Elsewhere Classified Research Group. The 2000-2005 World Outlook for Agricultural Chemicals Not Elsewhere Classified (Strategic Planning Series). 2nd ed. Icon Group International, 2000.
Find full textBook chapters on the topic "Arts not elsewhere classified"
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Priuli, Ausilio. "Arms and the Armed: The Evocative Ritual Language in Val Camonica Rock Art." In Martial Culture and Historical Martial Arts in Europe and Asia, 3–43. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-2037-0_1.
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AbstractDepictions of weapons and of armed human figures in Camunianand Alpinerock art are common, particularly after the advent of metalwork and especially beginning with the Copper Age. They are found on monuments and on rocks, as can be seen clearly in the megalithic sanctuaries featuring stelae, anthropomorphic stelae, and statues-menhir, as well as in the most significant Alpine spiritual centers and elsewhere, such as Val Camonica (It. Valle Camonica, Lo. Al Camònega), Mount Bego (Mont Bégo), Val Tellina, and Monte Baldo, on the Veroneseshore of Lake Garda (Lago di Garda). Depictions of weapons are important for the chronological and cultural placement of the engraved complexes; the depictions of armed human figures that dominate some Alpine engraving sets are no less important. That is particularly the case in Val Camonica and Val Tellina, over a very long period of time running from the Bronze Age up to the Iron Age and even into prehistoric times. The depictions of men holding weapons—in a wide variety of stylistic, iconographic, and compositional arrangements, and belonging to many different periods and stages of engraving—represent a ritual language that was used at the very time the pictures were being created. They are an evocative language that commemorated, revived, and spoke of mythical forefathers, ancestral heroes, departed warriors, founders of communities, and indeed anyone who played an important role in the past and became an object of worship. The ritual gesture of depicting them might have served the ritual function not only of commemoration but of calling their presence back from the past into the community in times of particular need.
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Reid, William H. "Psychotic Disorders Not Elsewhere Classified." In The Treatment of Psychiatric Disorders, 200–203. Routledge, 2018. http://dx.doi.org/10.4324/9781315825908-20.
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Wicoff, James S. "Speech Disorders Not Elsewhere Classified." In The Treatment of Psychiatric Disorders, 41. Routledge, 2018. http://dx.doi.org/10.4324/9781315825908-9.
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Reid, William H. "Impulse Control Disorders Not Elsewhere Classified." In The Treatment of Psychiatric Disorders, 314–20. Routledge, 2018. http://dx.doi.org/10.4324/9781315825908-28.
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CHAMBERLAIN, TRAVIS. "A New Kind of Critical Elsewhere." In Curating Live Arts, 223–26. Berghahn Books, 2018. http://dx.doi.org/10.2307/j.ctvw04b29.29.
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Chamberlain, Travis. "CHAPTER 22 A New Kind of Critical Elsewhere." In Curating Live Arts, 223–26. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781785339646-035.
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"Commodities and transactions not classified elsewhere in the SITC." In International trade statistics yearbook 2013, Volume II: trade by commodity, 421–23. UN, 2014. http://dx.doi.org/10.18356/077e9000-en.
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"Commodities and transactions not classified elsewhere in the SITC." In International trade statistics yearbook 2012, Volume II, 421–24. UN, 2014. http://dx.doi.org/10.18356/931bb080-en.
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"Commodities and transactions not classified elsewhere in SITC (SITC Section 9)." In International Trade Statistics Yearbook 2016, Volume II, 421–23. UN, 2018. http://dx.doi.org/10.18356/427326e2-en.
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"Commodities and transactions not classified elsewhere in SITC (SITC Section 9)." In International Trade Statistics Yearbook (Ser. G), 281–83. UN, 2020. http://dx.doi.org/10.18356/d7dd1d94-en.
