Academic literature on the topic 'National Artist Award'
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Journal articles on the topic "National Artist Award"
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Casale, Jarett. "Harris Peyton Mosher, MD: The Educator, Artist, and Pioneer behind the Mosher Award." Otolaryngology–Head and Neck Surgery 160, no. 3 (2019): 510–11. http://dx.doi.org/10.1177/0194599818823734.
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Harris P. Mosher, MD, was a pioneer in the development of modern-day otolaryngology. The prestigious Mosher Award was named after him and is awarded annually for recognition of excellence in otolaryngology clinical research. Dr Mosher’s contributions to the field include innovative research, technique and instrument development, and advancement of all national otolaryngology societies that function to this day. He was regarded as an expert and forerunner in sinus anatomy and started the first sinus anatomy course in the United States. He was also the recipient of many prestigious awards, including the Royal Society of Medicine of London’s Semon Medal as well as the American Laryngological Association Gold Medal. The yearly administration of the Mosher award highlights the legacy and passion of Dr Mosher for the advancement of the field of otolaryngology.
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Castrillón Vizcarra, Alfonso. "Tópicos sobre Arte Popular: 40 años del Premio a López Antay." Illapa Mana Tukukuq, no. 12 (February 20, 2019): 12–24. http://dx.doi.org/10.31381/illapa.v0i12.1914.
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El presente artículo presenta los puntos más destacados de la polémica suscitada con motivo del otorgamiento del Premio Nacional de Cultura al artista popular Joaquín López Antay en el año 1976. Luego de una introducción en que se da cuenta de los hechos, la conformación del jurado y la reacción de los artistas académicos, el autor fundamenta su tesis sobre la diferencia entre arte popular y artesanía examinando las propuestas de otros estudiosos que salieron a la luz en los años que vinieron. El autor concluye proponiendo la denominación de arte popular para significar hoy día aquellas manifestaciones que no son “arte informado” y tampoco artesanía.
 Palabras clave: López Antay, Premio Nacional de Cultura, arte, arte popular, artesanía, arte informado.
 
 AbstractThis article presents the most prominent points of the controversy brought on by the giving of the National Culture Prize to the popular artist Joaquín López Antay in 1976. After an introduction, in which the facts of the situation are explained and a description of the composition of the award panel and the reaction of the academic artists is given, the author bases their thesis on the difference between popular art and professional craftsmanship, examining the proposals of other scholars that came to light in the years they came out. The author concludes by proposing the naming of popular art to mean today those manifestations that are neither informed art nor works of professional craftsmanship.
 Keywords: López Antay, Culture National Prize, art, folk art, craftsmanship, academic art.
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Munive Maco, Manuel. "Don Joaquín antes de 1975. Adenda para una polémica inconclusa." Illapa Mana Tukukuq, no. 13 (February 19, 2019): 72–79. http://dx.doi.org/10.31381/illapa.v0i13.1899.
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A primera vista el “Premio Nacional de Cultura” que se le otorgó en 1975 significó también su consagración como una celebridad en la escena cultural capitalina. Sin embargo, Joaquín López Antay era conocido desde mucho antes gracias a su participación en bienales y ferias limeñas y porlas aproximaciones que diversos intelectuales nacionales ensayaron sobre su fascinante quehacer plástico. El presente trabajo aporta información sobre la actividad de Don Joaquín algunos años antes de 1975 en relación con la de John Davis, artista norteamericano que participó en primera línea en el proceso de reconocimiento y divulgación de la plástica tradicional y popular peruanas. 
 Palabras clave: Premio Nacional de Cultura 1975, Joaquín López Antay, John Davis, Bienales de Artesanía, Encuentro Mundial de Artesanías, Art Center Shop, Arte popular peruano.
 
 AbstractAt first sight it seems that the “National Award of Culture” that was granted to him in 1975 it also meant his “launch” in the cultural scene of the capital. However, Joaquin Lopez Antay was known since much earlier thanks to his participation in biennial and fairs in Lima and for the approachesthat various national intellectuals made on his fascinating plastic work. The present paper provides information about the activity of Don Joaquin some years before 1975 and in relation with John Davis, an American artist who participated in the process of recognition and dissemination of traditional Peruvian folk art.
