Academic literature on the topic 'Amateur's manuals'

This article takes as a starting point amateur architects in 17th-century England. It considers architectural writings including Henry Wotton’s Elements of Architecture (1624), Sir Balthasar Gerbier’s Councel and Advice to All Builders (1663) as well as Sir Roger Pratt’s and Sir Roger North’s notes on architecture and several building manuals. It enquires into the different kinds of knowledge and professional figures associated with architecture in the period. The paper scrutinizes how being a lover of architecture influenced the actors’ approach to other branches of knowledge such as garden design and agriculture. Did being an amateur shape the way in which one went about apparently more trivial aspects of life such as managing one’s estate? Comparing Roger Pratt’s unpublished notes with other contemporary sources on agriculture and estate management, it provides an insight into distinctive ways in which “amateurs” approached the subject.

Automation has been central to the development of modern photography and, in the age of digital and smartphone photography, now largely defines everyday experience of the photographic process. In this article, we question the acceptance of automation as the default position for photography, arguing that discussions of automation need to move beyond binary concerns of whether to automate or not and, instead, to consider what is being automated and the degree of automation couched within the particularities of people’s practices. We base this upon findings from ethnographic fieldwork with people engaging manually with film-based photography. While automation liberates people from having to interact with various processes of photography, participants in our study reported a greater sense of control, richer experiences and opportunities for experimentation when they were able to engage manually with photographic processes.

The article considers and analyzes the general aspects of educational methods at the N.K. Krupskaya Extramural People University of Arts (ZNUI) in the 1960s–1980s, which proves the specifics of the basic principles of interaction between teacher and student. In the published manuals of that time, the emphasis is placed on a number of substantial guidelines for teaching amateur artists: educational and methodological issues, and questions of artistic education in the basics of visual theory and practice. The main teaching aids developed specifically for amateur artists are: for the first period “Creative work of an amateur artist” (1961), and a guide for amateur artists “Drawing and Painting” by Yu.G. Aksenov, R.M. Zakin, E.M. Sonnenstral, F.M. Krieger, G.E. Tarasevich (2 vols, 1961), for the second period “Training and Creative Work” by R.M. Zakin (1965) and “Design Artist. A Guide for Amateur Artists” by G.E. Tarasevich, V. Grokhotov, E. Pavlinova (1966), for the final third period the tutorials are produced, namely the textbook “Perspective” by E.A. Aksenova and Yu.G. Aksenov (1974) and a practical guide to drawing and painting “Color and Line” by M. Levidov and Yu.G. Aksenov (1976). All analyzed manuals were compiled by a team of teachers from the Faculty of Drawing and Painting of the University.

It is still a fact that most bryologists per area are found in the temperate regions of the northern hemisphere, who have spent up to 200 years (as in Europe) in the exploration of their bryofloras with the result that these countries have not only floras for identification of the comparably low number of species but some countries have already detailed grid maps of the distribution of all species. On the other hand, there are vast regions in the tropics which are very insufficiently explored. So far, the knowledge of bryophytes in these regions was predominantly provided by scientists from North America, Europe or Japan. Still much work is done by scientists and - during the past decades also increasingly - even by advanced amateurs from these countries. Regretably, these activities are often misunderstood by local biologists in the tropics and especially by the authorities of these states as scientific exploitation, and recently collecting of material for genetic studies as plundering of genetic ressources, which is nonsense but makes research difficult or even impossible in such countries. In this regard, the question raises why there are so few bryologists in tropical countries and even no bryologists in many countries? Usually, the lack of ressources such as laboratories, money, libraries, herbaria etc. is presented as arguments, which does not match the point, since many bryologists in industrial countries suffer from similar restrictions and sometimes have worth working consitions than colleagues in tropical countries, but make nevertheless valuable contributions to tropical bryology. Even amateurs have contributed a lot to tropical bryology in the past. The fewest bryologists work in such famous places as Missouri or New York Botanical Garden. Many of them are from eastern, former communistic countries and never gave up to promote tropical bryology under these conditions. In my opinion, the most crucial point is that students in tropical countries get not in contact with bryophytes, and mainly because of the lack of literature. Nobody can expect that students pick up a subject for their thesis if there is no literature available. This manual is therefore devoted to these students. Possibilities to gain a bryological training in industrial countries and paid by these countries were used only by few students, although available. And if these students do not come to us, we have to go to them (which is even cheaper). This is the reason for the increased number of courses on tropical bryology in the past.