Full textConference papers on the topic "Arts not elsewhere classified"
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Li, Yanyan. "Analysis on the Significance of Applying Stratified and Classified Teaching in PE." In 3rd International Conference on Management Science, Education Technology, Arts, Social Science and Economics. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/msetasse-15.2015.48.
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Tian, Hailong, and Mingyu Wang. "Constructing “New Liberal Arts” in China’s Universities: Key Concepts and Approaches." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9111.
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Inspired by the concept of “New Engineering” in China’s universities and considering the features and values of the humanities and social sciences, this paper discusses issues of constructing “New Liberal Arts” in China’s universities. Firstly it states the general characteristics of the humanities and social sciences that find their realization in “New Liberal Arts”, and the qualities of “New Liberal Arts” such as being strategically important, innovative, integrated and promising. Then it proposes that a cluster of first-rate undergraduate programs with Chinese characteristics and global competitiveness be set up. The paper finally suggests new ways in which “New Liberal Arts” are to be constructed, such as to recognize new research objects, new research paradigms and new social needs of the humanities and social sciences, to break through conventional thinking stereotypes, and to do well in five aspects -- concept reconstruction, structural reorganization, model regeneration, platform building and differential development. In so doing, the paper is hoped to provide useful considerations for universities elsewhere. Keywords: the humanities and social sciences; New Liberal Arts; construction; universities; China.
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Shibutani, Tadahiro, Tetsu Tsuruga, Qiang Yu, and Masaki Shiratori. "Interface Strength Between Sub-Micron Thin Films in Opening and Sliding Delamination Modes." In ASME 2002 International Mechanical Engineering Congress and Exposition. ASMEDC, 2002. http://dx.doi.org/10.1115/imece2002-39631.
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Delamination between thin films is classified into two types: opening mode and sliding mode. Corresponding to each mode, there is the interface strength between thin films. This paper aims to evaluate interface strength between the sub-micron thin films for opening mode and sliding mode, respectively. We already developed the evaluation method of interface fracture toughness for opening mode on the basis of fracture mechanics concept elsewhere. Moreover, the evaluation method of sliding mode is proposed and the interface strength between thin films for an advanced LSI is evaluated as the fracture toughness by using both methods. In both modes, the stress singularity appears in the vicinity of the edge of interface and governs the delamination. The criterion of crack initiation for each mode is evaluated as the interface toughness. The fracture toughness at the edge of interface in sliding mode is lower than that in opening mode.
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Hadzantonis, Michael. "Ideologically Reviving Javanese: Romantic Intellects, Signage Prayers, Linguistic Solidarity." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.15-2.
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The Javanese language has, as of late, seen a flux in its revival. The Javanese government sees the revival of Javanese as a very necessary identity marker, as a reflexive stance to transnationalism. Here, various sectors of Javenese society are contributing to the revival of the language, such as the arts, poltics, commerce, and domestic environments. The paper seeks to document Javanese in various sectors, buy observing its use in the above sectors, and elsewhere. The study observes the engineering of this language revival, and from which, the ideologies of Javanese are extrapolated, so as to expose anthropological patterns. The study thus contributes to work on language revitalization, linguistic landscapes, language ideologies and linguistic anthropology in general.
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Yukongdi, Pakpadee. "Khao San Dam: The Archaeological Evidence of Burnt Rice Festival in Southern Thailand | ข้าวสารดำา: หลักฐานทางโบราณคดีเกี่ยวกับประเพณีการเผาข้าวในภาคใต้ของ ประเทศไทย." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-08.
