This document outlines key themes in media studies and lists important theorists and scholars associated with each theme. The five major themes covered are: Form, Content and Context; Representation and Interpretation; Empowerment and Protection; Arts and Social Activism; and Narrative, Literacy and Learning. For each theme, several influential thinkers are briefly mentioned.
The document is about a transfer workshop held on September 14, 2014. It was led by instructor Pamela Lanza. The workshop provided information to help students transfer from one school to another.
Dan Beudean; David Dodge Lewis & Ephraim Rubensteinpamlanza
Dan Beudean is a client of the law firm David Dodge Lewis & Ephraim Lewis & Rubenstein. The document appears to list Dan Beudean as a client and the law firm he is represented by, which is David Dodge Lewis & Ephraim Lewis & Rubenstein.
The document discusses the difference between actual lines and implied lines in artwork. Actual lines are physical connections between points, while implied lines refer to the path the viewer's eye follows through shapes, colors, textures, or values in a piece. Several artists are then listed as examples, including Gericault, Raphael, Rubens, Picasso, Jess Collins, Elisabeth Segre, Kurt Schwitters, Lee Krasner, Lance Carlson, Alex Hamilton, and Marty Skocilich.
The document lists the names of 16 artists: Mel Bochner, Janet Silk, Squeak Carnwath, Il Lee, Sol LeWitt, Deborah Nehmad, Joel Shapiro, Lawrence Weiner (listed twice), Allyson Strafella, Kry Bastian, Susan Bocanegra, Annabel Daou, Elena del Rivero, John Laxdal, Mark Bradford, and Lorna Simpson. It also mentions drawings in a Netherlandish letter and the names Jeff Wolin and Kathy Ernst (listed twice).
Motifs can be decorative or meaningful patterns used in artwork. The document discusses several artists including Jacob Lawrence who used arrow shapes, Brenda Hoelze who used crosses, and Bruce Conner who featured floral motifs. Working in a series allows artists to more fully explore an idea or technique through different approaches using similar elements. It helps keep the creative process healthy and unblocked while identifying an artist's personal style.
This document provides examples of different ways text is used in collage artworks, including as an advertising format to create subversive messages like Barbara Kruger, as a pattern or implied line like Almudena Blanca, and as an evocative or poetic element like Holly Chastain. Specific artists are listed under each text usage category, such as Banksy using text as a message or Erin Ashley using text as an image. The document examines text's various roles that collage artists employ.
The document lists the names of various artists and some of their artworks, including Goya, Morandi, Rothko, Frankenthaler, Nolde, Richter, Picabia, Pollock, Picasso, Tauba Auerbach, Stephen DeStaebler, Giancarlo Bargoni, Leonardo Drew, Wangechi Mutu, and Kokoschka. Each artist's name is repeated three times alongside the titles of some of their pieces, providing an overview of different artists and samples of their visual works.
This document outlines key themes in media studies and lists important theorists and scholars associated with each theme. The five major themes covered are: Form, Content and Context; Representation and Interpretation; Empowerment and Protection; Arts and Social Activism; and Narrative, Literacy and Learning. For each theme, several influential thinkers are briefly mentioned.
The document is about a transfer workshop held on September 14, 2014. It was led by instructor Pamela Lanza. The workshop provided information to help students transfer from one school to another.
Dan Beudean; David Dodge Lewis & Ephraim Rubensteinpamlanza
Dan Beudean is a client of the law firm David Dodge Lewis & Ephraim Lewis & Rubenstein. The document appears to list Dan Beudean as a client and the law firm he is represented by, which is David Dodge Lewis & Ephraim Lewis & Rubenstein.
The document discusses the difference between actual lines and implied lines in artwork. Actual lines are physical connections between points, while implied lines refer to the path the viewer's eye follows through shapes, colors, textures, or values in a piece. Several artists are then listed as examples, including Gericault, Raphael, Rubens, Picasso, Jess Collins, Elisabeth Segre, Kurt Schwitters, Lee Krasner, Lance Carlson, Alex Hamilton, and Marty Skocilich.
The document lists the names of 16 artists: Mel Bochner, Janet Silk, Squeak Carnwath, Il Lee, Sol LeWitt, Deborah Nehmad, Joel Shapiro, Lawrence Weiner (listed twice), Allyson Strafella, Kry Bastian, Susan Bocanegra, Annabel Daou, Elena del Rivero, John Laxdal, Mark Bradford, and Lorna Simpson. It also mentions drawings in a Netherlandish letter and the names Jeff Wolin and Kathy Ernst (listed twice).
