61. Assignment Schedule Mar 4th, 115, Advanced issues in composition Portraiture, critique session.Mar 11th, 115, Advanced issues in composition Class Challenge (Unique http://www4.hmc.edu:8001/humanities/beckman/artclasses/Sch100.htm

Art 100 Introduction to Digital Photography Assignment Schedule Assignments All photography involves camera work and printing work. Depending on the digital camera that you use, there may be only minor differences between your camera work and use of a normal SLR 35mm camera. Printing, however, will involve transfer of data to your computer, use of PhotoShop (or other software), and use of the Epson 900 InkJet printer. Assignments will cover both of these features. The objective in digital photography is ultimately identical with the objective in all photography; it is to produce images that you want to share with others. You should build a portfolio of images that you will submit to me at semester's end. Also, at the end of the semester, we will plan a show of your best images. Early in the semester, I would like to have you work on basic camera issues and basic printing. We will have a couple critique sessions in order to discuss what you've done. As the semester develops, we will have time to work on more advanced camera issues and some more advanced printing techniques. The frequency of critiques will increase. I am setting up a shared folder for Art 100 on the file server Charlie. This is in the "Courses" domain and in the "Humsoc" folder. All students registered for the class have access to this folder and each student will have a subfolder under his/her name. For the critique sessions, you should place up-to six images reflecting your week's work in your folder. We will display your images in the classroom and discuss them. I will have a laptop and digital projector available at each class meeting. Meanwhile, you should begin making some prints of your work in order to become proficient at printing; you are welcome to bring these to class as well.

62. CRITIQUE :: What Price Fame? People have blamed the state’s education monopoly for high levels of scientificilliteracy and poor English composition skills, but have largely dismissed http://www.critiquemagazine.com/article/whatpricefame.html

WHAT PRICE FAME? NONFICTION BY TYLER COWEN Harvard University Press ISBN: 0674001159 Reviewed by Charles Stampul hat would motivate a person to launch a destructive computer virus, commit a mass murder, receive counseling on national television, or show video of highly personal activities over the Internet? The answer, of course, is fame. In the quest to get noticed and stand out from the crowd people compromise taste, personal integrity and morality. But like the profit motive, the desire to gain acclaim has driven people to create and accomplish great things, not just in the realms of art, literature, music, and athletics, but also in the fields of science and technology. The lure of fame has led to the erosion of cultural institutions and the separation of fame and merit, but only because the mass of people ceased to value scientific, technological, and artistic accomplishments. This is a critical point missed by Tyler Cowen in What Price Fame?

63. Condenser Critique Click here to download a full read only example of Condenser critique. composition and conditions of vapour/gas mixtures; Saturation in vapour/gas http://www.inventech.co.uk/CondenserCritique.htm

Condenser Critique 2.0 Software for sizing and testing the performance of shell and tube cooler condensers Save money by operating your condensers efficiently Calculate condenser operating costs Optimise use of cooling water Calculate saturation in vapour/gas mixtures Calculate condenser pressure losses Test effect of any process change on condensers Free Condenser Critique Example Click here to download a full read only example of Condenser Critique. (Excel 97, 2000 or 2002 required) Condenser Critique Shell and tube condensers come in different sizes, are used in various applications and all require large amounts of cooling water. Their use in the vacuum field where very low pressure losses are required imposes special requirements. Detailed insight into the performance of these condensers can lead to reduction in operating costs if cooling water can be more effectively utilised. It will also assist in predicting the behaviour of such condensers where fouling/ scale and variation in operating conditions need to be considered. At the design stage, it provides a useful aid when establishing the relationship between performance, capital costs and operating costs. Software Specification The software comprises a series of dedicated multi-page spreadsheets which are run under Microsoft Excel 97, 2000 or 2002 for Windows 95/98/NT4/2000/XP based IBM compatible PC’s.

