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Relevant bibliographies by topics / John Cage

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Academic literature on the topic 'John Cage'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 August 2024

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Journal articles on the topic "John Cage"

1

Helms, Hans G. "John Cage." October 82 (1997): 77. http://dx.doi.org/10.2307/779000.

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Shultis, Christopher, Sam Richards, and Joan Retallack. "John Cage as..." Notes 55, no. 2 (December 1998): 406. http://dx.doi.org/10.2307/900203.

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Lazer, Hank. "For John Cage." Chicago Review 44, no. 3/4 (1998): 52. http://dx.doi.org/10.2307/25304302.

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Hamm, Charles. "John Cage Revisited*." Journal of Popular Music Studies 5, no. 1 (March 1993): 3–7. http://dx.doi.org/10.1111/j.1533-1598.1993.tb00078.x.

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Vigil, Ryan. "John Cage Concert at the Cage Symposium." American Music 27, no. 3 (October 1, 2009): 395–98. http://dx.doi.org/10.2307/25602288.

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YANG, SERENA. "Against ‘John Cage Shock’: Rethinking John Cage and the Post-war Avant-garde in Japan." Twentieth-Century Music 18, no. 3 (October 2021): 341–62. http://dx.doi.org/10.1017/s1478572221000165.

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AbstractAfter Cage and Tudor visited Japan in 1962, the term ‘Cage Shock’ circulated widely among the Japanese public. My interviews with Japanese composers suggest that the term ‘Cage Shock’ oversimplifies the reception of Cage's debut in Japan. Composer Yūji Takahashi stated that Cage would have met Japanese audiences well prepared for his visit by musical trends present in Japan as early as the late 1940s. Building on the statement that the Japanese avant-garde was thriving before Cage visited Japan in 1962, this article aims to deconstruct the term ‘Cage Shock’ by restoring the complexity of the reception of Cage in Japan and by analysing the reasons why critics adopted the term ‘Cage Shock’. I argue that ‘Cage Shock’ has functioned more as a media buzzword that sensationalizes the story of Cage's impact on Japan than as an objective description of Japanese reaction to Cage.

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Swed, Mark. "John Cage: A Celebration." Musical Times 129, no. 1748 (October 1988): 516. http://dx.doi.org/10.2307/966687.

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Tone, Yasunao. "John Cage and Recording." Leonardo Music Journal 13 (December 2003): 11–15. http://dx.doi.org/10.1162/096112104322750728.

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There is general agreement that John Cage's attitude toward records and recording was ambiguous and not necessarily coherent. However, if one closely analyzes his work and his evolution of the concept of the art—that is, from his pieces for prepared piano to his use of the I Ching for Music of Changes to 4′33′′ to his prototype of Happenings at Black Mountain College in 1952—one finds a critique of something that other composers take as self-evident. Cage's critique of recording relates to the representation as re-presentation of music. The author aims in this article to discover/uncover Cage's critique of the metaphysics of presence through his work and utterances.

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Lohner, Henning. "John Cage “22708 types”." Interface 18, no. 4 (January 1989): 243–56. http://dx.doi.org/10.1080/09298218908570549.

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Morris, Robert, and Bob Morris. "Letters to John Cage." October 81 (1997): 70. http://dx.doi.org/10.2307/779019.

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Dissertations / Theses on the topic "John Cage"

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Schäffler, Philipp. "Die Idee der Bildung im Schaffen von John Cage." Mainz London Berlin Madrid New York, NY Paris Prague Tokyo Toronto Schott, 2009. http://d-nb.info/99236518X/04.

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Ketteler, Rolf. "John Cage und die Musik." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37155.

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Niemi, Alexandra. "Reperforming The John Cage experiences." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4707.

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Simões, Gustavo Ferreira. "O desconcerto anarquista de John Cage." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20153.

