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

Imagine being transported into an entirely new world, or see the world you know being transformed in fantastical ways: that is what immersive experiences can deliver. Traditional classroom learning can be restrictive and at times dull, but virtual reality (VR), augmented reality (AR), and mixed reality (MR) can offer transformative learning experiences that are novel, interactive, and exciting. There is nothing quite like the immersive experience that this media and these technologies offer. It these experiences and this technology pertaining to education and natural and cultural history that we explore in this open course.

This is a Humanitites Moment I experienced and wanted to share with others! It's all about being passionate and the power and impact of ballet. 

This resource was created to help students understand that implicit biases are mental shortcuts that all brains do. They happen without awareness and are socially conditioned and unconscious. A person's conscious mind might not truly agree with the implicit bias that they harbor and could unintentionally act upon.It is important to learn about implicit bias to prevent the negative consequences of these biases. To thrive in this world, we all need to know how to work together. Unfortunately, some barriers need to be overcome. Teamwork skills are vital, and a positive, inclusive environment helps greatly in the development of teamwork skills.

defends street art as a legitimate art form; professional example of persuasive writing

During the fall of 2017, art educator B. Stephen Carpenter II began a residency at the MIT Center for Art, Science & Technology (CAST). He provided new perspectives on issues of access, privilege, and the global water crisis through a series of seminars, performances, and workshops. Carpenter's seminars illustrated ways of disrupting systems of oppression and ways to increase access to potable water in politically marginalized communites in the United States and abroad.

AMPD 1023

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This textbook, designed specifically for C-ID ARTH 110 and produced by a team of art historians working within the CCC system, curates Smarthistory and other scholarly resources into a coherent textbook by providing chapter introductions, a comprehensive glossary, and explanatory editors’ notes. Throughout, it acknowledges and explores the historiography of art history and brings in global connections to provide a broader, more diverse, and more inclusive survey of art history from the Paleolithic through Gothic periods.

This course for first- or second-year college students was designed to be taught as a hybrid course that meets synchronously (face to face or on Zoom) twice a week, or an in-person course with meetings twice a week over a 10-week term at Southern Oregon University.

This course covers a foundation in the developing field of arts-based research (ABR) and a basic practicum in the skills for conducting research, critically analyzing data, and presenting findings in ABR.

This course was designed using a basis in aesthetic practices with a pedagogical lens of feminist/BIPOC theory to examine how data science has been and continues to be used for special interests that perpetuate barriers to access, diversity and inclusion.

This text was enthusiastically adapted from Russell Sharman's incredible Moving Pictures, linked here, and was adapted specifically to focus on cinema regarding Tokyo for the purposes of Study Abroad. 

This subject examines the ways in which we read. It introduces some important strategies for engaging with literary texts developed in the twentieth century, paying special attention to poststructuralist theories and their legacy. The course is organized around specific theoretical paradigms. In general, we will: (1) work through the selected readings in order to see how they construe what literary interpretation is; (2) locate the limits of each particular approach; and (3) trace the emergence of subsequent theoretical paradigms as responses to what came before.

This course provides a critical analysis of mass media in our culture. Various types of media such as books, films, video games, and online interactions will be discussed and reviewed. This course will also evaluate how information and ideas travel between people on a large scale.

Table of Contents:
CH. 1 Painting Processes & Techniques - Oils, Acrylic, Watercolor, Gouache, Fresco, Tempera, Encaustic
CH. 2 Painting Terms - Painting terms and Basic design vocabulary
CH. 3 Painting Surfaces and Supports - Surfaces, Stretcher bars and stretching, Prepping
CH. 4 Pigments - Color and Transparencies
CH. 5 Palettes - Historical & Limited
CH. 6 Brush Chart and Other Tools – Brushes and Knives
CH. 7 Recommended Reading
CH. 8. Supply List
CH. 9 Tips, Reminders & Takeaways
CH. 10 Value Scale

This course combines practical instruction, field trips, group discussions, and individual reviews intended to foster a critical awareness of how images in our culture are produced and constructed. Student-initiated term projects are at the core of this exploration of the relationship of image to language and issues of interpretation and personal history. Besides, this course also offers practical instruction in basic black and white techniques, digital imaging, fundamentals of camera operation, lighting, film exposure, development and printing. Course provides opportunity for continued exploration.