Motifs can be decorative or meaningful patterns used in artwork. The document discusses several artists including Jacob Lawrence who used arrow shapes, Brenda Hoelze who used crosses, and Bruce Conner who featured floral motifs. Working in a series allows artists to more fully explore an idea or technique through different approaches using similar elements. It helps keep the creative process healthy and unblocked while identifying an artist's personal style.
This document provides examples of different ways text is used in collage artworks, including as an advertising format to create subversive messages like Barbara Kruger, as a pattern or implied line like Almudena Blanca, and as an evocative or poetic element like Holly Chastain. Specific artists are listed under each text usage category, such as Banksy using text as a message or Erin Ashley using text as an image. The document examines text's various roles that collage artists employ.
The document lists the names of various artists and some of their artworks, including Goya, Morandi, Rothko, Frankenthaler, Nolde, Richter, Picabia, Pollock, Picasso, Tauba Auerbach, Stephen DeStaebler, Giancarlo Bargoni, Leonardo Drew, Wangechi Mutu, and Kokoschka. Each artist's name is repeated three times alongside the titles of some of their pieces, providing an overview of different artists and samples of their visual works.
This document lists 4 artists - Andreas Gursky who creates large scale photographs, Julie Heffernan who works in oil on canvas around 6' x 6' in size, Ralph Goings who uses oil and watercolor as mediums, and Barbara Blacharczyk who employs pencil and charcoal in her artwork.
This document lists the names of 18 artists, including Hannah Hur, David Jang, Jorge Lopez, Martin Kline, Molly Hatch, Scott Tulay, Robert Morse, Dawn Clements, Stephanie Williams, an unknown artist, Louise Despont, Storm Tharp, Karen Justis, Caroline Carlsmith, Mark Bradford, the Starn Twins, and Zheng Chongbin. It appears to be a list of artists involved in an exhibition featuring grids of smaller artworks composed into larger works.
The document lists the names of 14 different artists: Florence Moonan, William Kentridge, Diebenkorn, Alex Hamilton, Jeanette Barnes, Valery Koshlyakov, Adam Kennedy, and Farrell Beam, Jack Whitten, Matt Woodward. Jeanette Barnes and Valery Koshlyakov are each listed twice and Adam Kennedy is listed three times.
This document provides guidance on modeling figures through shading on a 2D surface to create the illusion of volume from the inside out. It recommends building up forms through sculpting with charcoal and using lessons from previous weeks, such as stick figure structures and scribbling mass, along with considering the background as part of the figure residing within a "miasma".
This document lists the names of various artists who work with large scale drawings including Andrew Wyeth, Douglas Kinsey, Robert Longo, Kehinde Wiley, Egon Schiele, Justine Miller, Karen Hackenmiller, Larry Thomas, Hannah Hur, Squeak Carnwath, Nuncio Paci, Matt Woodward, Dominic Magill, Cathy Hegman, and Golucho. The document does not provide any additional context about these artists or their large scale drawings.
The document is a sign-in sheet for a mixed media workshop held on November 1st, 2015 and instructed by Pamela Lanza. It lists the names of 27 attendees, including Linda Moriarity, Ed Schnaars, Lee Grygo, Shahla Motamedi, Vera Gates, and Dorothy Dana. Some attendees are listed multiple times or have "Mystery Artist" written in to indicate they did not provide their name.
This document lists the names of 14 artists: Wosene Worke Kosrof, Peter Granville Edmunds, Kristina Moss, Jeff Raymond, Rosalie Gasciogne, Gwyther Irwin, Jeff Wolin, David Nielsen, Byron Gysin, Mel Bochner, Karen Justis, Kurt Schwitters, Tom O’Neill, and Squeak Carnwath.
This document lists the names of 18 artists: Jackson Pollock, Judy Pfaff, Qin Feng, Leon Ferrari, Melissa Johnson, Emma McNally, Fiona Robinson, Katherine Mann, Aaron Bady, Ibrahim El Salahi, Justine Miller, Kathy Delgado, Mike Parr, Maggie Michael, and Julie Mehretu who is listed 3 times, and Zheng Chongbin who is listed twice. The document provides a list of artist names but no other context or information about the artists.