64. Composition Theory: Computers & Composition This course serves as an introduction to Computers and composition research Your critique should address the ideas presented in the course literature; http://www.cas.usf.edu/~moxley/cc98.html

(ENC 6700-001) Joe Moxley, Professor of English moxley@chuma1.cas.usf.edu Department of English, Tampa, FL 33617, CPR 331 http://www.usf.edu/~writing CPR 202, Thursday, 6-8:50 "Out-of-class" Activities: I may be able to schedule time in the computer lab for those who need access. Check with Janice Walker or Jerry Lucas for times, if available. Office Hours: By appointment. You can expect a fast turnaround when you email queries, also. Class Listserv: http://www.cas.usf.edu/cgi-bin/lyris.pl?enter=tatalk Overview Prerequisites Requirements ... Student Links Overview This course serves as an introduction to Computers and Composition research and scholarship. We analyze the ways new information technologies are challenging our conception of literacy; challenging our rol es as teachers, writers, researchers, composition scholars; and challenging our roles as faculty members and as cultural workers. Students will prepare presentations on course readings; learn basic HTML; become adept at online search protocols; write a r esearch or grant proposal; experiment with and critique MOOs, listservs, e-journals, and Web-based software; and make at least two observations of students and teachers working in computer classrooms. Scope/Prerequisites This course is not designed to train you in IT (instructional technology), desktop design, advanced HTML, or even basic word processing. Our focus, instead, is on examining the effects of communication sof tware. The course will be appropriate for those who are computer novices as well as for those who are experts. No computer experience is required, but some experience, such as using a mouse, will be helpful.

65. Henrik_Lindberg: Giving Critique - A Check List For Critiquers (1 Of 2) Not quite sure how to give a critique? This article is an attempt to composition design - Are there interesting shapes - both positive and negative? http://www.wetcanvas.com/Articles2/509/168/

Home Member Services vbmenu_register("member"); Content Areas vbmenu_register("content"); Tools vbmenu_register("tools"); Info Center Help Member Services New member? Create new account (free!) Become a paying member (NYOS) Member Directory ... Member Agreement Content Areas Art Project System Article Index Critique Center Discussion Forums ... Reference Image Library Tools Article Publisher Chat Live Gallery Manager Virtual Palette ... Web Hosting Channels: Choose ... Abstract/Contemporary Art Acrylics Airbrush Art All Media Art Events Art Business Art History Art Schools/Students Artist Marketplace Cafe Guerbois Classical Art Colored Pencil Computers/Technology Creativity Critique Center Digital Art Fantasy/Sci-Fi Art Figure, The Glass Art Illustration Inspirational Art Landscapes Marine Art Miniature Art Mixed Media/Alt. Materials/Other New User Channel Oil Painting Pastels Photography Plein Air Portraiture Printmaking Sculpture Still Life, The Teacher's Toolbox Tole/Decorative/Porcelain/China Watercolors WC! Events WC! Site Discussions Wearable Art Search for: in: Choose ...

66. Johannes_Vloothuis: Landscape Composition Rules (1 Of 23) composition Design, Computers/Technology, Creativity, critique Center These are a compilation of what appears in most books on composition plus http://www.wetcanvas.com/Articles2/135/120/

Home Member Services vbmenu_register("member"); Content Areas vbmenu_register("content"); Tools vbmenu_register("tools"); Info Center Help Member Services New member? Create new account (free!) Become a paying member (NYOS) Member Directory ... Member Agreement Content Areas Art Project System Article Index Critique Center Discussion Forums ... Reference Image Library Tools Article Publisher Chat Live Gallery Manager Virtual Palette ... Web Hosting Channels: Choose ... Abstract/Contemporary Art Acrylics Airbrush Art All Media Art Events Art Business Art History Art Schools/Students Artist Marketplace Cafe Guerbois Classical Art Colored Pencil Computers/Technology Creativity Critique Center Digital Art Fantasy/Sci-Fi Art Figure, The Glass Art Illustration Inspirational Art Landscapes Marine Art Miniature Art Mixed Media/Alt. Materials/Other New User Channel Oil Painting Pastels Photography Plein Air Portraiture Printmaking Sculpture Still Life, The Teacher's Toolbox Tole/Decorative/Porcelain/China Watercolors WC! Events WC! Site Discussions Wearable Art Search for: in: Choose ...

