Joseph Cornell (1903-1972)
Joseph Cornell 1
A one of a kind collector, American artist and filmmaker Joseph Cornell gathered more than just found objects. Cornell surrounded himself with physical and conceptual collections which were an integral part of his existence as a person and as a creator. While the personal diaries contained an accumulation of his thoughts, hopes, memories, experiences, and feelings, the artist's house treasured a versatile selection of objects that he obtained from New York's book stores, thrift shops, flea-markets, antique fairs, and the outdoors. Rare prints, books, photographs, toys, magazine pages, found objects, and anything else imaginable constituted his growing collection. Cornell gathered ideas and things that spoke to him and then transformed them into small interactive microcosms. By viewing his artwork we can gain a better understanding of his persona.
Comprehending Cornell's lifestyle and emotional being is crucial in viewing and appreciating his work. Spending his entire life in New York caring for his brother, who had special needs, Cornell had difficulty communicating with the outside world. Despite the multitude of his artistic connections, he lacked the ability to form relationships. Cornell's heart ached for celebrity women, for whom he expressed his affections for through art.
With no formal training, Cornell developed an individual approach to art-making, using highly complex concepts and techniques. He was especially influenced by the Surrealist style and ideas which may be detected in his Fantastic creations. Max Ernst's collages inspired Cornell to produce his own, which with time, evolved into three-dimensional assemblages. Another significant impact on his work was the Victorian Era with its lavish decorating and an overabundant use of space. Similar to Victorian homes, Cornell's house was filled with collections which he carefully organized in boxes.
Like a porous sponge, Cornell collected impressions, experiences, and sensations which he instantaneously recorded. Small shadow boxes with glass lids contain examples of the "juicy material" that Cornell had gathered. Through the glass door, unique juxtapositions of objects and images evoke a sense of wonder, luring in the audience for a closer look. The surprising arrangement of unlikely matter is reminiscent of Man Ray's Gift or Marc Chagall's I and the Village. The boxes are fantastic, poetic, nostalgic, and romantic expressions of Cornell's life, sometimes mixed with desperation and melancholy. These small cubicles of magic may be compared to the Cabinets of Curiosities in their content and display of matter. In each box assemblage, the collagist combined rare finds in the most bizarre way to tell a story about his life and to allude to the childhood that was forever gone.
In addition to the box assemblages, Cornell also experimented with film, layering scenes, sounds, and frames similar to his sculptural collages. Layers of time and mem.
Claes Oldenburg was an American pop artist known for his large-scale sculptures of everyday objects. In the 1960s, he began creating soft sculptures out of materials like vinyl and kapok to represent objects in a new form. His sculptures satirized American consumer culture by depicting mundane items like hamburgers and ice cream at an exaggerated scale. Oldenburg challenged notions of what art could be by making sculptures out of unconventional materials and representing banal subjects. His work aimed to reflect contemporary life in all its complexity.
This document discusses various types of transformation in art, including transformation of the body through aging and decay, transformation of the natural environment through human occupation, transformation of materials and the environment in sculpture, and transformation of the city through art interventions. Specific artists mentioned include Stanley Spencer, who documented his own aging in self-portraits; Edward Burtynsky, who explores nature transformed by industry; Christo and Jeanne-Claude, known for large-scale environmental artwork; and Anish Kapoor, who uses vivid pigments to transform natural materials like stone in his sculptures. Several homework assignments are proposed involving transforming found objects, reworking famous artworks, self-portraits combining the surface and underneath of skin, and using bleach
Claes Oldenburg was a Swedish-American artist known for his large-scale public sculptures and "soft sculptures" that often portrayed everyday objects in outsized, abstracted forms. His 1961 exhibition The Store displayed familiar consumer goods recreated out of materials like plaster and papier-mache. Oldenburg sought to question social norms and critique American consumerism by transforming mundane objects and presenting them as art. His soft sculptures from the 1960s gave tactile, abstracted forms to items like a bathtub or pay telephone, challenging notions of what constituted a sculpture.
Baccarat (or baccara) is one of the gambling games using playing cards, and is very popular in the United States, Canada, United Kingdom, Australia, Macau, and Korea. It is a game where you choose either a banker or a player and compete with a high score of 9 or less. It is popular because it looks like the simplest game in a casino, and in fact, the rules themselves are close to sip-and-dip. In a broad sense, it is a card game with 50:50 odds, but draws are variable, and the odds themselves are subtly adjusted to slightly favor the casino.
Installation art aims to transform viewers' perceptions by filling spaces with constructed environments that utilize various materials and locations. It differs from traditional art forms by incorporating the changing perspectives of moving viewers who can interact within the pieces. Key developments included early 20th century experiments, 1960s "happenings", and emerging technologies now enable interactive digital installations. Installation art remains a dominant contemporary medium due to its immersive experiences for viewers.
Joseph Cornell was a reclusive artist known for his juxtaposition of ordinary found objects. He would scavenge New York junk shops and flea markets, collecting relics of the past. To Cornell, these objects were not refuse but layers of memory waiting to be combined in new ways. In his studio, he would organize his finds into eccentric categories like "Spiders" and "Moons" and store them in boxes along with personal mementos. His works featured an unusual juxtaposition of items not normally seen together, creating new meanings.
Baccarat (or baccara) is one of the gambling games using playing cards, and is very popular in the United States, Canada, United Kingdom, Australia, Macau, and Korea. It is a game where you choose either a banker or a player and compete with a high score of 9 or less. It is popular because it looks like the simplest game in a casino, and in fact, the rules themselves are close to sip-and-dip. In a broad sense, it is a card game with 50:50 odds, but draws are variable, and the odds themselves are subtly adjusted to slightly favor the casino.
Assemblage art is a sculpture technique using found objects arranged in a composition. Pioneered in the early 20th century by artists like Picasso, Duchamp, and Dubuffet, it involves collecting everyday items and combining them in new contexts. Notable assemblage artists discussed include Joseph Cornell, who arranged objects in glass boxes; Robert Rauschenberg, who incorporated urban debris into his "combines"; and Louise Nevelson, known for her painted wood assemblages. A 1961 MOMA exhibition highlighted early European and American assemblage artists and their contributions to bridging collage and later Pop Art.
Claes Oldenburg was an American pop artist known for his large-scale sculptures of everyday objects. In the 1960s, he began creating soft sculptures out of materials like vinyl and kapok to represent objects in a new form. His sculptures satirized American consumer culture by depicting mundane items like hamburgers and ice cream at an exaggerated scale. Oldenburg challenged notions of what art could be by making sculptures out of unconventional materials and representing banal subjects. His work aimed to reflect contemporary life in all its complexity.
This document discusses various types of transformation in art, including transformation of the body through aging and decay, transformation of the natural environment through human occupation, transformation of materials and the environment in sculpture, and transformation of the city through art interventions. Specific artists mentioned include Stanley Spencer, who documented his own aging in self-portraits; Edward Burtynsky, who explores nature transformed by industry; Christo and Jeanne-Claude, known for large-scale environmental artwork; and Anish Kapoor, who uses vivid pigments to transform natural materials like stone in his sculptures. Several homework assignments are proposed involving transforming found objects, reworking famous artworks, self-portraits combining the surface and underneath of skin, and using bleach
Claes Oldenburg was a Swedish-American artist known for his large-scale public sculptures and "soft sculptures" that often portrayed everyday objects in outsized, abstracted forms. His 1961 exhibition The Store displayed familiar consumer goods recreated out of materials like plaster and papier-mache. Oldenburg sought to question social norms and critique American consumerism by transforming mundane objects and presenting them as art. His soft sculptures from the 1960s gave tactile, abstracted forms to items like a bathtub or pay telephone, challenging notions of what constituted a sculpture.
Baccarat (or baccara) is one of the gambling games using playing cards, and is very popular in the United States, Canada, United Kingdom, Australia, Macau, and Korea. It is a game where you choose either a banker or a player and compete with a high score of 9 or less. It is popular because it looks like the simplest game in a casino, and in fact, the rules themselves are close to sip-and-dip. In a broad sense, it is a card game with 50:50 odds, but draws are variable, and the odds themselves are subtly adjusted to slightly favor the casino.
Installation art aims to transform viewers' perceptions by filling spaces with constructed environments that utilize various materials and locations. It differs from traditional art forms by incorporating the changing perspectives of moving viewers who can interact within the pieces. Key developments included early 20th century experiments, 1960s "happenings", and emerging technologies now enable interactive digital installations. Installation art remains a dominant contemporary medium due to its immersive experiences for viewers.
Joseph Cornell was a reclusive artist known for his juxtaposition of ordinary found objects. He would scavenge New York junk shops and flea markets, collecting relics of the past. To Cornell, these objects were not refuse but layers of memory waiting to be combined in new ways. In his studio, he would organize his finds into eccentric categories like "Spiders" and "Moons" and store them in boxes along with personal mementos. His works featured an unusual juxtaposition of items not normally seen together, creating new meanings.
Baccarat (or baccara) is one of the gambling games using playing cards, and is very popular in the United States, Canada, United Kingdom, Australia, Macau, and Korea. It is a game where you choose either a banker or a player and compete with a high score of 9 or less. It is popular because it looks like the simplest game in a casino, and in fact, the rules themselves are close to sip-and-dip. In a broad sense, it is a card game with 50:50 odds, but draws are variable, and the odds themselves are subtly adjusted to slightly favor the casino.
Assemblage art is a sculpture technique using found objects arranged in a composition. Pioneered in the early 20th century by artists like Picasso, Duchamp, and Dubuffet, it involves collecting everyday items and combining them in new contexts. Notable assemblage artists discussed include Joseph Cornell, who arranged objects in glass boxes; Robert Rauschenberg, who incorporated urban debris into his "combines"; and Louise Nevelson, known for her painted wood assemblages. A 1961 MOMA exhibition highlighted early European and American assemblage artists and their contributions to bridging collage and later Pop Art.
Tracey Emin's 1998 artwork "My Bed" consisted of her actual messy, unmade bed, which was inspired by a depressive period in her life. It gained media attention when exhibited and was purchased by Charles Saatchi for £150,000. When auctioned in 2014, it sold for over £2.5 million.
This document provides information about ordinary and extraordinary starting points for an art exam question. It discusses ordinary and extraordinary definitions and gives examples of artists such as Andy Warhol, Chris Ofili, and Elizabeth Peyton who have worked with ordinary subjects of people. It also provides starting point categories of objects, places, and the natural world, with examples of artists such as Joseph Cornell, Rachel Whiteread, and Faith Ringgold who have incorporated these elements into their work in extraordinary ways. Students are encouraged to consider these starting points and artists as inspiration for the exam.
The Museum of Modern Art will host an exhibition titled "DISLOCATIONS" from October 1991 to January 1992. The exhibition will feature new installations by seven artists- Louise Bourgeois, Chris Burden, Sophie Calle, David Hammons, Ilya Kabakov, Bruce Nauman, and Adrian Piper. These installations have been created specifically for the exhibition and are intended to challenge viewers' habits of observation and settled attitudes. The installations are spread throughout the museum and range from monumental sculptures to found objects.
Stories are an important part of human culture and memory. We use stories to entertain others, pass down knowledge, and heal from trauma. Objects and images can prompt stories and memories. Artists use various materials and techniques to suggest stories through their works. Radcliffe Bailey combines objects to evoke memories of slavery and the power of music across generations. Tom Joyce transforms recycled metal tools into sculptures, remembering past users. Audrey Flack's still life paintings use objects to imply narratives and relationships between photographed people.
Roberley Bell is a sculptor who explores the relationship between nature and culture through her artwork. She is fascinated by windows as framing devices that separate the interior and exterior. In her new installation at deCordova Sculpture Park and Museum, The Shape of the Afternoon, Bell transforms the rooftop terrace into a colorful artificial gardenscape made of astroturf, sculptures, and fake plants to blur the lines between interior and exterior spaces. Through her lush and whimsical works that combine real and artificial elements of nature, Bell questions our conceptions of natural environments.
Joseph Cornell was an American artist known for his box constructions and collages made from found objects. He lived reclusively in Queens, New York with his mother and brother, venturing out to scavenge relics from the past in junk shops and flea markets. Cornell saw artistic potential in objects others considered refuse. He was also focused on children and held one of the first avant-garde art exhibitions in New York designed specifically for children.
Andy Warhol was a pioneering American artist who is considered the leading figure in the pop art movement from the 1960s. Some of his most famous works include 32 Campbell's Soup Cans from 1962, which depicted mass-produced consumer products in an artistic style. Warhol used techniques like silkscreening to replicate images of everyday items and celebrities, influencing how people saw popular culture. His work challenged traditional notions of art and helped establish pop art as a new genre that incorporated elements of commercial advertising and mass media.