 Keywords: National Prize of Culture 1975, Joaquín López Antay, John Davis, Craft Biennale, World Meet Artisans, Art Center Shop, Peruvian Folk Art.
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Nikitin, Andrii. "Philosophical context in the work of Sergei Zoruk." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 29 (December 17, 2020): 46–53. http://dx.doi.org/10.33838/naoma.29.2020.46-53.
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S. Zoruk was a bright representative of the artistic circle with an original view and individual ap- proach to art. His innovative methodological theories on academic drawing are organically included in the concept of scientific and methodological base of the Department of Drawing NAOMA and drawing school in general. S. Zoruk constantly studied and improved the technique of drawing, built his personal style. It is in the pictorial compositions that his authorial style with an emphatically refined aesthetic and philosophical subtext is most vividly revealed. The line, the stroke, the spot are combined and intertwined, creating elegant images of his paintings. His style of drawing is characterized by a light, free line. It is extremely interesting to see the evolution of the Zoruk artist: "Game-4" (1991), "Breath of the Wind" (1993), diptychs "Farewell to the Hat" (1993) on carnival themes and "Time to scatter stones, time to collect stones" (1993) for biblical motives. They are made in the technique of drawing. Thanks to the compositional techniques of including large sizes of clean planes of paper and the clarity of the line, the artist achieves the effect when the viewer’s imagination continues to paint the plastic life of the image. S. Zoruk’s creative style is characterized by refinement and detail of the image, elegance and lightness of the line and, at the same time, there is a pause, a colon in the story, which gives space for plot fantasizing. An important place in the artist’s creative activity was occupied by his teaching work, which he began in 1989 at the Department of Drawing KDHI. He alternately taught drawing at the Faculty of Architecture, and later at the restoration, theater, and graphic departments. He took a direct part in the forma- tion of the scientific and theoretical basis for the methods of teaching drawing and introduced methodological development, namely "Double productions in the 5th year" in the working program of the drawing. The level of professional qualification of the artist was marked in 1986 by admission to the National Academy of Arts, the rank — Honored Artist of Ukraine (1996), in 2000 the academic rank of associate professor, and since 2003 S. Zoruk held the position of professor. He successfully combined pedagogical and exhibition activities, repeatedly visited and collaborated with art galleries in Suzhou, Wu Xi (PRC). He has about 40 exhibitions in Ukraine and abroad. His works are in the funds of the Ministry of Culture of Ukraine, the National Union of Artists of Ukraine, the museum "Kachanivka" and the Museum of Contemporary Art (Kaliningrad), in private collections in the Netherlands, Russia, Belgium, France, Germany, Austria, USA, China. S. Zoruk’s creative and pedagogical activity were awarded in 2002 by the award of the Ministry of Culture of Ukraine "For out- standing merits in the development of culture and art". Philosophical sound in combination with intellectual- ism, together with high professional skill gave S. Zoruk’s works of extraordinary artistic value, made them an important phenomenon of Ukrainian art of the last quarter of the XX — beginning of the XXI century. His works have a sense of the space of the theatrical stage: the images, which is raised up to generalization are united by a certain game moment, the artist slowly unfolds in front of the spectator the dramaturgy of the plot, leaving a field for his own interpretations.
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Williams, Sonja D. "Wade in the Water." Resonance 1, no. 1 (2020): 15–24. http://dx.doi.org/10.1525/res.2020.1.1.15.