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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
In 1988, John Cage invented Anarchy, an experimental-writing book in which he praised the lives of anarchist women and men who had influence his anarchist ethicalaesthetical trajectory from mid-1940s to the 1990s. This influence was explicit until the last of his works, entitled “number pieces” (1987-1990), in which he presented what he called the “anarchical harmony”. During the 1940s, John Cage, by then an already famous artist after his “prepared piano”, started experiencing anarchism as a life practice in contact with artists and militants in the Black Mountain College and with The Living Theatre troupe in New York. In 1952, his piece 4’33” appeared as an anarchist-oriented direct action against the musical representations of sounds and in favour of the incorporation of noises excluded from the concert rooms. The following decades, living alongside artists and anarchists in the country side location of Stonypoint, Cage started publishing ‘how to improve the world (you only make matters worse), a diary kept from 1965 to 1982 in which he engaged with Henry David Thoreau’s writings, and antimilitary and ecological concerns. Although absent of almost all biographies and studies on Cage’s work, the artist experimented the anarchism in a fashion Edson Passetti calls “pathway heterotopies”. Beyond the book Anarchy and other explicit antiauthoritarian works, Cage lively experienced anarchy in the singular way he faced his existence, making out of the everyday life an invention in which he affirmed an otherwise path. According to Foucault, the cynical philosophers valued that notion to distinguish their scandalous lives from the other ones that reify regular values and conventions. This dissertation followed this path by establishing the reverberations between John Cage and the contemporary anarchist attitudes
Em 1988, John Cage inventou Anarchy, livro em que, a partir de escritos experimentais, valorizou as vidas de mulheres e homens anarquistas que marcaram seu percurso ético-estético libertário desde meados dos anos 1940 até a década de 1990, quando em seus últimos trabalhos, “number pieces” (1987-1992), apresentou o que denominou “harmonia anárquica”. Foi a partir da coexistência com artistas e militantes na Black Mountain College, no final da década de 1940, assim como em Nova York com o The Living Theatre (TLT), que o artista já conhecido por seu corajoso “piano preparado” passou a elaborar o anarquismo como prática de vida. “4’33” (1952), ação direta contra a representação musical dos sons e em favor da incorporação dos ruídos excluídos pelas salas de concerto, irrompeu empolgada por essa aproximação libertária. Nas décadas seguintes, vivendo ao lado de artistas e anarquistas, afastado da cidade, em Stonypoint, iniciou a publicação de how to improve the world (you only make matters worse) (1965-1982), diário mantido por mais de quinze anos e no qual apresentou a lida com os escritos de Henry David Thoreau, preocupações antimilitares e ecológicas. Apesar de quase ausente das biografias e estudos sobre o trabalho do artista, John Cage experimentou o anarquismo como o que Edson Passetti definiu heterotopias de percurso. Assim, para além de Anarchy e de obras nitidamente antiautoritárias, o artista realizou a anarquia na maneira própria de levar adiante a existência, fazendo da vida também uma invenção, afirmando um caminho outro, noção valorizada pelos filósofos cínicos, segundo Michel Foucault, para diferenciar o traço de vidas escandalosas daquelas que reiteram convenções e valores usuais. Foi este o caminho que esta tese acompanhou, estabelecendo reverberações de John Cage em atitudes anarquistas contemporâneas

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Schäffler, Philipp. "Die Meister Eckhart-Rezeption bei John Cage." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A72005.

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Kim, Yea Gyung. "Le temps et l'oeuvre chez John Cage." Paris 1, 2008. http://www.theses.fr/2008PA010534.

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Le temps a une dimension fondamentale pour John Cage. Et son livre, « Silence », exprime une conception du temps. Quelle interprétation du temps, le « Silence» permettra-t-il ? Comment le temps est-il conçu par Cage en rapport au fait de « silence» ? Le temps auquel le «silence» de Cage tend, se rapporte à l'instant qui trouve sa source dans le bouddhisme. L'instant-point est un pur surgissement de « rien », qui ne comporte ni passe, ni futur. II est un présent comme île, qu'un esprit subtil connaît dans le silence du soi. Cet instant, surgissement spontané, discontinu, est ce temps voué au procès, celui de l'instauration d'un « esprit vertical ».

