User:Easchiff/Sandbox

tools

 * Username
 * article name ~
 * Template messages/User talk namespace
 * Administrator intervention against vandalism
 * T:TDYK Did you know?

The Land

 * Public domain version of the film, which was produced by employees of the US government.
 * The Land has been restored at the Museum of Modern Art using a copy of the film originally donated by Robert Flaherty. See
 * Includes the commentary from the film.
 * Includes the commentary from the film.
 * Includes the commentary from the film.

Literary and literal translations of poetry
The current section on translation in the Wikiproject is mainly concerned with literal translations.

A section on citation of literary translations should be included. I think these should follow the general guidelines for "reliable sources" (WP:SOURCE). Author is notable (has Wikipedia article). Poetry is published by an established publishing house or journal.

Citation of literary translations: For articles on poets and poems published in foreign languages, it may be helpful to include citations to literary translations. Such citations should follow rules similar to those for "reliable sources" in Wikipedia articles: the cited work should have been published by an established publisher or journal that incorporates curation in some form.

non-free video samples

 * WikiProject Film/Multimedia
 * WikiProject Film/Multimedia and File:S08-first contact borg queen assembled.ogv
 * WikiProject Film/Multimedia and File:S08-first contact borg queen assembled.ogv

For music, there is a guideline that non-free samples should be 30 s or 10% of a song, whichever is less. Seems appropriate to video clips.

The rationale for the example from Star Trek looks good.

Cécile Decugis
Les Mistons de François Truffaut All the Boys Are Called Patrick ou Charlotte et Véronique de Jean-Luc Godard Breathless de Jean-Luc Godard Shoot the Piano Player de François Truffaut Charlotte and Her Boyfriend de Jean-Luc Godard Cuixart, permanencia del barroco de Jean-André Fieschi The Smugglers de Luc Moullet My Night at Maud's d'Éric Rohmer Claire's Knee d'Éric Rohmer La Débauche de Jean-François Davy Love in the Afternoon d'Éric Rohmer L'Italien des Roses de Charles Matton Le Seuil du vide de Jean-François Davy Dreyfus ou l'Intolérable Vérité de Jean Chérasse Lily, aime-moi de Maurice Dugowson It's Raining on Santiago de Helvio Soto The Marquise of O d'Éric Rohmer Flocons d'or de Werner Schroeter Perceval le Gallois d'Éric Rohmer The Aviator's Wife d'Éric Rohmer Le Beau Mariage d'Éric Rohmer Pauline at the Beach d'Éric Rohmer Full Moon in Paris d'Éric Rohmer Natalia de Bernard Cohn Parpaillon de Luc Moullet
 * Cécile Decugis
 * Breathless is no. 27.
 * Breathless is no. 27.
 * Breathless is no. 27.
 * Breathless is no. 27.
 * Breathless is no. 27.

McCabe

 * Social security death index lists Edmund J. Naughton, born March 7, 1926, died September 9, 2013. https://www.dobsearch.com/death-records/view.php?t=1477517321&searchnum=241788081044&sessid=0p0kk00gp3bb22g9l58700qur4
 * bio printed in 1991 reprint of McCabe . See http://www.fistful-of-leone.com/forums/index.php?topic=1523.90;wap2 for text.
 * Poster: http://www.kennelco.com/wp-content/uploads/2016/02/McCabe.jpg . Billing block text: Warren Beatty - Julie Christie in the Robert Altman - David Foster production of "McCabe & Mrs. Miller" Also starring Rene Auberjonois - Screenplay by Robert Altman and Brian McKay - Based on the novel "McCabe" by Edmund Naughton - Produced by David Foster and Mitchell Brower - Directed by Robert Altman -Panavision Technicolor from Warner Bros.
 * Back of dust jacket for McCabe (1959): "After college he started collecting jobs and experience by hitchhiking across the country. In addition to being a writer, he has been a smelter worker in Montana, a Democratic Party worker in Manhattan, a messman on an ore boat on the Great Lakes, a high school teacher in Brooklyn, a motivation research interviewer and a police reporter." See http://www.dustjackets.com/pictures/14314.jpg?v=1417040188.

