Two men and a woman standing behind store counter with display of pies. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-41. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Cocaine afflicts many individuals and is potently addictive. Originally hailed as a wonder-drug in the late 19th century, cocaine is now considered an illegal substance. Cocaine’s addictive properties can be attributed to changes in the dopamine reward pathway of the Ventral Tegmental Area and Substantia Nigra, Prefrontal Cortex, Dorsal Striatum, Nucleus Accumbens, Amygdala, Globus Pallidus, and Hippocampus. This drug affects the brain in two processes: binge and crave. The binge process highlights cocaine’s ability to block dopamine reuptake from the synapse resulting in hyperstimulation of the postsynaptic neuron in the dopamine reward pathway. The crave process promotes drug-seeking behavior through conditional and contextual cues. Understanding the effects of cocaine in the brain may grant insight in creating future medication and therapies to treat individuals addicted to this drug.

This image was created using magenta and cyan gelled lights directed at a red onion, red apple, and yellow lemon. This still-life image can be used to teach the following:LuminosityLusterHueLocal ColorChroma/SaturationSimultaneous ContrastAdditive and Subtractive Color

Short Description:
NewParaColour theory covers a long history from antiquity to modern times. It includes academic and scientific investigations into how we see and understand colour. It also includes practical applications for using colour in creative work.NewParaThis learning resource covers the history of colour theory, how we see colour, and how to use colour systems to mix colour and create colour relationships.NewParaAlso included in this resource are quizzes to test your knowledge, and practical learning activities to guide users in applications of colour theory for art and design. It's useful for anyone working with colour in creative and scientific fields.

Word Count: 51635

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What does it mean to belong to a country? Can events change what that means? This interactive compares two paintings by John Lewis Krimmel. Both show people in Philadelphia’s Centre Square celebrating the Fourth of July, but one was painted in 1812, just after the United States had declared war on Great Britain, and the other was painted in 1819, four years after the war had ended. The two look very different, reflecting changing ideas. This "Genial.ly" presentation includes interactive annotations and a juxtapose slider--the final slide includes suggestions on how to help students use the art as historical evidence. If you evaluate or use this resource, please respond to this short (4 question) survey here bit.ly/3ofUImf

In this interdisciplinary seminar, we explore a variety of visual and written tools for self exploration and self expression. Through discussion, written assignments, and directed exercises, students practice utilizing a variety of media to explore and express who they are.

This course covers issues in contemporary French society as expressed through movies made in the 2000s. Topics include France's national self-image, the women's movement, sexuality and gender, family life and class structure, post-colonialism and immigration, and American cultural imperialism. Films by Lelouch, Audiard, Doillon, Denis, Klapisch, Resnais, Rouan, Balasko, Collard, Dridi, Kassovitz, and others. Readings from French periodicals. Films shown with English subtitles. Taught in French.

Masako Suzuki helps a customer with thread at the counter in cooperative store. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-40. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Charles Bargue Drawing Course introductionThe Charles Bargue Drawing Course was a highly influential guide to art instruction in the 19th century, which has recently returned to prominence in the Realist painting movement. This module introduces students to the fundamental drawing skills covered in the Charles Bargue Drawing Course, and leads them through the process of completing a Bargue plate copy. 

Corporal Jimmie Shohara, bust portrait, facing front. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Corporal Jimmie Shohara, bust portrait, facing front. His two ribbons are for good behavior pre-Pearl Harbor and Rifle and Pistol Citations. He visited his parents who were confined at Manzanar (but who were American citizens by birth). Title transcribed from Ansel Adams' caption on verso of print. Subject information taken from negative sleeve. Original neg. no.: LC-A35-4-M-49-Ax. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Service ribbons and qualification badge above pocket of military uniform worn by Corporal Jimmie Shohara. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-35. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Corporal Jimmy Shohara, head-and-shoulders portrait, facing front, in uniform. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-34. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Short Description:
20 visual artists in conversation about why they make, how they work, and how the creative process unfolds.