The document summarizes how objects from other cultures were collected and displayed in early modern European curiosity cabinets. These collections tried to categorize natural and man-made artifacts but often did so through a Eurocentric lens, mislabeling and recontextualizing items. Objects of wonder from unfamiliar places fascinated viewers but were also used by royal collectors to assert political power and dominance. The document examines specific works that incorporated exotic plants, animals and artifacts into European paintings, sculptures and illustrations to reinforce this worldview while inspiring awe.
The document discusses incorporating narrative elements into ceramic art. It explores various approaches to finding visual narratives, including seeing shapes in random textures. It discusses several 20th century art movements like Funk Art that focused on personal expression over social messages. Various ceramic artists like Rudy Autio and Joan Miro are cited that explored narrative and symbolic imagery in their work. The goal is to map narratives onto ceramic surfaces through techniques like glazing and projections to create diverse explorations.
The document provides information about the LA County Museum of Art (LACMA). It discusses that LACMA has one of the largest art collections in North America, with over 100,000 artworks from ancient times to present day. The collections cover various regions and are grouped by department within the museum buildings. The document then discusses some of the specific Islamic artworks in the collection, including tiles, calligraphy, carved wood and stone, and illuminated manuscripts.
This document provides information and examples for the GCSE Art exam question on the topic of people, places, objects, activities, and the natural world. It lists many artists and their works as inspiration and includes weblinks for further information. Students should begin working on their exam paper using one of the six starting points as a theme or subject for their artwork.
100 Original WorkZero PlagiarismGraduate Level Writing Required.docxchristiandean12115
This document provides instructions for a 1,250- to 1,400-word paper that is due on March 6, 2021. Students must choose between the topics of immigration, drug legislation, or three-strikes sentencing. For the selected topic, students must describe how each branch of the US government (executive, legislative, judicial) participates in the policy. The paper must follow APA formatting guidelines and include at least three peer-reviewed literature references, excluding sources like Wikipedia.
10.11771066480704270150THE FAMILY JOURNAL COUNSELING AND THE.docxchristiandean12115
10.1177/1066480704270150THE FAMILY JOURNAL: COUNSELING AND THERAPY FOR COUPLES AND FAMILIES / January 2005Lambert / GAY AND LESBIAN FAMILIES
❖ Literature Review—Research
Gay and Lesbian Families:
What We Know and Where to Go From Here
Serena Lambert
Idaho State University
The author reviewed the research on gay and lesbian parents and
their children. The current body of research has been clear and con-
sistent in establishing that children of gay and lesbian parents are as
psychologically healthy as their peers from heterosexual homes.
However, this comparison approach to research design appears to
have limited the scope of research on gay and lesbian families, leav-
ing much of the experience of these families yet to be investigated.
Keywords: gay men; lesbians; parenting; families
The relationships and family lives of gay and lesbian peo-ple have been the focus of much controversy in the past
decade. The legal and social implications of gay and lesbian
parents appear to have clearly affected the direction that
researchers in the fields of psychology and sociology have
taken in regard to these diverse families. As clinicians, educa-
tors, and researchers, counselors need to be aware of and
involved with issues related to lesbian and gay family life for
several reasons. First, our professional code of ethics charges
us with the ethical responsibility to demonstrate a commit-
ment to gaining knowledge, personal awareness, sensitivity,
and skills significant for working with diverse populations
(American Counseling Association, 1995; International
Association of Marriage and Family Counselors, n.d.). Coun-
selors are also in a unique position to advocate for diverse
clients and families in their communities as well as in their
practices but must possess the knowledge to do so effectively
(Eriksen, 1999). It is believed that work in this area not only
has the potential to affect the lives of our gay and lesbian cli-
ents and their children but also influences developmental and
family theory and informs public policies for the future
(Patterson, 1995, 2000; Savin-Williams & Esterberg, 2000).
This article will review the recent research regarding fami-
lies headed by gay men and lesbians. Studies reviewed in-
clude investigations of gay or lesbian versus homosexual par-
ents, sources of diversity among gay and lesbian parents, and
the personal and sociological development of the children of
gay and lesbian parents. Implications for counselors as well
as directions for future research will also be discussed.
GAY AND LESBIAN PARENTS
How Many Are Out There?
Unfortunately, accurate statistics regarding the numbers
of families headed by gay men and lesbians in our culture are
difficult to determine. Due to fear of discrimination in one or
more aspects of their lives, many gay men and lesbians have
carefully kept their sexual orientation concealed—even from
their own children in some cases (Huggins, 1989). Patterson
(2000) noted that it is es.
10.11771066480703252339 ARTICLETHE FAMILY JOURNAL COUNSELING.docxchristiandean12115
10.1177/1066480703252339 ARTICLETHE FAMILY JOURNAL: COUNSELING AND THERAPY FOR COUPLES AND FAMILIES / July 2003Fall, Lyons / ETHICAL CONSIDERATIONS
❖ Ethics
Ethical Considerations of Family Secret
Disclosure and Post-Session Safety Management
Kevin A. Fall
Christy Lyons
Loyola University—New Orleans
The ethical issues involved in the disclosure of family secrets in ther-
apy have been addressed in the literature, but the focus has typically
been on secrets disclosed in individual sessions. The literature
largely ignores the ethical issues surrounding in-session disclosure
and the concomitant liability of the family therapist for the post-ses-
sion well-being of the system’s members. This article explores types
of family secrets, provides a case example of in-session disclosure,
and presents ethical considerations and practice recommendations.
Keywords: family secrets; ethics; confidentiality; abuse; safety
A
family without secrets is like a two-year-old without
tantrums: a rarity. Virtually every family has secrets
involving academic problems, relationship dynamics, or even
various illegalities. Secrets permeate the family system
before therapy begins, but with the introduction of the thera-
pist, the system begins to change. The therapist ideally creates
an environment that challenges the boundaries and rules of
the system; this is the nature of therapy. As a result of the
sense of safety within the session, it is conceivable that a fam-
ily member may disclose information that has been hidden for
a wide variety of reasons. Any unearthing of hidden material
will create a disequilibrium within the system. Family thera-
pists are trained to handle the consequences of such a disclo-
sure in session and ethically lay the groundwork for timely
disclosures. Dealing with this disclosure and its impact on the
system often becomes the primary focus of the therapy, as the
perturbation caused by the disclosure can serve as a catalyst to
reorganize the system.
However, not all information is disclosed at the “perfect
time.” In fact, the idiosyncratic internal sensing of safety by
any member of the family may trigger a disclosure prema-
turely. Secrets are such an omnipresent dynamic in the life of
family systems that it seems unlikely that any family therapist
could avoid untimely disclosures. Even in these unpredict-
able moments, a disclosure creates a disequilibrium that can
be productive in the therapy process as the secret and the pro-
cess of maintaining the secret are worked through in an
atmosphere of trust and safety. The ethical question here is
two-fold: What is the therapist’s responsibility in preparing
the family members for the potential risks of counseling that
may arise from such disclosures, and what is the responsibil-
ity of the family therapist to maintain the safety of the mem-
bers after a disclosure?
Although the International Association of Marriage and
Family Counselors’ (IAMFC).
10.11770022427803260263ARTICLEJOURNAL OF RESEARCH IN CRIME AN.docxchristiandean12115
This document summarizes competing theories on whether the perceived risk of punishment deters criminally prone individuals from committing crimes. It discusses three main perspectives: 1) that all individuals are equally deterred regardless of criminal propensity, 2) that criminally prone individuals are less deterred due to their impulsivity and focus on immediate gratification, and 3) that criminally prone individuals are more deterred since socialized individuals act based on moral obligations rather than costs/benefits. The article then analyzes data from a longitudinal study in New Zealand to test the relationship between criminal propensity, perceived punishment risks, and criminal behavior.
10.11770022487105285962Journal of Teacher Education, Vol. 57,.docxchristiandean12115
10.1177/0022487105285962Journal of Teacher Education, Vol. 57, No. XX, XXX/XXX 2006Journal of Teacher Education, Vol. 57, No. XX, XXX/XXX 2006
CONSTRUCTING 21st-CENTURY TEACHER EDUCATION
Linda Darling-Hammond
Stanford University
Much of what teachers need to know to be successful is invisible to lay observers, leading to the view
that teaching requires little formal study and to frequent disdain for teacher education programs. The
weakness of traditional program models that are collections of largely unrelated courses reinforce this
low regard. This article argues that we have learned a great deal about how to create stronger, more ef-
fective teacher education programs. Three critical components of such programs include tight coher-
ence and integration among courses and between course work and clinical work in schools, extensive
and intensely supervised clinical work integrated with course work using pedagogies linking theory
and practice, and closer, proactive relationships with schools that serve diverse learners effectively
and develop and model good teaching. Also, schools of education should resist pressures to water
down preparation, which ultimately undermine the preparation of entering teachers, the reputation
of schools of education, and the strength of the profession.
Keywords: field-based experiences; foundations of education; student teaching; supervision; theo-
ries of teacher education
The previous articles have articulated a spectac-
ular array of things that teachers should know
and be able to do in their work. These include
understanding many things about how people
learn and how to teach effectively, including as-
pects of pedagogical content knowledge that in-
corporate language, culture, and community
contexts for learning. Teachers also need to un-
derstand the person, the spirit, of every child
and find a way to nurture that spirit. And they
need the skills to construct and manage class-
room activities efficiently, communicate well,
use technology, and reflect on their practice to
learn from and improve it continually.
The importance of powerful teaching is
increasingly important in contemporary soci-
ety. Standards for learning are now higher than
they have ever been before, as citizens and
workers need greater knowledge and skill to
survive and succeed. Education is increasingly
important to the success of both individuals and
nations, and growing evidence demonstrates
that—among all educational resources—teach-
ers’ abilities are especially crucial contributors
t o s t u d e n t s ’ le a r n i n g . F u r t h e r m o re , t h e
demands on teachers are increasing. Teachers
need not only to be able to keep order and pro-
vide useful information to students but also to
be increasingly effective in enabling a diverse
group of students to learn ever more complex
material. In previous decades, they were
expected to prepare only a small minority for
ambitious intellectual work, whereas they are
now expected to prep.
10.1 What are three broad mechanisms that malware can use to propa.docxchristiandean12115
10.1 What are three broad mechanisms that malware can use to propagate?
10.2 What are four broad categories of payloads that malware may carry?
10.3 What are typical phases of operation of a virus or worm?
10.4 What mechanisms can a virus use to conceal itself?
10.5 What is the difference between machine-executable and macro viruses?
10.6 What means can a worm use to access remote systems to propagate?
10.7 What is a “drive-by-download” and how does it differ from a worm?
10.8 What is a “logic bomb”?
10.9 Differentiate among the following: a backdoor, a bot, a keylogger, spyware, and a rootkit? Can they all be present in the same malware?
10.10 List some of the different levels in a system that a rootkit may use.
10.11 Describe some malware countermeasure elements.
10.12 List three places malware mitigation mechanisms may be located.
10.13 Briefly describe the four generations of antivirus software.
10.14 How does behavior-blocking software work?
10.15 What is a distributed denial-of-service system?
.
10.0 ptsPresentation of information was exceptional and included.docxchristiandean12115
10.0 pts
Presentation of information was exceptional and included all of the following elements: Identifies the role of concept analysis within theory development. Identifies the selected nursing concept. Identifies the nursing theory from which the selected concept was obtained. A nursing theory was used. Identifies the sections of the paper. Scholarly support from nursing literature was provided.
9.0 pts
Presentation of information was good, but was superficial in places and included all of the following elements: Identifies the role of concept analysis within theory development. Identifies the selected nursing concept. Identifies the nursing theory from which the selected concept was obtained. A nursing theory was used. Identifies the sections of the paper. Scholarly support from nursing literature was provided.
8.0 pts
Presentation of information was minimally demonstrated in the all of the following elements: Identifies the role of concept analysis within theory development. Identifies the selected nursing concept. Identifies the nursing theory from which the selected concept was obtained. A nursing theory was used. Identifies the sections of the paper. Limited scholarly support from nursing literature was provided.
4.0 pts
Presentation of information in one or two of the following elements fails to meet expectations: Identifies the role of concept analysis within theory development. Identifies the selected nursing concept. Identifies the nursing theory from which the selected concept was obtained. A nursing theory was used. Identifies the sections of the paper. Limited or no scholarly support from nursing literature was provided.