Viaggio in Italia
third character temps mort (dead time) Cahiers de Cinema misc
 * score: Renzo Rossellini
 * more on Pompeii excatioin (Callahan).
 * Naples as the third character. Brunette - "What rules Voyage to Italy is environment. Like Thomas Hardy's fictional Wessex, it becomes a powerful third character in the film, and its name is Italy. Most baldly stated, the film is about Katherine and Alex's confrontation with this otherness so utterly opposed to everything they know and understand. Where Alex is materialistic and superrational and Katherine is, initially, at any rate, overly aesthetic and otherworldly, Italy is sensual and earthbound."
 * Rossellini quote: (Gallagher)-thus the third character, Naples. Synopsis: Alex & Katherine don't know what to say to each other in the alien environment of Naples. Rossellini: "It struck me that the only way a rapprochement could come about was through the couple finding themselves complete strangers to everyone else."
 * Alex and Katherine's journey to Naples upends their marriage, and several critics have suggested that Naples itself acts as a "third character" in the film. Peter Brunette wrote of "a poweful third characer in the film, and its name is Italy. Most baldly stated, the film is about Katherine and Alex's confrontation with this otherness so utterly opposed to everything they know and understand. Where Alex is materialistic and superrational and Katherine is, initially, at any rate, overly aesthetic and otherworldly, Italy is sensual and earthbound." Tag Gallagher expressed a similar viewpoint, and quotes Rossellini as saying "It struck me that the only way a rapprochement could come about was through the couple finding themselves complete strangers to everyone else."
 * discussion of temps mort. Draw from Brunette, Mulvey chapter.
 * Brunette "In Voyage to Italy Rossellini's use of temps mort reaches a new level of complexity and suggestiveness, but develops clearly from the experiments undertaken in the uncut Italian version of Stromboli . In the much-remarked opening scene, for example, when we first see the Joyces driving along the highway toward Naples, the boredom is palpable. The car's engine hums soporifically, a train speeds in the opposite direction; immediately following the credits we have cut quickly to a train whistle that suddenly rends the image. "
 * This essay was originally published in French in 1955.
 * This essay was originally published in French in 1955.
 * This essay was originally published in French in 1955.

Vincent (play)

 * Vincent was developed from the play Van Gogh, which was an earlier one-man play written and performed by Phillip Stephens. Nimoy purchased the rights to the play from Stephens, and incorporated some of Stephens' writing into Vincent.
 * Starting in 1978, Leonard Nimoy starred in a one-man play called Vincent that he'd adapted from the play Van Gogh by Phillip Stephens. See
 * A performance was televised in 1981, and a DVD based on that videorecording was released in 2006. See
 * Vincent was published in 1984; see
 * The play has been performed many times by Jim Jarrett; see
 * The play was revived in 2012 in Los Angeles, with Richaud as Theo. See
 * The play was revived in 2013 in Harrisburg, Pennsylvania. See
 * The play was revived about 2013 by Starry Night Theater with Briggs as Theo, and traveled around the country for over two years, culminating with an off-Broadway performance in New York City. See See

The Enigma of Kaspar Hauser: Themes

 * Chaw's dissection of "art" is its destruction.
 * Ebert: "The film's landscapes, its details from nature, its music, all embody the dream world Kaspar entered when he escaped the unchanging reality of his cellar. He never dreamed in the cellar, he explains. I think it was because he knew of nothing else than the cellar to dream about."
 * Ebert: "'The Enigma of Kaspar Hauser' is a lyrical film about the least lyrical of men. Bruno S. has the solidity of the horses and cows he is often among, and as he confronts the world I was reminded of W. G. Sebald's remark that men and animals regard each other across a gulf of mutual incomprehension." Also Companion, p. 60. Relationship to chicken hypnosis?
 * "empty moments that have a strange, secret beauty". Companion, p. 51 . "non-narrative"
 * "it is not the unique individual who is abnormal but rather a social system of normativizing vision that casts them into that status. Companion, p. 501.

2071

 * http://www.nachtkritik.de/index.php?option=com_content&view=article&id=10385:2071-katie-mitchell-inszeniert-eine-lecture-performance-des-britischen-klimaforschers-chris-rapley-am-hamburger-schauspielhaus&catid=56:deutsches-schauspielhaus-hamburg&Itemid=100190

The Thin Red Line

 * Pfeil compares The Thin Red Line with Saving Private Ryan (directed by Steven Spielberg-1998) and Full Metal Jacket (Stanley Kubrick-1987).

Lists of science and climate change plays

 * See also the discussion of plays featuring Galileo, p. 26

Galileo affair in art
The Galileo affair and Galileo's extraordinary scientific contributions have been treated in many plays, films, and even at least one opera. Many of the plays have been described recently by Kirsten Shepherd-Barr. Of the plays based on the Galileo affair, Bertolt Brecht's Life of Galileo has been called a masterpiece, and is likely the best known. Its relationship to the history of the affair has been discussed by ... on to film.


 * Lionel Abel Metatheatre (1963) p. 98 ("this is one of Brecht's best plays, perhaps his greatest"; Martin Esslin (Grove, 1960), Brecht: The Man and His Work, p. 304 "Brecht's masterpiece".
 * Calls play "reactionary masterpiece?"
 * See also

Galileo (1974 film)

 * 1) Discuss scenes cut from film that were in American version. How many scenes were there? How many remain?
 * 2) There are Losey quotes on his intentions with Galileo.
 * 3) Extract mise-en-scene examples from Gardner's book.
 * 4) Images - Losey. Topol. mise-en-scene . Ely Landau?