This course provides practical instruction in the fundamentals of analog and digital SLR and medium/large format camera operation, film exposure and development, black and white darkroom techniques, digital imaging, and studio lighting.
This semester we will explore the MIT Department of Brain and Cognitive Sciences for our theme- and site-specific term project, which provides opportunities to develop technical skills and experimental photographic techniques, and for personal artistic exploration. Final projects will be presented on site in exhibition format.
Work in progress is continuously presented and discussed in a critical forum. Lectures, readings, visiting professionals, group discussions, and site visits encourage aesthetic appreciation of the medium and a deeper understanding of our semester theme, as well as a critical awareness of how images in our culture are produced and constructed.

Video introduction to simple comics reading, how comics are representational, and the vocabulary of comics. Also includes a brief list of the possible jobs in creating a comic such as writer, artist, penciler, and inker.

This class introduces fundamental issues in sculpture such as site, context, process, psychology and aesthetics of the object, and the object's relation to the body. During the semester Introduction to Sculpture will explore issues of interpretation and audience interaction. As a significant component to this class introductions to a variety of materials and techniques both traditional (wood, metal, plaster) as well as non-traditional (fabric, latex, found objects, rubber, etc.) will be emphasized.

This class serves as an introduction to video recording and editing, presenting video as a tool of personal apprehension and expression, with an emphasis on self-exploration, performance, social critique, and the organization of raw experience into aesthetic form (narrative, abstract, documentary, essay). Students are required to complete a variety of assignments to learn the basics of video capture and editing, culminating in a final assignment that has to do with personal storytelling.

This resource list was created for College of DuPage's Introduction to Visual Art and Culture course (ART 1100). It is a resource for faculty to customize current ART 1100 classes with greater flexibility of modality than traditional textbooks while maintaining continuity of the course objectives. It provides immediate access to multimedia resources that are not readily accessible in textbooks, including free resources like YouTube videos, articles, podcasts, and OER options.

This class will introduce students to a variety of contemporary art practices and ideas. The class will begin with a brief overview of 'visual language' by looking at a variety of artworks and discussing basic concepts revolving around artistic practice. The rest of the class will focus on notions of the real/unreal as explored with various mediums and practices. The class will work in video, sculpture and in public space.

This course is an introduction to Islam from the perspective of media and sound studies, intended for advanced undergraduates and graduate students. From the time of the Prophet Muhammad, Islam in its various manifestations has had a complex relationship with media. While much contemporary writing focuses on Islam in the media, this course explores how many aspects of Islamic practice and thinking might be understood as media technologies that facilitate the inscription, storage and transmission of knowledge. Central questions include: How do Islam and media technologies relate? What kinds of practices of inscription and transmission characterize Islam in all its varieties across time and place? How might Islamic thought and practice be understood in light of databases, networks, and audiovisual sensation? Given the rich diversity in Islam historically and geographically, emphasis will be placed on these interconnected but divergent practices from the earliest revelations of the Qur'an to contemporary Islamist political movements, with geographies spanning from Indonesia to the Middle East and North Africa, as well as in Europe and North America. In addition to exploring these themes through reading and writing, students will be encouraged to complete course assignments and projects in media, using audiovisual documentary or composition as a means of responding to the course themes.

This SALT Interpretation Pack has been designed as a resource for educators and students as they explore the themes of Hrair Sarkissian's "Istory" and Tayfun Serttaş's "Foto Galatasaray" exhibitions at SALT Beyoğlu and SALT Galata in Istanbul, Turkey. Designed for use in high school classrooms, its contents include activities, multimedia resources, terminology and opportunities for discussion. Educators are encouraged to adapt, shape and build upon these materials to best meet the needs of their students and teaching curricula.

The "Foto Galatasaray" project is based on the re-visualization of the complete professional archive of Maryam Şahinyan (Sivas, 1911 – Istanbul, 1996), who worked as a photographer at her studio in Galatasaray, Beyoğlu from 1935-1985. The archive is a unique inventory of the demographic transformations occurring on the socio-cultural map of Istanbul after the declaration of the Republic and the historical period it witnessed; it is also a chronological record of a female Istanbulite studio photographer’s professional career. Consisting entirely of black-and-white and glass negatives, the physical archive of Foto Galatasaray is a rare surviving example of the classical photography studios of Istanbul’s recent past. After Şahinyan left the studio in 1985, the archive was transferred to a storehouse belonging to Yetvart Tomasyan, owner of Aras Publishing. Twenty-five years later, approximately 200,000 negatives in the archive were, over the course of two years, sorted, cleaned, digitized, digitally restored, categorized and protected by a team under the direction of artist/researcher Tayfun Serttaş.