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Heller, Alberto Andrés. "John Cage e a poética do silêncio." Florianópolis, SC, 2008. http://repositorio.ufsc.br/xmlui/handle/123456789/91918.

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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em Literatura
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Esta tese se propõe a analisar o silêncio a partir da obra de John Cage (especialmente a literária e a musical). Esse silêncio, inicialmente compreendido por Cage como um empírico (a pausa em música), revela-se gradualmente um transcendente: não mais uma substância nem a simples ausência de som, mas um modo da ação (modo de silêncio), aparecendo como estilo, profundidade, aura, dimensão, verticalidade, densidade. Esse silêncio implica modos de percepção e temporalidade próprios, descritos aqui a partir das noções de Gelassenheit (Heidegger) e Awareness (Gestalt) e estabelecendo conexões com as noções de Invisível em Merleau-Ponty e de Nada no Zen-budismo.

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Rigaud, Antonia. "Pratiques utopiques : étude sur l'art de John Cage." Paris 3, 2000. http://www.theses.fr/2000PA030012.

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Souvent qualifie d'artiste inclassable, john cage propose une oeuvre multiple constituee de compositions musicales, de poemes, de peintures, de gravures et de mises en scenes. Ce travail s'attache essentiellement a sa production ecrite qui est analysee a la lumiere de ses autres oeuvres. En effet, a partir de ses oeuvres ecrites, nous cherchons a voir quelle est la particularite de cage mais aussi ce qui fait son americanite. En partant de la maniere dont cage repense la question du temps sous le signe du synchronisme, il est question dans ce travail de considerer comment la poesie de john cage se pratique essentiellement comme un debut, comme une ouverture vers sa realisation future mais jamais definitive. L'art de cage semble se dire au futur car il ne devient oeuvre que dans l'instant de sa pratique - un instant qui inclut ses spectateurs et ses lecteurs. L'oeuvre devient de ce fait une pratique de l'instant et ne peut etre consideree comme oeuvre que lorsqu'elle est pratiquee. Lieu de reunion entre des poles opposes, elle participe d'un double mouvement d'inscription et d'effacement : la pratique artistique de cage cherche a reunir la prophetie (l'oeuvre a venir) et la presence de l'oeuvre elle-meme, elle en devient des lors une pratique utopique. Mais l'utopie de john cage est en derniere instance symbolisee par l'amerique, comme si cet art inclassable etait en fin de compte un art de la decouverte d'un nouvel espace pour l'homme.

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Low, Sor Ching. "Religion and the invention(s) of John Cage." Related electronic resource:, 2007. http://proquest.umi.com/pqdweb?did=1375506251&sid=1&Fmt=2&clientId=3739&RQT=309&VName=PQD.

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Lewallen, Walter E. "The signature poetics of Sharon Olds and John Cage." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001495.

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Books on the topic "John Cage"

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Bosseur, Jean-Yves. John Cage. [Paris]: Minerve, 1993.

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1947-, Masotti Roberto, ed. John Cage. Milano: Mudima, 2009.

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Fornel, Anne de. John Cage. Paris]: Fayard, 2019.

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David, Nicholls. John Cage. Urbana: University of Illinois Press, 2007.

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David, Nicholls. John Cage. Urbana: University of Illinois Press, 2007.

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David, Nicholls. John Cage. Urbana: University of Illinois Press, 2007.

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David, Nicholls. John Cage. Urbana: University of Illinois Press, 2007.

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John, Cage, Charles Daniel, and Amiot Anne-Marie, eds. John Cage. Toulouse: Privat, 1988.

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Paz, Octavio. Reading John Cage =: Lectura de John Cage. [Chappaqua, N.Y.]: I. Schreiber, 1989.

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1961-, Thierolf Corinna, Pinakothek der Moderne (Munich, Germany), and John Cage Trust, eds. John Cage, Ryoanji. Munich: Schirmer/Mosel, in association with Pinakothek der Moderne, 2013.