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In January 1994, Wade in the Water: African American Sacred Music, a first-time radio series collaboration between the Smithsonian Institution and National Public Radio, began airing on hundreds of NPR affiliate stations throughout America. An ambitious and influential series of 26 hour-long documentary programs, Wade explored 200 years of black sacred music, including spirituals, ring shouts, lined hymns, jazz, and gospel. The series also featured the insights of music creators, performers, listeners, and historians who could place African American sacred music traditions within the social, political, and cultural context of their times. Wade eventually won a Peabody Award and other awards of distinction. Conceived and hosted by Smithsonian Institution curator, artist, and MacArthur Foundation “Genius” Fellow Bernice Johnson Reagon, Wade required an intensive, five-year-long fundraising, research, and production journey of commitment. As the series’ associate producer, this article’s author worked with a host of dedicated radio producers, researchers, engineers, scholars, and music collectors who helped to make Wade a reality. Therefore, this article describes the series’ production journey from the vantage point of an insider, and it serves as a personal reflection on the making of a series that would set the standard for future long-form, NPR-based music documentary productions.
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Rafael, Vicente L. "Telling Times." positions: asia critique 29, no. 1 (2021): 121–39. http://dx.doi.org/10.1215/10679847-8722810.
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Nick Joaquin (1917–2004) is often regarded as the greatest Filipino writer in English, yet he remains largely unknown outside his country. He published widely in all genres and was awarded the National Artist Award, yet he dropped out of high school and spent much of his youth holed up in libraries and walking Manila’s streets. He wrote some of his most powerful stories between the end of US colonial rule and the beginning of the postcolonial era, at a time when the very craft of storytelling was itself endangered. And he did so in another language, American English, which required setting aside his mother tongue, Tagalog, and an inherited tongue, Spanish. This article explores some of these contradictions, looking at the relationship between language and literature exemplified in Joaquin’s writings and situating him as a storyteller in the wake of Manila’s utter destruction by colonial wars and the uneven recovery from postcolonial strife. This article also asks how Joaquin sought to rescue not just the memory of the city but also the very faculty of remembering itself as well as the remembering self.
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Harris, Catherine T., Philip J. Perricone, and Margaret Supplee Smith. "The Artist and Androgyny: A Study of Gender Identity in Visual Artists." Empirical Studies of the Arts 6, no. 1 (1988): 67–78. http://dx.doi.org/10.2190/9p69-xcur-c3na-2dck.
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While art is an activity that is socially valued, the image of the artist as perceived by the public and expressed in the literature has rarely been studied empirically. The Adjective Check List is used to test one dimension of this issue—June Wayne's hypothesis that the artist is a stereotypical woman, focusing on the artist's view of himself/herself and artists in general. Data were gathered by means of a questionnaire mailed to 1753 artists who had been nominated for the national Awards in Visual Arts during the first five years of the program (1982–86). It was found that artists tend to have self-images which are androgynous in terms of sex stereotyping, while at the same time, they see artists in general as relatively masculine. It was also found that while artists tend to view their colleagues in favorable terms, they view themselves as individual artists significantly more favorably. The implications of these findings for the profession of art are discussed.
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Ștefănescu, Mirela. "Iassy – Sourse of Local, National and International Talents." Review of Artistic Education 18, no. 1 (2019): 246–54. http://dx.doi.org/10.2478/rae-2019-0027.
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Abstract The city of Iaşi, one of the most important visual art centers in the country, is one with an extraordinary creative potential, this being the reason why in this paper we mentioned local artistic personalities of national and international value. In this context, we will present among the most relevant exhibiting events that are constantly organized in Iaşi and which bring together local, national and international creative values. We would like to mention the ArtIS Salons, the Drawing Salon, the Iasi Identity Exhibitions, the Visual Arts Exhibitions of the International Festival of Education, the Visual Arts Exhibitions of Euroinvent, Inventica, the International Triennial Texpoart, the International Biennale of Contemporary Engraving, as well as visual artists who have already integrated into the international circuit, being rewarded with numerous awards and distinctions among the most honored. Thus, local artistic life is in a continuous creative effervescence, supported by the numerous exhibitions of consecrated and young artists who come to the audience with a great variety of styles.
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Williams, Roy. "Roy Williams, in conversation with Aleks Sierz What Kind of England Do We Want?" New Theatre Quarterly 22, no. 2 (2006): 113–21. http://dx.doi.org/10.1017/s0266464x06000352.