Modeling involves building up forms through shading to create the illusion of volume on a two-dimensional surface. The document recommends building figures from the inside out using techniques like stick figures, scribbling, ovals, and angles learned in previous weeks. It emphasizes sculpting the figure with charcoal and using darker shading on receding parts of the form, with examples from artists like Rembrandt, Raphael, Shin Kwang Ho, Chuck Close, and Picasso. Tonight's exercise is fingerprint modeling.
This document appears to be an attendance sheet for a Small Books Unbound Workshop held on February 8, 2015. It lists the names of 14 attendees and the instructor, Pamela Lanza. The workshop was attended by Amy Harcourt, Diana Elrod, Glenn Hirsch, Janine Wilburn, Joan DiStefano, Lee Grygo, Mary Worth, Naina Ayya, Paul Takayanagi, Robyn Kruse, Sally Wassink, Shihya Sung, Ursula Yearwood, and was led by instructor Pamela Lanza.
This document provides reading assignments for two class discussions on October 17th and October 31st. It lists the names of 13 artists such as Elmgreen & Dragset, Maurizio Catellan, Laurie Simmons, Carroll Dunham, Francis Alys, Cindy Sherman, Jennifer Dalton, William Powhida, and Rashid Johnson and references some of their specific works like "Marriage" and "Still from Tiny Furniture" that are likely related to the assigned readings.
This document provides information on several contemporary artists and their works that use narrative scrolls or scroll-like forms. It describes scroll works by Daniel Van der Noon, Evelyn Nicodemus, Hannah Leighton Boyce, El Anatsui, Miao Xiaochun, Song Dong, Xu Bing, Izhar Patkin, Iri Maruki and Toshi Maruki, and Yu Hong that incorporate themes of history, travel, language, and responses to social and political events. The works utilize mediums such as digital ink, photography, printing, and murals.
This texture study assignment asks students to photograph reflective objects to demonstrate crisp shapes of light on surfaces, basic shapes, perspective, a full range of values, excellent composition, and use of background to highlight the object(s).
Experiments in Figure Drawing and in unusual format (scrolls)pamlanza
This document lists experiments in figure drawing including overlapping figures, drawing hand scrolls, and experiments in an unusual format conducted by several artists including Amy Harcourt, Melissa Johnson, Katherine Kiwala, Kira Del Mar, Karen Justis, Suchitra Sharma, and Yoko Tahara.
The document lists various artists and their works that students have studied, including Ghirlandaio who was Michelangelo's teacher, Gericault's "Raft of the Medusa", Van Gogh's "The Sower" which Vincent studied, Raimondi's "Judgment of Paris", Manet's "Luncheon on the Grass", works by Courbet, Picasso's study of Courbet, Giorgione and Titian's "Venus of Urbino", Manet's "Olympia", works by Mel Ramos, Larry Rivers, Cezanne which students studied, George Bellows' "Stag at Sharkey's", works by Rembrandt, and Vincent
The document discusses several artists who create collaged and re-purposed drawings including Barbara Moody, Cheryl Richey, Dorota Jedrusik, Lee Krasner, Judy Foosaner, Jackie Berridge, Dawn Clements, and Raymond Saa. It notes techniques like piecing together old drawings, working with gesso, ink, and charcoal, and using tears and cuts in collaged pieces. It encourages trying to put together contiguous images to create a large work or a collection of small drawings.
The document discusses abstraction in art and describes several series of drawings that demonstrate increasing abstraction. It provides examples of series by Piet Mondrian and Picasso that simplify forms into geometric shapes over multiple drawings of the same subject. Another example described is a "half-life" drawing series where the same subject is drawn for progressively shorter periods of time. Students are assigned to create their own series of increasingly abstract drawings from a single subject over multiple drawings.
This document lists 4 artists - Andreas Gursky who creates large scale photographs, Julie Heffernan who works in oil on canvas around 6' x 6' in size, Ralph Goings who uses oil and watercolor as mediums, and Barbara Blacharczyk who employs pencil and charcoal in her artwork.
This document lists the names of 18 artists, including Hannah Hur, David Jang, Jorge Lopez, Martin Kline, Molly Hatch, Scott Tulay, Robert Morse, Dawn Clements, Stephanie Williams, an unknown artist, Louise Despont, Storm Tharp, Karen Justis, Caroline Carlsmith, Mark Bradford, the Starn Twins, and Zheng Chongbin. It appears to be a list of artists involved in an exhibition featuring grids of smaller artworks composed into larger works.