In 1948, Jean Dubuffet wrote a thirty-one-page pamphlet entitled Peinturez hardi (Paint boldly!) for his unrealized Almanach de l'art brut. Divided into twelve monthly installments, this “treatise on the techniques of painting” reads like a how-to manual, presenting concise, straightforward guidelines for what materials to use and how to use them. As a practical guide for the amateur, it inventories and evaluates products on the market (much like an issue of Consumer Reports) and then offers more economical, do-it-yourself recipes for the “common man.” Drawing largely from the techniques and materials of house painting, Dubuffet aligns himself with the worker as opposed to the professional artist and insists upon art as labor. As yet unpublished, Peinturez hardi underscores materiality as absolutely central to Dubuffet's understanding of what art brut is and how it differentiates itself from arts culturels.

The purpose of this case study was to present the effectiveness of physiotherapeutic treatment based on manual orthopedic techniques in an amateur athlete with costochondritis due to physical strenuous exercise. A 31 years old experienced, well-trained, endurance amateur athlete presented chest pain suggesting costochondritis after physical and kinetic examination. Patient reported to present pain after physical effort in the last two weeks (combination of mountain biking, route cycling, running, swimming and yoga). Manual therapy including techniques as resonant oscillation mobilization of the thoracic region, Lewit´s post-isometric relaxation and sliding of the right humeral head, cervico-thoracic high speed technique mobilization, active-assisted mobilization of 7th to 10th ribs during expiratory phase, superficial myofascial induction in lower costal area and, muscle power technique, is effective to relieve pain increase mobility of cervical rotation, increase mobility of glenohumeral joint (e.g., internal rotation), in an amateur athlete with costochondritis due to physical strenuous exercise.

A hundred years ago officers entering the Royal Navy took an exam where they had to draw a mouse-trap. At the time there was much discussion, and some despair, about competence, and about teaching. For amateurs, drawing manuals provided instructions on how to render a still life in 3D, or draw a running figure, tasks that would now be effortless given current software. Today much debate about drawing, its purpose, and about ‘digital drawing’, and de-skilling. Graphics programs are designed for ‘realism’. But contemporary drawing looks in the opposite direction: into the processes of drawing; the expressive mark; and the structure and character of the line. Those who deal with the evolving gadgetry of digital drawing have had to contend both with unhelpful software, and with an art world that has yet to realise the scope of this new visual universe.

Background: Medial tibial stress syndrome (MTSS) or Shin splints is exercise-induced lower leg pain along the distal posterior-medial aspect of tibia caused by repetitive loading stress during running and jumping. It is one of the most common lower leg sports injury. Cryotherapy is the most commonly used treatment during immediate care of athletic injuries and acute soft tissue injuries and is also included as part of RICE (rest, ice, compression and elevation). Cryotherapy is helpful in reducing swelling as well as it exerts analgesic effect. The external compression is also used during immediate care phase and it helps in decrease tissue temperature and prevent oedema formation. Cryotherapy in combination with intermittent pneumatic compression hypothetically help in reducing the physiologic effects of traumatic tissue damage which is based on the models of cryotherapy and static compression therapy. This study aims to establish the efficacy of cryo-compression on shin splints in female amateur marathon runners. Methods: A total 30 subjects diagnosed with shin splints were selected for study. Subjects received cryo-compression for reducing pain and swelling and exercises to strengthen the muscles. Each session was conducted for 45 minutes duration, 5 days per week for 4 weeks. Outcome measure used was Numerical Pain Rating Scale (NPRS), Goniometry for ROM and Manual muscle testing (MMT). Results: According to statistical analysis, the results of the study demonstrate that there was a significant effect of the use of cryo-compression on numerical pain rating scale (p<0.0001), range of motion (ankle plantarflexion, dorsiflexion, eversion and inversion) (p<0.0001), manual muscle testing – ankle plantarflexors (p=0.0028) and ankle dorsiflexors (p<0.0001) during the pre and post intervention assessment. Conclusion: The conducted study shows that efficacy of cryo-compression on shin splints in female amateur marathon runners is very effective in reducing pain, increasing range of motion (ROM) and strength of muscles along with other treatment program. KEYWORDS: Cryo-compression, shin splints, numerical pain rating scale (NPRS), range of motion, ankle plantarflexion, ankle dorsiflexion, ankle eversion, ankle inversion, manual muscle testing, ankle plantarflexors, ankle dorsiflexors.