In 2010, Hrair Sarkissian spent two months in
İstanbul documenting the history sections of
various semi-private and public libraries and
archives in the city, from the Archaeological
Museum and Topkapı Palace libraries to the
Atatürk Library in Taksim, the Ottoman Archives
of the Prime Ministry General Directorate of State,
and the Ottoman Bank Archives and Research
Centre. The second exhibition in the "Modern Essays"
series, Sarkissian’s photographs of rows of shelving
caught in time and racks of files that appear rarely
opened - of dark and oppressive spaces shot with
only the light available - express the complexity
of information these archives contain, and their
role in denying or confirming the artist’s inherited
history and existence within the present.

Short Description:
Jacob Lawrence (1917-2000) is widely recognized as one of the most important American artists of the 20th century. He is best known for epic multi-panel narratives like the Migration Series (1940-1941) and Struggle: from the History of the American People (1954-56), which he created as a young artist living and working in in New York City. The second half of Lawrence’s career, which he spent in Seattle as a Professor of Art at the University of Washington, has received far less attention. The essays in this volume, researched and written by the participants in the Spring 2021 art history seminar “Art and Seattle: Jacob Lawrence” at the University of Washington School of Art + Art History + Design, fill in this gap. In so doing, we take our lead from the artist’s own framing of the Seattle period as a critical stage in his artistic development, in which conceptual and formal concerns explored across his long career converged and became more of the sum of their parts.

Long Description:
Jacob Lawrence (1917-2000) is widely recognized as one of the most important American artists of the 20th century. He is best known for epic multi-panel narratives like the Migration Series (1940-1941) and Struggle: from the History of the American People (1954-56), which he created as a young artist living and working in in New York City. The second half of Lawrence’s career, which he spent in Seattle as a Professor of Art at the University of Washington, has received far less attention. The essays in this volume, researched and written by the participants in the Spring 2021 art history seminar “Art and Seattle: Jacob Lawrence” at the University of Washington School of Art + Art History + Design, fill in this gap. In so doing, we take our lead from the artist’s own framing of the Seattle period as a critical stage in his artistic development, in which conceptual and formal concerns explored across his long career converged and became more of the sum of their parts.

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Kay Fukuda, three-quarter length portrait, standing, facing front, in military uniform. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-69. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

This course surveys both cinematic and literary representations of diverse eras and aspects of Japanese culture such as the classical era, the samurai age, wartime Japan and the atomic bombings, social change in the postwar period, and the appropriation of foreign cultural themes, with an emphasis on the modern period. Directors include Akira Kurosawa and Hiroshi Teshigahara. Authors include Kobo Abe and Yukio Mishima. Films shown have subtitles in English. Taught in English.

This course covers medieval Japanese society and culture from the twelfth to the nineteenth centuries, when political power rested largely in the hands of feudal warriors. Topics include religion (especially Zen Buddhism); changing concepts of "the way of the warrior;" women under feudalism; popular culture; and protest and rebellion. Presentations include weekly feature films. Assigned readings include many literary writings in translation.

Joyce Yuki Nakamura, bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-19. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

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

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

Kay Kageyama, bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-50-B. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Kenji Sano, farmer seg., bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-65. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Kishio Matoba, bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-56. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Electric line repair crew at work on electric pole next to building. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Electric line repair crew at work on electric pole next to building. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-23-A. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

This lesson covers "Line Variety" for the start of Basic Drawing. There is a rough draft version and a final draft version for the lesson. 

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A Brief Survey of World Music

Short Description:
A short and engaging introduction to music around the world

Long Description:
Listen to the world. Explore music from around the globe. Acquaint yourself with a variety of international music styles and traditions. Investigate issues in popular music from both a social perspective (such as race, religion, language, economics, gender, diaspora, and politics), as well as an intrinsically musical position (beat, pitch, meter, rhythm, form, timbre, texture). Learn about how music reinforces values and negotiates tradition with innovation; how rural and urban contexts inform musical experiences; how soundscapes shape identity. Learn how to collect sounds and ask questions: what is this instrument’s name, how is it played and built; who plays it, why, and for whom? Why do all civilizations sing, play, and perform music? Like storytelling, like transcendence, spirituality, and religion, like politics and societal hierarchies shaped by taste, music is an intrinsic part of humanness. So, listen to world.