The document lists the names of 14 different artists: Florence Moonan, William Kentridge, Diebenkorn, Alex Hamilton, Jeanette Barnes, Valery Koshlyakov, Adam Kennedy, and Farrell Beam, Jack Whitten, Matt Woodward. Jeanette Barnes and Valery Koshlyakov are each listed twice and Adam Kennedy is listed three times.
This document provides guidance on modeling figures through shading on a 2D surface to create the illusion of volume from the inside out. It recommends building up forms through sculpting with charcoal and using lessons from previous weeks, such as stick figure structures and scribbling mass, along with considering the background as part of the figure residing within a "miasma".
This document lists the names of various artists who work with large scale drawings including Andrew Wyeth, Douglas Kinsey, Robert Longo, Kehinde Wiley, Egon Schiele, Justine Miller, Karen Hackenmiller, Larry Thomas, Hannah Hur, Squeak Carnwath, Nuncio Paci, Matt Woodward, Dominic Magill, Cathy Hegman, and Golucho. The document does not provide any additional context about these artists or their large scale drawings.
The document is a sign-in sheet for a mixed media workshop held on November 1st, 2015 and instructed by Pamela Lanza. It lists the names of 27 attendees, including Linda Moriarity, Ed Schnaars, Lee Grygo, Shahla Motamedi, Vera Gates, and Dorothy Dana. Some attendees are listed multiple times or have "Mystery Artist" written in to indicate they did not provide their name.
This document lists the names of 14 artists: Wosene Worke Kosrof, Peter Granville Edmunds, Kristina Moss, Jeff Raymond, Rosalie Gasciogne, Gwyther Irwin, Jeff Wolin, David Nielsen, Byron Gysin, Mel Bochner, Karen Justis, Kurt Schwitters, Tom O’Neill, and Squeak Carnwath.
This document lists the names of 18 artists: Jackson Pollock, Judy Pfaff, Qin Feng, Leon Ferrari, Melissa Johnson, Emma McNally, Fiona Robinson, Katherine Mann, Aaron Bady, Ibrahim El Salahi, Justine Miller, Kathy Delgado, Mike Parr, Maggie Michael, and Julie Mehretu who is listed 3 times, and Zheng Chongbin who is listed twice. The document provides a list of artist names but no other context or information about the artists.
Modeling involves building up forms through shading to create the illusion of volume on a two-dimensional surface. The document recommends building figures from the inside out using techniques like stick figures, scribbling, ovals, and angles learned in previous weeks. It emphasizes sculpting the figure with charcoal and using darker shading on receding parts of the form, with examples from artists like Rembrandt, Raphael, Shin Kwang Ho, Chuck Close, and Picasso. Tonight's exercise is fingerprint modeling.
This document appears to be an attendance sheet for a Small Books Unbound Workshop held on February 8, 2015. It lists the names of 14 attendees and the instructor, Pamela Lanza. The workshop was attended by Amy Harcourt, Diana Elrod, Glenn Hirsch, Janine Wilburn, Joan DiStefano, Lee Grygo, Mary Worth, Naina Ayya, Paul Takayanagi, Robyn Kruse, Sally Wassink, Shihya Sung, Ursula Yearwood, and was led by instructor Pamela Lanza.
This document provides reading assignments for two class discussions on October 17th and October 31st. It lists the names of 13 artists such as Elmgreen & Dragset, Maurizio Catellan, Laurie Simmons, Carroll Dunham, Francis Alys, Cindy Sherman, Jennifer Dalton, William Powhida, and Rashid Johnson and references some of their specific works like "Marriage" and "Still from Tiny Furniture" that are likely related to the assigned readings.
This document provides information on several contemporary artists and their works that use narrative scrolls or scroll-like forms. It describes scroll works by Daniel Van der Noon, Evelyn Nicodemus, Hannah Leighton Boyce, El Anatsui, Miao Xiaochun, Song Dong, Xu Bing, Izhar Patkin, Iri Maruki and Toshi Maruki, and Yu Hong that incorporate themes of history, travel, language, and responses to social and political events. The works utilize mediums such as digital ink, photography, printing, and murals.
This texture study assignment asks students to photograph reflective objects to demonstrate crisp shapes of light on surfaces, basic shapes, perspective, a full range of values, excellent composition, and use of background to highlight the object(s).