 * Discussion of Losey's longstanding interest in filming Galileo.
 * with photographs - Losey from Senses of Cinema. Discusses Cavani's Galileo (1968) and also Luigi Maggi's 1909 short film Galileo Galilei (US: Galileo, Inventor of the Pendulum). These authors give a comprehensive list of films based on Galileo's life. See also
 * Comprehensive discussion of the relationship of Brecht & Losey. For Galileo, notes Losey's contributions to the NY production, after Brecht had left the country. Also notes Losey's efforts in support of The Hollywood Nineteen.
 * Discussion of Losey's longstanding interest in filming Galileo.
 * with photographs - Losey from Senses of Cinema. Discusses Cavani's Galileo (1968) and also Luigi Maggi's 1909 short film Galileo Galilei (US: Galileo, Inventor of the Pendulum). These authors give a comprehensive list of films based on Galileo's life. See also
 * Comprehensive discussion of the relationship of Brecht & Losey. For Galileo, notes Losey's contributions to the NY production, after Brecht had left the country. Also notes Losey's efforts in support of The Hollywood Nineteen.
 * with photographs - Losey from Senses of Cinema. Discusses Cavani's Galileo (1968) and also Luigi Maggi's 1909 short film Galileo Galilei (US: Galileo, Inventor of the Pendulum). These authors give a comprehensive list of films based on Galileo's life. See also
 * Comprehensive discussion of the relationship of Brecht & Losey. For Galileo, notes Losey's contributions to the NY production, after Brecht had left the country. Also notes Losey's efforts in support of The Hollywood Nineteen.
 * with photographs - Losey from Senses of Cinema. Discusses Cavani's Galileo (1968) and also Luigi Maggi's 1909 short film Galileo Galilei (US: Galileo, Inventor of the Pendulum). These authors give a comprehensive list of films based on Galileo's life. See also
 * Comprehensive discussion of the relationship of Brecht & Losey. For Galileo, notes Losey's contributions to the NY production, after Brecht had left the country. Also notes Losey's efforts in support of The Hollywood Nineteen.

Mark di Suvero

 * Early review of di Suvero's sculpture.

Low emissivity
The term low emissivity (low-e) is applied to some surfaces used in thermal insulation, including metal foil "radiant barriers" in building insulation, silvered glass in older "thermos®" bottles, and the specially coated panes of glass in some windows. Low-e surfaces emit thermal radiation relatively weakly. In this context, thermal radiation is infrared light, which is invisible. The emission and absorption of thermal radiation can be a major source of heat loss in insulation; this loss is in addition to the loss of heat directly through the air.

Thus an ordinary glass window pane emits thermal radiation very well, and is a poor insulator. Glass has an emissivity that approaches the maximum possible value of 1.0. A glass pane that is coated with a low-e material typically has an emissivity that's less than 0.2. Coated panes can be designed so that they're transparent, and since the 1980s these coatings are used in commercial "low-e" windows. Mirror-like metallic coatings such as silver and aluminum aren't transparent, but have emissivities as low as 0.02. For more than a century these coatings have long been used as the low-e coating in glass vacuum flasks (see photograph), of which the common "thermos®" bottle is an example. Metal foils are often incorporated in insulation products, where they are known as "radiant barriers". They use the same principle of reducing emissivity that is used for windows and vacuum flasks.

Thermal radiation, R-values and U-values
The insulation between two surfaces is typically characterized by an "R-value". Better insulators have larger R-values. Since air transfers heat between surfaces, it might seem that a vacuum would be a perfect insulator, with an infinite R-value. However, for two room-temperature glass surfaces separated by vacuum, the thermal radiation between them limits the R-value to 0.22 (metric units) or to 1.22 (conventional US units). The R-value increases as the emissivity drops, and for the silvered surfaces in glass vacuum flasks it is about 16 (metric) or 89 (US).

The "U-value" is also instead of the R-value to describe insulating properties. The U-value is the reciprocal of the R-value. Thus the R-values of 0.22/1.22 (metric/US) for an unsilvered, glass vacuum flask correspond to U-values of 4.6/0.82.

Low-e windows
For windows, U-values describe the heat that flows from the interior of a building (with air temperature Ti) to the exterior (at air temperature To). A single pane of ordinary glass in a "single-glazed" window has a U-value of about 5.9/1.03 (metric/US). The U-value is determined by several processes, including: By changing the emissivity of the interior glass surface from 0.85 to 0.07, the U-value improves about 40%, from 5.9/1.03 to 3.4/0.59. Applying a low-e coating to the outer surface of the glass has much less effect.
 * exchange of thermal radiation between the interior of the building and the inside surface of the glass
 * exchange of heat by the air inside the building
 * exchange of thermal radiation between the exterior of the building and the outside surface of the glass
 * exchange of heat by the air outside the building. This exchange is strongly affected by wind.