0.0 pts
Presentation of information is unsatisfactory in three or more of the following elements: Identifies the role of concept analysis within theory development. Identifies the selected nursing concept. Identifies the nursing theory from which the selected concept was obtained. A nursing theory was used. Identifies the sections of the paper. Limited or no scholarly support from nursing literature was provided.
10.0 pts
This criterion is linked to a Learning Outcome Definition/Explanation of Selected Concept
25.0 pts
Presentation of information was exceptional and included all of the following elements: Defines/explains the concept using scholarly literature (a dictionary maybe used for this section ONLY, and additional scholarly nursing references are required). Provides support from scholarly sources.
22.0 pts
Presentation of information was good, but was superficial in places and included all of the following elements: Defines/explains the concept using scholarly literature (a dictionary maybe used for this section ONLY, and additional scholarly nursing references are required). Provides support from scholarly sources.
20.0 pts
Presentation of information was minimally demonstrated in the all of the following elements: Defines/explains the concept using scholarly literature (a dictionary maybe used for thi.
10-K
1
f12312012-10k.htm
10-K
UNITED STATES
SECURITIES AND EXCHANGE COMMISSION
Washington, DC 20549
FORM 10-K
(Mark One)
R
Annual report pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934
For the fiscal year ended December 31, 2012
or
o
Transition report pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934
For the transition period from __________ to __________
Commission file number 1-3950
Ford Motor Company
(Exact name of Registrant as specified in its charter)
Delaware
38-0549190
(State of incorporation)
(I.R.S. Employer Identification No.)
One American Road, Dearborn, Michigan
48126
(Address of principal executive offices)
(Zip Code)
313-322-3000
(Registrant’s telephone number, including area code)
Securities registered pursuant to Section 12(b) of the Act:
Title of each class
Name of each exchange on which registered*
Common Stock, par value $.01 per share
New York Stock Exchange
__________
* In addition, shares of Common Stock of Ford are listed on certain stock exchanges in Europe.
Securities registered pursuant to Section 12(g) of the Act: None.
Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes R No o
Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. Yes o No R
Indicate by check mark if the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. Yes R No o
Indicate by check mark whether the registrant has submitted electronically and posted on its corporate Web site, if any, every Interactive Data File required to be submitted and posted pursuant to Rule 405 of Regulation S-T (§232.405 of this chapter) during the preceding 12 months (or for such shorter period that the registrant was required to submit and post such files). Yes R No o
Indicate by check mark if disclosure of delinquent filers pursuant to Item 405 of Regulation S-K (§229.405 of this chapter) is not contained herein, and will not be contained, to the best of registrant’s knowledge, in definitive proxy or information statements incorporated by reference in Part III of this Form 10-K or any amendment to this Form 10-K. R
Indicate by check mark whether the registrant is a large accelerated filer, an accelerated filer, a non-accelerated filer, or a smaller reporting company. See definitions of "large accelerated filer," "accelerated filer," and "smaller reporting company" in Rule 12b-2 of the Exchange Act. Large accelerated filer R Accelerated filer o Non-accelerated filer o Smaller reporting company o
Indicate by check mark whether the registra.
10-K 1 f12312012-10k.htm 10-K UNITED STATESSECURITIES AN.docxchristiandean12115
10-K 1 f12312012-10k.htm 10-K
UNITED STATES
SECURITIES AND EXCHANGE COMMISSION
Washington, DC 20549
FORM 10-K
(Mark One)
R Annual report pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934
For the fiscal year ended December 31, 2012
or
o Transition report pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934
For the transition period from __________ to __________
Commission file number 1-3950
Ford Motor Company
(Exact name of Registrant as specified in its charter)
Delaware 38-0549190
(State of incorporation) (I.R.S. Employer Identification No.)
One American Road, Dearborn, Michigan 48126
(Address of principal executive offices) (Zip Code)
313-322-3000
(Registrant’s telephone number, including area code)
Securities registered pursuant to Section 12(b) of the Act:
Title of each class Name of each exchange on which registered*
Common Stock, par value $.01 per share New York Stock Exchange
__________
* In addition, shares of Common Stock of Ford are listed on certain stock exchanges in Europe.
Securities registered pursuant to Section 12(g) of the Act: None.
Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act.
Yes R No o
Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act.
Yes o No R
Indicate by check mark if the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities
Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such
reports), and (2) has been subject to such filing requirements for the past 90 days. Yes R No o
Indicate by check mark whether the registrant has submitted electronically and posted on its corporate Web site, if any,
every Interactive Data File required to be submitted and posted pursuant to Rule 405 of Regulation S-T (§232.405 of this
Page 1 of 216F 12.31.2012- 10K
3/7/2019https://www.sec.gov/Archives/edgar/data/37996/000003799613000014/f12312012-10k.htm
chapter) during the preceding 12 months (or for such shorter period that the registrant was required to submit and post such
files). Yes R No o
Indicate by check mark if disclosure of delinquent filers pursuant to Item 405 of Regulation S-K (§229.405 of this chapter)
is not contained herein, and will not be contained, to the best of registrant’s knowledge, in definitive proxy or information
statements incorporated by reference in Part III of this Form 10-K or any amendment to this Form 10-K. R
Indicate by check mark whether the registrant is a large accelerated filer, an accelerated filer, a non-accelerated filer, or a
smaller reporting company. See definitions of "large accelerated filer," "accelerated filer," and "smaller reporting company" in
Rule 12b-2 of the Exchange Act. Large accelerated filer R Accelerated filer .
10 What does a golfer, tennis player or cricketer (or any othe.docxchristiandean12115
10 What does a golfer, tennis player or cricketer (or any other professional sportsperson) focus on to achieve high performance? They nearly always give the same answer: “Repeat my process (that is the process they have practised a million times) – replicate it under real pressure and trust in my ability” That’s why Matthew Lloyd throws the grass up under the roof at Etihad Stadium. It is why Ricky Ponting taps the bat, looks down,
looks up and mouths “watch the ball”. It’s
unnecessary for Matthew Lloyd to toss the
grass. There’s no wind under the roof – it’s
simply a routine that enables him to replicate
his process under pressure.
Ricky Pointing knows you have to watch the
ball. Ponting wants the auto pilot light in his
brain to fl ick on as he mutters “watch the ball”.
High performance in sport is achieved through focusing on your
processes, not the scores.
It is absolutely no different in local government. Our business
is governance and we need to be focusing very hard on our
governance processes. We need to learn these processes, modify
them when necessary, understand them deeply, repeat them
under pressure and trust in our capabilities to deliver. If we do
that, the scores will look after themselves.
I want to share with you my ten most important elements in
the governance process. Let me fi rst say that good governance is
the set of processes, protocols, rules, relationships and behaviours
which lead to consistently good decisions. In the end good
governance is good decisions. You could make lots of good
decisions without good governance. But you will eventually
run out of luck – eventually, bad governance process will lead
to bad decisions. Consistently good decisions come from good
governance processes and practices.
Good governance is not only a prerequisite for consistently
good decisions, it is almost the sole determinant of your
reputation. The way you govern, the ‘vibe’ in the community
and in the local paper about the way you govern is almost the
sole determinant of your reputation. Believe me, if reputation
matters to you, then drive improvements through good
governance.
So here are the ten core elements:
1. THE COUNCIL PLAN
An articulate council plan is a fundamental fi rst step to achieving
your goals. It is your set of promises to your community for a
four-year term.
Unfortunately, there are too many wrong plans:
• Claytons Plans – say too little and are too bland. Delete the
name of the council from these plans and you can’t tell whose
it is! There’s no ‘vibe’ at all.
• Agreeable Plans – where everyone gets their bit in the plan.
There’s no sense of priorities, everyone agrees with everything
in the plan and we save all the real fi ghts and confl icts to be
fought out one by one over the four-year term.
• Opposition-creating Plans – we don’t do this so often but we
sometimes ‘use the numbers’ to enable the dominant group of
councillors to achieve their goals and fail to a.
More Related Content
Similar to Joseph Cornell (1903-1972)Joseph Cornell 1A one of a kind .docx
Tracey Emin's 1998 artwork "My Bed" consisted of her actual messy, unmade bed, which was inspired by a depressive period in her life. It gained media attention when exhibited and was purchased by Charles Saatchi for £150,000. When auctioned in 2014, it sold for over £2.5 million.
This document provides information about ordinary and extraordinary starting points for an art exam question. It discusses ordinary and extraordinary definitions and gives examples of artists such as Andy Warhol, Chris Ofili, and Elizabeth Peyton who have worked with ordinary subjects of people. It also provides starting point categories of objects, places, and the natural world, with examples of artists such as Joseph Cornell, Rachel Whiteread, and Faith Ringgold who have incorporated these elements into their work in extraordinary ways. Students are encouraged to consider these starting points and artists as inspiration for the exam.
The Museum of Modern Art will host an exhibition titled "DISLOCATIONS" from October 1991 to January 1992. The exhibition will feature new installations by seven artists- Louise Bourgeois, Chris Burden, Sophie Calle, David Hammons, Ilya Kabakov, Bruce Nauman, and Adrian Piper. These installations have been created specifically for the exhibition and are intended to challenge viewers' habits of observation and settled attitudes. The installations are spread throughout the museum and range from monumental sculptures to found objects.
Stories are an important part of human culture and memory. We use stories to entertain others, pass down knowledge, and heal from trauma. Objects and images can prompt stories and memories. Artists use various materials and techniques to suggest stories through their works. Radcliffe Bailey combines objects to evoke memories of slavery and the power of music across generations. Tom Joyce transforms recycled metal tools into sculptures, remembering past users. Audrey Flack's still life paintings use objects to imply narratives and relationships between photographed people.
Roberley Bell is a sculptor who explores the relationship between nature and culture through her artwork. She is fascinated by windows as framing devices that separate the interior and exterior. In her new installation at deCordova Sculpture Park and Museum, The Shape of the Afternoon, Bell transforms the rooftop terrace into a colorful artificial gardenscape made of astroturf, sculptures, and fake plants to blur the lines between interior and exterior spaces. Through her lush and whimsical works that combine real and artificial elements of nature, Bell questions our conceptions of natural environments.
Joseph Cornell was an American artist known for his box constructions and collages made from found objects. He lived reclusively in Queens, New York with his mother and brother, venturing out to scavenge relics from the past in junk shops and flea markets. Cornell saw artistic potential in objects others considered refuse. He was also focused on children and held one of the first avant-garde art exhibitions in New York designed specifically for children.
Andy Warhol was a pioneering American artist who is considered the leading figure in the pop art movement from the 1960s. Some of his most famous works include 32 Campbell's Soup Cans from 1962, which depicted mass-produced consumer products in an artistic style. Warhol used techniques like silkscreening to replicate images of everyday items and celebrities, influencing how people saw popular culture. His work challenged traditional notions of art and helped establish pop art as a new genre that incorporated elements of commercial advertising and mass media.
The document summarizes how objects from other cultures were collected and displayed in early modern European curiosity cabinets. These collections tried to categorize natural and man-made artifacts but often did so through a Eurocentric lens, mislabeling and recontextualizing items. Objects of wonder from unfamiliar places fascinated viewers but were also used by royal collectors to assert political power and dominance. The document examines specific works that incorporated exotic plants, animals and artifacts into European paintings, sculptures and illustrations to reinforce this worldview while inspiring awe.
The document discusses incorporating narrative elements into ceramic art. It explores various approaches to finding visual narratives, including seeing shapes in random textures. It discusses several 20th century art movements like Funk Art that focused on personal expression over social messages. Various ceramic artists like Rudy Autio and Joan Miro are cited that explored narrative and symbolic imagery in their work. The goal is to map narratives onto ceramic surfaces through techniques like glazing and projections to create diverse explorations.
The document provides information about the LA County Museum of Art (LACMA). It discusses that LACMA has one of the largest art collections in North America, with over 100,000 artworks from ancient times to present day. The collections cover various regions and are grouped by department within the museum buildings. The document then discusses some of the specific Islamic artworks in the collection, including tiles, calligraphy, carved wood and stone, and illuminated manuscripts.
This document provides information and examples for the GCSE Art exam question on the topic of people, places, objects, activities, and the natural world. It lists many artists and their works as inspiration and includes weblinks for further information. Students should begin working on their exam paper using one of the six starting points as a theme or subject for their artwork.
Similar to Joseph Cornell (1903-1972)Joseph Cornell 1A one of a kind .docx (11)
100 Original WorkZero PlagiarismGraduate Level Writing Required.docxchristiandean12115
This document provides instructions for a 1,250- to 1,400-word paper that is due on March 6, 2021. Students must choose between the topics of immigration, drug legislation, or three-strikes sentencing. For the selected topic, students must describe how each branch of the US government (executive, legislative, judicial) participates in the policy. The paper must follow APA formatting guidelines and include at least three peer-reviewed literature references, excluding sources like Wikipedia.