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Roy Williams is one of the outstanding new voices in contemporary British theatre. Born in Fulham, south-west London, in 1968, he has already, by his mid-thirties, won a shelf-full of awards, with plays staged at the National Theatre and Royal Court. His debut, The No Boys Cricket Club, won the Writers' Guild New Writer of the Year award in 1996. Two years later, his follow-up, Starstruck, won three major awards: the John Whiting Award for Best New Play, an EMMA (Ethnic Multicultural Media Awards) for Best Play, and the first Alfred Fagon Award, for theatre in English by writers with Caribbean connections. In 2000, Lift Off was joint winner of the George Devine Award, and in 2001 Clubland received the Evening Standard Award for Most Promising Playwright. In 2002, Williams received a best school drama BAFTA (British Academy of Film and Television Arts) for Offside (BBC), and in 2004 he won the first Arts Council Decibel Award, given to black or Asian artists in recognition of their contribution to the arts. His most recent play, Little Sweet Thing, was a 2005 co-production between Ipswich’s New Wolsey Theatre, Nottingham Playhouse, and Birmingham Rep. What follows is an edited transcript of Aleks Sierz’s ‘In Conversation with Roy Williams’, part of the ‘Other Voices’ symposium at Rose Bruford College, Sidcup, Kent, in May 2004, organized by Nesta Jones. Williams is a graduate and now a Fellow of the college.
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Callus, Ron, and Mark Cole. "Live for Art — Just Don't Expect to Make a Living from it: The Worklife of Australian Visual Artists." Media International Australia 102, no. 1 (2002): 77–87. http://dx.doi.org/10.1177/1329878x0210200109.
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Visual artists make up one of the few occupational groups in Australia where the majority of those working in the field are not regulated by awards or agreements that set minimum rates of pay and conditions. This is because most artists are self-employed and therefore lie outside the industrial relations regulatory framework. This article builds on the results of a survey of members of the National Association of Visual Artists (NA VA). The survey was designed to provide a picture of the income sources and activities of persons who work in the arts industry. For the majority of artists, the paid work undertaken as an artist was not their main source of income. These artists supplemented their art-producing income with other art and non-related income-producing work. A significant proportion of NAVA members work for a living in the visual arts industry as teachers, arts administrators, curators or in other art-related work; many of these also produce art in their spare time. The data collected were then used to develop a typology based on the combination of artists' time-use and income-generating activities. The typology was generated through the use of a cluster analysis that revealed three major groups of artists and a number of subgroups within these three major groupings. Given the complexities of the artist's labour market experiences, a number of options are canvassed as to how the precarious nature of artists' work could better be managed. One approach to regulation is to accept the realities of the artists' labour market and build around this through a system of accruing entitlements that come from working in the industry rather than for any one individual or organisation. It is suggested that governments could also take a different approach by recognising the special nature of artists' work, specifically the fact that artists move in and out of the labour market over their lifetimes. A whole-of-life approach to the problem is therefore necessary.
Books on the topic "National Artist Award"
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Čhanthaburī, Saphā Watthanatham Čhangwat. Phūmpanyā thō̜ngthin dīden: Khrōngkān songsœ̄m læ ʻanurak phūmpanyā Thai læ watthanatham phư̄nbān Čhangwat Čhanthaburī. Saphā Watthanatham Čhangwat Čhanthaburī, 1999.
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Shilakoe, Cyprian. Cyprian Shilakoe, 1946-1972: Third Guest Artist Award 1990 : Standard Bank National Arts Festival 1990, a project of the 1820 Foundation. Standard Bank National Arts Festival, 1990.
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Thai, Mūnnithi Simēn. Rāngwan Sinlapa phư̄a Yaowachon Thai 2549: Phiphitthaphanthasathān hǣng Chāt, Hō̜sinlapa, Thanon Čhao Fā, Krung Thēp--, 26-29 Tulakhom 2549 = Young Thai Artist Award 2006 : National Art Gallery, Chao Fah Road, Bangkok, 26-29 October 2006. Mūnnithi Simēn Thai, 2008.