Long Description:
This book was created by seniors in the 2020-2021 Art BA Departmental Honors program in the School of Art + Art History + Design, University of Washington, Seattle. The students in the Honors in Art track come from the four concentrations of the Division of Art: 3D4M: Ceramics + Glass + Sculpture, Interdisciplinary Visual Arts, Painting + Drawing, and Photo/Media.

The book presents first-person accounts of the creative process by a diverse group of makers as they develop artwork, consistently question habits, meanings, and inspirations while interfacing the world during uncertain times.

Word Count: 28304

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This course is an introductory exploration of documentary film theory and production, focusing on documentaries about science, engineering, and related fields. Students engage in digital video production as well as social and media analysis of science documentaries. Readings are drawn from social studies of science as well as from documentary film theory. The courses uses documentary video making as a tool to explore the worlds of science and engineering, as well as a tool for thinking analytically about media itself and the social worlds in which science is embedded. The course includes a hands-on lab component devoted to digital video production, in addition to classroom lectures and in-class film screenings.

This course explores visualization methodologies to conceive and represent systems and data, e.g., financial, media, economic, political, etc., with a particular focus on climate change data in this version of the course. Topics include basic methods for research, cleaning, and analysis of datasets, and creative methods of data presentation and storytelling. The course considers the emotional, aesthetic, ethical, and practical effects of different presentation methods as well as how to develop metrics for assessing impact. Coursework includes readings, visualization exercises, and a final project.

This resource has been created to explain the difference between natural and studio lighting. It is also an activity that allows students to explore taking images and designing a story that goes with their image. 

Dennis Shimizu, half-length portrait, lying on bed, reading. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-58. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

This course explores the reciprocal relationships among design, science, and technology by covering a wide range of topics including industrial design, architecture, visualization and perception, design computation, material ecology, and environmental design and sustainability. Students will examine how transformations in science and technology have influenced design thinking and vice versa, as well as develop methodologies for design research and collaborate on design solutions to interdisciplinary problems.

Getting Started

Word Count: 7646

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Teaches creative design based on the scientific method through the design, engineering, and manufacture of a detailed inlaid tile. This is an introductory lecture/studio course designed to teach students the basic principles of design and expose them to the design process. Throughout the course, students will be introduced to the terminology and concepts that underlie all forms of visual art; which--in many ways--forms the basis for the design of all physical objects. Along with learning mechanical skills, thinking both critically and visually, and working with different media, the students will consider how the arts grow out of and respond to particular cultural contexts and ideas; and how these thinking patterns can be applied to virtually all types of design.
Presentations, lectures, demonstrations, discussions and various artistic works will be used to show students how other artists and designers have dealt with the same issues they will be facing in lab.  Each class will begin with a critique of the students' homework, followed by a discussion (and presentation when appropriate) of the pertinent issues of that week. All aspects of the course will aid the teams of students in designing and building a major inlaid tile whose elements are designed as digital solid models and manufactured on an abrasive waterjet machining center. The course will conclude with an exhibit of the completed tiles open to the MIT and the Greater-Boston public. Enrollment is limited to 16 students who will be divided into groups of 4 students each. Preference will be given to students who attend the first day of class in a pre-selected team of 4.

Short Description:
This book touches on design thinking, virtual reality, and 3D printing, and their applications in our world.

Long Description:
This book offers a blend of theory and practice in guiding readers to apply design thinking principles to solving some of our world’s biggest problems. At the same time, readers are encouraged to become aware of new and emerging technologies that make prototyping and applying solutions a reality.

Word Count: 38787

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The book offers a blend of theory and practice in guiding readers to apply design thinking principles to solving some of our world’s biggest problems. At the same time, readers are encouraged to become aware of new and emerging technologies that make prototyping and applying solutions a reality.