10.11771066480704270150THE FAMILY JOURNAL COUNSELING AND THE.docxchristiandean12115
10.1177/1066480704270150THE FAMILY JOURNAL: COUNSELING AND THERAPY FOR COUPLES AND FAMILIES / January 2005Lambert / GAY AND LESBIAN FAMILIES
❖ Literature Review—Research
Gay and Lesbian Families:
What We Know and Where to Go From Here
Serena Lambert
Idaho State University
The author reviewed the research on gay and lesbian parents and
their children. The current body of research has been clear and con-
sistent in establishing that children of gay and lesbian parents are as
psychologically healthy as their peers from heterosexual homes.
However, this comparison approach to research design appears to
have limited the scope of research on gay and lesbian families, leav-
ing much of the experience of these families yet to be investigated.
Keywords: gay men; lesbians; parenting; families
The relationships and family lives of gay and lesbian peo-ple have been the focus of much controversy in the past
decade. The legal and social implications of gay and lesbian
parents appear to have clearly affected the direction that
researchers in the fields of psychology and sociology have
taken in regard to these diverse families. As clinicians, educa-
tors, and researchers, counselors need to be aware of and
involved with issues related to lesbian and gay family life for
several reasons. First, our professional code of ethics charges
us with the ethical responsibility to demonstrate a commit-
ment to gaining knowledge, personal awareness, sensitivity,
and skills significant for working with diverse populations
(American Counseling Association, 1995; International
Association of Marriage and Family Counselors, n.d.). Coun-
selors are also in a unique position to advocate for diverse
clients and families in their communities as well as in their
practices but must possess the knowledge to do so effectively
(Eriksen, 1999). It is believed that work in this area not only
has the potential to affect the lives of our gay and lesbian cli-
ents and their children but also influences developmental and
family theory and informs public policies for the future
(Patterson, 1995, 2000; Savin-Williams & Esterberg, 2000).
This article will review the recent research regarding fami-
lies headed by gay men and lesbians. Studies reviewed in-
clude investigations of gay or lesbian versus homosexual par-
ents, sources of diversity among gay and lesbian parents, and
the personal and sociological development of the children of
gay and lesbian parents. Implications for counselors as well
as directions for future research will also be discussed.
GAY AND LESBIAN PARENTS
How Many Are Out There?
Unfortunately, accurate statistics regarding the numbers
of families headed by gay men and lesbians in our culture are
difficult to determine. Due to fear of discrimination in one or
more aspects of their lives, many gay men and lesbians have
carefully kept their sexual orientation concealed—even from
their own children in some cases (Huggins, 1989). Patterson
(2000) noted that it is es.
10.11771066480703252339 ARTICLETHE FAMILY JOURNAL COUNSELING.docxchristiandean12115
10.1177/1066480703252339 ARTICLETHE FAMILY JOURNAL: COUNSELING AND THERAPY FOR COUPLES AND FAMILIES / July 2003Fall, Lyons / ETHICAL CONSIDERATIONS
❖ Ethics
Ethical Considerations of Family Secret
Disclosure and Post-Session Safety Management
Kevin A. Fall
Christy Lyons
Loyola University—New Orleans
The ethical issues involved in the disclosure of family secrets in ther-
apy have been addressed in the literature, but the focus has typically
been on secrets disclosed in individual sessions. The literature
largely ignores the ethical issues surrounding in-session disclosure
and the concomitant liability of the family therapist for the post-ses-
sion well-being of the system’s members. This article explores types
of family secrets, provides a case example of in-session disclosure,
and presents ethical considerations and practice recommendations.
Keywords: family secrets; ethics; confidentiality; abuse; safety
A
family without secrets is like a two-year-old without
tantrums: a rarity. Virtually every family has secrets
involving academic problems, relationship dynamics, or even
various illegalities. Secrets permeate the family system
before therapy begins, but with the introduction of the thera-
pist, the system begins to change. The therapist ideally creates
an environment that challenges the boundaries and rules of
the system; this is the nature of therapy. As a result of the
sense of safety within the session, it is conceivable that a fam-
ily member may disclose information that has been hidden for
a wide variety of reasons. Any unearthing of hidden material
will create a disequilibrium within the system. Family thera-
pists are trained to handle the consequences of such a disclo-
sure in session and ethically lay the groundwork for timely
disclosures. Dealing with this disclosure and its impact on the
system often becomes the primary focus of the therapy, as the
perturbation caused by the disclosure can serve as a catalyst to
reorganize the system.
However, not all information is disclosed at the “perfect
time.” In fact, the idiosyncratic internal sensing of safety by
any member of the family may trigger a disclosure prema-
turely. Secrets are such an omnipresent dynamic in the life of
family systems that it seems unlikely that any family therapist
could avoid untimely disclosures. Even in these unpredict-
able moments, a disclosure creates a disequilibrium that can
be productive in the therapy process as the secret and the pro-
cess of maintaining the secret are worked through in an
atmosphere of trust and safety. The ethical question here is
two-fold: What is the therapist’s responsibility in preparing
the family members for the potential risks of counseling that
may arise from such disclosures, and what is the responsibil-
ity of the family therapist to maintain the safety of the mem-
bers after a disclosure?
Although the International Association of Marriage and
Family Counselors’ (IAMFC).
10.11770022427803260263ARTICLEJOURNAL OF RESEARCH IN CRIME AN.docxchristiandean12115
This document summarizes competing theories on whether the perceived risk of punishment deters criminally prone individuals from committing crimes. It discusses three main perspectives: 1) that all individuals are equally deterred regardless of criminal propensity, 2) that criminally prone individuals are less deterred due to their impulsivity and focus on immediate gratification, and 3) that criminally prone individuals are more deterred since socialized individuals act based on moral obligations rather than costs/benefits. The article then analyzes data from a longitudinal study in New Zealand to test the relationship between criminal propensity, perceived punishment risks, and criminal behavior.
10.11770022487105285962Journal of Teacher Education, Vol. 57,.docxchristiandean12115
10.1177/0022487105285962Journal of Teacher Education, Vol. 57, No. XX, XXX/XXX 2006Journal of Teacher Education, Vol. 57, No. XX, XXX/XXX 2006
CONSTRUCTING 21st-CENTURY TEACHER EDUCATION
Linda Darling-Hammond
Stanford University
Much of what teachers need to know to be successful is invisible to lay observers, leading to the view
that teaching requires little formal study and to frequent disdain for teacher education programs. The
weakness of traditional program models that are collections of largely unrelated courses reinforce this
low regard. This article argues that we have learned a great deal about how to create stronger, more ef-
fective teacher education programs. Three critical components of such programs include tight coher-
ence and integration among courses and between course work and clinical work in schools, extensive
and intensely supervised clinical work integrated with course work using pedagogies linking theory
and practice, and closer, proactive relationships with schools that serve diverse learners effectively
and develop and model good teaching. Also, schools of education should resist pressures to water
down preparation, which ultimately undermine the preparation of entering teachers, the reputation
of schools of education, and the strength of the profession.
Keywords: field-based experiences; foundations of education; student teaching; supervision; theo-
ries of teacher education
The previous articles have articulated a spectac-
ular array of things that teachers should know
and be able to do in their work. These include
understanding many things about how people
learn and how to teach effectively, including as-
pects of pedagogical content knowledge that in-
corporate language, culture, and community
contexts for learning. Teachers also need to un-
derstand the person, the spirit, of every child
and find a way to nurture that spirit. And they
need the skills to construct and manage class-
room activities efficiently, communicate well,
use technology, and reflect on their practice to
learn from and improve it continually.
The importance of powerful teaching is
increasingly important in contemporary soci-
ety. Standards for learning are now higher than
they have ever been before, as citizens and
workers need greater knowledge and skill to
survive and succeed. Education is increasingly
important to the success of both individuals and
nations, and growing evidence demonstrates
that—among all educational resources—teach-
ers’ abilities are especially crucial contributors
t o s t u d e n t s ’ le a r n i n g . F u r t h e r m o re , t h e
demands on teachers are increasing. Teachers
need not only to be able to keep order and pro-
vide useful information to students but also to
be increasingly effective in enabling a diverse
group of students to learn ever more complex
material. In previous decades, they were
expected to prepare only a small minority for
ambitious intellectual work, whereas they are
now expected to prep.
10.1 What are three broad mechanisms that malware can use to propa.docxchristiandean12115
10.1 What are three broad mechanisms that malware can use to propagate?
10.2 What are four broad categories of payloads that malware may carry?
10.3 What are typical phases of operation of a virus or worm?
10.4 What mechanisms can a virus use to conceal itself?
10.5 What is the difference between machine-executable and macro viruses?
10.6 What means can a worm use to access remote systems to propagate?
10.7 What is a “drive-by-download” and how does it differ from a worm?
10.8 What is a “logic bomb”?
10.9 Differentiate among the following: a backdoor, a bot, a keylogger, spyware, and a rootkit? Can they all be present in the same malware?
10.10 List some of the different levels in a system that a rootkit may use.
10.11 Describe some malware countermeasure elements.
10.12 List three places malware mitigation mechanisms may be located.
10.13 Briefly describe the four generations of antivirus software.
10.14 How does behavior-blocking software work?
10.15 What is a distributed denial-of-service system?
.
10.0 ptsPresentation of information was exceptional and included.docxchristiandean12115
10.0 pts
Presentation of information was exceptional and included all of the following elements: Identifies the role of concept analysis within theory development. Identifies the selected nursing concept. Identifies the nursing theory from which the selected concept was obtained. A nursing theory was used. Identifies the sections of the paper. Scholarly support from nursing literature was provided.
9.0 pts
Presentation of information was good, but was superficial in places and included all of the following elements: Identifies the role of concept analysis within theory development. Identifies the selected nursing concept. Identifies the nursing theory from which the selected concept was obtained. A nursing theory was used. Identifies the sections of the paper. Scholarly support from nursing literature was provided.
8.0 pts
Presentation of information was minimally demonstrated in the all of the following elements: Identifies the role of concept analysis within theory development. Identifies the selected nursing concept. Identifies the nursing theory from which the selected concept was obtained. A nursing theory was used. Identifies the sections of the paper. Limited scholarly support from nursing literature was provided.
4.0 pts
Presentation of information in one or two of the following elements fails to meet expectations: Identifies the role of concept analysis within theory development. Identifies the selected nursing concept. Identifies the nursing theory from which the selected concept was obtained. A nursing theory was used. Identifies the sections of the paper. Limited or no scholarly support from nursing literature was provided.
0.0 pts
Presentation of information is unsatisfactory in three or more of the following elements: Identifies the role of concept analysis within theory development. Identifies the selected nursing concept. Identifies the nursing theory from which the selected concept was obtained. A nursing theory was used. Identifies the sections of the paper. Limited or no scholarly support from nursing literature was provided.
10.0 pts
This criterion is linked to a Learning Outcome Definition/Explanation of Selected Concept
25.0 pts
Presentation of information was exceptional and included all of the following elements: Defines/explains the concept using scholarly literature (a dictionary maybe used for this section ONLY, and additional scholarly nursing references are required). Provides support from scholarly sources.
22.0 pts
Presentation of information was good, but was superficial in places and included all of the following elements: Defines/explains the concept using scholarly literature (a dictionary maybe used for this section ONLY, and additional scholarly nursing references are required). Provides support from scholarly sources.
20.0 pts
Presentation of information was minimally demonstrated in the all of the following elements: Defines/explains the concept using scholarly literature (a dictionary maybe used for thi.
10-K
1
f12312012-10k.htm
10-K
UNITED STATES
SECURITIES AND EXCHANGE COMMISSION
Washington, DC 20549
FORM 10-K
(Mark One)
R
Annual report pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934
For the fiscal year ended December 31, 2012
or
o
Transition report pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934
For the transition period from __________ to __________
Commission file number 1-3950
Ford Motor Company
(Exact name of Registrant as specified in its charter)
Delaware
38-0549190
(State of incorporation)
(I.R.S. Employer Identification No.)
One American Road, Dearborn, Michigan
48126
(Address of principal executive offices)
(Zip Code)
313-322-3000
(Registrant’s telephone number, including area code)
Securities registered pursuant to Section 12(b) of the Act:
Title of each class
Name of each exchange on which registered*
Common Stock, par value $.01 per share
New York Stock Exchange
__________
* In addition, shares of Common Stock of Ford are listed on certain stock exchanges in Europe.
Securities registered pursuant to Section 12(g) of the Act: None.
Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes R No o
Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. Yes o No R
Indicate by check mark if the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. Yes R No o
Indicate by check mark whether the registrant has submitted electronically and posted on its corporate Web site, if any, every Interactive Data File required to be submitted and posted pursuant to Rule 405 of Regulation S-T (§232.405 of this chapter) during the preceding 12 months (or for such shorter period that the registrant was required to submit and post such files). Yes R No o
Indicate by check mark if disclosure of delinquent filers pursuant to Item 405 of Regulation S-K (§229.405 of this chapter) is not contained herein, and will not be contained, to the best of registrant’s knowledge, in definitive proxy or information statements incorporated by reference in Part III of this Form 10-K or any amendment to this Form 10-K. R
Indicate by check mark whether the registrant is a large accelerated filer, an accelerated filer, a non-accelerated filer, or a smaller reporting company. See definitions of "large accelerated filer," "accelerated filer," and "smaller reporting company" in Rule 12b-2 of the Exchange Act. Large accelerated filer R Accelerated filer o Non-accelerated filer o Smaller reporting company o
Indicate by check mark whether the registra.
10-K 1 f12312012-10k.htm 10-K UNITED STATESSECURITIES AN.docxchristiandean12115
10-K 1 f12312012-10k.htm 10-K
UNITED STATES
SECURITIES AND EXCHANGE COMMISSION
Washington, DC 20549
FORM 10-K
(Mark One)
R Annual report pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934
For the fiscal year ended December 31, 2012
or
o Transition report pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934
For the transition period from __________ to __________
Commission file number 1-3950
Ford Motor Company
(Exact name of Registrant as specified in its charter)
Delaware 38-0549190
(State of incorporation) (I.R.S. Employer Identification No.)
One American Road, Dearborn, Michigan 48126
(Address of principal executive offices) (Zip Code)
313-322-3000
(Registrant’s telephone number, including area code)
Securities registered pursuant to Section 12(b) of the Act:
Title of each class Name of each exchange on which registered*
Common Stock, par value $.01 per share New York Stock Exchange
__________
* In addition, shares of Common Stock of Ford are listed on certain stock exchanges in Europe.
Securities registered pursuant to Section 12(g) of the Act: None.
Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act.
Yes R No o
Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act.
Yes o No R
Indicate by check mark if the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities
Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such
reports), and (2) has been subject to such filing requirements for the past 90 days. Yes R No o
Indicate by check mark whether the registrant has submitted electronically and posted on its corporate Web site, if any,
every Interactive Data File required to be submitted and posted pursuant to Rule 405 of Regulation S-T (§232.405 of this
Page 1 of 216F 12.31.2012- 10K
3/7/2019https://www.sec.gov/Archives/edgar/data/37996/000003799613000014/f12312012-10k.htm
chapter) during the preceding 12 months (or for such shorter period that the registrant was required to submit and post such
files). Yes R No o
Indicate by check mark if disclosure of delinquent filers pursuant to Item 405 of Regulation S-K (§229.405 of this chapter)
is not contained herein, and will not be contained, to the best of registrant’s knowledge, in definitive proxy or information
statements incorporated by reference in Part III of this Form 10-K or any amendment to this Form 10-K. R
Indicate by check mark whether the registrant is a large accelerated filer, an accelerated filer, a non-accelerated filer, or a
smaller reporting company. See definitions of "large accelerated filer," "accelerated filer," and "smaller reporting company" in
Rule 12b-2 of the Exchange Act. Large accelerated filer R Accelerated filer .
10 What does a golfer, tennis player or cricketer (or any othe.docxchristiandean12115
10 What does a golfer, tennis player or cricketer (or any other professional sportsperson) focus on to achieve high performance? They nearly always give the same answer: “Repeat my process (that is the process they have practised a million times) – replicate it under real pressure and trust in my ability” That’s why Matthew Lloyd throws the grass up under the roof at Etihad Stadium. It is why Ricky Ponting taps the bat, looks down,
looks up and mouths “watch the ball”. It’s
unnecessary for Matthew Lloyd to toss the
grass. There’s no wind under the roof – it’s
simply a routine that enables him to replicate
his process under pressure.
Ricky Pointing knows you have to watch the
ball. Ponting wants the auto pilot light in his
brain to fl ick on as he mutters “watch the ball”.
High performance in sport is achieved through focusing on your
processes, not the scores.
It is absolutely no different in local government. Our business
is governance and we need to be focusing very hard on our
governance processes. We need to learn these processes, modify
them when necessary, understand them deeply, repeat them
under pressure and trust in our capabilities to deliver. If we do
that, the scores will look after themselves.
I want to share with you my ten most important elements in
the governance process. Let me fi rst say that good governance is
the set of processes, protocols, rules, relationships and behaviours
which lead to consistently good decisions. In the end good
governance is good decisions. You could make lots of good
decisions without good governance. But you will eventually
run out of luck – eventually, bad governance process will lead
to bad decisions. Consistently good decisions come from good
governance processes and practices.
Good governance is not only a prerequisite for consistently
good decisions, it is almost the sole determinant of your
reputation. The way you govern, the ‘vibe’ in the community
and in the local paper about the way you govern is almost the
sole determinant of your reputation. Believe me, if reputation
matters to you, then drive improvements through good
governance.
So here are the ten core elements:
1. THE COUNCIL PLAN
An articulate council plan is a fundamental fi rst step to achieving
your goals. It is your set of promises to your community for a
four-year term.
Unfortunately, there are too many wrong plans:
• Claytons Plans – say too little and are too bland. Delete the
name of the council from these plans and you can’t tell whose
it is! There’s no ‘vibe’ at all.
• Agreeable Plans – where everyone gets their bit in the plan.
There’s no sense of priorities, everyone agrees with everything
in the plan and we save all the real fi ghts and confl icts to be
fought out one by one over the four-year term.
• Opposition-creating Plans – we don’t do this so often but we
sometimes ‘use the numbers’ to enable the dominant group of
councillors to achieve their goals and fail to a.
10 Research-Based Tips for Enhancing Literacy Instruct.docxchristiandean12115
10 Research-Based Tips
for Enhancing Literacy
Instruction for Students
With Intellectual
Disability
Christopher J. Lemons, Jill H. Allor, Stephanie Al Otaiba,
and Lauren M. LeJeune
Literacy
T
E
A
C
H
IN
G
E
xc
ep
ti
on
al
C
h
il
d
re
n
,
V
ol
.
49
,
N
o.
1
,
p
p
.
18
–3
0.
C
op
yr
ig
h
t
20
16
T
h
e
A
u
th
or
(s
).
D
O
I:
1
0.
11
77
/0
04
00
59
91
66
62
20
2
by guest on October 20, 2016tcx.sagepub.comDownloaded from
http://tcx.sagepub.com/
TEACHING EXCEPTIONAL CHILDREN | SEPTEMBER/OCTOBER 2016 19
In the past 2 decades, researchers
(often working closely with parents,
teachers, and other school staff
members) have conducted studies that
have substantially increased
understanding how to effectively teach
children and adolescents with
intellectual disability (ID) to read. This
research focus has been fueled by
increased societal expectations for
individuals with ID, advocacy efforts,
and legislative priorities (e.g.,
strengthened accountability standards).
Findings from this body of work
indicate that children and adolescents
with ID can obtain higher levels of
reading achievement than previously
anticipated (Allor, Mathes, Roberts,
Cheatham, & Al Otaiba, 2014). Recent
research also suggests that the historic
focus on functional reading (e.g., signs,
restaurant words) for this population of
learners is likely too limited of a focus
for many (Browder et al., 2009).
Research outcomes suggest that
integrating components of traditional
reading instruction (e.g., phonics,
phonemic awareness) into programs
for students with ID will lead to
increases in independent reading skills
for many (Allor, Al Otaiba, Ortiz, &
Folsom, 2014). These increased reading
abilities are likely to lead to greater
postsecondary outcomes, including
employment, independence, and
quality of life. Unfortunately, many
teachers remain unsure of how to best
design and deliver reading intervention
for students with ID.
We offer a set of 10 research-based
tips for special education teachers,
general education teachers, and other
members of IEP teams to consider when
planning literacy instruction for students
with ID in order to maximize student
outcomes. For each tip, we describe our
rationale for the recommendation and
provide implementation guidance. Our
Literacy Instruction and Support
Planning Tool can be used by team
members to organize information to
guide planning. Our aim is to provide
educators and IEP team members with a
framework for reflecting on current
reading practices in order to make
research-based adjustments that are
likely to improve student outcomes.
The Conceptual Model of Literacy
Browder and colleagues (2009) proposed
a conceptual model for early literacy
instruction for students with severe
developmental disabilities. We believe
their framework provides guidance for
designing and delivering literacy
instruction for all students wit.
10 Strategic Points for the Prospectus, Proposal, and Direct Pract.docxchristiandean12115
10 Strategic Points for the Prospectus, Proposal, and Direct Practice Improvement Project
Week Two Assignment Instructions DNP 820
Please read the instructions thoroughly
Tutor MUST have a good command of the English language
The Rubric must be followed, and all the requirements met
This is a thorough professor, and she has strict requirements
I have attached the PICOT and the first 10 points (DNP 815) assignment. This is a continuation of that assignment. Please read the attachments
The following needs to be addressed:
Please note the followings: The introduction and the literature review are complete and thorough. The problem statement is written clearly PICOT is clear and very good Sample:
· How will you determine the sample size?
· What are the inclusion/exclusion criteria of the subjects? Methodology: Why is the selected methodology is appropriate? Please justify!
· Data collection approach needs to be clear. How will you collect your data? What is needed here is to describe the process of collecting data form signing the informed consent until completing the measuring.
· Data analysis-What test will you use to answer your research question?
Clinical/PICOT Questions:
“In adult patients with CVC at a Clear Lake Regional Medical Center, does interventional staff education about hub hygiene provided to RN’s who access the CVC impact CLABSI rates compared to standard care over a one-month period?”
P: Patients with Central Venous Catheters
I: Staff re-education related to Hygiene of the hub
C: Other hospitals
O: Reduce probability of CLABSIs
T: Two months
“In Patients > 65 years of age with central line catheters at a Clear Lake Regional Medical Center, how does staff training of key personnel and reinforcement of central line catheter hub hygiene after its insertion, along with the apt cleansing of the insertion site, before every approach compared with other area hospitals, reduce the incidence of CLABSIs (Central Line Associated Blood-stream Infections) over a one-month period?”
P: Patients > 65 years of age with a Central line
I: Staff training and reinforcement of Central Catheter, Hub Hygiene
C: Other area hospitals
O: Reduce probability of CLABSIs
“In adult patients, with define CVC (CVC), does interventional staff education about hub hygiene provided to RN’s who access the CVC impact CLABSI rates compared to pre and post-intervention assessments
1. I used central Missouri as an example, replace with a description of your site.
2. While you might be interested in CLASBI rates as a primary variable, there are other patient outcomes that would also be important to consider
3. Ensure you can find validity and reliability measures on CLASBI rates if you cannot, we need to determine another question to help
4. How are your two comparison groups different, as they are currently stated the groups seem very much the same, could you state, standard care instead of pre and post intervention assessments?
5. One month is the longe.
10 Most Common Errors in Suicide Assessment/Intervention
Robert Neimeyer & Angela Pfeiffer
1. Avoidance of Strong Feelings – Diverting discussions away from powerful, intense
emotion and toward a more abstract or intellectualized exchange. These responses keep
interactions on a purely cognitive level and prevent exploration of the more profound
feelings of distress, which may hold the key to successful treatment. Do not retreat to
professionalism, advice-giving, or passivity when faced with intense depression, grief, or
fear.
• Do not analyze and ask why they feel that way.
• USE empathy! “With all the hurt you’ve been experiencing it must be impossible
to hold those tears in.”
• Tears and sobbing are often met with silence of tangential issues instead of
putting into words what the client is mutely expressing: “With all the pain you’re
feeling, it must be impossible to hold those tears in.”
• “I don’t think anyone really cares whether I live or die.” Helpers often shift to
discussing why/asking questions as opposed to reflecting emotional content.
2. Superficial Reassurance – trivial responses to clients’ expressions of acute distress and
hopelessness can do more harm than good. Rather than reassuring clients, these responses
risk alienating them and deepening their feelings of being isolated in their distress.
• Attempts to emphasize more positive or optimistic aspects of the situation: “But
you’re so young and have so much to live for!”
• Premature offering of a prepackaged meaning for the client’s difficulties: “Well
life works in mysterious ways. Maybe this is life’s way of challenging you.”
• Directly contradicting the client’s protest of anguish: “Things can’t be all that
bad.”