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This course introduces the practice and theory of literary criticism. The seminar focuses on topics such as the history of critical methods and techniques, and the continuity of certain subjects in literary history. Instruction and practice in oral and written communication is a major component of the course. Other components include theory and use of figurative language and reading poetry.

Katsumi Yoshimura, bust portrait, facing left. Title transcribed from Ansel Adams' caption on verso of print. Caption on negative sleeve includes phrase: "1 of 3." Original neg. no.: LC-A35-4-M-47-Ax. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

View of the tops of five little boys' heads as they are huddled around a book. Original neg. no.: LC-A35-6-M-12. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

This is a textbook meant for use within The Living Arts (FINE 101) -- Chapters include introductions to Painting, Sculpture, Architecture, Theatre, Music, and Dance.

Course Description: An interdisciplinary survey of human creative efforts as they relate to each other. The visual and performing arts are compared with similarities stressed.

Man with pipe stands on top of bus loading luggage into rack, while others gather around. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-55. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Looking at Light is an introductory text for theatre lighting designers. It is an appropriate resource for students at the college or university level who are interested in learning about lighting design at a fundamental level.

While the resource is designed as an introductory lighting design program for University students, it may also be useful to high school students who are interested in technical theatre, adults who are involved in community theatres, high school teachers who find themselves being responsible for lighting (even though they have little training in the area), or professionals and amateur theatre and dance practitioners from non-lighting areas.

This is a design-based course, and while there is some effort to explain the technology involved with theatrical lighting, it is not meant to be a resource to learn how to be an electrician or programmer.

Louise Tami Nakamura, head-and-shoulders portrait, facing front. Caption on negative sleeve identifies her as "youngest daughter." Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-30-A. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Louise Tami Nakamura, head-and-shoulders portrait, facing front. Caption on negative sleeve identifies her as "youngest daughter." Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-30-B. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Louise Tami Nakamura, youngest daughter in Nakamura family, bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-20. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

This is the complete curriculum for Eng 151 Creative Writing and Publishing course run in the spring at Middlesex Community College as well as the linked IDS course that is resonsible for publishing the Dead River Review, the college's ezine. This includes instructions, PowerPoints, worksheets, and assignments.

Art as a Tool for Creating Change

Short Description:
Students present their reflections on the politics and practice of making. Individually, each essay and letter addressed to a historical artist is full of valuable information and great insights. Collectively, these are also an honest and valuable document of the moment: Us, wrestling with the realignment of past, present, and future of why and how to make objects, how to find freedom within tradition, and how to reimagine a more conscientious making practice for ourselves and a more meaningful life for our objects.

Long Description:
Twenty students from a wide variety of majors, including the sciences, humanities, health and medicine, as well as engineering, architecture, and design comprised our vibrant and engaged learning community. We started the quarter by imaginary visits to two important art schools, the German Bauhaus (1919-1933) and the Black Mountain College, located near Asheville, North Carolina (1933-1957). The students co-created participatory collaborative exercises based on the experiential learning principles developed by and practiced at these schools.

Throughout the course, we considered craft and art not as nouns, but as verbs, related the practiced maker’s hand to the process aided by technological tools, and focused on the language of the materials, and the personal, cultural, historical narratives that they help to reveal. We contemplated how individual threads hold the fabric together and transform that, and how individual narratives coalesce into larger histories that signify and hold together communities. We strived to explore and understand both the historical past and the innovative present and future by specifically focusing on needlework (sewing, embroidery, and quilts) during the 1920 and ‘30s (women suffrage movement), the 1970s and ‘80s (second wave of feminism, LGBTQ rights and HIV/AIDS crisis), and in the present. We also considered how new technologies, such as parametric design and 3D printing, introduce new paradigms for solving problems, designing, producing, and using objects. Of course, the effect of technology was inescapable for us in the class too, as it was for billions around the world during this global pandemic.

We made two projects. One, using needlework techniques and textile processes to tell a personal story of Waiting, and a second one, using Computer Aided Design (CAD) to create a Time Capsule which would be opened one hundred years from now. Throughout the quarter, the students researched a Bauhaus or Black Mountain College artist they had picked with the goal of reflecting on the artist’s work, biography, creative process, and ideas about making by drawing parallels to those of their own.

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Short Description:
The book examines the work of Terence Grieder, an early pre-Columbian art historian of wide-ranging interests and often provocative stances. His students and other intellectual descendants discuss his major ideas through examples drawn from their own work. The work of those he mentored is in the end the most important testament to his continuing influence in the field.