67. Enculturation: Editors to analyze the feminist critique of critical pedagogy within composition studies . a critique of composition s history titled The Rhetoric of Cool http://enculturation.gmu.edu/enculted.html

Editors General Editor: Byron Hawk , George Mason University Technical Editor: Collin Gifford Brooke , Syracuse University Copy Editor: Thomas Rickert , Purdue University Editorial Board Sarah Arroyo , California State University at Long Beach Jennifer Bay , Purdue University Lisa Coleman , Southeastern Oklahoma State University Peter Goggin , Arizona State University Lorie Goodman , Pepperdine University Judy Isaksen , Eckerd College Jeffrey Karnicky , Millersville University Matthew Levy , University of Texas at Arlington Timothy Mayers , Millersville University Stacia Neeley , Texas Wesleyan University Jeff Rice , Wayne State University David Rieder , North Carolina State University James Roberts , Georgia State University Sarah Arroyo , California State University at Long Beach Sarah Arroyo is an Assistant Professor of English at California State University Long Beach. Her areas of interest include: digital studies, composition theories and pedagogies, rhetorical invention, theories of spatiality, multiple literacies, and post-secondary teacher education. Her research explores the relationships among cultural/critical theory, rhetoric, writing, and technology by examining how these intersections create conditions for new possibilities to emerge about thinking, writing, and teaching writing. She has published in Ploygraph: An International Journal of Culture and Politics and has forthcoming articles in JAC and PreText Electra(Lite) . She is currently working a book manuscript entitled W/hole Writing: Toward a Post-Critical Composition

68. How To Do A Critique To write a successful critique, first find a good picture of the piece How the objects are spaced out and arranged in a composition is called balance. http://library.thinkquest.org/C0118063/critique/howto.htm

How to do a critique: To write a successful critique, first find a good picture of the piece you wish to do and have it in front of you for reference. Also try to find a brief history/background behind the work, it will be useful for identification of parts during the critique. Now on to the actual critique. The first section will be the Elements of Design. In this section there are subcategories: Line and Shape, Texture, Value, Color, and Space. In Line and Shape, study the forms in the painting and the lines, and write out any similarities and contrasts you see in the positioning of the lines, i.e. are they parallel? Do they converge at a vanishing point? Does the vanishing point have some kind of significance in the composition? Etc. For shapes, are they organic or geometric? Do they create contrast? In texture, examine the actual texture (i.e. that you would feel if you were allowed to touch the piece) of the work in question. Does it appear rough or smooth? Then examine the simulated textures, like cloth or wood, and comment on whether it is true to life, or unreal. Once again, state what contrasts the textures create. For value, examine and state the location of the light source. This will usually be opposite to the brighter areas of the work. Is there something significant about where the lights and darks are? Which parts are the brightest or the darkest? You may also state where you can see all the transitions, such as highlight, umbra, shadow, and penumbra.

69. Drama 157/255 - Lighting Composition To explore the creative possibilities of lighting composition. Mandatoryattendance for all class sessions; Analysis critique Papers of UCI and http://drama.arts.uci.edu/faculty_bios/ruzika_2/157_255.html

Lighting Composition Drama 157/255 Tom Ruzika To explore the creative possibilities of lighting composition. Studio exercises will investigate the relationship of lighting to the human eye, music, dramatic script, and human psychology. Emphasis is placed on human artistic intuition and artistic taste. The painterly compositional qualities of light are analyzed as to how they are used to create pictures of light. Discussion Topics The nature of light Styling light Direction, color, angle, movement of light Psychology of light Perception of light Design styles and techniques Politics of lighting design Course Requirements Mandatory attendance for all class sessions Verbal participation Deadlines Weekly composition exercises Weekly discussion topics Evaluation Of Work Attendance and verbal participation Presentational techniques (how you present yourself) Critique papers Compositional and stylistic qualities Progress, understanding and development Tom Ruzika

70. Annkullberg.com Mini-Critiques composition I ll check your composition and make cropping suggestions if I will have your critique ready for you within 4 days of receipt of your jpgs. http://www.annkullberg.com/critiques.htm