Experiments in Figure Drawing and in unusual format (scrolls)pamlanza
This document lists experiments in figure drawing including overlapping figures, drawing hand scrolls, and experiments in an unusual format conducted by several artists including Amy Harcourt, Melissa Johnson, Katherine Kiwala, Kira Del Mar, Karen Justis, Suchitra Sharma, and Yoko Tahara.
The document lists various artists and their works that students have studied, including Ghirlandaio who was Michelangelo's teacher, Gericault's "Raft of the Medusa", Van Gogh's "The Sower" which Vincent studied, Raimondi's "Judgment of Paris", Manet's "Luncheon on the Grass", works by Courbet, Picasso's study of Courbet, Giorgione and Titian's "Venus of Urbino", Manet's "Olympia", works by Mel Ramos, Larry Rivers, Cezanne which students studied, George Bellows' "Stag at Sharkey's", works by Rembrandt, and Vincent
The document discusses several artists who create collaged and re-purposed drawings including Barbara Moody, Cheryl Richey, Dorota Jedrusik, Lee Krasner, Judy Foosaner, Jackie Berridge, Dawn Clements, and Raymond Saa. It notes techniques like piecing together old drawings, working with gesso, ink, and charcoal, and using tears and cuts in collaged pieces. It encourages trying to put together contiguous images to create a large work or a collection of small drawings.
The document discusses abstraction in art and describes several series of drawings that demonstrate increasing abstraction. It provides examples of series by Piet Mondrian and Picasso that simplify forms into geometric shapes over multiple drawings of the same subject. Another example described is a "half-life" drawing series where the same subject is drawn for progressively shorter periods of time. Students are assigned to create their own series of increasingly abstract drawings from a single subject over multiple drawings.
This document provides instructions for an art assignment asking students to create a minimum of two surrealist drawings incorporating disparate visual elements from unrelated photographs. The pieces can be separate or combined into a diptych or larger multi-panel work. Examples are given of artists who have created diptychs, triptychs, or multi-panel works that either continue a single image or theme across panels or use independent images. Recommended drawing media include mixed media.
The document provides instructions for an art exercise involving drawing on clear acetate sheets that are placed over photographs. Students will use markers and pens on the acetate to incorporate and manipulate the images from the photos below. Examples are given of various contemporary artists who have used this acetate drawing technique in their own works, demonstrating different ways the photos can be obscured, incorporated into cutouts, or used as guides for tracing. Tips are provided on adhering the acetate sheets while drawing and which mediums work best for bonding acetate to paper or other acetate layers.
The document provides instructions for an art exercise involving drawing on clear acetate sheets that are placed over photographs. Students will use markers or other media to draw on the acetate, and can then remove the underlying photo or layer multiple acetates. Examples are given of different techniques like using alcohol to erase marker on acetate, drawing the shapes seen in cloud photos, and painting on the underside of the acetate to obscure the photo. Tips are provided on adhering acetate to paper or other surfaces. The goal is for students to experiment with the various effects that can be created through drawing on and manipulating acetate over photographs.
The document discusses how overlaying images can add mystery and free artists from literal interpretations. It provides examples of works that build layers of information:
- The Archimedes Palimpsest was originally a 10th century copy of Archimedes that was overwritten in the 13th century, but modern imaging has revealed the original text.
- Hibiki Miyazaki's work has a transparent toy battle horse and swords painted over text that explains the image.
- Helen Ward uses obscured bottom text as a pattern and "secret message" under dreamlike dripping images.
This document discusses contemporary approaches to drawing that expand traditional definitions. It lists various artists and techniques that challenge conventions, including recordings of subway motion by William Anastasi, wall drawings instructed but not created by Sol LeWitt, works using materials like tape, gunpowder, and earth. It advocates collaborating with other artists, combining different styles, appropriating other works, and allowing spontaneity in drawing to discover new ideas and constantly grow as an artist.
This document lists the names of 16 artists and 1 student. It includes Terry Allen, Travis Somerville, Fred Stonehouse, Banksy, Jess Reno, Basquiat, Janis Walker, Giosuè Quadrini, Laly Mille, Despina Stokou, Joan Fullerton, Geri Rebstock, Tom O’Neill, Squeak Carnwath, Leslie Dill, Jane Davies, and one student.