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In this course you will learn the basics of photography and gain an intriguing new perspective into the visual world. We will begin with a gentle introduction to the tools, and after that, we start in earnest.
Although we will emphasize photographing science and engineering, most of the material will easily apply to other kinds of macro photography. The course's video tutorials will be accompanied by assignments using a camera, a flatbed scanner, and mobile devices. You will discover how subtle changes in lighting, composition, and background contribute to creating more effective images. You will also learn to think graphically and present your photographs for journal figures, covers, and grant submissions. We will also host interviews with notable image makers and art directors. 
About the Instructor
Felice Frankel is an award-winning science photographer and research scientist in the Department of Chemical Engineering at the Massachusetts Institute of Technology. Felice's images have been internationally published in books, journals, and magazines, including The New York Times, Nature, Science, National Geographic, and Discover. She is a fellow of the American Association for the Advancement of Science, a Gugghenheim Fellow, has received awards and grants from NSF, NEA, the Alfred P. Sloan Foundation, and was a senior research fellow in Harvard University's Faculty of Arts and Sciences. 
Acknowledgements
The production of these videos is supported by OpenCourseWare, MITx, the Center for Materials Science and Engineering and the following departments: Chemical Engineering, Materials Science and Engineering and Mechanical Engineering.

Buildings and connecting roadways, mountain range in background. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-5. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Bird's-eye view of center grounds showing buildings, roads and mountains in background. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Visitors of all ages view an exhibit of Ansel Adams' photographs of Manzanar and sculpture displayed on walls and tables. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-42. 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.

Bird's-eye view of grounds from guard tower; view west, showing buildings, roads, and Sierra Nevada mountains in background. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-4-Ax. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Rows of camp houses at the base of mountains. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-26. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Two way traffic in the camp, and camp buildings. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-27. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Rows of camp housing, covered on the outside with tarpaper, snow-covered mountains in the distance. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-25. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs. Exhibited: American Treasures of the Library of Congress, 2002-2003.

A 25th Anniversary Gift from the Board of the Friends of the Beach Museum of Art

Short Description:
The e-book MARIANNA KISTLER BEACH MUSEUM OF ART: PEOPLE AND SPACES was created by the Board of the Friends of the Beach Museum of Art and published by New Prairie Press of Kansas State University in 2021. The purpose of the book is to celebrate the 25th anniversary of the art museum’s opening on the K-State campus in October 1996. It includes articles about the people who are honored by named spaces in the museum. Their contributions allowed the museum to become a reality, including an addition to the building that opened in 2007. When Jon Wefald became president of K-State in 1986, the university was the only institution in the Big 8 Conference without an art museum. First Lady Ruth Ann Wefald took the lead in obtaining the supporters and funds to establish a home for the institution’s impressive art collection. The most notable contribution came from Ross and Marianna Kistler Beach whose generous financial support made the building possible. In 1991 they provided the lead gift for an art museum that would be named in honor of Marianna to commemorate the couple’s 50th wedding anniversary. After the book’s introduction by Linda Duke, the museum’s executive director, Ruth Ann summarizes the difficult journey to establish an art museum. It is followed by an account of Marianna’s many accomplishments. The remainder of the publication contains 23 articles — written by board members of the Friends of the Beach Museum of Art — devoted to the people for whom spaces in the building are named. Photographs are included of those who are honored and spaces in the building including galleries, educational wing, theater, offices, and work and storage locations. The diverse group of people and their contributions have made the museum what it has become during its 25 years — a vibrant place for the collecting, studying, caring for, and presenting the visual art of Kansas and the region. Editors of the e-book are Anthony R. Crawford, Marla Day, Martha Scott, and Marlene VerBrugge, board members of the Friends of the Beach Museum of Art.

Word Count: 17796

ISBN: 978-1-944548-39-1

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Math for Visual Arts is a collection of open-source slideshows mostly written in a textbook format using Google Slides so that it can be embedded into the Canvas (digital) version of our own courses. You may post the slideshows as is or edit them to your liking. A PDF version of each slideshow can be downloaded.

In this course students create digital visual images and analyze designs from historical and theoretical perspectives with an emphasis on art and design, examining visual experience in broad terms, and from the perspectives of both creators and viewers. The course addresses key topics such as: image making as a cognitive and perceptual practice, the production of visual significance and meaning, and the role of technology in creating and understanding digitally produced images. Students will be given design problems growing out of their reading and present solutions using technologies such as the Adobe Creative Suite and/or similar applications.