Low-e surfaces are most commonly used for double-glazed windows, which use two panes of glass separated by a space filled with air or an inert gas such as argon. A simple, air-filled double-glazed window without a low-e coating has a U-value of about 2.51/0.44 (metric/US). Applying a low-e coating with emissivity 0.2 on the innermost glass surface improves the U-value of the double-glazed window about 23% to 1.94/0.34. This surface is called the 4th surface, where one counts from the outermost surface of the two panes of glass. A 32% improvement over unimproved double-glazing (to 1.72/0.30) occurs when the low-e surface is applied to the 3rd glass surface.

There are several types of low-e coatings with differing properties, and there are a large number of possible designs for double-glazed and triple-glazed windows. The U-values for many of the designs are tabulated in handbooks. Several of the different low-e coatings and treatments are described in the next section of this article.

History and technologies of low-e coatings
As evidenced by the development of the glass vacuum flask, the principles of low-e insulation were understood before 1900. Nonetheless, there were no commercial window products available in the United States that used this approach as of 1973, when an embargo of oil exports to the United States heightened interest there in energy conservation and in alternate energy sources.

There are two primary methods in use: Pyrolytic CVD and Magnetron Sputtering. The first involves deposition of fluorinated tin oxide (SnO2:F see Tin dioxide uses) at high temperatures. Pyrolytic coatings are usually applied at the Float glass plant when the glass is manufactured. The second involves depositing thin silver layer(s) with antireflection layers. Magnetron sputtering uses large vacuum chambers with multiple deposition chambers depositing 5 to 10 or more layers in succession. Silver based films are environmentally unstable and must be enclosed in an Insulated glazing or Insulated Glass Unit (IGU) to maintain their properties over time. Specially designed coatings, are applied to one or more surfaces of insulated glass.



Wndow losses: graphic. +20C inside, -10 C outside. From Harvey. Single glazed Single glazed low-e (window film) Double glazed Double glazed low-e

Hard-coatings. A low emissivity surface on a sheet of glass can be created during manufacture by spraying a solution such as tin chloride (SnCl4) and water onto very hot glass at around 600 C). This creates a layer of tin oxide (SnO2) on the surface of the glass that's typically 100 to 400 nanometers (nm) thick, and that conducts electricity to a degree. The semiconducting layer is typically designed to reflect about 80% of the thermal radiation and 20% of the sunlight that's incident on it. ref-Harvey.


 * From
 * Website maintained by a trade organization.
 * Glaeser is a pioneer in low-e films for windows.
 * Website maintained by a trade organization.
 * Glaeser is a pioneer in low-e films for windows.
 * Website maintained by a trade organization.
 * Glaeser is a pioneer in low-e films for windows.
 * Glaeser is a pioneer in low-e films for windows.

Deep dive
The "Deep Dive" is a term coined in the 1990s by the IDEO management consulting company to describe a planning exercise they had developed for corporate clients. The trademark "DeepDive" has been owned by Deloitte, Inc. since 2006.
 * 2001 book about IDEO starts with the deep dive.
 * Feature article on the IDEO management consulting firm, which developed the "deep dive" as a planning tool for corporate managers.
 * Working paper issued by the Harvard Business School. The paper notes the use of the term "deep dive" in a book published in 2001 by Jack Welch and A. J. Byrne (see.
 * Working paper issued by the Harvard Business School. The paper notes the use of the term "deep dive" in a book published in 2001 by Jack Welch and A. J. Byrne (see.

Franck-Hertz

 * Non-Poisson photon emission.
 * Finer work done later by the Americans. Noted by Lemmerich?
 * More details on Hg electronic levels? Or replace the generalized Bohr model figure with one specific to Hg?
 * Nicoletopoulos, et al. work?

Argosy

 * Has a substantial introduction, unfortunately unsigned.

Wagon Master

 * This article was reprinted as
 * Several pages discussing the "mythic landscape" of Wagon Master. Not really related to the film itself; the film is used to exemplify how film and fiction treat the "settling" of the western US and the displacement of the native Americans.
 * Several pages discussing the "mythic landscape" of Wagon Master. Not really related to the film itself; the film is used to exemplify how film and fiction treat the "settling" of the western US and the displacement of the native Americans.
 * Several pages discussing the "mythic landscape" of Wagon Master. Not really related to the film itself; the film is used to exemplify how film and fiction treat the "settling" of the western US and the displacement of the native Americans.

Ackerman

 * Selected by May Swenson, 1985.
 * Selected by May Swenson, 1985.
 * Selected by May Swenson, 1985.
 * Selected by May Swenson, 1985.
 * Selected by May Swenson, 1985.
 * Selected by May Swenson, 1985.
 * Selected by May Swenson, 1985.
 * Selected by May Swenson, 1985.