Catch your mistakes early....or even before you make them! Rochelle's pretty new at colored pencil, but she really wanted to do her best with this special piece. So she sought some help from me with a few mini-critiques Needless to say, we were both very pleased with the results of our "working together" on her lovely portrait. How does it work? Through Email Your part: Email me a large jpg of your scanned or digitally photographed art work. I'd prefer it were scanned at a resolution of 150dpi. I'd rather have a jpg that is too large than one that is too small. Your artwork can be at any stage, but I'd suggest fairly early in the process. Email me a large jpg of your photo reference. My part: Composition: I'll check your composition and make cropping suggestions if needed...or ways to improve the composition. Drawing: I'll check for any drawing errors, and suggest how to correct them. The most beautiful rendering (painting) in the world is lost if it doesn't start with a good drawing!

71. Bedford/St. Martin's - The Bedford Bibliography: History Of Rhetoric And Composi At the same time, composition also now has its first critique of process pedagogy;Lisa Delpit criticizes the writing process movement for its tendency to http://www.bedfordbooks.com/bb/history.html

Contents Index Previous Next A Brief History of Rhetoric and Composition Classical Rhetoric: Stages of Composing, Functions of Discourse The formal study of rhetoric in the West began in Greece in the fifth century B.C.E. with the Sophists [ ], followed by Isocrates [ ], Plato [ ], and Aristotle [ ]. The main line of Greek rhetoric was extended by Roman rhetoricians, notably Cicero [ ] and Quintilian [ Scholars traditionally regarded classical rhetoric as a system with the built-in assumption that one first finds knowledge and then puts it into words. In our own day, in the context of a renewed interest in the Sophists, this view has been challenged by a number of historians of rhetoric, who argue that knowledge is actually created by words (see Jarratt [ ] and Swearingen [ Scholars have also emphasized classical rhetoric's sorting of discourse forms according to social function. Many classical rhetorics divide oratory into three categories. Deliberative speeches, primarily devoted to political purposes, aim to persuade hearers to choose or avoid some future course of action. Forensic speeches, used primarily in legal situations, aim to accuse or defend someone involved in a disputed past action. Epideictic speeches, produced in classical times on ceremonial occasions, aim to help hearers see some present event or person as worthy of praise or blame. Epideictic orations may make more use than others of literary ornaments and vocal pyrotechnics. Although these classical categories for oral discourse have been reshaped by later rhetoricians, the premise that discourse can be classified according to social function has been persistently influential. In eighteenth-century American colleges, for example, discourse was classified according to its use by clergymen, lawyers, or politicians. Contemporary composition scholars have redirected the interest in social function to analyses of the ways in which audience or social context affects the interpretation of written text.

72. Dear Dr Macro photography, the use of flash, composition, and studio assignments. In Class critique / Digital photography applications (web, weblogs, http://www.art.utah.edu/sylSummer/nm_syllabi/LDuffin_2050_1_05U.htm

Digital Photography for Non-Art Majors ( Summer 2005 Instructor Lance W. Duffin lance.duffin@utah.edu Course overview and learning objectives: Digital Photography for non-art majors is an introductory class in the history, mechanics and applications of digital photography as well as basic photographic techniques and compositional skills. Course objectives will be met through a combination of lectures, guest lectures, viewing the work of master photographers, class assignments and in-class critiques of student work which will be projected on the screen. The objectives of the course are to: Provide students with a basic understanding of the development of digital photography and its advantages and disadvantages in comparison to traditional film. Allow students to become well versed in the handling and operations of their individual digital cameras and to assist students in understanding the different types of digital cameras available to beginning and professional photographers. Provide students with an understanding of the basic mechanisms of digital photography. Including, but not limited to: sensors, capture mode, file types and sizes, white balance, compensations, storage systems, macro photography, the use of flash and printing, email and web options.