Combining elements from former drawings to create new onespamlanza
The document lists the names of 12 contemporary drawing artists and describes some techniques they use that combine disparate elements or approaches from multiple sources into a single drawing, such as drawing with both hands, overlapping washes of ink, including multiple drawings on one page, using reductive or non-representational styles, collaborative drawings between artists, and using non-traditional materials like coffee. It also announces an upcoming experimental drawing exhibition in fall 2018.
REFLECTIVE SURFACES & CONTEMPORARY DRAWING ARTISTS, PART 2pamlanza
The document lists the names of several contemporary drawing artists and mentions some of their mediums. It appears to be notes related to a class on contemporary drawing artists that includes reflections on unusual objects and combined drawings as part of the homework. Artists mentioned include Jeff Raymond, Alex Hamilton, Ali Osborne, Harvey Tulcensky who uses ballpoint pen, Natalia Pivko, Vitaly Pushnitsky, Zeng Xiajun who uses ink on paper, and Beili Liu who works with blown ink on paper.
This document discusses various compositional techniques for arranging elements on a two-dimensional picture plane, including diagonal, radial, concentric, symmetric, asymmetric, and vertical compositions. It provides examples of each technique drawn by artists like Jim Dine, Ginny Grayson, and Giorgio Morandi. The final sentences assign homework to experiment with compositional techniques using hanging objects and letting light or shadow be an important element.
This document lists various artists and their works, as well as examples of how students and other artists studied and were influenced by the masters. It includes Michelangelo studying under Ghirlandaio, Van Gogh being influenced by Japanese prints, Picasso studying the works of Velazquez and Courbet, and examples of student sketches copying and analyzing works by Rembrandt, Cezanne, Bellows, and Van Gogh. The purpose is to show artists learning from the masters by close observation and interpretation of their techniques.
Draw a hpto keeping it upside-down the entire time. Turning it right-side up to make corrections or to tighten up your drawing to make it more exact defeats the important multiple purposes of the exercise:
• To stop thinking in terms of rendering objects, and start seeing large shapes of light and dark
• To note how placement of those shapes carves up the picture plane
• To understand how the placement of values defines and energizes the composition
• To abstract the photo into a drawing – not a photorealist drawing, but one with your own kinds of lines and choices and interpretation
The document discusses various compositional techniques for shading in artwork. It provides examples from different artists to illustrate concepts like grouping objects to form rectangles within rectangles, objects touching or going off the edges of the picture plane, selective shading with contour lines only indicating some objects, close-ups emphasizing shape and blocking out light and dark areas, and using backgrounds to set off objects and create edges without outlining. It recommends doing thumbnail sketches to plan compositions and using the full range of values from darkest to lightest when shading, with darker values for receding objects and lighter for those coming forward. Background tones can shift depending on nearby objects to set them off through value contrast.
DRAWING WITHOUT FEAR! Week 1: Basic shapespamlanza
This document provides guidance on drawing techniques for students. It discusses drawing still lifes, contour drawing, gesture drawing, and studying master artists' works. Students are encouraged to practice different techniques like blind contour drawing and shading to improve hand-eye coordination. They are also assigned homework to set up their own still life at home using ordinary objects.
The NOT FLAT workshop at the Asheville Art Museum in May 2018 explored concepts beyond the flat, two-dimensional surface. Participants experimented with techniques that incorporated texture, dimensionality, and other sculptural elements into their artwork. The goal was to challenge traditional notions of painting and drawing and push creative boundaries in new directions.
Students in a class critique their final projects and provide feedback to each other on their work. Ali Campbell, Becca Campbell, Kate Chassner, Jacob Fisher, Louise Glickman, and Pat Johnson are listed as having participated in the critique by providing their projects for feedback and reviewing their classmates' work.
Leveraging Generative AI to Drive Nonprofit InnovationTechSoup
In this webinar, participants learned how to utilize Generative AI to streamline operations and elevate member engagement. Amazon Web Service experts provided a customer specific use cases and dived into low/no-code tools that are quick and easy to deploy through Amazon Web Service (AWS.)
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
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.
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 𝟏)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐄𝐏𝐏 𝐂𝐮𝐫𝐫𝐢𝐜𝐮𝐥𝐮𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐢𝐧𝐞𝐬:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐍𝐚𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐒𝐜𝐨𝐩𝐞 𝐨𝐟 𝐚𝐧 𝐄𝐧𝐭𝐫𝐞𝐩𝐫𝐞𝐧𝐞𝐮𝐫:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.