Third Culture

 * Published version of Snow's 1959 Rede Lecture at Cambridge University.
 * It is possible that Fallers' article is the first mention of a "third culture" in the context of Snow's original lectures. Fallers was a professor of anthropology at the University of Chicago.
 * Gives a history of the term; Brockman's book is not cited.
 * Reflections on "the Third Culture" from the editor of Wired.
 * Discusses Brockman in larger context.
 * Gives a history of the term; Brockman's book is not cited.
 * Reflections on "the Third Culture" from the editor of Wired.
 * Discusses Brockman in larger context.

Goethe & Schiller

 * Linguistic interference and first-language attrition: German and Hungarian ... By Gergely Tóth
 * Reviewed by Bledsoe.

About the German-American community

 * Has occasional essay on dedication of Schiller monument?
 * Has occasional essay on dedication of Schiller monument?
 * Has occasional essay on dedication of Schiller monument?
 * Has occasional essay on dedication of Schiller monument?
 * Has occasional essay on dedication of Schiller monument?

David Friedenthal

 * NY Times obit (pay)
 * Marian Griffiths obit http://www.nytimes.com/2008/09/29/arts/design/29griffiths.html

Adrien Stoutenburg

 * http://www.newyorker.com/search/query?query=%22Adrien%20Stoutenburg%22&page=2&queryType=nonparsed first poem in the New Yorker. March 30, 1957. The Allergic [ABSTRACT]

Hitler Lives
Possibility that the release of this film amounted to plagiarism? See:

Horton
http://www.latrobe.edu.au/screeningthepast/shorts/reviews/revdec/nzf.html

Pork Pie: This was the breakthrough film, "the first New Zealand film to recover its costs from the domestic market alone," the one that "altered New Zealanders' reluctance to watch locally made movies," the one that, with Paul Maunder's Sons for the return home (1979), was the first New Zealand feature "to screen in the market at Cannes" (76). It also involved so many of Murphy's family and friends that they "became known as 'The Murphia'" (ibid.).

Bloody Sunday
The production team for Bloody Sunday reunited several of the principals of the 1999 television film The Murder of Stephen Lawrence, which also had Redhead as producer, Greengrass as director, Strasburg as cinematographer, and Douglas as editor.

http://www.filmlinc.com/fcm/9-10-2002/greengrass.htm

The Neglected Miracle
http://www.webcitation.org/5YLpOUNcb from http://www.filmarchive.org.nz/feature-project/pages/Neglected-Miracle.php

Barry Barclay
Flickr photo http://www.flickr.com/photos/49968788@N00/53623037/

Non-free content
I am proposing that content uploaded under non-free licenses should explicitly include the year of publication or of the copyright notice, and that the non-free content guideline should be edited to note this. The specific motivation I have is that about 85% of pre-1964 content with a US copyright notice is now in the public domain due to non-renewal of copyright, but I estimate that thousands of such public domain works have been uploaded to Wikipedia under "fair use". Movie posters from before 1964 are a good example. Since all copyrighted material does ultimately enter the public domain, the guidelines and tags should reflect this fact better. Here is the current text:
 * While identifying a source is not specifically required by the non-free content policy, editors are strongly encouraged to include a source of where a non-free file came from on the media's description page; many of the non-free rationale templates already include a field for this information. This can aid in the cases of disputed media files, or evaluating the non-free or free nature of the image. Lacking a source is not grounds for media removal, but if the nature of the media file is disputed, the lack of a source may prevent the file from being retained. Non-free media must be from a published source; the unpublished non-free media is forbidden. Identification of the source will aid in validating the previous publication of the material.

Signs of the Times (U. S. trade magazine)

 * Lists initial date as 1906.

Public beach access (U. S. law)

 * Origins are in the Public trust doctrine

Stephen Antonakos
Stephen Antonakos (born November 1, 1926, Laconia, Greece) is an American artist who is noted for his works in minimal art, for his "landmark" studio works in the 1960s incorporating neon lighting, and since the 1970s for his large-scale public installations.

Stephen Antonakos immigrated with his family from Laconia to New York at the age of four, and was raised in New York City. He served in the U.S. army from 1945-47. Following his military service Antonakos studied art at Brooklyn Community College, receiving a certificate in 1949. Antonakos was employed for many years as a commercial artist; he worked mostly on pharmaceutical illustrations.

In the 1950s, Antonakos worked independently in several media: paintings, drawings, and collages of found objects; he received some recognition for this work in 1960 when one of his pieces was selected (with others by Claes Oldenburg, Jim Dine, and Allan Kaprow) for an exhibition, "New Forms, New Media", at the Martha Jackson Gallery; this exhibition has been called "the first major survey of assemblages". In 1960 Antonakos introduced neon into his collages. Although neon lighting for signage had become commonplace in the 1920s, it was only in the 1960s that its use in studio artworks by Antonakos and several other artists attracted significant attention.

