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Relevant bibliographies by topics / Utah. Division of Fine Arts

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Academic literature on the topic 'Utah. Division of Fine Arts'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Utah. Division of Fine Arts"

1

Yaworsky, Peter M., and Brian F. Codding. "THE IDEAL DISTRIBUTION OF FARMERS: EXPLAINING THE EURO-AMERICAN SETTLEMENT OF UTAH." American Antiquity 83, no. 1 (November 3, 2017): 75–90. http://dx.doi.org/10.1017/aaq.2017.46.

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Explaining how and why populations settle a new landscape is central to many questions in American archaeology. Recent advances in settlement research have adopted predictions from the Ideal Free Distribution model (IFD). While tests of IFD predictions to date rely either on archaeologically derived coarse-grained diachronic data or ethnographically derived fine-grained synchronic data, here we provide the first test using historically derived data that is both fine-grained and diachronic. Fine-grain diachronic data allow us to test model predictions at a temporal scale in line with human settlement decisions and to validate proxies for application in archaeological contexts. To test model predictions pertaining to the relationship between population density and habitat quality, we use data from the historical settlement of Utah. The results demonstrate a negative relationship between population density and the quality of habitats occupied. These results are consistent with IFD predictions, suggesting that Euro-American settlement of Utah resulted from individuals attempting to maximize individual returns via agricultural productivity. Our results provide a quantitative and testable explanation for population dispersion over time and explain the spatial distribution of population density today. The results support predictions derived from a general theory of behavior, providing an explanatory framework for colonization events worldwide.

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2

De Marco, Elizabeth, and Jane M. Holahan. "PUBLIC TOL: Fine Arts Division J. Erik Jonsson Central Library Dallas Public Library System." Art Documentation: Journal of the Art Libraries Society of North America 6, no. 1 (April 1987): 30. http://dx.doi.org/10.1086/adx.6.1.27947715.

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3

Mullen, Casey, Sara E. Grineski, Timothy W. Collins, and Daniel L. Mendoza. "Effects of PM2.5 on Third Grade Students’ Proficiency in Math and English Language Arts." International Journal of Environmental Research and Public Health 17, no. 18 (September 22, 2020): 6931. http://dx.doi.org/10.3390/ijerph17186931.

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Fine particulate air pollution is harmful to children in myriad ways. While evidence is mounting that chronic exposures are associated with reduced academic proficiency, no research has examined the frequency of peak exposures. It is also unknown if pollution exposures influence academic proficiency to the same degree in all schools or if the level of children’s social disadvantage in schools modifies the effects, such that some schools’ academic proficiency levels are more sensitive to exposures. We address these gaps by examining the percentage of third grade students who tested below the grade level in math and English language arts (ELA) in Salt Lake County, Utah primary schools (n = 156), where fine particulate pollution is a serious health threat. More frequent peak exposures were associated with reduced math and ELA proficiency, as was greater school disadvantage. High frequency peak exposures were more strongly linked to lower math proficiency in more advantaged schools. Findings highlight the need for policies to reduce the number of days with peak air pollution.

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4

Osborne, Robin. "Law in action in classical Athens." Journal of Hellenic Studies 105 (November 1985): 40–58. http://dx.doi.org/10.2307/631521.

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The fine modern scholarship on Athenian law has concentrated on (a) the scope of particular laws, and (b) the technical aspects of the legal process. This paper attempts to examine how the legal system worked in practice.The Athenians classified legal cases in various ways. On the one hand there was a division by subject matter between private cases (dikai idiai) and public cases (dikai dēmosiai), and on the other there was a division according to the procedure involved. There were a number of specialised procedures, but the most important procedural division was between those cases which anyone was free to bring (graphai) and those which only an interested party could bring (dikai in the narrow sense). These divisions on grounds of subject matter and on grounds of procedure overlap, but they are distinct and neither corresponds to the modern European legal division between civil and criminal cases.

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5

Beech, Dave. "Art and the Politics of Eliminating Handicraft." Historical Materialism 27, no. 1 (March 29, 2019): 155–81. http://dx.doi.org/10.1163/1569206x-00001554.

