http://edtags.org/ http://edtags.org/css/EdTags.jpghttp://edtags.org/bookmarks.php/lcinstitute Recent bookmarks posted to Edtags.org 60 http://books.google.com/books?id=ajAHXtE3XiwC&printsec=frontcover&source=gbs_navlinks_s#v=onepage&q=&f=false Spanning 120 years of photographic history, this first authoritative aesthetic study includes 240 examples of art photography from masters such as Steichen and Stieglitz. lcinstitute Thu, 28 Jan 2010 03:38:26 +0000 a night sonnet so far http://wac.colostate.edu/atd/articles/gullaetal2009.cfm In addressing the larger issues of this paper’s subject, the authors describe a Lehman college workshop designed to prepare students for a discussion of Mary Whalen’s “A Night Sonnet So Far.” The authors note the university’s participation in Lincoln Center Institute’s “inquiry-based learning” program and its complementary relationship with their Writing across the Curriculum program (WAC). lcinstitute Thu, 28 Jan 2010 03:37:28 +0000 a night sonnet so far http://www.c-s-p.org/Flyers/Photography-and-Literature-in-the-Twentieth-Century.htm Reviewer Roberts cites this unique work for its commentary on “the literary strategizing of photographers” and the role of photography and literature in the development of “modernism.” lcinstitute Thu, 28 Jan 2010 03:36:50 +0000 a night sonnet so far http://www.photoeye.com/bookstore/citation.cfm?catalog=MR022 Editor Pauli’s 2006 genre survey has been called “the first major history of staged photography.” lcinstitute Thu, 28 Jan 2010 03:36:14 +0000 a night sonnet so far http://www.csulb.edu/~csnider/edward.lear.html Professor Snider views the work of Edward Lear through the lens of Carl Jung. Citing Karl Kerényi’s discussion of the trickster, he notes that Lear used disorder in his nonsense verse to give the Victorian reader an experience of what was not permitted in society within the confines of what was permitted. lcinstitute Thu, 28 Jan 2010 03:34:43 +0000 a night sonnet so far http://www.jstor.org/pss/25127005 Vince Gotera reviews “Woman with a Cubed Head” by Julie Moulds—Mary Whalen’s collaborator on “A Night Sonnet So Far.” lcinstitute Thu, 28 Jan 2010 03:33:54 +0000 a night sonnet so far mary whalen http://www.soho20gallery.com/New/artist_pages/whalenBio.html This brief biographical sketch highlights Whalen’s collaboration with poet Julie Moulds. Entitled “A Night Sonnet So Far” and inspired by the limericks of Edward Lear, their chapbook is a collection of work from both artists. lcinstitute Thu, 28 Jan 2010 03:32:52 +0000 a night sonnet so far mary whalen http://www.questia.com/googleScholar.qst;jsessionid=LpDGZZ72Tgv9BJxddNRC1ZL1NXsKXTRyDVVl64mJBmtm9w8ZpqnJ!488759782!1496924105?docId=5002399560 Drawing on Howard Gardner’s view of dance as “kinesthetic intelligence,” Hanna notes that choreographers draw on “musical, visual, verbal and interpersonal intelligences” to create. lcinstitute Thu, 28 Jan 2010 00:35:12 +0000 ghostcatching http://www.performances.org/education/studyguides/SFP_Dance_booklet.pdf This booklet, published by San Francisco performances, sketches out the basics of choreography, which is defined as “the art of ordering space, effort and rhythm.” lcinstitute Thu, 28 Jan 2010 00:34:40 +0000 ghostcatching http://books.google.com/books?id=1mC9vO5z77QC&printsec=frontcover&source=gbs_navlinks_s#v=onepage&q=&f=false Gottschild’s text, which discusses the influence of the black body in dance, also explores Bill T. Jones’s movement vocabulary (which the author qualifies as “extensive”) and the concept of “black space.” lcinstitute Thu, 28 Jan 2010 00:33:53 +0000 ghostcatching http://books.google.com/books?id=XV8oWKp3H1gC&printsec=frontcover&source=gbs_navlinks_s#v=onepage&q=&f=false See Part 3, entitled Reflections and Extensions, for an analysis of how Bill T. Jones choreographs memory, movement, and identity. Particular attention is paid to his works 21, which features the repetition of the word “memory,”and Still/Here which Desmond describes as a “danced memoir.” lcinstitute Thu, 28 Jan 2010 00:33:15 +0000 ghostcatching http://books.google.com/books?id=ScYLdumGbvcC&printsec=frontcover&source=gbs_navlinks_s#v=onepage&q=&f=false Albright discuses the role of dance and choreography in how our differences (gender, race, sexuality) are addressed before the public eye, and how cultural identities are promoted. See references to Bill T. Jones in the chapter entitled “Embodying History: Epic Narrative and Cultural Identity in African-American Dance.” lcinstitute Thu, 28 Jan 2010 00:32:33 +0000 ghostcatching http://books.google.com/books?id=YJYG_vjwl5oC&printsec=frontcover&source=gbs_navlinks_s#v=onepage&q=&f=false The book recounts in detail a 1983 collaboration in which Haring painted Bill T. Jones’s black body with white acrylic paint. lcinstitute Thu, 28 Jan 2010 00:31:56 +0000 ghostcatching http://www.lifeforms.com/danceforms/PDFs/CGAApril05.pdf Earliest applications of computers to dance focused on using animation to plan choreography. Composing and editing dance notation scores soon followed, and it wasn’t long before the computer was transforming those same scores into animation. This overview examines these trends as well as the digital impact on live performance. lcinstitute Thu, 28 Jan 2010 00:31:07 +0000 ghostcatching http://books.google.com/books?id=eX0hSyKaPKgC&pg=PA103&dq=%22bill+t.+jones%22+and+muybridge&lr=#v=onepage&q=%22bill%20t.%20jones%22%20and%20muybridge&f=false In chapter 17, entitled “Dancing and Cameras,” Bill T. Jones discusses the influence of 19th-century photographer Eadweard Muybridge on his work. Movement as “a series of still pictures...that could be manipulated” captured his imagination. lcinstitute Thu, 28 Jan 2010 00:30:12 +0000 ghostcatching