73. UTC Department Of English Engl 558 composition Studies as Cultural critique M 530800 Dr. Jennifer Beechcomposition studies has been marked by a turn toward cultural critique http://www.utc.edu/Academic/English/coursdesc.html

74. BonsaiTALK Forum - Shinji Critique #4 - Needle Junipers The rear center of the composition needs to have as much foliage as the trees to the necessary to be qualified to engage in formal critique of bonsai http://forum.bonsaitalk.com/archive/index.php/t-4924.html

bonsaiTALK Forum Main Contests Past Contests ... PDA View Full Version : Shinji Critique #4 - Needle Junipers 6-Nov-2003, 11:14 PM NOTE: This post is part of a contest! 1. Entries in this forum are invisible until they have been moderated by Al Keppler, contest coordinator, and will probably not be revealed until the contest ends! Here is the display. Attach your entry for this display right here. Remember - it won't appear 'til bonsaiAl reveals it! Style - Forest Artist - Chuck Nelson Shinji as translated by Hideko: "In this display the artist has correctly put the largest tree in front while showing smaller trees in the back for depth. The display shows great imagery and gives the feeling that this is a place that one would like to walk into and sit and relax for a while." Things to change: 1. The central tree has a jinned top. More of the other trees need to have tops like this to carry the theme on through out the display. 2. The stones ( while hard to see..sorry) need to be placed in the display with the largest in front and getting smaller to the rear. Carry the theme of larger in the foreground and smaller in the rear with trees and stones too. 3. No accent. ( note, the accent was removed from the display before the exhibit was even open. The artist brought it and decided that he too thought it was very crowded. Since I had taken the picture before its removal, I included it as a critique, though not pointed out by Shinji.

75. National Geographic Photo Critique: Dock In Patagonia, Chile critique This photo has good balance, symmetry in composition, nice color andmood, and clean lines that draw the eye into the image. The composition might http://www.nationalgeographic.com/adventure/0309/readers_photo_2.html

Adventure Main E-Mail the Editors Adventure ... Subscribe September 2003 Related Web Sites Desktop Wallpapers: Adventure Photos National Geographic Photography Home Page Find additional photo galleries, tips for taking better pictures, and more. More Photo Galleries Select a Gallery Afghan War Report Afghanistan's Shadowlands Alaska's Arctic Refuge Alaska's Virgin Islands Altiplano, South America Amazon Rain Forest, Ecuador Among the Lava Junkies Asheville Envy Australia's 4 Corners Belize's Nightmare Caves Castaway in Paradise, Chimps at Risk Chinko River Voyage Congo Trekking Dry Tortugas, Florida Ebola Outbreak, Uganda Gabon's Great Leap Grand Canyon Quest Himalaya of Bhutan India's Elephantine Problem Jamaica's Junger in Afghanistan Kashmir Diaries Krakatoa (Volcano) Laos by Riverboat Libya's Shifting Sands Lions of Tsavo Moab's Greatest Ride Mexico's Peyote Trail Nepal on the Brink New Frontiers of the Southwest Northwest Passage Panama Portrait Patagonia Postcards From Brazil Powder Rangers Rockies by Bike Sahara Crossing Skiing the Sierra Surfing the New El Salvador Thailand's Toxic Caves Tibet's Mount Kailas Yellowstone's Shop National Geographic More Adventure From nationalgeographic.com

76. National Geographic Adventure Reader Photo Critique critique This shot s punchy colors give it the look of a hyperrealistic tableau.The composition is very clean and symmetrical. Dale was right to include http://www.nationalgeographic.com/adventure/0312/readers_photo.html