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Recently in 2021the 11th office of the Fine Arts Department, Songkhla has reported their annual excavations in Trang Province that archaeologists have found some set of rice while excavation in process namely,1) Khao Kurum Archaeological Site, Huai Yod District and 2) Napala Archaeological Site, Muang District. The artifacts which were found associated with the rice grains on the habitation layer consisted of potsherds, animal bones, grindstone, beads, etc. The grains of rice are short and brown in colour which is examined as carbonized since the beginning at its first left. The primary examination by archaeologists has classified the rice of Napala Archaeological Site as short grain of probably Orysa sativa (Indica or Aus) rice. AMS Radiocarbon dating by Beta Analytic Testing Laboratory shows the AMS standard results and calibration dating of charred material measured radiocarbon age:1440±30BP. Because of their geographical location, both sites are incredibly located on one side of the hill slope, where they were suitable for habitat and plantation, especially tiny paddy fields and farms with sufficient water supply either small stream or well. The found rice, which now still grows uphill, probably called ‘Khao rai’ needs less water or no marsh. Comparative study of ethnographic “Atong” 1 of 12 sub-tribes of the “Garos” Tibeto-Burman in Meghalaya, India which originated slash-and-burnt socio-groups, have shown an interest in growing rice activity. According to their ritual ceremony for planting of paddy, other grain, and seeds takes place. There are many ritualistic offerings of rice such as (1) flattened rice by asking for permission to cultivate the land from the first harvested paddy in May. (2) After the harvesting in September or October, the 1st ceremony of the agricultural year is a thanksgiving ceremony to mark the end of a period of toil in the fields and harvesting of bumper crops, which is probably the most important festival of the Garos locally called “Maidan syla” meant to celebrate the after-harvested festival or burnt rice festival. Their 2nd ceremony is to revive the monsoon clouds. People throw cooked rice on the floor to symbolize hailstones. Noticing the rice, were probably the assemblage of “Khao San Dam” in many activities of these ceremonies, that is the archaeological evidence found in Khao Kurum and Napala Archaeological Sites. In the Southern part of Thailand, once the crops have already cultivated, people celebrate to welcome their outcrops most probably at the end of September to October and mark their end of plantation before the monsoon come. People prepare 4 main rice desserts put together with other necessity stuffs in the “hmrub” special large containers and donate to the ancestors through Buddhist ceremony. Though archaeological evidence shows that southern peninsular was where the migrants from the west especially India origins, who shared same habitat of hillslope, might brought their different traditions through both land trans-peninsular and sea routes then settled down inner western or eastern coast since prehistoric times. The beliefs in animism might belong to some other western migrants and with having “hmrub” is one of their unique cultural characteristic material and tradition remain. Once they settled down then converged to Buddhism, the ritual ceremony may be changed due to religion, but tradition remains the same today, that is, Bun Duean Sib on the 10th of the lunar month or September-October.
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Stillwell, Ashlynn S., and Michael E. Webber. "Feasibility of Wind Power for Brackish Groundwater Desalination: A Case Study of the Energy-Water Nexus in Texas." In ASME 2010 4th International Conference on Energy Sustainability. ASMEDC, 2010. http://dx.doi.org/10.1115/es2010-90158.
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With dwindling water supplies and the impacts of climate change, many cities are turning to water sources previously considered unusable. One such source for inland cities is brackish groundwater. With prolonged drought throughout Texas, cities such as El Paso, Lubbock, and San Antonio are desalinating brackish groundwater to supplement existing water sources. Similar projects are under consideration elsewhere in Texas. While brackish groundwater contains fewer total dissolved solids than seawater, desalination of brackish groundwater is still an energy-intensive process. Brackish water desalination using reverse osmosis, the most common desalination membrane treatment process, consumes 20 to 40 times more energy than traditional surface water treatment using local water sources. This additional energy consumption leads to increased carbon emissions when using fossil fuel-generated electricity. As a result of concern over greenhouse gas emissions from additional energy consumption, some desalination plants are powered by wind-generated electricity. West Texas is a prime area for desalination of brackish groundwater using wind power, since both wind and brackish groundwater resources are abundant in the area. Most of the Texas Panhandle and Plains region has wind resource potential classified as Class 3 or higher. Additionally, brackish groundwater is found at depths less than 150 m in most of west Texas. This combination of wind and brackish groundwater resources presents opportunities for the production of alternative drinking water supplies without severe carbon emissions. Additionally, since membrane treatment is not required to operate continuously, desalination matches well with variable wind power. Implementing a brackish groundwater desalination project using wind-generated electricity requires economic feasibility, in addition to the geographic availability of the two resources. Using capital and operating cost data for wind turbines and desalination membranes, we conducted a thermoeconomic analysis for three parameters: 1) transmission and transport, 2) geographic proximity, and 3) aquifer volume. Our first parameter analyzes the cost effectiveness of tradeoffs between building infrastructure to transmit wind-generated electricity to the desalination facility versus pipelines to transport brackish groundwater to the wind turbines. Secondly, we estimate the maximum distance between the wind turbines and brackish groundwater at which desalination using wind power remains economically feasible. Finally, we estimate the minimum available brackish aquifer volume necessary to make such a project profitable. Our analysis illustrates a potential drinking water option for Texas (and other parts of the world with similar conditions) using renewable energy to treat previously unusable water. Harnessing these two resources in an economically efficient manner may help reduce future strain on the energy-water nexus.