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Book chapters on the topic "John Cage"

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Kapp, Reinhard. "Cage, John." In Metzler Komponisten Lexikon, 122–30. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_45.

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Erdmann, Martin. "John Cage." In Kammermusikführer, 123–27. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_19.

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Kapp, Reinhard. "Cage, John." In Komponisten Lexikon, 95–103. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_44.

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Mehring, Frank. "Cage, John." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5007-1.

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Vinzenz, Alexandra. "John Cage." In Joseph Beuys-Handbuch, 250–52. Stuttgart: J.B. Metzler, 2021. http://dx.doi.org/10.1007/978-3-476-05792-1_45.

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Kapp, Reinhard. "Cage, John." In Komponisten, 56–66. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_11.

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Haefeli, Sara. "John Cage: History and Historiography." In John Cage, 1–13. New York ; London : Routledge, 2018. | Series: Routledge music bibliographies: Routledge, 2017. http://dx.doi.org/10.4324/9781315681238-1.

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Haefeli, Sara. "Catalog of Compositions by Instrumentation." In John Cage, 14–43. New York ; London : Routledge, 2018. | Series: Routledge music bibliographies: Routledge, 2017. http://dx.doi.org/10.4324/9781315681238-2.

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Haefeli, Sara. "Sources and Reference Materials." In John Cage, 44–77. New York ; London : Routledge, 2018. | Series: Routledge music bibliographies: Routledge, 2017. http://dx.doi.org/10.4324/9781315681238-3.

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Haefeli, Sara. "Biographical and Historical Studies." In John Cage, 78–97. New York ; London : Routledge, 2018. | Series: Routledge music bibliographies: Routledge, 2017. http://dx.doi.org/10.4324/9781315681238-4.

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Conference papers on the topic "John Cage"

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Cunha, Ester. "O silêncio na relação entre arte e vida." In Encontro de História da Arte. Universidade Estadual de Campinas, 2017. http://dx.doi.org/10.20396/eha.12.2017.4515.

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Na contemporaneidade observamos diversos artistas que se utilizam do silêncio como mote artístico/poético de suas composições. Nosso objetivo é apontar a potência da utilização do silêncio na abordagem de distintos elementos dentro do contexto no qual se inserem e os desdobramentos múltiplos dessa utilização. Temos como metodologia de pesquisa os estudos de John Cage acerca do silêncio/ruído, bem como a apropriação da realidade cotidiana em produções artístico-contemporâneas que se utilizam do silêncio em suas proposições.

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Rühse, Viola. "Alison Knowles’s “Bean Rolls”: The influence of mycological and aesthetic discussions with John Cage on early women’s Fluxus aesthetics." In RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/resound19.1.

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Oliveira, Ana Marcela França de. "Arte e vida em mirrored cubes e na música de mobiliário: tensões no entorno." In Encontro da História da Arte. Universidade Estadual de Campinas, 2008. http://dx.doi.org/10.20396/eha.4.2008.3853.

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A arte contemporânea, tanto a brasileira quanto a internacional, se encontra, em sua maioria, intimamente relacionada à vida, à realidade comum. Sua aplicação ou mesmo existência no mundo é dada através de sua abertura para a realidade cotidiana, onde o espaço da galeria se torna, muitas vezes, insuficiente. Instalações, performances, happenings e outras formas de manifestações artísticas, criam, então, uma temporalidade produzida pelo encontro entre arte, espectador-participante e espaço, tornado-se a obra as ações simultâneas proporcionadas pela duração desse mesmo encontro. Deste modo, dicotomias e hierarquias desaparecem para dar lugar ao acaso e a indeterminação, uma vez que a obra de arte nunca volta a ser exatamente aquilo que já fora antes. Para tanto, buscaremos na Música de mobiliário (c. 1920), de Erik Satie e em Mirrored Cubes (1965), de Robert Morris, alcançar o entendimento desse constante processo de abertura, como também analisaremos as tensões provocadas nos artistas que de alguma forma compartilharam deste mesmo pensamento – como em John Cage, Richard Serra, entre outros.