3. Professionalism – Insulating or protecting by distancing and detaching from the brutal,
exhausting realities of clients’ lives by seeking refuge in the comfortable boundaries of role
definition. The exaggerated air of objectivity/disinterest implies a hierarchical relationship,
which may disempower the client. Although intended to put a person at ease, this can come
across as disinterest or hierarchical. Empathy is a more facilitative response.
• “My thoughts are so awful I could never tell anyone” is often met with, “You can
tell me. I’m a professional” as opposed to the riskier, empathic reply.
4. Inadequate Assessment of Suicidal Intent – Implicit negation of suicide threat by
responding to indirect and direct expressions of risk with avoidance or reassurance rather
than a prompt assessment of the level of intent, planning, and lethality. Most common
among physicians and master’s level counselors – due to time pressures, personal theories
or discomfort with intense feelings.
• What they’ve been thinking, For how long, Specific plans/means, Previous
attempts
1
• “There’s nowhere left to turn” and “I’d be better off dead” should be met with
“You sound so miserable. Are y.
10 Customer Acquisition and Relationship ManagementDmitry .docxchristiandean12115
10 Customer Acquisition and Relationship Management
Dmitry Kalinovsky/iStock/Thinkstock
Patronage by loyal customers yields 65 percent of a typical business’ volume.
—American Management Association
Learning Objectives
After reading this chapter, you should be able to do the following:
• Identify how organizational growth is best achieved by an HCO, and state the effect of the product life cycle
on an organization’s revenues.
• Discuss several approaches that an HCO can use to attract new customers, or patients.
• Delineate the premises upon which customer relationship management is based.
• Explain the advantages of database marketing, and identify ways for an organization to use a marketing
database.
• Provide examples of how an HCO can effectively manage real and virtual customer interactions.
Section 10.1Organizational Growth
Introduction
This chapter focuses on how to attract and keep patients through understanding and meeting
their needs. The long-term success of an HCO depends on its ability to attract new patients
and turn them into loyal customers who not only return for needed services, but recommend
the HCO’s services to others. This is especially important because of the nature of the life cycle
for products and services, from their introduction to their decline. Attracting new customers
and keeping existing ones involves interacting internally and externally with patients, analyz-
ing data on current patients, and managing real and virtual interactions with patients. Manag-
ing relationships with patients helps to ensure that patients stay informed and feel connected
to the HCO through its internal and external customer relationship efforts.
10.1 Organizational Growth
Most organizations have growth as a basic goal. Growth means an increase in revenue and
a greater impact on the communities served. Growth also creates opportunities for staff to
advance and take on new responsibilities. While many activities can help an HCO grow, the
most important is the development of an effective marketing plan to provide a consistent
platform for the organization’s visibility and to brand the HCO as an attractive option for
medical services. The development of an effective marketing plan was stressed in Chapter 8
as a basic marketing need for an HCO: that is, to inform new and existing customers of the
organization’s services and to persuade them to continue using or to try using these services.
Product/Service Life Cycles
Like people, products and services have a life cycle. The term product life cycle refers to the
stages that a product or service goes through from the time it is introduced until it is taken
off the market or “dies.” The stages of the product life cycle, illustrated in Figure 10.1, usually
include the following descriptions:
• Introduction—The stage of researching, developing, and launching the product or
service.
• Growth—The stage when revenues are increasing at a fast rate.
• M.
10 ELEMENTS OF LITERATURE (FROM A TO Z) 1 PLOT (seri.docxchristiandean12115
10 ELEMENTS OF LITERATURE (FROM A TO Z)
1 PLOT (series of events which make-up a story)
A 5-POINT PLOT SEQUENCE:
Exposition: initial part of a story where readers are exposed to setting and characters.
Situation: event in the story which kicks the action forward and begs for an outcome.
Complication: difficulties faced by characters as they experience internal and external conflicts.
Climax: watershed moment when it becomes apparent that major conflicts will be resolved.
Resolution: (Denouement): tying up of the loose ends of the story.
B SUB-PLOTS: PLOTS BENEATH AND AROUND THE MAJOR PLOT.
Foreshadowing: hints and clues of plot.
Flashback: portion of a plot when a character relives a past experience.
Frame story: plot which begins in the present, quickly goes to the past for story, then returns.
Episodic plot: a large plot sequence that is made up of a series of minor plot sequences.
Plausibility: likelihood that certain events within a plot can occur.
Soap Opera: multiple stories told along the sequence and spaced to sustain continual interest.
2 POINT OF VIEW (eyes through which a story is told)
C First Person major (participant major): narrator is the major character in the story.
First Person minor (participant minor): narrator is a minor character in the story.
Third Person omniscient (non-participant omniscient): narrator is outside the story and capable of
seeing into the heart, mind and motivations of all characters.
Third Person limited (non-participant limited): narrator is outside the story and capable of seeing, at
most, into the heart, mind, and motivations of one character. Narrator is
objective if not omniscient.
3 SETTING (time and place of a story, both physical and psychological)
D Physical (external) Setting: the time and place of a story, general and specific.
Psychological (internal) Setting: mood, tone, and temper of story.
E Major Tempers: Romanticism: man is free to choose against moral, spiritual backdrops. If you make
good decisions, you will be rewarded. There is a God that is in control
Existentialism: man is free to choose absent backdrops other than his own. If he feels it is right, then it is
right.
Naturalism: man is largely trapped, a cog in the impersonal machinery. He has no real way of
changing his circumstances.
Realism: eclectic view, but leaning toward the naturalistic position. Sometimes good things happen to
bad people, and sometimes bad things happen to good people. That is just the way it is.
F Other Tempers: Classicism: Man is free, but appears to be trapped due to conflicting codes.
Transcendentalism: Offshoot of romanticism, nature is a window to divine.
Nihilism: Fallout of either extreme existentialism or naturalism. Life is horrible and painful. It
lacks meaning.
4 CONFLICT (nature of the problems faced)
G Four Universal Conflicts: Person versus self
Pe.
10 ers. Although one can learn definitions favor- able to .docxchristiandean12115
10
ers. Although one can learn definitions favor-
able to crime from law-abiding individuals,
one is most likely to learn such definitions
fiom delinquent friends or criminal family
A Theory of sociation members. with These delinquent studies typically others find is the that best as-
Differential predictor of crime, and that these delinquent others partly influence crime by leading the
individual to adopt beliefs conducive to
Association crime (see Agnew, 2000; Akers, 1998; Akers and Sellers, 2004; Waw, 2001 for summaries
of such studies).
Sutherland 's theory has also inspired
Edwin H. Sutherland dnd much additional theorizing in criminology.
Theorists have attempted to better describe
Donald R. Cressey the nature ofthose definitions favorable to vi-
olation of the law (see the next selection in
Chapter 11 by Sykes and Matza). They have
Before Sutherland developed his theory, attempted to better describe the processes by
crime was usually explained in t e r n ofmul- which we learn criminal behavior from oth-
tiple factors-like social class, broken homes, ers (see the description o f social learning the-
age, race, urban or rural location, and mental ory by Akers in Chapter 12). And they have
disorder. Sutherland developed his theory of drawn on Sutherland in an effort to explain
differential association in an effort to explain group differences in crime rates (see the Wolf-
why these various factors were related to gang and Ferracuti and Anderson selections
crime. In doing so, he hoped to organize and in this part). Sutherland's theory o f differen-
integrate the research on crime u p to that tial association, then, is one of the enduring
point, as well as to guide future research. classics in criminology (for excellent discus-
Sutherlandk theory is stated in the f o m o f sions ofthe current state o f differential asso-
nine propositions. He argues that criminal ciation theory, see Matsueda, 1988, and Waw,
behavior is learned by interacting with oth- 2001).
ers, especially intimate others. Criminals
learn both the techniques of committing
crime and the definitions favorable to crime References
from these others. The s k t h proposition> Agnew Robe*. '2000. "Sources of Mminality:
which f o r n the heart of the theory, states Strain and Subcultural Theories." In Joseph F.
that 'h person becomes delinquent because of Sheley (ed.), Criminology: A Contemporary ,
an excess of definitions favorable to law vio- Handbook, 3rd edition, pp. 349-371. Belmont,
lation over definitions unfavorable to viola- CA: Wadsworth.
tion oflaw."According to Sutherland, factors Akers, Ronald L. 1998. Social Learning and So-
such as social class, race, and broken homes cia1 Structure: A General Theory of Crime and
influence crime because they affect the likeli- Deviance. Boston: Northeastern University
hood that individuals willdssociate with oth- Press.
ers who present definitions favorable to Akers, Ronal.
10 academic sources about the topic (Why is America so violent).docxchristiandean12115
10 academic sources about the topic (Why is America so violent?)
*Address all 10 academic sources in the literature review
*What have they added to the literature?
*End literature review with "What has not been addressed is.... "and with "What I'm Addressing....." (I am addressing that overpopulation is the main reason America is so violent).
*Literature review should be a minimum of 2-2 1/2 pages
Attached are my 10 academic sources.
.
Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
The simplified electron and muon model, Oscillating Spacetime: The Foundation...RitikBhardwaj56
Discover the Simplified Electron and Muon Model: A New Wave-Based Approach to Understanding Particles delves into a groundbreaking theory that presents electrons and muons as rotating soliton waves within oscillating spacetime. Geared towards students, researchers, and science buffs, this book breaks down complex ideas into simple explanations. It covers topics such as electron waves, temporal dynamics, and the implications of this model on particle physics. With clear illustrations and easy-to-follow explanations, readers will gain a new outlook on the universe's fundamental nature.
How to Manage Your Lost Opportunities in Odoo 17 CRMCeline George
Odoo 17 CRM allows us to track why we lose sales opportunities with "Lost Reasons." This helps analyze our sales process and identify areas for improvement. Here's how to configure lost reasons in Odoo 17 CRM
How to Manage Your Lost Opportunities in Odoo 17 CRM
Joseph Cornell (1903-1972)Joseph Cornell 1A one of a kind .docx
1. Joseph Cornell (1903-1972)
Joseph Cornell 1
A one of a kind collector, American artist and filmmaker Joseph
Cornell gathered more than just found objects. Cornell
surrounded himself with physical and conceptual collections
which were an integral part of his existence as a person and as a
creator. While the personal diaries contained an accumulation of
his thoughts, hopes, memories, experiences, and feelings, the
artist's house treasured a versatile selection of objects that he
obtained from New York's book stores, thrift shops, flea-
markets, antique fairs, and the outdoors. Rare prints, books,
photographs, toys, magazine pages, found objects, and anything
else imaginable constituted his growing collection. Cornell
gathered ideas and things that spoke to him and then
transformed them into small interactive microcosms. By
viewing his artwork we can gain a better understanding of his
persona.
Comprehending Cornell's lifestyle and emotional being is
crucial in viewing and appreciating his work. Spending his
entire life in New York caring for his brother, who had special
needs, Cornell had difficulty communicating with the outside
world. Despite the multitude of his artistic connections, he
lacked the ability to form relationships. Cornell's heart ached
for celebrity women, for whom he expressed his affections for
through art.
With no formal training, Cornell developed an individual
approach to art-making, using highly complex concepts and
techniques. He was especially influenced by the Surrealist style
and ideas which may be detected in his Fantastic creations. Max
Ernst's collages inspired Cornell to produce his own, which with
time, evolved into three-dimensional assemblages. Another
significant impact on his work was the Victorian Era with its
2. lavish decorating and an overabundant use of space. Similar to
Victorian homes, Cornell's house was filled with collections
which he carefully organized in boxes.
Like a porous sponge, Cornell collected impressions,
experiences, and sensations which he instantaneously recorded.
Small shadow boxes with glass lids contain examples of the
"juicy material" that Cornell had gathered. Through the glass
door, unique juxtapositions of objects and images evoke a sense
of wonder, luring in the audience for a closer look. The
surprising arrangement of unlikely matter is reminiscent of Man
Ray's Gift or Marc Chagall's I and the Village. The boxes are
fantastic, poetic, nostalgic, and romantic expressions of
Cornell's life, sometimes mixed with desperation and
melancholy. These small cubicles of magic may be compared to
the Cabinets of Curiosities in their content and display of
matter. In each box assemblage, the collagist combined rare
finds in the most bizarre way to tell a story about his life and to
allude to the childhood that was forever gone.
In addition to the box assemblages, Cornell also experimented
with film, layering scenes, sounds, and frames similar to his
sculptural collages. Layers of time and memories are a constant
factor present in his work, allowing us to comb through them
and withdraw elements that might be familiar. During the
Surrealist movement, Cornell was viewed as an established
American Surrealist and in later years, precursor of Pop and
Installation art. He influenced numerous artists, including the
Abstract Expressionists. Major artists following in his footsteps
respected his creativity, intelligence, and skill.