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Thai, Mūnnithi Simēn. Rāngwan Sinlapa phư̄a Yaowachon Thai 2553: Phiphitthaphanthasathān hǣng Chāt, Hō̜sinlapa, Thanon Čhao Fā, Krung Thēp--, 3-29 Thanwākhom 2553 = Young Thai Artist Award 2010 : National Art Gallery, Chao Fah Road, Bangkok, Thailand, 3-29 December 2510 [sic]. Mūnnithi Simēn Thai, 2010.
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Thai, Mūnnithi Simēn. Rāngwan Sinlapa phư̄a Yaowachon Thai 2550: Phiphitthaphanthasathān hǣng Chāt, Hō̜sinlapa, Thanon Čhao Fā, Krung Thēp--, 18 Makkarākhom-17 Kumphāphan 2551 = Young Thai Artist Award 2007 : National Art Gallery, Chao Fah Road, Bangkok, 18 January-17 February 2008. Mūnnithi Simēn Thai, 2008.
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Thai, Mūnnithi Simēn. Rāngwan Sinlapa phư̄a Yaowachon Thai 2554: Phiphitthaphanthasathān hǣng Chāt, Hō̜sinlapa, Thanon Čhao Fā, Krung Thēp--, 18 Makkarākhom-26 Kumphāphan 2555 = Young Thai Artist Award 2011 : National Art Gallery, Chao Fah Road, Bangkok, Thailand, 18 January-26 February 2012. Mūnnithi Simēn Thai, 2012.
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Arts, National Endowment for the. National Medal of Arts. National Endowment for the Arts & National Council on the Arts, 2007.
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Weng, Xude. Di er jie guo jia gong yi jiang zuo pin ji: 2002 the Second National Crafts Awards. Guo li Taiwan gong yi yan jiu suo, 2002.
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Nanthakhwāng, Thawī. Nư̄ang nai warōkāt wan chalœ̄m phrachonmaphansā Somdet Phranāng Čhao-- Phrabō̜rommarāchinī Nāt, Krom Sinlapākō̜n khō̜ sanœ̄ nithatsakān phisēt chœ̄tchū kīat sinlapin ʻāwusō Thawi Nanthakhwāng, sinlapin chan yīam pī 2499 na Phiphitthaphanthasathān hǣng Chāt, Hō̜sinlapa, Thanon Čhaofā, Krung Thēp Mahā Nakhō̜n, 3-31 Singhākhom 2533 =: On the occasion to commemorate Her Majesty the Queen's birthday, the Department of Fine Arts presents the special art exhibition retrospective, 1946-1990, Tawee Nandakwang, S.C.Y.-silapin chan yiam best artist award 1956, at the National Gallery, Chao Fa Road, Bangkok, August 3-31, 1990. Krom Sinlapākō̜n, 1990.
Find full textBook chapters on the topic "National Artist Award"
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Van Dyke, Jan. "Dance in America." In Dance and Gender. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813062662.003.0002.
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A variety of data show that men now lead the concert dance field in the United States. Not only do they receive jobs as performers and choreographers out of proportion to their representation as dance students, they also more readily achieve acclaim and financial security. Men stand out among dance artists because there is a paucity of them, giving them a professional advantage. This chapter examines funding at the state and national level, including Guggenheim Fellowships, MacArthur Grants, and National Endowment for the Arts Fellowships to see to whom funding goes. Various awards are also scrutinized for gender equity, including the Dance Magazine Award, Capezio Dance Award, Kennedy Center Honors Award, and the National Medal of the Arts. In addition, teaching and choreographing opportunities for men and women are compared.
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Dirksen, Rebecca. "Wyclef’s Score." In After the Dance, the Drums Are Heavy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190928056.003.0003.