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Marchenko, Nataliya. "Navigation in the Russian Arctic: Sea Ice Caused Difficulties and Accidents." In ASME 2013 32nd International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/omae2013-10546.
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The 5 Russian Arctic Seas have common features, but differ significantly from each other in the sea ice regime and navigation specifics. Navigation in the Arctic is a big challenge, especially during the winter season. However, it is necessary, due to limited natural resources elsewhere on Earth that may be easier for exploitation. Therefore sea ice is an important issue for future development. We foresee that the Arctic may become ice free in summer as a result of global warming and even light yachts will be able to pass through the Eastern Passage. There have been several such examples in the last years. But sea ice is an inherent feature of Arctic Seas in winter, it is permanently immanent for the Central Arctic Basin. That is why it is important to get appropriate knowledge about sea ice properties and operations in ice conditions. Four seas, the Kara, Laptev, East Siberian, and Chukchi have been examined in the book “Russian Arctic Seas. Navigation Condition and Accidents”, Marchenko, 2012 [1]. The book is devoted to the eastern sector of the Arctic, with a description of the seas and accidents caused by heavy ice conditions. The traditional physical-geographical characteristics, information about the navigation conditions and the main sea routes and reports on accidents that occurred in the 20th century have reviewed. An additional investigation has been performed for more recent accidents and for the Barents Sea. Considerable attention has been paid to problems associated with sea ice caused by the present development of the Arctic. Sea ice can significantly affect shipping, drilling, and the construction and operation of platforms and handling terminals. Sea ice is present in the main part of the east Arctic Sea most of the year. The Barents Sea, which is strongly influenced and warmed by the North Atlantic Current, has a natural environment that is dramatically different from those of the other Arctic seas. The main difficulties with the Barents Sea are produced by icing and storms and in the north icebergs. The ice jet is the most dangerous phenomenon in the main straits along the Northern Sea Route and in Chukchi Seas. The accidents in the Arctic Sea have been classified, described and connected with weather and ice conditions. Behaviour of the crew is taken into consideration. The following types of the ice-induced accidents are distinguished: forced drift, forced overwintering, shipwreck, and serious damage to the hull in which the crew, sometimes with the help of other crews, could still save the ship. The main reasons for shipwrecks and damages are hits of ice floes (often in rather calm ice conditions), ice nipping (compression) and drift. Such investigation is important for safety in the Arctic.
Reports on the topic "Arts not elsewhere classified"
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Albury-Wodonga. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206966.