Vocabulary
Many of the important terms and concepts from the textbook
readings are demonstrated in this artist's work. Be sure to study
how these terms are evidenced in the works.
· silhouettes
· low-relief
3. · manipulated
· substitution
· shapes
· sculpture
· atectonic
Artwork Gallery
Untitled (Butterfly Habit) 2
“Untitled (Butterfly Habitat)”
Joseph Cornell’s Untitled (Butterfly Habitat) of 1940 brings us
back into childhood when we warmed frosted windows with our
breath, peering through the cold glass at winter landscape.
Cornell used a similar idea by frosting the glass of the box’s
doors, leaving only small circles to reveal its contents. As
bright yellows and oranges shimmer behind the glass lid, the
audience is invited to peer inside. Six square cubicles within
showcase pinned butterflies, each different in its coloring,
shape and kind. Their bright silhouettes or contours stand out
against the monochromatic background. As they hover in their
confined cells, they function as low-relief sculptures due to
their subtle protrusion in the box’s surface. The wings
transform the space, adding dimension to the piece. Once
symbols of freedom and flight, they now are imprisoned within
organized geometrical compartments. Once living, they are now
scientific specimens reminiscent of the natural rarities in the
cabinets of curiosities. There is something magical and also
disturbing about their presentation. They are frozen in the
fleeting moment of time, left forever beautiful and trapped.
Frosted glass is evocative of Marc Chagall’s Village in Vitebsk,
country folk and animals presented through interpenetrating
transparent and hazy shapes. This romantic and lyrical theme is
also sensed in this fantastic work. While the artist reminisces on
his hopes and dreams, he realizes that they are short-lived. He
4. shields them from changing, leaving only a small window for us
to see through the fog.
Untitled (Roses des Vents) 3
“Untitled (Roses des Vents)”
Untitled (Roses des Vents) was created by Joseph Cornell.
Between 1942 and 1953, the artist continuously manipulated or
transformed the surface through substitution by adding or
subtracting objects and images to achieve the desired goal.
The manipulation of the work may also be detected in the
pasted, layered, and painted areas. The result is an imaginative
journey into the past; a voyage into another world, expressed
through maps, waves, planets, compasses, and miniature coasts.
Cornell separated the box into individual cells or cubicles, each
housing its own private wonder. Since the artist never visited
the far lands, this cabinet of curiosities was an alternate means
to travel back in time. As children, we dream of the fantastic
realm into which we can escape by merely closing our eyes.
Cornell was able to fit his wish into a box and share it with the
audience.
The open lid of Untitled (Roses des Vents) is lined with an old
map that depicts the coastline of the Great Australian Bight.
Its yellowed skin and browned edges are evocative of the
ancient treasure maps. The sliding secondary lid is embedded
with small compasses whose needles point to different
destinations, demonstrating the unlimited possibilities of the
passage. Colorful two-and three-dimensional forms or shapes
stand out with their color or texture, representing a piece of
land, a planet, or a secret location. They are eye candy that
speaks to a child within us. As we examine each miniature room
of wonders we can sense the artist’s loneliness and his dreams
for an adventurous life.
5. Soap Bubble Set 4
“Soap Bubble Set”
Joseph Cornell’s Soap Bubble Set (Ostend Hotel) 1958, is an
assemblage box that draws the viewers in for an intimate
interaction. As we closely observe the contents of this
imaginative union of three-dimensional objects, unusual details
catch our attention. This construction may be described as
atectonic due to the open space within the box where white and
clear objects look weightless and unimposing. While the aged
paint of the interior reminds us of an old building’s walls, the
exterior is covered with yellowish newspaper whose text has
been worn and smudged with time. Newspaper coating similar
to an old, cheap substitute of wrapping paper encases the small
and bare installation of a glass goblet and a white ball. Upon
closer examination, greater details come to life, such as flakes
of paint, rows of nails peering out of wood, a broken clay pipe,
and “Ostend Hotel” paper cutout. These simple and quite
useless materials become living entities which bear a bizarre
relationship to one another. They speak of isolation, decay, and
inevitable disintegration. Perhaps this small world described the
fate of Ostend Hotel, or the mindset of the artist who was
feeling lonely and hopeless. Recall the metaphysical paintings
of Giorgio De Chirico where dark colors, open space, and
isolated figures spoke of melancholy and restlessness.
Nevertheless, the glass “window” of the box acts as a barrier
between our world and the microcosm. It functions as a
protective layer that will shield the contents from further aging.
The title of this work may also be linked to Victorian times that
were of great influence to the artist. Soap bubble sets were
popular items of leisure which may have been an inspiration.
Exemplary craftsmanship and attention to detail demonstrate the
artist’s control and dedication to the work.
Andy Warhol (1928-1987)
6. Andy Warhol 1
Obsession and passion accurately describe the work of Andy
Warhol, the father of Pop art and an American cultural icon.
Through his interest of consumerism he has made many
contributions to the art world and has changed the way art is
perceived. In addition to being a filmmaker, artist, actor, writer,
and publisher, Warhol was also an avid collector. Similar to
Joseph Cornell, collecting was a crucial aspect of Warhol's
existence, which in his case seemed to take on a life of its own.
Warhol collected anything and everything, filling his rooms
with valuables and junk. He had sensitivity to interesting
materials that ranged from expensive Art Deco furniture to
unpaid receipts. Scouting flea markets, antique shops, thrift
stores, and auctions, Warhol obtained a versatile collection
large enough to take over his Manhattan house of twenty-seven
rooms and more. Spending a lot of money on acquisitions was
natural for Warhol, as he also constantly searched for
"priceless" objects of interest. American folk art,
Navajo blankets, Fiestaware, cookie jars, toys, jewelry, silver
wigs, scrap books, magazines, taped interviews, and much more
constituted his endless collection.
Following the artist's death, a mind-boggling amount of material
was retrieved from his home. Through close inspection of
Warhol's collection we may have a better understanding of him
as a person and as an artist. The spectrum of information that he
has left behind opens a door to the private aspects of his life
that he had kept hidden away from the public eye. Regardless of
the way Warhol displayed his collections, they may be detected
in every part of his work. Through accumulating objects,
Warhol created an autobiography that is now available for the
public to enjoy. Today's 8,000-cubic-foot collection of Andy
Warhol treasures is used by the Andy Warhol Museum and other
7. organizations for public exhibits.
Vocabulary
Many of the important terms and concepts from the textbook
readings are demonstrated in this artist's work. Be sure to study
how these terms are evidenced in the works.
· voluminous
· mobile
Artwork Gallery
Contents of a Time Capsule 2
“Contents of Time Capsule” – 1974
It was during Andy Warhol’s move in 1974 from one studio to
another that his greatest collection came to life. Time Capsules
originated when Warhol used plain cardboard boxes to pack and
organize his belongings. After placing papers, mail, photos,
books, and more in boxes, Warhol had realized the potential of
this activity. Dividing his life into time capsules enabled the
artist to organize his prolific and chaotic life and also freeze his
experiences in time. A box was always present by his desk
waiting to be filled with new “curiosities”. After being filled to
the rim, each capsule was sealed, labeled, and stored. Six-
hundred-and-twelve completed Time Capsules were produced
before Warhol’s death in 1987, each an autobiographical diary
of his personal and professional life.
To share Warhol’s Time Capsules with the general public,
Museum of Modern Art in Frankfurt, Germany, and The Andy
Warhol Museum in Pittsburgh, Pennsylvania, joined in
collaboration opening fifteen boxes for view. While the
Museum of Modern Art in Frankfurt combined the contents of
boxes with Warhol’s other works of art and that of his
contemporaries, The Andy Warhol Museum chose to focus on
8. the capsule contents only. A surprising amount of collected
materials were retrieved from the box, each capsule encasing
between 200 to 300 objects.
As we observe the contents of the capsules and learn about
Warhol’s personal tastes, ideas, habits, and eccentricities, we
recall how early collectors stored and displayed their
meaningful and important acquisitions. While Warhol’s Time
Capsules lack the extravagant appearance of the cabinets, they
house items crucial to a life of a legendary figure – the father of
Pop art. The versatile contents of the Time Capsules may also
be compared to the Braincells of Mail artist Ryosuke Cohen,
colorful collaborative collages that resulted from continuing
correspondence between the artist and random individuals
through mail. In addition to two-dimensional objects such as
unpaid receipts and gas bills, Warhol also threw in the mix
three-dimensional ones such as Clark Gable’s shoes. Each
sealed capsule may also be viewed as a voluminous object since
it has height, width, and length.
The Andy Warhol Museum has an online exhibit of Warhol’s 21
capsules which enables the viewers to open them and look
through their items. Opening each capsule is similar to opening
a present; since excitement and anticipation are a constant
reminder of how interesting and inspiring Warhol was to his
contemporaries and followers.
http://www.warhol.org/tc21/
Installation of Shoes 3
“Installation of shoes” – 1970
Raid the Iceboxwith Andy Warhol (1970) is a body of work in
which the artist explored the relationship between museums and
collecting. Warhol was interested in the institutional approach
to collecting and showcasing. To challenge the classification
system of museums, he produced installations that portrayed
9. everyday matter displayed in unusual ways. The title of the
work alluded to the cold and dark storerooms found in museums
whose contents nobody ever sees or experiences.
Installation of Shoes is part of the exhibit. A variety of shoes
carefully placed in rows parade inside an open cabinet. Their
order and separation by color and style may refer to the
presentation of scientific specimens as seen in natural history
museums. Recall how early museums began to divide
“curiosities” into categories and display them with other similar
matter. In this installation, Warhol is commenting on
ridiculousness of the taxonomy system. The shoes become the
rarities within a cabinet, each different and unique despite their
similarities. They are sculptural objects that invite closer
observation and actual interaction. Visitors are allowed to pull
the shoes out of the cabinet, something museums would never
allow if they were valuable artifacts. Warhol breaks the
boundary between public and personal display, teaching us that
systems can be and should be broken.
Installation of Windsor Chairs 4
“Installation of Windsor Chairs” – 1970
Installation of Windsor Chairs is another part of Raiding an
Icebox with Andy Warhol (1970), which is exhibited at the
Museum of Art, Rhode Island School of Design. As chairs
become the main focus of the installation, hanging from the
ceiling and placed in rows on the gallery floor, the audience is
left wondering about their purpose and function. Here Warhol
utilized space to display ordinary chairs as works of art, thus
once again stressing the importance of unconventional
presentation. This work is reminiscent of Marcel Duchamp’s
Readymades that were elevated to the status of art due to their
presentation in an artistic setting. Also, recall Duchamp’s 1,200
Bags of Coal (1938), an installation of 1,200 bags of coal
10. scattered or suspended from a ceiling that allowed the viewers
to interact with the work. Warhol creates a Surrealist
atmosphere where objects transform into living entities.
Showcasing of wood chairs on walls and floor transforms them
into valuable artifacts. While their presence in a museum may
seem surprising and even unfitting, the chairs remind us that
everyday objects also possess value. Their unconventional order
criticizes the organizational principles of museums. The
installation may be described as mobile since chairs maybe
moved around by the public. This opportunity also gives the
visitors a chance to slightly manipulate the work.
Display of 3-D Objects
Introduction to Collecting
The act of collecting may be described as accumulating
meaningful or curious subject matter. Whether collecting is
driven by instinct, desire, passion, obsession, curiosity, status,
or professional research, this activity allows one to gain a better
understanding and appreciation for the material. Collecting may
be traced back in time to when prehistoric humans gathered
found or crafted objects that they thought to be beautiful or
powerful. Carved figurines were often symbols of fertility that
bore medicinal and religious powers. This tradition continued to
expand and evolve with generations to come, resulting in
limitless varieties of collectible matter. There is something
magical and satisfying about the process of collecting that may
be compared to performance. Humans embark on a search, full
of anticipation and restlessness, until they find that very special
object that satisfies them. Soon after the special acquisition,
collectors are once again hungry for the next hunt. A collection
is often reflective of an owner, regardless of its purpose or
meaning. Stories of origin, history, and relationship to the past
and present may be read through the "skin" of each object.
Through collecting, people find order, inspiration, and
11. understanding of their life as well as their past and present.
Defining Collectable Objects
Collectibles consist of items that people acquire over an
extended period of time. The contents of collections usually
have something in common. This relationship may be detected
in their appearance, function, or concept. Collectibles fulfill
their collector's personal interest or professional research and
may take many generations to complete. While collectibles are
usually objects of substance that can be experienced through the
sense of touch, they may also be conceptual. Memories,
experiences, and observations over a lifetime are just some
examples of conceptual collectibles.