People of all ages wait in a line in front of a building at midday. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-22. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

In this art history video discussion Beth Harris and Steven Zucker consider Michael Pacher's "Saint Wolfgang Altarpiece," 1471-81, polychrome pine, linden, gilding, and oil (sculpture and painting). Parish Church, Sankt Wolfgang, Austria.

Michael Yonemitsu, bust portrait facing front next to x-ray equipment. Title transcribed from Ansel Adams' caption on verso of print. Caption on negative sleeve has the phrase: "x-ray technician." Original neg. no.: LC-A35-4-M-10. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Michael Yonemitsu, bust portrait, facing front, behind x-ray equipment. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-9. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

X-ray technician holding a man's hand on an x-ray plate. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-13. 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.

Miss Kay Fukuda, U.S. Naval cadet nurse, Corps head; 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-70. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Miss Michiko Sugawara, head-and-shoulders portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-74. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Miss Tetsuko Murakami, secretary; bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print, where surname is spelled Marujami. Original neg. no.: LC-A35-4-M-75. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Miss Yemiko Sedohara, secretary to Project Attorney, bust portrait, facing slightly right. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-76. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Miss Yuri Yamazaki, bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-71. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Miss Yuri Yamazaki, head-and-shoulders portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-72. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

The Nakai family from left to right: Mitsu, half-length portrait, standing, and, seated on a cot, Margaret, with a baby on her lap, Jane, a young girl, looking at a photo album, and Roy, a young boy. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-35. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Mitsu Nakai, three-quarter length portrait, seated on couch, facing front, holding baby. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-57. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Mitsuo Matsuro, bust portrait, facing front, wearing fire fighter uniform. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-64. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Video lectures modeling a tricycle in Autodesk maya using polygon and NURBS tools.

This class provides an introduction to modern art and theories of modernism and postmodernism. It focuses on the way artists use the tension between fine art and mass culture to mobilize a critique of both. We will examine objects of visual art, including painting, sculpture, architecture, photography, prints, performance and video. These objects will be viewed in their interaction with advertising, caricature, comics, graffiti, television, fashion, folk art, and "primitive" art.

The goal of this course is to offer a general introduction to 20th and 21st century literature and cultural production about Modern Mexico. Emphasis will be placed on the way intellectuals and artists have presented the changes in Mexico City's urban life, and how these representations question themes and trends in national identity, state control, globalization, and immigration.

Adapted version of Compact Anthology of World Literaure II: Volume 6

Short Description:
Adapted Anthology of OER World Literature readings

Long Description:
Book cover “The library” by ♔ Georgie R is licensed under CC BY-ND 2.0

Word Count: 80043

(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.)

Marble monument with inscription that reads, "Monument for the Pacification of Spirits," with mountains in the background, including Mt. Williamson. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-13. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Mori Nakashima, student of divinity, bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-67. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

After careful consideration of Moving Pictures: An Introduction to Cinema by Russell Sharman (CC BY-NC-SA), its content, and format, it has been suggested that instructors may wish to use only Part I. An Introduction to Cinema for the course. Please note that a remixed version of the OER is available which omits Part II.

Mr. Kay Kageyama, bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-50-A. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Man and woman seated on wooden steps with nine children. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-49. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Mr. Matsumoto sits with a group of young children on the steps of a building. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-11. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Mr. & Mrs. Dennis Shimizu, full-length portrait, standing in the doorway of a dwelling, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-34. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Family seated in combined living room and kitchen area with playpen. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-39. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Mrs. Shimizu seated on couch with lacework, and Mr. Shimizu lying on bed, reading. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-60. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Family seated at table with shelving units along walls. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-38. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Man and woman reading letter while standing on wooden stairs in front of YMCA building. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-7-A. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Man and woman reading a letter while sitting on wooden stairs in fromt of Y.M.C.A. building. Original neg. no.: LC-A351-3-M-7-B. Title transcribed from Ansel Adams' caption on verso of print LOT 10479-5, no. 4. Title on verso of no. 5: Mr. and Mrs. Hirata on steps of YWCA, Manzanar Relocation Center, Calif. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Mrs. Shimizu, three-quarter length portrait, seated on couch with lacework, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-59. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Mrs. Kay Kageyama, bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-51. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Mrs. May Ichide, bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-48. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.