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Abstract This essay charts the outlines of the historical transition from the artisanal workshop to the artist’s studio and the transition from the artisan to the artist, not through the transition from patronage to the art market but through an analysis of the transformation of labour’s social division of labour. The essay reassesses the discourses on the artist as genius and the artist as worker through a reinterpretation of the elevation of the Fine Arts above handicraft. This sheds new light, also, on the discourse of deskilling in art. This essay argues that the transition from the artisan to the artist is an effect of the social division of labour in which the knowledge, skills and privileges of the master artisan are distributed among a set of specialists.

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6

Oviatt, Charles G., William D. McCoy, and Richard G. Reider. "Evidence for a Shallow Early or Middle Wisconsin-Age Lake in the Bonneville Basin, Utah." Quaternary Research 27, no. 3 (May 1987): 248–62. http://dx.doi.org/10.1016/0033-5894(87)90081-0.

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AbstractRelatively complete stratigraphic records of the Bonneville cycle and of at least one and probably two earlier lacustrine are exposed along the Bear River below Cutler Dam in northern Utah between altitudes of 1290 and 1365 m. In most exposures the unconformity between the Bonneville Alloformation and the underlying unit, herein named the Cutler Dam Alloformation, is marked by slight erosional relief and by a weakly to moderately developed buried soil, herein named the Fielding Geosol. In truncated profiles, the Fielding Geosol reaches a maximum of stage II carbonate morphology. Wood from near the base of the Cutler Dam Alloformation yielded a 14C date of >36,000 yr B.P. (Beta-9845). Alloisoleucine/isoleucine (aIle/Ile) ratios of Sphaerium shells from the Cutler Dam beds average 0.15 ± 0.01 in the total hydrolysate, which is significantly greater than the average for Sphaerium shells of Bonneville age elsewhere in the basin. Therefore, the Cutler Dam Alloformation is older than 36,000 yr B.P., but much younger than deposits of the Little Valley lake cycle (140,000 yr B.P.?) which bear shells having significantly higher aIle/Ile ratios. The Cutler Dam Alloformation along the Bear River may be broadly correlative with marine oxygen-isotope stages 4 or 3. Fine-grained, fossiliferous, marginal-lacustrine facies of the Cutler Dam Alloformation are exposed at altitudes near 1340 m, and are probably the highest exposures of sediments deposited in the early or middle Wisconsin lake in the Bonneville basin.

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7

Vlieghere, Dieter De. "Alfred H. Barr, MoMA, and the Entrance and Exit of Outsider Art (1936‐1943)." Journal of Curatorial Studies 10, no. 1 (April 1, 2021): 2–25. http://dx.doi.org/10.1386/jcs_00029_1.

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Fantastic Art, Dada, Surrealism (1936), curated by Alfred H. Barr at the Museum of Modern Art (MoMA), New York, was the first major exhibition of outsider art at the epicentre of the art world. The entrance of outsider art in the art museum coincided with the changing role of the curator: from a custodian of fine arts to an exhibition author with creative agency. The disconnection of outsider art from canonized art history and the peculiar appearance of the works and their makers inspired new curatorial narrations and settings. Barr’s inclusive vision of modern art and curation was, however, strongly criticized, and a few years later that vision was replaced by a hierarchical one demanding the exclusion of outsider art from the art museum. The developments at MoMA between 1936 and 1943 exemplify how outsider art served as a catalyst for the curatorial turn in which the division between the roles of curator and artist began to shift.

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8

Lucker, Amy. "Exploring bibliographic resources for Latin American art in New York City." Art Libraries Journal 37, no. 4 (2012): 36–38. http://dx.doi.org/10.1017/s0307472200017739.

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Librarians at Columbia’s Avery Library, New York University’s Institute of Fine Arts, and the Research Division of the New York Public Library are working together to offer a two-day symposium directed towards bibliographic resources for the study of Latin American art in New York City. The symposium, Latin American art bibliography: a continuing conversation, will celebrate the collections of these three institutions, placing them within the context of the field and the larger bibliographic and library landscapes. Supported in part by the Humanities Initiative at NYU and the Institute on the Study of Latin American Art the symposium will feature papers and talks, as well as tours of local landmarks.

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Wanqi, Luo. "Training of Teachers at the Moscow Institute of Arts of Weinan Pedagogical University as a Form of International Cooperation between Russia and China." Prepodavatel XXI vek, no. 3, 2020 (2020): 76–83. http://dx.doi.org/10.31862/2073-9613-2020-3-76-83.