Informational signs posted outside of building. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-2. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Diego Rivera’s, “The History of Mexico: An Epic of the Mexican,” is one of his masterpieces. The fresco mural tells more than 2,000 years of Mexican History, but there’s an emphasis on the last 700 years of Mexican History. The mural discusses more than 230 historical figures and historical events within 554 meters at the north stairwell at the National Palace in Mexico City - Palacio Nacional.

This book was written by two artist educators who teach digital art and design studio foundation classes. While teaching classes that take place in software laboratories, we noticed that many of our students expected to learn to use software, but gave little consideration to aesthetics or art and design history. A typical first day question is, "Are we going to learn Photoshop in this class?" This book is a mash-up of the Bauhaus Basic Course and open source software such as Inkscape, Gimp, Firefox, and Processing. We have taken some of the visual principles and exercises from the Bauhaus Basic Course and adapted them into exercises for these applications.

Word Count: 19046

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Playlist of digital photography tutorials on advanced photographic techniques relating but not limited to comprehension and execution of visual communication through photography, camera use techniques, studio and natural lighting techniques, pre-production, post-production and digital editing.

Problem solving is often guided by disciplinary frames of reference, which can restrict our ability to see other possibilities. This exercise uses object-based learning to underscore the idea that there is more than one way of analyzing and knowing the world, and that through multiple ways of knowing, we develop more complex understandings and new solutions. Through the process of critique, an essential part of visual-arts pedagogy, students practice analyzing and reflecting both individually and in groups.

Activities For Post-Secondary Educators and Students

Short Description:
Drawing in class is often seen as a distraction to learning. We are here to change that, with a series of activities designed to get both students and teachers benefiting from the power of visual thinking through drawing.

Long Description:
Communicating visually, through drawing, is a core practice to many fields and endeavors. However, in the world of post-secondary educators, it can be seen as fraught with peril. The barrier of one’s perceived drawing ability, on top of managing a lecture or facilitating a discussion, often means educators are hesitant to take advantage of a visual practice to its most benefit. This is a missed opportunity, but the situation is changing. More people are realizing the power of drawing as an extension of thinking, taking advantage of how the act of drawing generates new ideas and reveals unseen connections.

Quite simply, Drawing in the Classroom, generates learning.

Word Count: 4557

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Mrs. Ryie Yoshizawa, instructor, standing in front of class of women students, one woman in foreground with dressmaker's dummy. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-24. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

This program surveys two centuries of art and culture in the city now known as Tokyo. Ceramics, screens, textiles, prints, paintings, and armor are among the materials discussed.

A woman prepares a sign promoting American Education Week by attaching it to the wall of the Education Department office. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-6. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Word Count: 108374

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Learn tips for visual communication!

Stock footage: pexels.com

Stephen Farthing R.A. presents eight practical drawing classes using John Ruskin's teaching collections to explain the basic principles of drawing. This series accompanies 'The Elements of Drawing', a searchable and browsable online version of the teaching collection and catalogues assembled by John Ruskin for his Oxford drawing schools.

Engineering and Technology for the Better Good of Society PIT-OER is intended to train engineering technology students to leverage the power of select technologies aligned to the public interest applications and targeted public works institutions.This PIT-OER consists of four modules:Module 1: Project Management Methods with Applications to Public Works.Module 2: Technology and Ethics: “Are You Conflicted?”. Module 3: 3D Printing Applied to Everyday Public Interest and to Public Work Institutions.Module 4: How “Open” is Open Source Content: The Do’s and Don’t of Using Open Source Software, OSS. Each module is organized with lecture, assessment, and laboratory experiments. The modules are course materials for TECH-100, Introduction to Engineering and Technology, of Queensborough Community College.

Students will practice reading, oral and listening skills based on the theme Van Gogh’s Bedroom in Arles, by working with a virtual tour of the painter’s bedroom and by producing their own recordings of podcasts about the virtual tour.