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The Haitian elections of 2010–11 were unusually marked by interventions from high-octane pop stars. Not only did Sweet Micky pose his candidature, but so too did Grammy-award winning artist Wyclef Jean. When the Provisional Electoral Council (CEP) dismissed Wyclef from the presidential race, the artist hotly contested the CEP’s decision and quickly released an excoriating critique in song. This chapter offers an evaluation of Wyclef’s musical deeds and post-earthquake interventions as a celebrity and as the almost-candidate who saw himself as the best representation for the nation’s youth. This focus on a notable musical individual is then contrasted against the music-making of the crowd, with an aim toward understanding how songs that get people moving and engaged often emerge out of crowd-sourced improvisation. Resignification of song texts and melodies lies at the core of the deep intertextual play that musicians and music listeners share as they decode political acts.
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Woodin, Tom. "The mainstream and the movement." In Working-class writing and publishing in the late-twentieth century. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9780719091117.003.0011.
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Working class writing workshops were infused with a sectarian spirit of being alternative and they actively challenged elitism in favour of a participatory ethic. A national debate flared up over the decision of the Arts Council not to award a grant to these workshops on the grounds that its work was of ‘no literary merit’. From the 1990s, relations thawed and a widening acceptance of worker writers came into being across many cultural and educational institutions. The movement of workshops changed into a broader inclusive network while attempting to retain an element of distinctiveness. Survival itself proved extremely difficult in these circumstances.
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Hodge, Matthew. "Staging Theatrical Child-Centric Violence." In Advances in Media, Entertainment, and the Arts. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4655-0.ch004.
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Prolific and controversial British-Irish playwright Martin McDonagh has built a prominent career on genre-bending works that combine irreverent humor and aggressive violence. His award-winning black comedy play The Pillowman, which premiered in 2003 at London's renowned National Theatre, is one of the playwright's most well-known and divisive pieces of theatre. Arguably, the play's most memorable moments involve segments reenacting original twisted fairy tale-esque stories. The majority of McDonagh's dark tales center on children characters enduring acts of violence and cruelty, ultimately concluding with disturbing endings. The Pillowman script offers few instructions in its storytelling scenes, allowing—even demanding—artistic ownership of each production's unique aesthetic approach to the unsettling material. This chapter discusses the divisiveness of McDonagh's work, his inspiration from violence in historical fairy tales, and the sensitive considerations and controversies theatre leadership teams must ponder when staging fictionalized child-centric violence.
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Borum Chattoo, Caty. "Interrogating Hidden Truths." In Story Movements. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190943417.003.0008.
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Within a larger cultural exchange of information, investigative documentary makers balance creative artistry with journalistic practices while they navigate risk and security concerns in precarious times, and they play a vital role in democratic functioning by fostering public awareness and dialogue. These investigative documentarians are breaking new stories even as they face threats—legal, privacy, security, safety—that may be more profound given their location outside formal journalism institutions. Opening with the story of CitizenFour, Laura Poitras’s Academy Award–winning exposé of US National Security Agency spying through the story of whistleblower Edward Snowden, the film case studies here also include Southwest of Salem: The Story of the San Antonio Four, the documentary investigation of four lesbians wrongfully convicted of a heinous crime; and The Feeling of Being Watched, a first-person verité journey into government spying on the filmmaker’s predominantly Arab-American community outside Chicago.
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Hollyfield, Jerod Ra'Del. "Epic Multitudes: Postcolonial Genre Politics in Shekhar Kapur’s The Four Feathers." In Framing Empire. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429948.003.0006.
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Despite its pedigree as a 2002 awards contender, Shekhar Kapur’s The Four Feathers became one of the biggest critical and box-office failures in Hollywood history. In choosing an adaptation of A. E. W. Mason’s 1902 novel to probe the legacy of colonialism, Kapur situates his political concerns within the tradition of the late-Victorian adventure fiction that was vital to maintaining the colonial project’s fundamental role in the British imagination. Yet, the novel’s six previous film adaptations also provide Kapur the opportunity to expose the pervasiveness of imperial ideologies in the wake of World War I through his critique of the Empire Cinema genre for which Zoltan Korda’s 1939 version of Mason’s novel serves as a touchstone. Kapur extends the imperial politics of Mason’s novel beyond its setting in the Sudan and into other postcolonial national contexts through subverting genre conventions and working on a Hollywood project with other diasporic artists, including Iranian screenwriter Hossein Amini, Beninian actor Djimon Hounsou, and Australian actor Heath Ledger. As a result, the adaptation interrogates the shared mechanisms of imperial discourse while comparing the totality of British rule to the global reach of Hollywood from a variety of national perspectives.