Antonakos has described this transition, "My use of neon is really my own. I began with it around 1960 and very soon it became central to my work. The geometric forms, usually incomplete circles and squares, were a tremendous excitement to me. It is very difficult to separate light from space – even when the art is directly on the wall. For years I have been investigating the great subtlety and range of neon using forms that haven’t changed that much since the beginning. Its spatial qualities interested me – formal relationships within a work and with the architecture of the room or building and the kinetic relationship that a viewer may feel in the space of the light. I feel that abstraction can have a very deep effect visually, emotionally, and spatially."

Antonakos' neon works in the 1960s are now included in discussions of minimal art,  Quote Marzona about "blue box"? Discuss Flavin and other minimal/neon artists?

In the 1970s Antonakos began to receive commissions for large-scale public neon installations. The first two were temporary exhibitions in Grand Rapids, Michigan and at the Fort Worth Art Museum. Antonakos' first permanent public exhibition was Red Neon Circle Fragment on a Blue Wall in Dayton, Ohio. He has now done dozens of permanent and temporary installations. Thalia Vrachopoulos has written of this increase in the scale of Antonakos' work that, "Green Neon Incomplete Circle (1974), The Room (1973), and Incomplete Neon Square (1977) evince Antonakos’s ability to manipulate color and form while enlarging scale." Writing of an exhibition devoted to art in architecture that included some of Antonakos' works, Michael Kimmelman is less enthusiastic: "Considering works produced for Rockefeller Center and the Cranbrook Academy of Art outside Detroit, this century can claim distinguished examples of collaboration among architects, sculptors and painters in this country. But the International Style inspired by Le Corbusier and Mies van der Rohe spawned a legacy of "plop" art - generic public sculpture and painting made to adorn indistinguishable glass skyscrapers."

A number of Antonakos' artworks involve entire rooms or chapels. Daniel Marzona writes of these works, "The recognition by Antonakos of the power of coloured light led to the creation of more complex public sculptures using the industrial language of neon to compete with the outside world and all its various distractions." Antonakos' work for the 1973 exhibition Sculpture Off the Pedestal in Grand Rapids, Michigan was a self-contained room. These rooms became chapels later in his career. The most noted may be his work Chapel of the Heavenly Ladder (1997?), of which Grace Glueck has written, "For some time Stephen Antonakos, known for his works in neon, has been involved with projects of a religious nature, and the objects here give a good if limited account of recent endeavors. ... Even without the neon, in this small scale, it's an impressive work."

Monographs

 * In German. For the dissertation abstract (German and English) and links to the illustrations, see this webpage.
 * Discusses Blue Box (1965).
 * Large format book incorporating color photographs of many of Antonakos' artworks.
 * Discusses Blue Box (1965).
 * Large format book incorporating color photographs of many of Antonakos' artworks.

Reviews

 * Preview only; full text by subscription.
 * Preview only; full text by subscription.
 * Preview only; full text by subscription.
 * Preview only; full text by subscription.
 * Preview only; full text by subscription.

Interviews

 * Schiess' anthology includes interviews with Stephen Antonakos, Valerij Bugrov, Chris Freeman, Peter Freeman, Michael Hayden, Craig Kraft, Dante Leonelli, Cork Marcheschi, Bill Parker, Alejandro & Moira Sina, Keith Sonnier, and Willem Volkersz.
 * Schiess' anthology includes interviews with Stephen Antonakos, Valerij Bugrov, Chris Freeman, Peter Freeman, Michael Hayden, Craig Kraft, Dante Leonelli, Cork Marcheschi, Bill Parker, Alejandro & Moira Sina, Keith Sonnier, and Willem Volkersz.
 * Schiess' anthology includes interviews with Stephen Antonakos, Valerij Bugrov, Chris Freeman, Peter Freeman, Michael Hayden, Craig Kraft, Dante Leonelli, Cork Marcheschi, Bill Parker, Alejandro & Moira Sina, Keith Sonnier, and Willem Volkersz.
 * Schiess' anthology includes interviews with Stephen Antonakos, Valerij Bugrov, Chris Freeman, Peter Freeman, Michael Hayden, Craig Kraft, Dante Leonelli, Cork Marcheschi, Bill Parker, Alejandro & Moira Sina, Keith Sonnier, and Willem Volkersz.

Museum collections
Included in the Sandler monograph?
 * Ruby and Yellow Neon (1967). Smith College Museum of Art; two other pieces at Smith College.

DYK hooks

 * ...Stephen Antonakos's 1960s neon artworks are recognized as "landmarks" - although they were created more than forty years after the advent of neon lighting?

New York State Office of Parks, Recreation, and Historical Preservation

 * 07-08 : $276M total, $85M fees.
 * LIsts Empire Passport fees, other fee revenue for various state agencies, including the Parks.