Museums give children experiences above and beyond the everyday - experiences that enrich and build upon classroom teaching and learning. Taking pupils to a museum, or bringing museum artifacts into school, instantly changes the dynamics of the usual learning environment. It gives you as a teacher the opportunity to start afresh with each child, to reach and engage with pupils in new and different ways. This unit explores practical ways in which you can make the most of the UK's extraordinarily dynamic and diverse museums and galleries; it gives you pathways into museum resources, and shares examples of teachers and museum educators making the most of museum artifacts

Group of people gathered outside the front of a building with a cross on the roof. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-2. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Wooden sign at entrance to the Manzanar War Relocation Center with a car at the gatehouse in the background. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-28. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Short Description:
This book is the result of a co-design project in a class in the Masters of Education program at the University of Calgary. The course, and the resulting book, focus primarily on the safe and ethical use of technology in digital learning environments. The course was organized according to four topics based on Farrow’s (2016) Framework for the Ethics of Open Education.This is the first of 2 Versions of this pressbook. Click on Volume 2 for information.

Long Description:
This book is the result of a co-design project in a class in the Masters of Education program at the University of Calgary. The course, and the resulting book, focus primarily on the safe and ethical use of technology in digital learning environments. The course was organized according to four topics based on Farrow’s (2016) Framework for the Ethics of Open Education. Students were asked to review, analyze, and synthesize each topic from three meta-ethical theoretical positions: deontological, consequentialist, and virtue ethical (Farrow, 2016). The chapters in this open educational resource (OER) were co-designed using a participatory pedagogy with the intention to share and mobilize knowledge with a broader audience. The first three chapters in the book discuss specific ethical considerations related to technologies such as Artificial Intelligence (AI) , social networking services (SNS), and 3D printing. The next four chapters shift to a broader discussion of resource sharing, adaptive learning systems, STEM, and assistive technologies. The final two chapters discuss admissions and communications that need to be considered from an institutional perspective. In each of the nine chapters, the authors discuss the connection to the value of technology in education, and practical possibilities of learning technologies for inclusive, participatory, democratic, and pluralistic educational paradigms.

Word Count: 56853

ISBN: 0-88953-438-1

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Short Description:
This book is the result of a co-design project in a class in the Masters of Education program at the University of Calgary. The course, and the resulting book, focus primarily on the safe and ethical use of technology in digital learning environments. The course was organized according to four topics based on Farrow’s (2016) Framework for the Ethics of Open Education.

Long Description:
Click on Volume 1 to read the first book in this series.

This book is the result of a co-design project in a class in the Masters of Education program at the University of Calgary. The course, and the resulting book, focus primarily on the safe and ethical use of technology in digital learning environments, and is the second volume in the series. The course was organized according to four topics based on Farrow’s (2016) Framework for the Ethics of Open Education. Students were asked to review, analyze, and synthesize each topic from three meta-ethical theoretical positions: deontological, consequentialist, and virtue ethical (Farrow, 2016). The chapters in this open educational resource (OER) were co-designed using a participatory pedagogy with the intention to share and mobilize knowledge with a broader audience. The first section, comprised of four chapters, focuses on topics relating to well-being in technology-enabled learning environments, including the use of web cameras, eproctoring software, video games, and access to broadband connectivity. The second section focuses on privacy and autonomy of learners and citizens in a variety of contexts from schools to clinical settings. In each of the seven chapters, the authors discuss the connection to the value of technology in education, and practical possibilities of learning technologies for inclusive, participatory, democratic, and pluralistic educational paradigms. The book concludes with reflections from the course instructor gained over two iterations of teaching the course.