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Corrêa, Patricia Leal Azevedo. "Sobre o conceito de blank form: uma leitura minimalista de Duchamp." In Encontro da História da Arte. Universidade Estadual de Campinas, 2008. http://dx.doi.org/10.20396/eha.4.2008.3806.

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Em 1961, convidado a participar de uma publicação coletiva em homenagem a John Cage, o artista Robert Morris escreveu um texto intitulado Blank Form. Breve, enigmático e sarcástico, esse texto revela, porém, a referência a um terceiro artista, Marcel Duchamp, central para a conformação da cena vanguardista nova-iorquina em que se deram as trocas entre Morris e Cage. Neste artigo pretendemos refletir sobre o conceito de blank form introduzido por Morris, buscando entendê-lo do ponto de vista de uma recepção específica da obra de Duchamp, através do qual Morris deflagrava o que se constituiria a seguir numa estética minimalista. Propomo-nos a pensar blank form como um conceito operativo de uma certa leitura minimalista de Duchamp, ligada à construção histórica deste artista pela geração dos anos 1960 nos Estados Unidos. Ao apresentar e comentar tal conceito – que poderíamos traduzir livremente por forma vazia, branca, neutra ou inexpressiva –, Morris sugere questões que nos parecem cruciais para a identificação do que se convencionou chamar de Duchamp effect na arte contemporânea, especialmente o particular viés cético, até solipsista, enfatizado sob as óticas minimal e pop. Assim, podemos indicar no texto de Morris um desvio da leitura cageana de Duchamp, vigente à época sobretudo através dos happenings e event scores de artistas como Allan Kaprow e George Maciunas, e a produção de uma outra leitura, um novo registro para duas importantes premissas duchampianas: a indiferença do artista e a arte-como-recepção. Esse novo registro da blank form nos ajudaria a compreender a emergência de obras tão distintas quanto as de Robert Morris e Andy Warhol.

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Hale, Mary E. "Tactics for Collaboration Across and Within Disciplines." In 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.44.

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While the architectural design process may be led by a figurehead architect, contemporary buildings are the result of vast teams of designers, engineers, and builders. They are furthermore influenced by social issues, local policy, and clients. Yet typical American architectural design pedagogy centers around design studios where students work individually on creative projects. This pedagogical style reinforces a fallacy of the genius architect, the heroic designer who designs and creates in a vacuum. This paper and presentation showcases a seminar designed specifically to subvert this paradigm and provide targeted collaboration skills and support to students as they work on inter- and intra-disciplinary teams on a creative project. Taught collaboratively between Northeastern University’s School of Architecture and New York University’s Tisch School of Dance, this course takes inspiration from historical collaborations between prominent experimental dancers and designers like Anna and Lawrence Halprin; Merce Cunningham, John Cage and a variety of designers; and others. During the first six weeks of the semester, architects and dancers prepare within their own disciplinary cohorts for collaboration. Architects learn from case studies in contemporary dance and set design; they learn hand drawing and sketching skills for quick ways of expressing their ideas; and finally they read, complete exercises from and discuss Collaborative Intelligence: Thinking with People Who Think Differently, by Dawna Markova and Angie McArthur. Dancers also read this book. Following this preparatory period, architecture students are paired based on skill areas, interests and working styles discovered through the workshop. Then, architect pairs and dancers exchange portfolios of work before meeting remotely for a “speed-dating” style zoom session after which they rank their preferred collaborators. Teams are thus formed and the long distance collaboration between architect pairs and dancers begins. Together, architect-dancer teams envision and prototype a public performance through remote collaboration. Students draw from the methods in Collaborative Intelligence to address conflicts. Through this process, architecture students experience at a small but real scale the architectural design and delivery process from conceptual development to project completion with a focus on building collaboration tactics.

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Cioban, Andreea G., and Mihaela I. M. Agachi. "Study case: Monastery “Saint John the New from Suceava”." In PROCEEDINGS OF THE 15TH INTERNATIONAL CONFERENCE ON X-RAY MICROSCOPY – XRM2022. AIP Publishing, 2023. http://dx.doi.org/10.1063/5.0171067.