Clark Reservation State Park

 * Write to Frank Volcko, Town Historian, for old pictures of Macfarlane hotel.
 * Onondaga Historical Society - source for Macfarlane history.
 * northeastnaturalist - photo of American hart's tongue.
 * meromixis article.
 * bio of Frances Theodora Parsons

Helen Levitt
Major Shows
 * 1943: "Helen Levitt: Photographs of Children", curated by Nancy Newhall, Museum of Modern Art.
 * 1991: "?", curated by Philips and Hambourg (?), Metropolitan Museum of Art and San Francisco Museum of Modern Art. Catalog.
 * 1997: "Crosstown", curated by Ellen Handy, International Center for Photography. Reference is Strauss. Also Laurence Miller gallery bio.

Ideas for extension of article.
 * Dikant's distinction between "art photography" and "social photography".
 * Dikant's comment that her 1943 showing was not the beginning of a brilliant career.

List of Syracuse University people needing articles

 * Rubin Braunstein
 * Alfred U. McRae

Esthetics and Theory

 * Review

Valerie Orpen's list of essential references

 * Barr, Charles (1962). "Some other aspects of editing", Scope
 * Bordwell, David and Thompson, Kristin (1986). Film Art (Second Edition)
 * Burch, Noel & Lane, Helen R. (trans.) (1973). Theory of Film Practice (Secker and Warburg).
 * Carroll, Noel (1996). Theorizing the Moving Image (Cambridge).
 * Dmytryk, Edward (1984). On Film Editing (Focal).
 * Fairservice, Don (2001). Film Editing: History, Theory, and Practice. (Manchester).
 * Henderson, Brian (1976). "The Long Take", in Bill Nichols (ed.) Movies and Methods: An Anthology (Univ. of California).
 * Murch, Walter (1995). In the Blink of an Eye: A Perspective on Fim Editing (Silman-James).
 * Perkins, V. F. (1991). Film as Film (Penguin).
 * Reisz, Karel and Millar, Gavin (1996). The Technique of Film Editing (2nd Edition) (Focal).
 * Salt, Barry 91992). Film Style and Technology: History and Analysis (Starword).

Memoirs by film editors

 * O'Steen, Sam - Cut to the Chase: Forty-Five Years of Editing America's Favorite Movies
 * Rosenblum, Ralph - When the Shooting Stops, the Cutting Begins
 * Williams, Elmo - Elmo Williams: A Hollywood Memoir
 * Winters, Ralph E. - Some Cutting Remarks: Seventy Years a Film Editor
 * Robert Parrish - Growing Up in Hollywood and Hollywood Doesn't Live Here Anymore

DVD commentary tracks by editors

 * Dances with Wolves, on extended edition, Neil Travis
 * Kingdom of Heaven, director's cut, Dody Dorn

Websites

 * http://www.artoftheguillotine.com/index.html

Dede Allen as a mentor
The following co-editors got early editing credits for work with Allen. Allen's bio for the Guild Fellowship and Service Award
 * http://movies.yahoo.com/movie/contributor/1800015097/bio
 * Jim Miller on The Breakfast Club
 * Craig McKay (film editor) on Reds
 * Vivien Hillgrove Gilliam
 * William S. Scharf
 * Angelo Corrao
 * Jeff Gourson
 * Gerald B. Greenberg
 * Stephen A. Rotter
 * Claire Simpson on Reds

Joe Hutshing co-editors

 * Almost Famous - Saar Klein
 * Vanilla Sky - Mark Livolsi

Thelma Schoonmaker

 * Extended appreciation of Schoonmaker & her work with Scorsese.

Claire Simpson as mentor

 * Joe Hutshing on Wall Street, also Scalia, Brenner, Livolsi

Neil Travis as mentor

 * Nicolas de Toth

Notability and some notable editors without articles
For film editors, one simple, if stringent, criterion for notability is nomination for a major award such as the Academy Award for Film Editing or the BAFTA Award for Best Editing. See Category:Film editing awards for a listing of related Wikipedia articles; the "red links" in these articles provide a shopping list of outstanding editors without articles. Another criterion is membership in an honorary organization of filmmakers such as the American Cinema Editors or the Academy of Motion Picture Arts and Sciences.
 * Sandra Adair, A.C.E. - longtime collaborator with director Richard Linklater. ACE Eddie nomination for Linnklater's The School of Rock (2003). . http://www.linkedin.com/pub/6/b7b/176.
 * John Bloom (film editor) - won Academy Award for Gandhi (film), nominated for The French Lieutenant's Woman (film), A Chorus Line (film). Eddie for Angels in America.
 * Wendy Greene Bricmont, A.C.E. - Annie Hall. A.C.E.., de:Wendy Greene Bricmont
 * Lisa Fruchtman.
 * David Gamble (film editor), A.C.E. - Shakespeare in Love (won BAFTA, Oscar nom., more nom.) . Otherwise few credits. Brit. Blood & Chocolate?
 * James Haygood. Editor for earlier Fincher features: Fight Club, Panic Room.
 * Michael Jablow - Old School
 * Harry Keramidas - A.C.E., BAFTA nomination for Back to the Future.
 * William Kerr (film editor) - Superbad. McGavin, Patrick Z. (2006). "The movie deftly pirouettes around the three scenarios: Fogell mixed up with the cops’ misadventures, Evan and Seth trying to extricate themselves from an increasingly strange social gathering and the available women of the suddenly raging party. In shifting aggressively between moments of private embarrassment, dovetailing incidents and quick thinking, “Superbad” continually subverts expectations. The comedy takes on multiple fronts. It’s classic, developed through rhyming movements and physical cutting, playing off all manner of contrasts and feeling, the anarchy and preposterousness of the kids constantly upsetting the civil, organized world." http://www.emanuellevy.com/article.php?articleID=6494
 * Lynzee Klingman, A.C.E.- Oscar nominee for One Flew Over the Cuckoo's Nest, de:Lynzee Klingman
 * Thomas Stanford - won Oscar for West Side Story. Wrote article:

