Faculty Publications (Fine Arts)

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    Locating Earth disturbances using the SDR Earth Imager
    (Remote Sensing, 2022) Sharif, Radwan; Tanyer, Suleyman Gokhun; Harrison, Stephen; Junor, William; Driessen, Peter; Herring, Rodney
    The Radio Wave Phase Imager uses monitoring and recording concepts, such as Software Defined Radio (SDR), to image Earth’s atmosphere. The Long Wavelength Array (LWA), New Mexico Observatory is considered a high-resolution camera that obtains phase information about Earth and space disturbances; therefore, it was employed to capture radio signals reflected from Earth’s F ionization layer. Phase information reveals and measures the properties of waves that exist in the ionization layer. These waves represent terrestrial and solar Earth disturbances, such as power losses from power generating and distribution stations. Two LWA locations were used to capture the ionization layer waves, including University of New Mexico’s Long Wavelength Array’s LWA-1 and LWA-SV. Two locations of the measurements showed wavevector directions of disturbances, whereas the intersection of wavevectors determined the source of the disturbance. The research described here focused on measuring the ionization layer wave’s phase shifts, frequencies, and wavevectors. This novel approach is a significant contribution to determine the source of any disturbance.
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    The Wildflowers Around Victoria Painted on Silk
    (2019-11-24) Duer, Elizabeth Yeend; Butler-Palmer, Carolyn (ed)
    Elizabeth Yeend Duer (1889–1951) was born in Nagasaki, Japan. Her father was an Englishman, Yeend Duer (1846–1921) and her mother a Japanese woman, Yasu Tsunekawa (née Zama, 1859–1936). Elizabeth grew up knowing much about both English and Japanese culture and language and learned to selectively deploy this knowledge, depending on context and the message she wished to convey. The Duer family moved to the fashionable, westernized, Ginza district of Tokyo when Elizabeth was about ten years old. They kept an English-style house. The dining room, for example, was furnished with a European-style table and chair set, and the family used knives and forks, not chopsticks. Elizabeth was also practiced in the art of kimono wearing, which she likely learned from her mother. It is said that as an adult Elizabeth Duer only wore kimonos, presenting herself as a Japanese woman.The Duers were early proponents of education for girls and women in Japan. Elizabeth studied nihonga-style painting in the atelier of Gyokushi Atomi (1859–1943), an institution dedicated to the artistic education of women. After some time studying with Gyokushi, Elizabeth took on the artistic identity of Gyokushō. A British citizen, Elizabeth left Japan for Victoria, British Columbia in the fall of 1940, wearing Western-style clothes. War was on the horizon and Duer felt the tensions between Japan and England escalate. In Victoria, she joined her first cousin and artist Katharine Emma Maltwood (née Sapsworth, 1878–1961) and Katharine’s husband John, who had arrived in Victoria just two years earlier. Katharine’s mother (Elizabeth Duer) and Elizabeth’s father (Yeend Duer) were siblings. Unlike most Japanese Canadians, Elizabeth was not interned after the bombing of Pearl Harbor. She supported herself by working as a translator and teaching Japanese to officers headed to Burma in the military campaign against Japan. Back in Japan, members of the Duer family were incarcerated as British sympathisers. Remarkably, Elizabeth continued to paint in the nihonga-style and signed her work using her Japanese artistic identity, Gyokushō. In 1941, she exhibited her work with the Island Arts and Crafts Society, publicly presenting herself as a Japanese artist, though Canada was at war with Japan.
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    Perceptual Evaluation and Analysis of Reverberation in Multitrack Music Production
    (Journal of the Audio Engineering Society, 2017-01) De Man, Brecht; McNally, Kirk; Reiss, Joshua D.
    Artificial reverberation is an important music production tool with a strong but poorly understood perceptual impact. A literature review of the relevant works concerned with the perception of musical reverberation is provided, and the use of artificial reverberation in multi source mixes is studied. The perceived amount of total artificial reverberation in a mixture is predicted using relative reverb loudness and early decay time, as extracted from the newly proposed Equivalent Impulse Response. Results indicate that both features have a significant impact on the perception of a mix and that they are closely related to the upper and lower bounds of desired amount of reverberation in a mixture.
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    Propriety and passion: images of the new woman on the London stage in the 1890s
    (2018-07-03) Thompson, Doreen Helen; Hughes, Alan
    The emergence of the New Woman in the 1890s was the result of a broad spectrum of feminist demands: equal advantages with men in education, entrance into "male" professions, and a share in the government of the country. Women's desire for personal freedom led to the removal of conventional restrictions with regard to dress, manners, and modes of living and to a rebellion against inequalities in marriage and double standards of morality. Within the theatre community, bold new patterns of thought developed out of a growing discontent with outworn forms. The New Drama and the New Woman became inseparable in the public mind, and socially aware dramatists attempted to create a contemporary heroine who would reflect the way modern woman was perceived. The first chapter, "Relics of the Past," documents legal and social changes in woman's status prior to 1900 and reveals how the 19th century woman was held back, not only by men claiming educational and political advantages by virtue of male superiority, but by other women who fought against any change to well-defined sex roles, and by her own reluctance to free herself from conventional patterns. The second chapter, "Removal of Ancient Landmarks," is concerned with women in the creative arts who seized the opportunities for female emancipation that life in the artistic community promised, particularly to those in the theatre. The third chapter, "Treading on Dangerous Ground," links the impact of Ibsen on British drama with the new breed of actresses who were willing to represent the New Woman on stage and to replace the feminine ideal with their defiant portrayals of selfhood. The next three chapters explore dramatic images of the New Woman as she was depicted in plays written for the London stage in the 1890s. In Chapter IV, "Shall We Forgive Her?," the former "fallen" woman of fiction and melodrama, now updated to the "Woman with a past," demonstrates the extent to which prior sexual misdemeanours make her a social outcast, even if the playwright does not condemn her to an untimely death, insanity, or suicide. Chapter V, "New Lamps for Old," deals with the "advanced" woman who is either aggressive in courtship or chooses a career over marriage, overturns parental authority, engages in activities formerly reserved for males, and often talks and dresses like a man. By pushing against conventional boundaries which define woman's intellectual and moral territory, she seeks to overthrow the patriarchal system and to upset the double standard. In Chapter VI, "A Modern Eve," another aspect of the New Woman manifests in the married heroine who attempts to establish greater freedom for herself within the old patterns of respectability yet must face the psychological pressures which tend to keep women in their traditional place. Throughout the decade, proponents of the New Drama allowed the heroine to express her own mind as a necessary step towards selfhood. Conservative playwrights clung to legal marriage and most assumed that a woman's role was decreed by Nature and was basically unchangeable. More progressive playwrights advocated free union and accepted the premise that freedom is attained only when both sexes are released from bondage to old ideals.
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    Byzantine silver stamps
    (Dumbarton Oaks Research Library & Collection, 1961) Dodd, Erica Cruikshank
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