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Ngo, Hung Q. "Worst-Case Optimal Join Algorithms." In SIGMOD/PODS '18: International Conference on Management of Data. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3196959.3196990.

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Ngo, Hung Q., Ely Porat, Christopher Ré, and Atri Rudra. "Worst-case optimal join algorithms." In the 31st symposium. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2213556.2213565.

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Hill, Stephanie, and Jillian Wall. "143 Creation of guidelines for management of patients undergoing abdominal paracentesis for malignant ascites at john eastwood hospice." In The APM’s Annual Supportive and Palliative Care Conference, In association with the Palliative Care Congress, “Towards evidence based compassionate care”, Bournemouth International Centre, 15–16 March 2018. British Medical Journal Publishing Group, 2018. http://dx.doi.org/10.1136/bmjspcare-2018-aspabstracts.170.

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Kovarik, Johanna L. "PROPOSED ROYAL JOHN MINE TAILINGS REPOSITORY: GROUNDWATER AND CAVE ASSESSMENT." In GSA Annual Meeting in Seattle, Washington, USA - 2017. Geological Society of America, 2017. http://dx.doi.org/10.1130/abs/2017am-305482.

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Reports on the topic "John Cage"

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Magstadt, Tiffany. John and Jackie Griffin Case Study. Ames (Iowa): Iowa State University, December 2021. http://dx.doi.org/10.31274/cc-20240624-941.

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Huang, Shaojun. A case study analysis in Financial Planning: John and Jackie Griffin. Ames (Iowa): Iowa State University, May 2023. http://dx.doi.org/10.31274/cc-20240624-13.

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Thibault, J., and D. Frobel. The coastline of New Brunswick from Saint John Harbour to Cape Enrage. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1989. http://dx.doi.org/10.4095/130603.

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Shi, Leiyu, Diana M. Pinto, and Frederico C. Guanais. Measurement of Primary Care: Report on the Johns Hopkins Primary Care Assessment Tool. Inter-American Development Bank, March 2013. http://dx.doi.org/10.18235/0009098.

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Renewed interest in the Primary Health Care-PHC agenda is a common element of the majority of recent health system reforms throughout Latin America and the Caribbean-LAC. Strengthening of PHC has been recognized as a promising solution to address the major challenges the Region's health systems face. As governments are making substantive long term investments in PHC oriented healthcare reforms, there is a requirement for accountability and increased transparency and reporting on the results of these initiatives. As a consequence, implementation of PHC strategies needs to be accompanied with mechanisms to collect data that will allow assessment of the extent to which primary care processes are being implemented and on their impact of quality, efficiency, cost, equity and consumer satisfaction. The Johns Hopkins Primary Care Assessment Tool or PCAT is amongst the instruments currently available to assess performance of PHC in several dimensions and from the perspective of users, practitioners, and systems. The purpose of this technical document is to provide a description of this instrument including its composition, measurement, functions, uses, and requirements to deploy the tool in practical applications and to discuss the challenges and opportunities to use the tool in the context of the LAC Region.

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Bennett, Andrew. Case Studies and Process Tracing. Instats Inc., 2024. http://dx.doi.org/10.61700/8zbv00tqs8hq31190.

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Join professor Andrew Bennett in this comprehensive 3-day workshop, designed to provide a deep understanding of how to design and carry our case study research. The course covers all the key tasks of case study research, from identifying an excellent research question to generating alternative explanations for the outcomes of cases, choosing cases to study, gathering qualitative evidence from interviews and archives, and analyzing that evidence to make conclusions on what caused the outcomes for each case.

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Hamilton, Michael T. Case Study: The Venous Thromboembolism Collaborative Team at the Johns Hopkins Hospital. Fort Belvoir, VA: Defense Technical Information Center, May 2009. http://dx.doi.org/10.21236/ada516530.

