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Books on the topic 'Moving points'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Virginia, Movers &. Warehousemens Association Inc. Tariff no. 16 naming local and joint rates on household goods between points within the Commonwealth of Virginia. The Association, 1998.

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2

Gross, Susan. Seven turning points: Moving your organization to a new level of strength and impact. Fieldstone Alliance, 2009.

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3

L, Hopper Mike, ed. The wayward gifted: Broken point. MiloNerak Press, 2013.

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4

Siewert, Senta. Performing Moving Images. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985834.

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Performing Moving Images: Access, Archive and Affects presents institutions, individuals and networks who have ensured experimental films and Expanded Cinema of the 1960s and 1970s are not consigned to oblivion. Through a comparison of recent international case studies from festivals, museums, and gallery spaces, the book analyzes their new contexts, and describes the affective reception of those events. The study asks: what is the relationship between an aesthetic experience and memory at the point where film archives, cinema, and exhibition practices intersect? What can we learn from re-scre

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5

Judy, Blume. Superfudge. 3rd ed. Yearling, 1991.

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6

Judy, Blume. Superfudge. Berkley Books, 2004.

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7

Judy, Blume. Superfudge. Dutton Children's Books, 2002.

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8

Judy, Blume. Superfudge. Alfaguara, 2000.

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9

Judy, Blume. Superfudge. 6th ed. Macmillan Children's Books, 2003.

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10

Judy, Blume. Superfudge. Yearling, 1981.

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11

Judy, Blume. Superfudge. 3rd ed. Yearling, 1993.

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12

Judy, Blume. Superfudge. Cornerstone Books, 1987.

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13

Judy, Blume. Le roi des casse-pieds. L'École des Loisirs, 1990.

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14

Judy, Blume. Superfudge. Puffin Books, 2003.

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15

Judy, Blume. Superfudge. 3rd ed. Piper Books, 1990.

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16

Steinbach, E. On the diffusion process of irradiation-induced point defects in the stress field of a moving dislocation. Commission of the European Communities, 1987.

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17

ITE International Conference (1996 Dana Point, Calif.). Moving forward in a scaled-back world: Challenges and opportunities for the transportation professional : resource papers for the 1996 ITE International Conference, Dana Point, California. ITE, 1996.

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18

Murphy, Jill, and Laura Rascaroli, eds. Theorizing Film Through Contemporary Art. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462989467.

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As the cinematic experience becomes subsumed into today's ubiquitous technologies of seeing, contemporary artworks lift the cinematic out of the immateriality of the film screen and separate it into its physical components within the gallery space. How to read these reformulations of the cinematic medium - and their critique of what it is and has been? In Theorizing Cinema Through Contemporary Art: Expanding Cinema, leading film theorists consider artworks that incorporate, restage, and re-present cinema's configuration of the key categories of space, experience, presence/absence, production a

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19

Edmund, Bourke, Mallick N. P, and Pollak V. E, eds. Moving points in nephrology. Karger, 1993.

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20

A Comparison of Visual Fields with Fixed and Moving Fixation Points. Volume I. Storming Media, 2002.

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21

A Comparison of Visual Fields with Fixed and Moving Fixation Points. Volume II. Storming Media, 2002.

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22

Dimendberg, Edward, ed. The Moving Eye. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190218430.001.0001.

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Once the province of film and media scholars, today the moving image concerns historians of art and architecture and designers of everything from websites to cities. As museums and galleries devote increasing space to video installations that no longer presuppose a fixed viewer, urban space becomes envisioned and planned through “fly-throughs,” and technologies such as GPS add data to the experience of travel, images in motion have captured the attention of geographers and scholars across the humanities and social sciences. Mobility studies is remaking how we understand a contemporary world in

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23

Schiff, David. Turning Points (1945–1948). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190259150.003.0006.

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Until the appearance of his Piano Sonata in 1946, and Sonata for Violoncello and Piano in 1948 Carter seemed to lack a distinctive voice. Aaron Copland, a close friend, taunted Carter about the “difficulty” of works that Carter had tried to make accessible, and did not mention Carter in an important 1948 article on emerging composers. Carter’s music at this time, however, was moving in new directions. The two sonatas for the first time deploy the distinctive formal and contrapuntal techniques of his mature style. Their idioms also reflect Carter’s realignment with ultra-modernism in his renewe

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24

The anxiety toolkit: Strategies for fine-tuning your mind and moving past your stuck points. 2015.

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25

Camper, Martin. Opening, Closing, and Moving through Interpretive Disputes. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190677121.003.0008.

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Chapter 8 explores how the interpretive stases are logically related to each other and how interpretive disputes are initiated and resolved. The chapter explains how the interpretive stases occur in a predictable, presuppositional sequence in which certain interpretive issues must be resolved or settled before further interpretive issues can be considered. The chapter also discusses what happens when additional passages or texts are brought in to support an argument about another passage or text. Passages from Margaret Fell’s seventeenth-century pamphlet arguing for women’s right to preach ill

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26

Demont, Philip, and J. Eugene Lang. Turning Point: Moving Beyond Neoconservatism. Stoddart, 1999.

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27

Arent, Douglas, Channing Arndt, Finn Tarp, and Owen Zinaman, eds. Moving Forward. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802242.003.0029.

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With the passage of CoP21, the world is leaving a relatively inactive stage and entering a second stage characterized by broad-based efforts to reduce greenhouse gas emissions. A third stage of reductions will almost certainly be required. This should chart a feasible path to a stabilized climate and put in place the necessary policy architecture for following that path, marking a global tipping point where effective climate change mitigation is no longer a goal but an accepted fact, with broad implications for behaviour and decision-making, not least a massive reduction in the resources alloc

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28

Honisch, Stefan Sunandan. Moving Experiences. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.34.