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Albury-Wodonga, situated in Wiradjuri country, sits astride the Murray River and has benefitted in many ways from its almost equidistance from Sydney and Melbourne. It has found strength in the earlier push for decentralisation begun in early 1970s. A number of State and Federal agencies have ensured middle class professionals now call this region home. Light industry is a feature of Wodonga while Albury maintains the traditions and culture of its former life as part of the agricultural squattocracy. Both Local Councils are keen to work cooperatively to ensure the region is an attractive place to live signing an historical partnership agreement. The region’s road, rail, increasing air links and now digital infrastructure, keep it closely connected to events elsewhere. At the same time its distance from the metropolitan centres has meant it has had to ensure that its creative and cultural life has been taken into its own hands. The establishment of the sophisticated Murray Art Museum Albury (MAMA) as well as the presence of the LibraryMuseum, Hothouse Theatre, Fruit Fly Circus, The Cube, Arts Space and the development of Gateway Island on the Murray River as a cultural hub, as well as the high profile activities of its energetic, entrepreneurial and internationally savvy locals running many small businesses, events and festivals, ensures Albury Wodonga has a creative heart to add to its rural and regional activities.
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Henderson, Tim, Vincent Santucci, Tim Connors, and Justin Tweet. National Park Service geologic type section inventory: National Capital Region Inventory & Monitoring Network. National Park Service, July 2022. http://dx.doi.org/10.36967/2293865.
Full textAbstract:
Type sections are one of several kinds of stratotypes. A stratotype is the standard (original or subsequently designated), accessible, and specific sequence of rock for a named geologic unit that forms the basis for the definition, recognition, and comparison of that unit elsewhere. Geologists designate stratotypes for rock exposures that are illustrative and representative of the map unit being defined. Stratotypes ideally should remain accessible for examination and study by others. In this sense, geologic stratotypes are similar in concept to biological type specimens, however they remain in situ as rock exposures rather than curated in a repository. Therefore, managing stratotypes requires inventory and monitoring like other geologic heritage resources in parks. In addition to type sections, stratotypes also include type localities, type areas, reference sections, and lithodemes, all of which are defined in this report. The goal of this project is to consolidate information pertaining to stratotypes that occur within NPS-administered areas, in order that this information is available throughout the NPS to inform park managers and to promote the preservation and protection of these important geologic heritage resources. This effort identified 20 stratotypes designated within seven park units of the National Capital Region I&M Network (NCRN): Chesapeake and Ohio Canal National Historical Park (CHOH) contains three type sections, two type localities, one type area, and eight reference sections; George Washington Memorial Parkway (GWMP) contains one type locality; Harpers Ferry National Historical Park (HAFE) contains two type sections, and one type locality/type area; Manassas National Battlefield (MANA) contains two type areas; Monocacy National Battlefield (MONO) contains one type section; National Capital Parks-East (NACE) contains one type locality; Prince William Forest (PRWI) contains one type section. Note that two stratotype designations (for the Harpers and Mather Gorge Formations) are shared amongst multiple park units. Table 1 provides information regarding the 20 stratotypes currently identified within the NCRN. There are currently no designated stratotypes within Antietam National Battlefield (ANTI), Catoctin Mountain Park (CATO), Rock Creek Park (ROCR), and Wolf Trap National Park for the Performing Arts (WOTR). However, CATO, CHOH, and GWMP contain important rock exposures that could be considered for formal stratotype designation as discussed in the Recommendations section. The inventory of geologic stratotypes across the NPS is an important effort in documenting these locations in order that NPS staff recognize and protect these areas for future studies. The focus adopted for completing the baseline inventories throughout the NPS has centered on the 32 inventory and monitoring (I&M) networks established during the late 1990s. Adopting a network-based approach to inventories worked well when the NPS undertook paleontological resource inventories for the 32 I&M networks and was therefore adopted for the stratotype inventory. The Greater Yellowstone I&M Network (GRYN) was the pilot network for initiating this project (Henderson et al. 2020). Methodologies and reporting strategies adopted for the GRYN have been used in the development of this report for the NCRN. This report includes a recommendation section that addresses outstanding issues and future steps regarding park unit stratotypes. These recommendations will hopefully guide decision-making and help ensure that these geoheritage resources are properly protected and that proposed park activities or development will not adversely impact the stability and condition of these geologic exposures.