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The article presents some features of Russian-Chinese cooperation in the field of teacher training for China. Moscow Pedagogical State University together with Weinan Pedagogical University not only implements joint educational programs of pedagogical profile, but also forms a new system of educational process management in the joint structural educational division of the Chinese University. The implementation of joint educational programs in the field of preschool education, training of teachers of fine arts and music was the first project based on intergovernmental agreements between Russia and China on the creation of a joint structural educational unit in a Chinese University. The project is related to the development of modern approaches to teacher training for the People’s Republic of China based on the achievements of the Russian model of teacher training.

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10

Fott, David. "John Dewey and the Mutual Influence of Democracy and Education." Review of Politics 71, no. 1 (2009): 7–19. http://dx.doi.org/10.1017/s0034670509000023.

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AbstractFor Dewey education is the growth of mental powers, where “growth” has no fixed content but involves the increasing harmonization of individuals with society. That harmonization must respect the uniqueness of each person and his capacity for intelligence. Education aims to develop a model democratic society, which Dewey sees as similar to an ideal community of scientific inquirers. That comparison is highly questionable, however. Dewey's curricular emphases include science, geography, history, literature, and fine arts, the last two of which promote a greater appreciation for all of human life—provided society is not too separated into classes. Related to social division is what he considers the false problems of epistemology, with its separation between mind and world. But Dewey's failure to think more rigorously about the relation of philosophy to science makes his philosophy a poor bulwark against postmodernism.

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Dissertations / Theses on the topic "Utah. Division of Fine Arts"

1

Hardin, Gary Joe II. "IN THE DIVISION OF COMPOSITION, MUSICOLOGY, AND THEORY OF THE COLLEGE-CONSERVATORY OF MUSIC." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin960900004.

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2

Kim, Mee-Young. "Pour une pratique personnelle de la "subtilité" dans les arts plastiques : les "écritures" de la discrétion, de la division, et le plaisir de la discrimination fine." Paris 1, 1994. http://www.theses.fr/1994PA010637.

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Cette thèse, à partir d'une pratique plastique (mes travaux faits entre 1988 et 1993 sous le titre une pratique de la "subtilité") tente d'élucider l'énigme de la motivation et le processus de la création ; il s'agit de la poïétique d'un art subtil. Ce qui est figure dans mes travaux plastiques (expression formelle de la politesse, jeu sur le sentiment timide, réticent etc. En tant que comportement discret) est le sujet dont parle ma peinture. Dans une telle incarnation du sujet, il ne s'agit nullement de vouloir enseigner quelque chose de particulier, culturel ou moral, mais il s'agit de vivre l'esthétique de la discrétion, la subtilité et son plaisir. La subtilité a ici affaire avec le corps, non l'esprit. Comme un besoin ou un certain appel du corps, comme le désir non violent, mais discret, délicat, une pratique de la subtilité serait une demande de mon corps. La subtilité consisterait chez moi à pouvoir analyser et saisir des nuances infimes. Le procédé de la fabrication (le principe de la fragmentation, de la pluralisation et de la pulvérisation) donne part lui-même un travail délicat tout en permettant le gout de la division et la saisie des nuances minuscules par les gestes de la main, par ses mouvements subtils. Par une telle pratique, la subtilité peut se définir comme la puissance de la division et le pouvoir de plaisir : le plaisir de la discrimination fine. Ma pratique de la subtilité n'est pas sans parente avec l'art de vivre. Pratiquer la subtilité est vivre ainsi en faisant déboucher l'art sur un art de vivre. Un art fait de gestes subtils d'une cuisinière par exemple, est en fait comme une vie quotidienne transformée. Cette thèse donne son terme : que vivre, jouer, créer soient interchangeables
This thesis (based on plastic works i made between 1988 and 1993) tries to elucidate the enigma of motivation and the process of creation : it deals with the poietique of "subtlety" in plastic arts. My painting relates what appears in my works : formal expression of "politeness", representation of reticent feelings such as discreet behaviour. In such an incarnation of the theme, the question does'nt intend to teach anything in particular, be it cultural or moral, but to live the aesthetics of discretion, subtlety and one's own pleasure. Like a need or any urge of the body, like a non violent but discreet and delicate desire, the practice of subtlety is a profound need of my body. For me, subtlety is the ability to analyze and grasp tiny nuances. The making process (the principle of gragmentation, pluralisation and pulverization) brings a delicate work by the taste of division and grasp of tiny nuances with subtle hand gestures. With such a practice, the subtlety can be defined as the power of division and the intensity of pleasure : the pleasure of subtle discrimination. My personal view of "subtlety" concerns the art of living. An art made of subtle gestures resembling those of a chef, is in fact like a daily life transformed

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3

Knox, David Jonathan. "Making the Invisible Visible." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397743591.