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This essay asks how navigating the world without sight can influence musical interpretation and enable a blind performer to make music move in unfamiliar ways. A recording of Frédéric Chopin’s Prelude in B Minor Op. 28 No. 6 by the blind Hungarian pianist Imre Ungár (1909–1972) constitutes the focal point for an analysis guided simultaneously by Naomi Cumming’s (2000) conceptualization of “the performing self” (a musical identity that emerges through the performer’s ability to control the movement of notes) and by Joseph Straus’s (2011) conception of “mobility-inflected hearing” (musical unde

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29

Andrew, Nell. Moving Modernism. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190057275.001.0001.

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This book reenacts the simultaneous eruption of three spectacular revolutions—the development of pictorial abstraction, the first modern dance, and the birth of cinema—which together changed the artistic landscape of early twentieth-century Europe and the future of modern art. Rather than seeking dancing pictures or pictures of dancing, however, this study follows the chronology of the historical avant-garde to show how dance and pictures were engaged in a kindred exploration of the limits of art and perception that required the process of abstraction. Recovering the performances, methods, and

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30

Thurner, Christina. Time Layers, Time Leaps, Time Loss. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.45.

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The crisis of historiography, diagnosed by postmodern theorists, is taken as a basis of methodological reflections on dance history/historiography. This chapter asks if and how dance as art and theory reflects on the problem of history and about the potential of a critical reworking, accounting, or narration of a history or histories proper to dance. Concerning the constructive character of historiography, the chapter discusses alternative models of historiography taken from other disciplines (especially literary theory) as they relate to dance and ultimately lay the foundation of a nonvectori

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31

Collins, John, and Tamara Dobler, eds. Reply to Oskari Kuusela. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198783916.003.0016.

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Kuusela’s essay is full of leading ideas, a number, I think, leading in the right direction, some perhaps entirely right (when understood right). But these are leading ideas, waiting, at many points, to be filled in. What I will say here is intended in the main to fill in some background, or framework, which may help in that. But it will be at best propaedeutic only. I should also say at the outset that in what I will say below I may be moving in a somewhat new direction; a direction Kuusela could not know of in reading work available to him (or anyone). So if what I say also diverges at point

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32

Brogaard, Berit. Looks and Seemings. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495251.003.0003.

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Moving on from points established in chapter 1, the author considers the question of what looks and seemings are, and whether they are indeed mental states. She then argues that ‘look’- and ‘seem’-reports do indeed express mental states rather than observational properties, as Mike Martin has proposed. She then provides evidence for thinking that looks and seemings fall into two categories: phenomenal (non-epistemic, non-comparative) and epistemic. At the end of the chapter, she presents an argument for thinking that looks and seemings are representational and addresses the question of whether

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33

Deruelle, Nathalie, and Jean-Philippe Uzan. The covariant derivative and the curvature. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198786399.003.0063.

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This chapter first considers the tangent spaces of a non-connected manifold, in which the tangent t at the set of points p in the manifold is an element of the tangent space at p. Afterward, the chapter summarizes the elementary introduction to the exterior calculus of Chapter 5 of Book 2. Next, the chapter studies the Lie bracket and Lie derivative, before moving on to the covariant derivative and a connected manifold. The covariant derivative in particular is introduced to ensure the effectiveness of the Lie brackets and the Lie derivative. From here, this chapter considers the torsion of a

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34

Yew, Lai Cheng, and E. Jane Maher. Communication in non-surgical oncology. Oxford University Press, 2017. http://dx.doi.org/10.1093/med/9780198736134.003.0048.

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The non-surgical oncologist is involved in almost every patient’s cancer journey be it at diagnosis, during treatment, at follow-up, at recurrence, through survivorship, and even at the end of life. Communication issues will arise at all of these stages and will need to consider the complexities of the whole patient. There are key communication points when patients shift from different health states (e.g. diagnosis of cancer, completion of initial anti-cancer treatment, recurrence, each time treatment is no longer ‘working’ and disease is progressing, diagnosis of significant, irreversible, tr

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35

Judy, Blume. Superfudge (M-Books). Nelson Thornes Ltd, 1985.

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36

Judy, Blume. Superfudge. Yearling, 1993.

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37

Superfudge. 2nd ed. Dutton Children's Books, 2002.

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38

Judy, Blume. Superfudge. Santillana USA Publishing Company, 1996.

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39

Judy, Blume. Superfudge. Random House Childrens Books, 1991.

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40

Superfudge (Fudge). Listening Library, 2006.

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41

Judy, Blume. Superfudge. Bantam Doubleday Dell Publishing Group, 1994.

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42

Superfudge (Yearling Books). Sagebrush Education Resources, 1999.

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43

Judy, Blume. Superfudge (Puffin Book). Turtleback Books Distributed by Demco Media, 2004.

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44

Judy, Blume. Superfudge. Turtleback Books Distributed by Demco Media, 1996.

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45

Superfudge. 2nd ed. Yearling, 1986.

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46

Judy, Blume. Superfudge. LRS (Library Reproduction Service), 2000.

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47

Judy, Blume. Le Roi DES Casse-Pieds = Superfudge. Ecole des Loisirs,France, 1988.

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48

(Translator), Asun Balzola, ed. Superfudge. Sagebrush Education Resources, 1999.

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49

Judy, Blume. Superfudge (New York Times). Tandem Library, 2004.

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50

Judy, Blume. Superfudge (M Books). Nelson Thornes Ltd, 1992.

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