More conventional collectibles encompass two-dimensional and
three-dimensional objects. Two-dimensional collectibles might
be flat objects such as family photographs, drawings, paintings,
collages, mail art, stamps, playing cards, maps, books, journals,
periodicals, currency, documents, and more. Objects that
possess width, height, and depth fall into the three-dimensional
collectibles category. Their massive nature looks and feels
voluminous, bulky, and solid. Sculptures, household items,
jewelry, cars, scientific specimens, and animals are just some of
the examples. Three-dimensional objects often seem to be more
attractive and thought-provoking due to their tactile quality.
Their plastic form, texture, and size invite viewers to touch the
objects and have a more intimate interaction with them.
The Values that Human Beings Project onto Objects
As human beings, we tend to project a lot of meaning onto
matter that is memorable or significant to us. Objects that can
be touched evoke appreciation of the past and a better
understanding of our predecessors. As children we carefully
engage with important toys or unique finds, and as adults we
store the same items in glass cases, delicately handling them as
to not damage the precious mementoes. We crowd our homes
with useless belongings just because of their emotional value.
For some reason, it often seems too difficult to throw away
objects that remind us of our experiences. Discarding them feels
12. as though we are letting small pieces of our lives disintegrate
and finally disappear.
The lifespan of an object plays an important part in collecting.
People are naturally drawn to extending the life of their
collections by preserving them in various ways. For instance,
collections of insects, animals, and plants require specialized
treatment, handling, and knowledge. Even as amateur collectors
we strive to extend the life of our organic finds such as flowers,
pods, and leaves by drying them on a window sill or pressing
them between the pages of a book. Preservation of significant
objects dates back to Ancient Egypt where humans, animals,
and personal collections were embalmed to continue their
existence after death, supporting the belief that guided their
lives. Preserving everything useful for the afterlife required a
tremendous amount of patience, dedication, and understanding
of the materials. Modern excavations of the past are collected
by museums, revealing to us the life-stories of our ancestors.
Thus excavating objects from the ground or other surroundings
may be viewed as another form of collecting. It is a crucial part
of the gathering process that requires an intimate interaction
between the collector and the subject matter. Through
excavation we extract the roots of our history and culture.
Whether this ritual happens in our backyard or on an
archeological site, we gain closure with the discovered matter
and obtain a better appreciation and insight into the past.
Symbolism of Sculptural Objects Dating Back to Ancient Times
The symbolic value of sculptural objects may be traced back to
the Stone Age, when carved sculptures carried religious and
healing powers. These figurines were created with a specific
function in mind. They were used as mediators between humans
and deities, as charms of luck and protective shields. With time,
more and more people began to collect significant figurines that
began to resemble their owners. To this day we keep objects
close to us that have personal, historical, cultural, or religious
significance.
13. Venus of Willendorf 1
Venus of Willendorf
For instance, Venus of Willendorf is a limestone figurine that
dates back to 24,000-22,000 B.C.E. While hypotheses about this
curious 11.1 centimeter figurine continue to grow, its meaning
and function remain a mystery. Small enough to cradle within
one's palm, Venus holds answers to many secrets of the ancient
world in a time when women were worshipped as high-
priestesses and life-nurturers. Exaggerated breasts, stomach,
and hips emphasize her role as a fertility figure that may have
been used as a potent charm. Venus's face has been replaced
with multiple braids, once again stressing her universal identity.
She is a symbol of the Mother Goddess, a miniature object with
a large presence.
When discovered in the early 1900s, traces of a red pigment
patina or coating suggested attempts to describe female blood,
an emblem of life-giving. Since this figurine was carved out of
Oolithic limestone it may be described as glyptic because it
retained the texture and weight of the stone. It is also tectonic
because it has an overall rounded form without accentuated
extrusions, since the head, breasts, belly, and hips mold into
one unified whole. The scale, shape, and appearance of this
sculpture demonstrate how early people instilled value and faith
into handmade objects.
Shawabti Box of Nes-mut-aat-neru 2
Shawabti
Shawabti figures dating to 690-664 B.C. are another great
example of symbolic sculptures that were displayed in numbers
and played a crucial role in the burial practices and beliefs of
the Egyptians. These statuettes were carved out of stone or
sculpted from mud to resemble the Pharaoh. They were meant to
14. function as Pharaoh's servants in the afterlife. Every culture in
one way or another has invested emotional value into objects
that were preserved and collected.
Shawabti Figures of King Taharqa 3
Today, we continue to pass down items through the generations.
Whether they possess historical, religious, medicinal, cultural,
familial, or personal value, they continue to strike us with their
beauty and importance. The patina of time may be seen in their
aged surfaces that demonstrates just how special they were to
their previous owners.
Mark Dion (b. 1961)
Mark Dion 1
For American Installation artist Mark Dion, collecting is
important as his artmaking since one feeds off another. As a
young boy, Dion collected sea shells, and as an adult, he
continues the pattern of this hobby that has become his passion
and way of life. In his work, Dion explores the definition of
collecting and the relationship it has to museums, professionals,
and the audience. The artist challenges the traditional taxonomy
of educational institutions like natural history and art museums
by creating his own classifications and displays that reflect his
personal, unique vision. Dion takes on an archeologist's
identity, defining a new classification order and thus
questioning the ones of the past. His goal is to break down the
conventional traditions of collecting and classifying specimens
and share an expanded, versatile, and multi-disciplinary
approach with the audience. As the artist excavates the layers of
15. time, he often involves the public in the process.
Tate Thames Dig 2
The artist engages the public in his work by inviting them to
partake in the collecting practices, thus generating a
performance. Three stages of the artmaking process in Dion's
work consist of digging, cleaning, and assembling. Each step is
a crucial part of the process and final product. For instance,
during the initial digging stage, participants of the excavation
retrieve interesting finds from the selected sites. Cleaning and
classification of the matter follows, allowing the
"archeologists" in their white lab coat disguise to carefully
inspect each item and find its designated place of order.
Volunteers carrying out each task may be compared to actors
who play or perform. Similar to the work of the photographer
Cindy Sherman, Dion and his assistants take on different
identities of archeologists, scientists, naturalists, and curators.
The final step in the process is Dion's final touch, of his
decisions to display the classified work for everyone to view,
marvel, and enjoy.
Dion's presentation of found objects may be described as
Fantastic explorations of old and new. The Cabinets of
Curiosities tradition is reinvented in the final stages of Dion's
work when he showcases his diverse treasures in wooden
cabinets. What makes his cabinets so curious are the surprising
and unorthodox groupings of the excavated materials. While
metal cans are juxtaposed with old pottery shards, antiques are
displayed next to modern items. The artist draws inspiration
from the naturalists and collectors of the 19th century such as
Alfred Russell Wallace and Charles Darwin, whose theory of
the natural selection inspired Dion's views of taxonomy and
natural life. Similar to these figures, Dion also travels to distant
lands to collect and examine history and modern life. By
assembling his own cabinets, shops, and science labs, Dion
16. follows in the footsteps of these great men while dancing to his
own tune.
Vocabulary
Many of the important terms and concepts from the textbook
readings are demonstrated in this artist's work. Be sure to study
how these terms are evidenced in the works.
· installation
· mass
· addition
· subtraction
· void
Artwork Gallery
Tate Thames Dig 3
“Tate Thames Dig” – 1999-2000
Tate Thames Dig (1999-2000) is the name of Mark Dion’s
exploration of the Thames River banks in London. With the help
of numerous volunteers, the artist embarked on a journey of
excavating the strata of Thame’s life and history to display in
the Tate Modern Museum. The entire process of retrieving,
cleaning, classifying, and installing the discovered treasures is a
performance of its own where roles and appearances are
constantly changed and challenged. After the physical labor of
digging and “fishing” for treasures of any size, color or shape, a
more intimate activity follows. In archeological tents each
discovery is thoroughly inspected, cleaned, and labeled by
participants dressed in white lab coats. They are “pretend”
archeologists sorting through the piles of versatile matter. In
these mounds of nails, bottles, pottery shards, toys, clay pipes,
bottles, animal bones, and oyster shells a history of Thames
17. comes to life. The old bridges, ships, and houses reappear,
telling the stories of their existence through the retrieved
remains.
After a year of collecting, cleaning, and classifying, the final
step to the project is presented inside a traditional mahogany
cabinet within Tate Modern’s gallery. Peering inside this
structure is a bizarre and striking experience, since the items
retrieved from Thames River are juxtaposed in the most
unexpected way. Dion creates his own classification system
where unrelated objects are joined in a curious marriage. The
unusual relationships between paired objects encourage the
viewers to draw their own conclusions about their nature,
purpose, and function. In a way, the artist mocks the traditional
taxonomy system by bringing personal touch to its originally
firm principles. He interferes with set-in-stone tradition,
bringing it back to the days of the original cabinets where order
of contents had a different purpose and relationship to the
public. Dion’s cabinet is an installation or an interactive artistic
environment that invites the viewers to closely observe the lush
interior of colorful shards, scraps, and other remains. The three-
dimensional contents on each shelf attract the viewers with their
mass, color and shape. The mass of each object, large or small,
is a solid form.
New England Digs 4
“New England Digs” – 2001
New England Digs (2001) is Mark Dion’s examination of New
England’s towns of Brockton, Providence, and New Bedford,
places of farms, shores and vast lands. Students from Brown and
the Rhode Island School of Design participated in the dig,
drawing an endless amount of glass and pieces of pottery from
the selected sites. Overall, there was a versatile selection of
contemporary and aged items dating back to the 18th and 19th
18. centuries. While in Providence, industrial matter was excavated
from the Seekonk River and Narragansett Bay. Brockton
surprised the “archeologists” with the domestic and industrial
items discovered in a farm area. One may imagine the
anticipation experienced by the volunteers as they extracted and
cleaned the secret treasures. The objects that once had a purpose
were brought back to life once again. Only this time they had a
different function and relationship to one another and to us, the
viewers.
Following the artist’s process of classification, newly acquired
wonders were showcased within a cabinet, referring to the early
collectors’ tradition of the 16th and 17th centuries. While the
original cabinets functioned as pre-cursors to modern day
museums, Dion’s cabinet is the aftermath of museums. It is a
personal reaction to the traditional classification system which
the artist repudiates through surprising arrangement of unlikely
materials. Here we enter a Surrealist zone where seeing
ordinary objects in an extraordinary way is quite normal. The
artist used a technique of addition and subtraction in creating
the installation. In other words, building up the contents of the
cabinet and then taking some away aided in the creative
process.
Alexander Wilson-Studio 5
“Alexander Wilson-Studio” – 1999
Alexander Wilson-Studio (1999) is quite different from Mark
Dion’s dig projects. While the artists did not excavate the layers
of earth for historical information, he did comb through the
possessions of the Carnegie Museum of Natural History and
Carnegie Museum of Art for useful and inspirational specimen.
Stuffed birds, decorative arts and various artifacts became the
filling for this installation. The title of the work reflects Dion’s
fascination with Alexander Wilson (1766-1813), an American
19. (Scottish born) ornithologist, naturalist, and artist. Wilson
studied birds by observing and illustrating them. His bird
watching may also be described as a form of conceptual
collecting that was materialized into hand drawn and painted
illustrations. Published after Wilson’s death, American
Ornithology demonstrates the great contribution of this talented
naturalist and illustrator to natural history.
Dion’s reinvention of Wilson’s studio is based on his
knowledge and appreciation of this profound figure. A small
house or studio installed within a gallery is full of decorative
arts, books, and other objects that might have been useful to
Wilson. Nevertheless, the focus of this installation are owls that
are present throughout the studio in the form of paintings,
sculptures, and architectural details. Dion even painted owls
with watercolor on paper which he randomly scattered all over
the floor and desk to express Wilson’s own attempts at painting.
In addition, several display cases also partake in the
installation. The audience is invited to enter the “studio” and
engage with its contents on a personal level. Alexander Wilson-
Studio may also be compared to a cabinet or room of
curiosities, each reflective of Dion’s perception of Wilson’s life
and work. Chaotic placement of objects around the room gives
one a sense of Wilson’s presence. We feel as voyeurs spying on
Wilson’s private quarters after he has stepped out for a moment.
This flashback into history allows us to experience the past and
its relationship to the present.
The void or empty space of the studio is emphasized by a simple
wooden frame that encases the space, allowing us to concentrate
on the essential aspects of Wilson’s life, study, and passion.
Through the combination of museum materials and personal
objects, this installation merges the boundary between museum
and art, creating a disordered living environment within a place
of order.