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Akaydin Aydin, Aysegul, and N. Beril Eksioglu Sarilar. "Are You an Observer or a Supporter of War?" In Advances in Media, Entertainment, and the Arts. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4903-2.ch019.
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This chapter presents a framework for narratives of war news in consideration of Galtung's war and peace journalism theories. News narratives are discussed in the light of BBC's ethical principles of war journalism. Additionally, transformation of war journalism with the advances in communication technologies is analysed. The method of research is through review of literature and interviews in depth. Five war journalists were interviewed. These five Turkish journalists witnessed five different eras. Ergin Konuksever is the oldest war journalist in Turkey. He was reporting the news from Cyprus Peace Operation in 1974. İsmail Umut Arabacı is the first journalist to announce ‘Operation Peace Spring' live from the border. Cem Tekel is the editor and war journalist who joined the operation. Coşkun Aral is an international Turkish photographer and war journalist. He won SIPA PRESS award in 1977 with his photograph of 1st May National Labor Day. Kerim Ulak is an A Haber editor and journalist who joined the operation. His news about the operation turned out to be fake.
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Akaydin Aydin, Aysegul, and N. Beril Eksioglu Sarilar. "Are You an Observer or a Supporter of War?" In Advances in Media, Entertainment, and the Arts. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4903-2.ch019.
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This chapter presents a framework for narratives of war news in consideration of Galtung's war and peace journalism theories. News narratives are discussed in the light of BBC's ethical principles of war journalism. Additionally, transformation of war journalism with the advances in communication technologies is analysed. The method of research is through review of literature and interviews in depth. Five war journalists were interviewed. These five Turkish journalists witnessed five different eras. Ergin Konuksever is the oldest war journalist in Turkey. He was reporting the news from Cyprus Peace Operation in 1974. İsmail Umut Arabacı is the first journalist to announce ‘Operation Peace Spring' live from the border. Cem Tekel is the editor and war journalist who joined the operation. Coşkun Aral is an international Turkish photographer and war journalist. He won SIPA PRESS award in 1977 with his photograph of 1st May National Labor Day. Kerim Ulak is an A Haber editor and journalist who joined the operation. His news about the operation turned out to be fake.
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Scott, Cinda P., Bonne August, and Costanza Eggers-Piérola. "All Hands on Deck." In Cases on Interdisciplinary Research Trends in Science, Technology, Engineering, and Mathematics. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2214-2.ch013.
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The nationwide National Science Foundation (NSF) Innovation through Institutional Integration (I3) program challenges faculty, administrators, and project partners to think strategically about the creative integration of NSF-funded awards and to provide students with an interdisciplinary, cross-curriculum, technologically current approach to Science, Technology, Engineering, and Mathematics (STEM) curriculum. The NSF I3 program places particular emphasis on underrepresented minorities seeking two- and four-year degrees in STEM disciplines. The focus of this chapter is on how survey data collected across STEM departments in the School of Arts and Sciences and the School of Technology and Design have been used to guide the City Tech I3 Project to implement case study teaching methodologies as a means for creating institutional change in STEM laboratories. The City Tech I3 Project addresses three of the national NSF I3 goals: broadening participation, integrating research and education, and developing a global workforce.
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Sklair, Leslie. "The Politics of Iconic Architecture." In The Icon Project. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190464189.003.0010.