Word Count: 40312

ISBN: 978-0-88953-472-8

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This text explores the visual and performing arts (art, music, dance, theatre).
Chapter 1: Elements, Vocabulary, and Iconography of Visual Art
Chapter 2: Mediums in Visual Art
Chapter 3: Ancient Arts (Prehistoric, Ancient Near East, Egyptian)
Chapter 4: Classical Period to Middle Ages
Chapter 5: Renaissance to Realism
Chapter 6: Impressionism to Modern
Chapter 7: An Introduction to the Theater and its Elements
Chapter 8: The Greek Origins of Western Theater
Chapter 9: Technical Theater
Chapter 10: The Actor's Craft
Chapter 11: Other Theater Traditions
Chapter 12: Introduction to Music
Chapter 13: Music in the Middle Ages and the Renaissance
Chapter 14: Baroque and Classical Music
Chapter 15: Music of the Romantic Era
Chapter 16: Music of the 20th Century
Chapter 17: Introduction to Dance
Chapter 18: Elements of Dance
Chapter 19: Dance History and Styles

Farm workers harvesting crops in field, mountains in the background. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-14. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs. Exhibited: Honolulu Academy of the Arts, Honolulu, HI, and other venues, 2006-2007.

Film Arts: American Film History Canvas Commons Course

FA 256: American Film History
American Film History is an introductory course designed to
bring American film into clear focus as an art form, a business,
and a cultural phenomenon. The course explores how feature
films work technically, artistically, and culturally. The course will
probe the deeper meaning of American movies — the hidden
messages of genres, the social and psychological effects of
Hollywood film style, and mutual influence of society and popular
culture.

This course concentrates on close analysis and criticism of a wide range of films, from the early silent period, classic Hollywood genres including musicals, thrillers and westerns, and European and Japanese art cinema. It explores the work of Griffith, Chaplin, Keaton, Capra, Hawks, Hitchcock, Altman, Renoir, DeSica, and Kurosawa. Through comparative reading of films from different eras and countries, students develop the skills to turn their in-depth analyses into interpretations and explore theoretical issues related to spectatorship.

This course examines problems in the philosophy of film as well as literature studied in relation to their making of myths. The readings and films that are discussed in this course draw upon classic myths of the western world. Emphasis is placed on meaning and technique as the basis of creative value in both media.

Short Description:
The purpose of this guide is to give students clear and helpful information on finding and using images for their schoolwork and other creative projects.

Long Description:
The purpose of this guide is to give students clear and helpful information on finding and using images for their schoolwork and other creative projects. The first part of the guide goes over the basics of why some images are free to use and some are not. The second part shows where and how to find images to use. And the third part tells about some best practices for using images, including giving credit to creators. Cover image by Yeh Xintong via Unsplash.

Word Count: 7926

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Players involved in a football game on a dusty field, buildings and mountains in the distance. Title transcribed from Ansel Adams' caption on verso of print. Caption on negative sleeve includes phrase: "Note: Be sure and straighten horizon when printing." Original neg. no.: LC-A35-6-M-16. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Players involved in a football game on a dusty field, buildings and mountains in the distance. Title transcribed from Ansel Adams' caption on verso of print. Caption on negative sleeve includes phrase: "Note: Be sure and straighten Horizon when printing." Original neg. no.: LC-A35-6-M-15. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Short Description:
Foundation Drawing for Art 1100 serves as the primary text for the course of the same name at the UNO School of the Arts.

Word Count: 13003

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Short Description:
Foundations of Aural Skills is a research-based, accessible, relevant, creative, inclusive, empowering textbook for teaching introductory aural skills. The first seven chapters provide thorough instruction in aural fundamentals, allowing students to build their foundations from a variety of starting points. The following chapters address the traditional tasks of sight-reading and dictation, but also improvisation, mimicking music you hear (“playback”), transcription, and ensemble skills. The final two chapters add some basic form- and chord-listening skills. Every section includes creative activities that learners can try out on their own or do in class. Embedded playlists for practicing listening skills include a diverse range of music that will connect with students’ preferences and allow them to experience music they haven’t worked with before. While the text is primarily designed for a first semester or year of instruction, it also includes some instruction on modulation, chromaticism, and mixed meter, and future additions/development will make these advanced applications more robust.