Adventure Main E-mail the Editors Adventure ... Subscribe December 2003/January 2004 Related Web Sites Reader Photo Critiques: See your fellow readers' best pics through the eyes of the Adventure photo editors. Photo Critique I Photo Critique II Photo Critique III Desktop Wallpapers: Adventure Photos ... Photography Guide Find additional photo galleries, tips for taking better pictures, and more. More Photo Galleries Select a Gallery Afghan War Report Afghanistan's Shadowlands Alaska's Arctic Refuge Alaska's Virgin Islands Altiplano, South America Amazon Rain Forest, Ecuador Among the Lava Junkies Asheville Envy Australia's 4 Corners Belize's Nightmare Caves Castaway in Paradise, Chimps at Risk Chinko River Voyage Congo Trekking Dry Tortugas, Florida Ebola Outbreak, Uganda Gabon's Great Leap Grand Canyon Quest Himalaya of Bhutan India's Elephantine Problem Jamaica's Junger in Afghanistan Kashmir Diaries Krakatoa (Volcano) Laos by Riverboat Libya's Shifting Sands Lions of Tsavo Moab's Greatest Ride Mexico's Peyote Trail Nepal on the Brink New Frontiers of the Southwest Northwest Passage Panama Portrait Patagonia Postcards From Brazil Powder Rangers Rockies by Bike Sahara Crossing Skiing the Sierra Surfing the New El Salvador Thailand's Toxic Caves Tibet's Mount Kailas Yellowstone's Shop National Geographic More Adventure From nationalgeographic.com

77. Libby Miles Institutional critique Revisited. Works Days 41/42 (2003) 219237. Constructing composition Reproduction and WPA Agency in Textbook Publishing. http://www.uri.edu/artsci/writing/Faculty_Pages/miles_libby.htm

78. Rhetoric And Composition As Intellectual Work | Olson Gary A. Olson, “Ideological critique in Rhetoric and composition”. Tom Fox, “WorkingAgainst the State”. Lynn Worsham, “Coming to Terms” http://www.siu.edu/~siupress/titles/s02_titles/olson_rhetoric.htm

Rhetoric and Composition as Intellectual Work Edited by Gary A. Olson April 2002 ISBN 0-8093-2433-4, $27.00 paper 288 pages, 6 x 9 Rhetoric and Composition “Full of insights, courage, and hope, Rhetoric and Composition as Intellectual Work is an invaluable book for educators, students, and others who believe that analyzing and writing the word represents a form of public intervention that is central to understanding and engaging the world.” —Henry A. Giroux, Penn State University In response to those who insist that rhetoric and composition should remain only a service discipline, editor Gary A. Olson’s Rhetoric and Composition as Intellectual Work demonstrates that it already is an intellectual discipline, that for at least a quarter of a century the field has developed an impressive tradition of intellectual work in a remarkable assortment of subject areas. Rhetoric and Composition as Intellectual Work suggests the diversity of intellectual projects that have and will continue to make rhetoric and composition more than a service to the university, more than a field devoted solely to improving writing pedagogy, and more than a preliminary to literary studies.

79. Allexperts Musical Composition, Theory, Songwriting, And Singing Q&A Allexperts Musical composition, Theory, Songwriting, and Singing Q A. I amwilling to listen to, and critique, demos of amateur songs without fee. http://www.allexperts.com/getExpert.asp?Category=652

80. Kolinko-class Composition class composition, kolinko buch zu call centern, untersuchung und intervention We think that the more profound critique on Leninism consists of the http://www.nadir.org/nadir/initiativ/kolinko/engl/e_klazu.htm

Class Composition [deutsch] [back] Introduction Class composition is a central notion in our search for the possibility of revolution. We are looking for a force that is able to change society from the bottom up. It is correct, however general, to say that only the exploited are able to overthrow exploitation, but how does this process of liberation actually take place? The perception of the Marxist-Leninists is different from our experiences: the "working class" is neither a united object nor do we see the possibility that it just needs a political party to overcome the class divisions and give a revolutionary direction to workers' struggles. The analysis of class composition can help us understand what is determining workers' struggles, how they can turn into a class movement and how we can play an active part in this process. The work-shop on class composition can therefore be the starting-point for a deeper discussion about our "role as revolutionaries" and our political strategies: where is a deeper coherence of the "workers' net" of CRO in Bologna, the "workers' inquiry" of Kolinko in the Ruhr Area, the interventions in Brighton, the newspaper project of Folkmakt etc.? About which questions do we have different political assessments and what possibilities for further co-operation exist? We want to start with some short points on the relationship between political practice and the notion of class.

A  B  C  D  E  F  G  H  I  J  K  L  M  N  O  P  Q  R  S  T  U  V  W  X  Y  Z

Page 4     61-80 of 97    Back | 1  | 2  | 3  | 4  | 5  | Next 20