Abstract: Division ornamentation practice (DOP) was an essential and common tool for sixteenth-century performers to express their individual interpretations of familiar compositions. In this paper, I examine the manuals that describe DOP and advised both amateurs and professionals on how to acquire it. By using computational and statistical tools on Bassano's corpus of divisions, the advice given in all the manuals is tested, analyzed and clarified. It was discovered that Bassano did in fact follow most of this advice. To help the modern performer develop skill in DOP, additional general compositional features are discussed, such as whether figurations have an affinity with the original composition and whether the melodic-interval model of ornamentation can explain the bastarda division style. The overall impression of the analysis suggests that the sixteenth-century sources for DOP are too simplified to capture the complexity of the division compositions. Therefore, a first step toward a new categorization system for DOP is proposed, by using a higher level of ornamentation building blocks called mid-level units. I derived from the Bassano corpus seven mid-level units (straight line, wavy line, melodic sequence, rhythmic alterations, arpeggio, expressive, and original melody imitation) . Each unit represent an "idea" that can be implemented in DOP. The new categorization system is inspired by a novel approach to the study of improvisation in jazz solos.

Avant 1750, la réception de la peinture de paysage en France s'apparente à celle du goût pour le "rubénisme". Le paysage sert à réévaluer les sujets et l'esthétique des peintres nordiques jugés inférieurs aux maîtres italiens. La promotion de De Piles contribue à définir une nouvelle méthode d'éducation artistique et à élargir aussi le marché de l'art. La tentative a une portée institutionnelle et commerciale. La situation évolue au début du XIXe siècle. Un nouveau système réévalue la division des genres picturaux et le statut des genres mineurs. La création du grand Prix de Rome, paysage historique, augmente sa portée académique par la réception du genre au sein du système des Beaux-arts. Le programme du concours met trop d'accent sur le style, l'évocation historique et laisse trop peu de place à la liberté personnelle du paysagiste. La vision de l'Académie est ébranlée par les critiques du Salon jouant tantôt le soutien tantôt l'adversité. Cette atmosphère ambigue͏̈ crée une instabilité de la promotion de l'Etat. Si la voie du réalisme s'ouvre, la grande place accordée au paysage au XIXe siècle est redevable de la promotion entreprise en faveur du genre depuis De Piles.

Préoccupés par la conservation de leurs collections de peintures, les amateurs d’art parisiens font appel, entre 1789 et 1870, aux restaurateurs de tableaux, ces derniers relevant d’une profession qui, à la même époque, se définit indépendamment de celles du marchand, de l’expert ou même du peintre. Si le restaurateur intervient sur les œuvres du particulier, il joue, par ailleurs, pour l’amateur, un rôle de guide dans sa connaissance, voire dans son apprentissage, des procédés picturaux. Progressivement, cette prise en compte de la matérialité de l’œuvre contribue à intégrer le collectionneur au sein des commissions muséales en tant que conseiller, avant qu’il n’acquière un statut privilégié au musée à partir des années 1860 par le legs de ses œuvres
Concerned about the conservation of their art collections, in the years between 1789 and 1870, Parisian amateurs called upon the services of painting restorers, who, at that time, belonged to a profession considered quite separate from that of art dealer, expert or even painter. While the restorer worked on paintings belonging to private collectors, he also acted as a guide for the latter, broadening their knowledge of Ŕ or even teaching them about Ŕ pictorial techniques. This understanding of the materiality of artworks gradually contributed to collectors being invited into museum committees as advisors, before they acquired a privileged status in museums, from the 1860s onwards, by bequeathing their collections