Word Count: 76943

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Frank Hirosawa, half-length portrait, standing in the laboratory, facing slightly left. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-37-A. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs. Exhibited: Honolulu Academy of the Arts, Honolulu, HI, and other venues, 2006-2007.

Frank Hirosawa, half-length portrait, standing in the laboratory, facing equipment. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-37-B. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Frank Hirosawa, bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-53. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

This course covers the history and aesthetics of French cinema from the advent of sound to present-day. It treats films in the context of technical processes, the art of narration, directorial style, role of the scriptwriter, the development of schools and movements, the impact of political events and ideologies, and the relation between French and other national cinemas.
Taught in English, the films are screened with English subtitles. Students may complete written assignments in French.

This course introduces students to the world of French photography from its invention in the 1820s to the present. It provides exposure to major photographers and images of the French tradition, and encourages students to explore the social and cultural roles and meanings of photographs. Designed to help students navigate their own photo-saturated worlds, it also provides opportunity to gain practical experience in photography. Taught in English.

3 minute videos. Illustrations telling a story, with captions describing the action, written in French, with French voice over narration. For instruction in beginning French Language learning classes.

Short Description:
Frontier Mosaic is Oklahoma State University's premier student-run literary magazine. We are a patchwork of the best undergraduate fiction, nonfiction, poetry, and visual art in Stillwater, Oklahoma. Frontier Mosaic released its inaugural issue spring 2015.

Long Description:
Frontier Mosaic is Oklahoma State University’s premier student-run literary magazine. We are a patchwork of the best undergraduate fiction, nonfiction, poetry, and visual art in Stillwater, Oklahoma. Frontier Mosaic released its inaugural issue spring 2015.

All Oklahoma State University undergraduate student submissions are welcome. Conventional or anarchic, we want your masterpiece. If you’re here to submit, send us your best work; blow our minds, and make the world stop and think. If you’re here to read, strap in, read well, and enjoy. We do rolling submissions for future issues, so send in your work!

Word Count: 17221

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Fumiko Hirata, bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-14. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs. Exhibited: Honolulu Academy of the Arts, Honolulu, HI, and other venues, 2006-2007.

Fumiko Hirata, half-length portrait, seated at a desk, facing Mr. Matsumoto, seated across from her, reading a document. Title transcribed from Ansel Adams' caption on verso of print, with misspelling "Harata." Original neg. no.: LC-A35-4-M-15. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

This class covers the history of 20th century art and design from the perspective of the technologist. Methods for visual analysis, oral critique, and digital expression are introduced. Class projects this term use the OLPC XO (One Laptop Per Child) laptop, Csound and Python software.

The topic for Fall 2006 is short film and radio plays. This course investigates current trends and topics in German literary, theater, film, television, radio, and other media arts productions. Students analyze media texts in the context of their production, reception, and distribution as well as the public debates initiated by these works. The topic for Fall 2006 is German Short Film, a popular format that represents most recent trends in film production, and German Radio Art, a striving genre that includes experimental radio plays, sound art, and audio installations. Special attention will be given to the representation of German minorities, contrasted by their own artistic expressions reflecting changes in identity and a new political voice. Students have the opportunity to discuss course topics with a writer, filmmaker, and/or media artist from Germany. The course is taught in German.

Young girl, half-length portrait, standing, facing left. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-4. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Young girl, half-length portrait, standing, facing front, holding a volley ball with both hands. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-3. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Young girl, half-length portrait, standing, facing slightly left, holding a volley ball with both hands. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-2. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

This course examines contemporary and historical cultural production on and from Africa across a range of registers, including literary, musical and visual arts, material culture, and science and technology. It employs key theoretical concepts from anthropology and social theory to analyze these forms and phenomena. It also uses case studies to consider how Africa articulates its place in, and relationship to, the world through creative practices. Discussion topics are largely drawn from Francophone and sub-Saharan Africa, but also from throughout the continent and the African diaspora.