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Lynk, John. PR-610-163756-WEB Material Strength Verification. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), April 2019. http://dx.doi.org/10.55274/r0011573.

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DATE: Tuesday, April 30, 2019 TIME: 11:00 a.m. ET CLICK THE DOWNLOAD/BUY BUTTON TO ACCESS THE WEBINAR REGISTRATION LINK Join the PRCI Integrity and Inspection technical committee for a pipeline operator driven discussion regarding PRCI research related to non-destructive technologies for the purpose of pipe material verification and how operators have applied this research in the field. This webinar will include; research project overview, operator case studies and analysis of current technology gaps. Panelists: Mark Piazza, Manager Pipeline Compliance and R and D, Colonial Pipeline Company Mike Kern, Director of Gas Transmission Engineering, National Grid Oliver Burkinshaw, Senior Materials Engineer, ROSEN Simon Bellemare, Founder and CEO of Massachusetts Materials Technologies John Lynk, Program Manager, Integrity and Inspection and Subsea Technical Committees, PRCI Expected Benefits/Learning Outcomes: - In-ditch non-destructive evaluation for material yield strength that has been utilized on in-service lines to confirm incomplete records of pipe grades and/or to evaluate acquired assets - How the data has been utilized to collect opportunistic data as part of external corrosion direct assessments to provide a basis for maximum allowable operating pressure, as well as prioritizing and setting criteria for further inspection and potential capital projects. - The ability to differentiate specific manufacturing processes, such as low frequency and high frequency electro-resistance welded longitudinal seams, have been successfully applied on a number of pipeline integrity projects - Enhancement of inline inspection technologies combined with verification digs have demonstrated the potential to apply pipe joint specific strength data in fitness-for-service, as opposed to lower minimum values set by pipe grade or by nominal conservative assumptions. Who should attend: - Pipeline integrity engineers, specialists and management - Pipe materials specialists Recommended pre-reading: PR-610-163756-R01 Hardness Stength and Ductility (HSD) Testing of Line Pipes Initial Validation Testing Phase I PR-335-173816-MV Validation of insitu Methods for Material Property Determination CLICK THE DOWNLOAD/BUY BUTTON TO ACCESS THE WEBINAR REGISTRATION LINK Not able to attend? Register anyway to automatically receive a link to the webinar recording to view on-demand at your convenience.

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Leonard, Gerry W., and Jr. The Four Decisions That Changed the Course of the American Revolution: A Case Study of Lieutenant General John Burgoyne's Northern Campaign of 1777 and Maneuver Warfare. Fort Belvoir, VA: Defense Technical Information Center, May 2002. http://dx.doi.org/10.21236/ada403757.

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Hasnain, Saher. Vulnerabilities in the Animal By-Products Food System. Food Standards Agency, October 2023. http://dx.doi.org/10.46756/sci.fsa.gud520.

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This work was carried out by the Food Systems Transformation Group at the University of Oxford’s Environmental Change Institute and the University of York. This report has been produced by University of Oxford under a contract placed by the Food Standards Agency (the Agency). The views expressed herein are not necessarily those of the Agency. University of Oxford warrants that all reasonable skill and care has been used in preparing this report. Notwithstanding this warranty, University of Oxford shall not be under any liability for loss of profit, business, revenues or any special indirect or consequential damage of any nature whatsoever or loss of anticipated saving or for any increased costs sustained by the client or his or her servants or agents arising in any way whether directly or indirectly as a result of reliance on this report or of any error or defect in this report. We gratefully acknowledge expert advice and review by Dr John Ingram, University of Oxford; Dr Monika Zurek, University of Oxford; and Dr Philip Garnett, University of York.

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Haag, Ernest V., and Roger P. Denk. Due Process in Matters of Clearance Denial and Revocation: A Review of the Case Law by John Norton Moore, Esquire, Ronald L. Plesser, Esquire, and Emilio Jaksetic, Esquire. Fort Belvoir, VA: Defense Technical Information Center, April 1988. http://dx.doi.org/10.21236/ada206217.

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