AbstractThis chapter presents a brief history of the dominant, Anglo-American literary advice tradition from the nineteenth century to the present as well as a state of the art of the existing scholarship on literary advice. We focus on several key moments for literary advice in the USA and in the UK: Edgar Allan Poe’s “Philosophy of Composition” (1846), the debate between Sir Walter Besant and Henry James surrounding “The Art of Fiction” (1884), the era of the handbook (1880s–1930s), the “program era” (McGurl 2009) and postwar literary advice, the rise of the “advice author” in the 1980s and 1990s, and finally advice in the “digital literary sphere” (Murray 2018). The overview captures both the remarkable consistency and the transformations of advice, against the background of changes in the literary system, the rise of creative writing, changes in the publishing world, and the rise of the Internet and self-publishing. It highlights the role of some specific actors in the literary advice industry, such as moguls, women, and gurus, and draws attention to a number of subgenres (genre handbooks, self-help literary advice, and the writing memoir), as well as to counter-reactions and resistance to advice in literary works and in avant-garde manuals. Advice is regarded both in the context of the professionalization of authorship in a literary culture shaped by cultural and creative industries, and of the exponential increase of amateur creativity.

This chapter discusses the development of an experimental “Ordinary” scheme built under the provisions of the 1946 Housing Act. The experiment was a district central heating system, which predicated high rents. Tenants were largely self-selecting in that they had to have enough regular income to pay these high rents. But the houses were built in tenemental form with flat roofs, and there were numerous complaints about poor noise insulation and leaks. Although its external perception was “élite,” it was still a substantially skilled manual working-class scheme, but one with several active voluntary organisations, and very popular with its tenants.

Abstract Moreover, there was a long tradition in Greek literature of amateurs writing practical handbooks with other amateurs in mind, usually by putting someone else’s material into more attractive literary form. The best-known examples are the Phaenomena of Aratus and the Theriaca and Alexipharmaca of Nicander, paraphrases of the manuals of Eudoxus and Apollodorus of Alexandria, respectively, into hexameter verse. Varro, too, put his compilation on agriculture into the form of a dialogue, and Columella’s De re rustica is not without rhetorical Xourishes. The Latin veterinary treatise of Vegetius, which consists of a reworking of Columella, the Mulomedicina Chironis, and Pelagonius, provides an analogy to Hierocles’ work.

A hundred years ago officers entering the Royal Navy took an exam where they had to draw a mouse-trap. At the time there was much discussion, and some despair, about competence, and about teaching. For amateurs, drawing manuals provided instructions on how to render a still life in 3D, or draw a running figure, tasks that would now be effortless given current software. Today much debate about drawing, its purpose, and about ‘digital drawing’, and de-skilling. Graphics programs are designed for ‘realism’. But contemporary drawing looks in the opposite direction: into the processes of drawing; the expressive mark; and the structure and character of the line. Those who deal with the evolving gadgetry of digital drawing have had to contend both with unhelpful software, and with an art world that has yet to realise the scope of this new visual universe.

This chapter traces two key contexts for early modern poetry: manuscript and print. Writing and printing were skilled manual tasks, forms of embodied knowledge that demanded an intimate, responsive relationship between workers and their tools. Authors wrote poems, but so did scribes or scriveners, secretaries and amanuenses, and amateur copyists. Stationers put poems into print, sometimes altering them as they did so, and introducing them to new audiences. The chapter considers how printed and written poems were made, and their material and formal conventions. Ranging across the sixteenth century, it explores the self-consciousness of early modern authors, writers, and stationers about the affordances and reputation of script and print, as well as attitudes to authorship and literary meaning.

Abstract Emerging in the 1960s along with unofficial art, Soviet underground photography evolved around the amateur photo clubs at palaces and houses of culture and was also closely linked with unofficial poets and artists. This chapter shows how the transition from independent photography (that is, photography not produced for news agencies and periodicals) to conceptual photography took place when quality and composition ceased to concern photographers and, on the contrary, they begin to appreciate “poor” quality, sloppy composition, grainy prints, and manual coloring. Taking as a starting point the “direct photography” of Leningrad photo underground titan Boris Smelov, and drawing on the work of Boris Mikhailov, Igor Makarevich, Yevgeny Yufit, and Vladislav Mamyshev-Monroe, the article shows how artists reconsidered the fundamental possibilities of the medium and its message during the transition to the new era.