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Books on the topic "Utah. Division of Fine Arts"

1

Utah Arts Council. Statewide Exhibition. Utah 2006: Fine crafts & photography : Utah Arts Council's Annual Statewide Exhibition. Salt Lake City, Utah: Utah Arts Council, 2006.

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2

Utah Museum of Fine Arts. The Utah Museum of Fine Arts: Selected works from the permanent collection. Salt Lake City: University of Utah, 1997.

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3

Arts, Utah Museum of Fine. American art: Challenging traditional interpretations : selections from the permanent collection, Utah Museum of Fine Arts. [Salt Lake City]: Utah Museum of Fine Arts, University of Utah, 2003.

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4

Warnock, John. Splendid heritage: Perspectives on American Indian arts. Salt Lake City: University of Utah Press, 2009.

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5

Utah Museum of Fine Arts. A history of giving: The Marriner S. Eccles Foundation. [Salt Lake City, Utah]: Utah Museum of Fine Arts, University of Utah, 2007.

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6

Muller, Sheila D. The Val A. Browning collection: A selection of old master paintings. Salt Lake City (410 Central Campus Dr., Salt Lake City 84112-0350): Utah Museum of Fine Arts, University of Utah, 2001.

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7

Peterson, Elizabeth A. Paging through medieval lives: Illumination and calligraphy from selected collections : the Utah Museum of Fine Arts, the J. Willard Marriott Library, University of Utah, the Milton R. Merrill Library, Utah State University, the Harold B. Lee Library, Brigham Young University, anonymous lenders. [Salt Lake City, Utah: Utah Museum of Fine Arts], 1997.

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8

Peterson, Elizabeth A. Paging through medieval lives: Illumination and calligraphy from selected collections : the Utah Museum of Fine Arts, the J. Willard Marriott Library, University of Utah, the Milton R. Merrill Library, Utah State University, the Harold B. Lee Library, Brigham Young University, anonymous lenders. [Salt Lake City, Utah: Utah Museum of Fine Arts], 1997.

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9

Splendid heritage: Perspectives on American Indian art. [Salt Lake City]: University of Utah Press, 2009.

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10

Julia, Smith, and Louis Bergonzi. Effects of Arts Education on Americans' Participation in the Arts (Research Division Report (National Endowment for the Arts. Research Division), 36). Seven Locks Pr, 1996.

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Conference papers on the topic "Utah. Division of Fine Arts"

1

Hertzberg, Jean, and Alex Sweetman. "Impact and Outcomes of a Flow Visualization Course." In ASME 2009 Fluids Engineering Division Summer Meeting. ASMEDC, 2009. http://dx.doi.org/10.1115/fedsm2009-78480.

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For the past six years, a course on flow visualization has been offered to mixed teams of graduate and undergraduate engineering and fine arts photography students at the University of Colorado. The course has significant technical content on flow visualization and photographic techniques, and includes some emphasis on documentation and the interpretation of results, particularly with respect to atmospheric dynamics as revealed by clouds. What makes this course unusual is the emphasis on the production of images for aesthetic purposes: for art. While a number of art/science collaborations are growing worldwide, both in professional and academic communities, typically scientists are expected to contribute technical support while artists produce art. A particularly unusual aspect of this course is that all students are expected to demonstrate both aesthetic sensibility and scientific discipline. Another is that students are not constrained to study specific phenomena or use specific techniques; instead, creativity is required. A major outcome from this course is a series of stunning images. In addition, anecdotal evidence suggests that this course has a lasting impact on students’ perception of fluid physics, which can be contrasted to the effect of traditional introductory fluids courses. This raises the question of whether this impact is significant with respect to students’ understanding and appreciation of fluid mechanics, and if so, what aspect of the flow visualization course is most important? A survey instrument is being designed to quantify whether students’ awareness of fluid mechanics in the world around them changes when they take these courses and if students’ attitudes towards fluids is changed when they take these courses.

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