Works in this series were created as part of an open pedagogy assignment for Professor Wolf's ART 4190r: Global Currents in Contemporary Art in Spring 2021 at the University of Tennessee at Chattanooga.

Each work in this series includes a video presentation and associated paper with a biographical sketch and analysis of themes in the work of contemporary global artists.

What makes a good Cop? What makes a bad Cop?Explore words and values that you think are meaningful to describe a good Cop and a bad Cop.Español¿Qué hace a un buen policía? ¿Qué hace que un policía sea malo?Explore palabras y valores que considere significativos para describir un buen policía y un mal policía.

The Digital Way, Graphic Design and Photo Manipulation with Adobe® Photoshop®, introduces the foundation and skills to become a graphic designer and how to manipulate photos. In this edition, you'll learn and engage in brand new lessons and projects that will discuss the fundamentals of graphic design and Adobe® Photoshop® CC 2021.LEARN KEY SKILLSYou'll learn some key skills to become an efficient graphic designer, from the Design Principles to properties of Typography. Plus, you'll learn Adobe® Photoshop® CC 2019, an industry standard and award-winning software that most, if not all, graphics designers must learn how to use and manipulate to create efficient designs.

Three men standing in field, mountains in background. According to the caption on the negative sleeve: "The Guayule Project was an important part of the Manzanar enterprise." Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-15-A. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Six men standing in a field, mountains in the background. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-15-B. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

This free, illustrated book features instructions and information for how to use your smartphone to take photographs of the night sky and numerous astronomical objects. .

Frank Hirosawa (left) and assistant in laboratory working with large trash cans. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-23. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Short Description:
A scaffolded guide to the production of HDR panoramas

Long Description:
HDR panoramas are a beautiful and versatile form of photography, and are also a vital tool for games and 3D animation. However, they are difficult to produce correctly and harder to master. This book presents a scaffolded approach to the various production techniques needed for the creation of HDR panoramas, and explores the best available tools in a variety of software packages.

Word Count: 4875

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Close-up view of lathe worker's hands. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-35. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Harry Sumida, full-length portrait, seated, facing left, reading a book, next to a small table. "Oldest Neisi in Center," according to caption on the negative sleeve. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-2. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Henry Hanawa, bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-21. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Henry Hanawa, bust portrait, facing front. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Henry Hanawa, bust portrait, facing front. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Henry Hanawa, bust portrait, facing front. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Henry Hanawa, bust portrait, facing front. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Henry Hanawa, bust portrait, facing front. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Hidemi Tayenaka, bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-45-B. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Hidemi Tayenaka, bust portrait, facing front, wearing hat. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-45-A. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Hidemi Tayenaka, standing, facing left, pushing a piece of wood through a planer. Title transcribed from Ansel Adams' caption on verso of print. Caption on negative sleeve includes phrase: "near duplicate." Original neg. no.: LC-A35-5-M-40-Ax. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Hidimi Tayenaka, standing, facing left, pushing a piece of wood through the planer. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Students walking in road between buildings. Original neg. no.: LC-A351-3-M-30. Title transcribed from Ansel Adams' caption on verso of print. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Readings to accompany History of Photography PHOTV07 at Ventura College. Edited by Meg Phelps.

Hogs in pens being tended by a group of men, barn and mountains in the distance. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-31. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

This collection uses primary sources to explore the Hudson River School. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

Word Count: 7466

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

This photography project prepares the photography student to understand their subjects and the position a portrait photographer has to take to connect with his subjects by becoming the subject themselves. 

Short Description:
A comprehensive manual describing the process of preparing the DJI Phantom 3 Professional for photogrammetric image capture using a pre-programmed mission plan.

Word Count: 4215

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

This is an image of a family: a man, woman, baby from Public Domain Images: https://www.publicdomainpictures.net/en/view-image.php?image=10550&picture=family-of-three