Amateur musicians played an important role in the material reproduction of musical texts in the eighteenth century. Their work represents the coalescence of technological, bibliographical, and cultural forces in the early national period. Print and manuscript were mutually informing technologies for music reproduction, and both entailed manual and creative labor and expertise. Yet, unlike print, chirography (handwriting) focused attention on the creation of unique, personalized items; moreover, the practice of copying music by hand challenged the primacy of the author by emphasizing an effort to re-cord (to take material to heart). Thus, manuscript music books can be linked to earlier modes of book production, such as commonplace books. Yet they also align with other genres, such as anthologies. Finally, gendered expectations informed books’ creation: like other forms of handwork, musical penmanship expressed femininity. The work of copying music was subject to the same gendered evaluations that minimized the significance of (and yet relied on) women’s domestic work.

Abstract Some may start with an enthusiasm for music of the jazz type, but they cannot go far there, for jazz is peculiarly of an inbred, feeble-stock race, incapable of development. In any case, the people for whom it is meant could not understand it if it did develop. Jazz is sterile. It is all right for fun, or as a mild anodyne, like tobacco. But its lack of rhythmical variety (necessitated by its special purpose), its brevity, its repetitiveness and lack of sustained development, together with the fact that commercial reasons prevent its being, as a rule, very well written, all mark it as a side issue, having next to nothing to do with serious music; and consequently it has proven itself entirely useless as a basis for developing the taste of the amateur. War Department Education Manual (1944) During the 1920s, jazz emerged out of the creative fusion of African and European musical forms. Borrowing from French quadrilles and marches, Protestant hymns, British ballads, West African rhythms, and African American spirituals-and, of course, the blues and ragtime-black musicians created an unconventional, hybrid form. By the time African sculptures and masks exerted their fermenting effect on Europe art, African music had long played an important role in America, at least in black America. We need to remember, however, that the conditions that the two art forms operated in were markedly different: African music arrived in this country on slave ships.

Abstract Human’s motion and its mechanisms had become interesting in the last years, where the medecine’s field search for rehabilitation methods for handicapped persons. Other fields, like sport sciences, professional or military world, search to distinguish profiles and ways to train them with specific purposes. Besides, recent findings in neuroscience try to describe these mechanisms from an organic point of view. Until now, different researchs had given a model about control motor that describes how the union between the senses’s information allows adaptable movements. One of this sense is the proprioception, the sense which has a quite big factor in the orientation and position of the body, its members and joints. For this reason, research for new strategies to explore proprioception and improve the theories of human motion could be done by three different vias. At first, the sense is analysed in a case-study where three groups of persons are compared in a controlled enviroment with three experimental tasks. The subjects belong to each group by the kind of sport they do: sedentary, normal sportsmen (e.g. athletics, swimming) and martial sportmen (e.g. karate, judo). They are compared thinking about the following hypothesis: “Martial Sportmen have a better proprioception than of the other groups’s subjects: It could be due to the type of exercises they do in their sports as empirically, a contact sportsman shows significantly superior motor skills to the members of the other two groups. The second via are records from encephalogram (EEG) while the experimental tasks are doing. These records are analised a posteriori with a set of processing algorithms to extract characteristics about brain’s activity of the proprioception and motion control. Finally , the study tries to integrate graphic tools to make easy to understand final scientific results which allow us to explore the brain activity of the subjects through easy interfaces (e.g. space-time events, activity intensity, connectivity, specific neural netwoks or anormal activity). In the future, this application could be a complement to assist doctors, researchers, sports center specialists and anyone who must improve the health and movements of handicapped persons. Keywords: proprioception, EEG, assesment, rehabilitation.References: Röijezon, U., Clark, N.C., Treleaven, J. (2015). Proprioception in musculoskeletal rehabilitation. Part 1: Basic science and principles of assessment and clinical interventions. ManualTher.10.1016/j.math.2015.01.008. Röijezon, U., Clark, N.C., Treleaven, J. (2015). Proprioception in musculoskeletal rehabilitation. Part 2: Clinical assessment and intervention. Manual Ther.10.1016/j.math.2015.01.009. 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