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The political fraction of the transnational capitalist class (TCC) in architecture and urban design is made up of national, international, and transnational politicians and officials at all levels of administrative power and responsibility. They operate in communities, cities, states, and international and global institutions. They make decisions on what gets built where, how changes to the built environment are regulated, and on issues of urban preservation. The TCC facilitates the production of iconic architecture in the same way and for the same purposes as it does all cultural icons, by incorporating creative artists to construct meanings and aesthetics that effectively represent its power in order to maximize profits for the capitalist class. In his very widely reviewed book on megaprojects and risk, Bent Flyvbjerg (2003: 16) states, ‘Cost underestimation and overrun cannot be explained by error and seem to be best explained by strategic misrepresentation, namely lying, with a view to getting projects started.’ It seems to me sensible to bear this apparently extreme statement in mind when thinking about the relations between politicians and professionals in this field. The political fraction of the TCC in architecture divides into two overlapping groups and two sets of institutions. First, there are globalizing state officials and politicians and their nominees in public agencies who promote, award, permit, or refuse contracts for important national or subnational (usually urban) projects. Governments and local authorities organize competitions, sometimes inviting entries from domestic or foreign architects. The selection of iconic foreign architects for prestigious national and urban projects has become a feature of the era of capitalist globalization. The second group comprises inter-state and transnational officials and politicians who are influential for architectural projects promoted as sites or buildings with global significance. Others confer a sort of transnational political iconicity on existing buildings and places, notably through the World Heritage Site system of UNESCO (Edensor 1998: 184–7). The work of private transnational non-governmental organizations is also important. For example, the title and mission statement of the World Monuments Fund, ‘Saving the world’s architectural masterpieces and important cultural heritage sites from damage and destruction’, have a deliberately official ring.
Conference papers on the topic "National Artist Award"
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Javdekar, Chitra, Ibrahim Zeid, Marina Bograd, and Claire Duggan. "A Community College Toolkit for Manufacturing Programs: Stakeholders Engagement and Collaboration." In ASME 2017 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/imece2017-71393.
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This paper describes the original intent and curriculum design of two manufacturing certificate programs funded by a National Science Foundation (NSF) Advanced Technological Education (ATE) award at a community college in Massachusetts. It also describes salient features of this project including a focus on recruiting Liberal Arts majors for emerging jobs in the manufacturing sector, as well as the requirement of an experiential learning component. The paper further discusses what the team learned about student recruitment and employer engagement over the next three years. It also discusses how the team responded to the emerging needs of the student and manufacturing community through collaboration and teamwork. Finally, the paper presents a set of tools and recommendations for institutions interested in developing new academic programs in manufacturing to engage with all the stakeholders including prospective students, departments and other partners.
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Rathod, Mulchand S. "Ergonomics of Learning in a Very Descriptive Applied Human Factors Course." In ASME 2005 International Mechanical Engineering Congress and Exposition. ASMEDC, 2005. http://dx.doi.org/10.1115/imece2005-79719.
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Teaching profession continues to hold its status as a noble profession and university faculty are held with high esteem by the general population. Some faculty teaching in engineering and technical programs have begun to address the pedagogy of learning in recent years. This is supported by a number of initiatives at the national level. Besides funding of such activities by organizations such as the National Science Foundation, engineering professional societies have created forums and awards to recognize and promote teaching and learning of engineering subject matter. This paper addresses an experiment in improved learning by students of a subject matter that is very descriptive and non-traditional as compared to most engineering subjects. The applied human factors course is an elective course for engineering technology (ET) students and a required course for the (non-technical) industrial design students from the College of Fine, Performing, and Communication Arts (CFPCA) at Wayne State University (WSU). Technical students are more comfortable with equations and formulas where as the non-technical students have practically no exposure to such things. Setting for this course was a multi-media distance learning laboratory and the teacher had an important task of not just covering the material, but to increase student interest to optimize their learning. Although all the teaching material for the course was prepared for presentation in power point, after a discussion with the class, it was decided to make the learning process different from the traditional teaching. The class was divided in three groups and each group was given a reading assignment covering one third of the material to be covered in each class session. Each group met on a regular basis going over its assignment and breaking up the task for each team member to lead presentation and discussion for the next class. Learning objectives addressed in the course included team work, effective communication, system design and implementation, continued student participation, and effective learning for long term retention besides the contents of the subject matter. Overall, students really felt they were learning a lot and achieving unexpected new presentation skills. This paper would summarize a very positive experience of all dealing with learning pedagogy.