Kay Ryan


In Ryan's early collection, Strangely Marked Metal (1985), there is a poem entitled "Lunch with Marianne Moore". Ryan has published a review of Moore's letters, as well as of a recent collection of her poetry.

Kay Ryan's teaching
Ryan has taught basic skills English at the College of Marin since 1971. "Ryan believes that for her students knowledge is power. 'Teaching basic skills is really like saving lives, says Ryan. 'There is nothing more important or more satisfying.'"

NYS Natural Heritage Area: Eastern Lake Ontario Barrier Beach and Wetland Complex

 * http://www.dec.ny.gov/animals/36987.html

Sandy Island Beach State Park

 * locator map: Sandy Island Beach on Lake Ontario.
 * photo of Sandy Pond?

Southwick Beach State Park

 * Photos needed: walkover+beachgrass community. Should show: beachgrass, wormwood, cottonwood, and sand dune willow. Tricky to photograph.
 * Perhaps something on birding.
 * zebra mussel shells.
 * http://www.ssc.uwo.ca/anthropology/cje/Publicationpdfs/Glacial%20Lake%20Levels.pdf

The marshes
(from Minc)

Floristic variability among coastal wetlands can be characterized in terms of specific vegetative zones. Moving from deeper water to the shore, typical zonation includes (1) the Submergent Marsh containing submergent and/or floating vegetation; (2)  Emergent Marsh characterized by shallow water or saturated soils, and typically dominated by bulrushes, cat-tails, and other emergent species, but also containing submergent and/or floating vegetation; and (3) a narrow but diverse  Shoreline or Strand Zone, at or just above the water line where seasonal water-level fluctuations and waves cause erosion, usually dominated by annual herbs. Inland from the water's edge, additional zones can be identified: (4) the Herbaceous  or  Wet Meadow zone characterized by saturated or periodically flooded soils, and dominated by sedges, grasses, and other herbs; and (5) the  Shrub Swamp and (6)  Swamp Forest zones, both characterized by periodic standing water, and dominated by woody species adapted to a variety of flooding regimes. Not all zones are present or well-developed in every wetland.

The emergent zones of this type feature very high densities of the canopy-forming submergent species, coontail and Canadian pondweed, along with duckweeds (common and star). spatterdock and fragrant water lily are also common. All of these reflect the well-protected and nutrient-rich waters of the lagoons, although star duckweed may be associated with cold, spring-fed streams. High densities of this last species are distinctive to the Lake Ontario and St. Lawrence sites, as is the prevalence of flat-stemmed pondweed.

The herbaceous zone is a wet meadow in which narrowleaf cattail typically dominates, along with Canadian reedgrass and marsh fern. Cattail is particularly sensitive to flooding; its dominance in Lake Ontario corresponds historically to the recent period of lake-level regulation. In contrast, species adapted to the cyclical exposure of shoreline mud flats are poorly represented in these sites.

The shrubby zones divide into two distinct types. Buttonbush thicket features a mix of water willow and buttonbush, along with speckled alder; marsh fern and arrow arum dominate mucky openings within the thickets. In contrast, poor shrub fen was encountered in areas of low water flow behind barriers, typically distant from the active stream channel. Here, poor fen shrubs (leatherleaf, bog myrtle, cranberry, and bog rosemary) dominate, while Sphagna spp. and purple pitcherplant attain high cover values in the groundcover.

Timothy Murphy (poet)

 * http://www.ablemuse.com/book-reviews/l-krisak_murphy-review.htm Krisak's review of Set the Ploughshare
 * http://www.ablemuse.com/book-reviews/c-muse_murphy-review.htm Muse's review of Ploughshare. Note that she dislikes "sorrows"
 * http://www.star.ac.uk/darkhorse/archive/CambridgeMurphyInterview.pdf Interview with Murphy
 * http://poetry.seablogger.com/?page_id=6 Review of Deed of Gift by Alan Sullivan.
 * http://www.shitcreekreview.com/issue3/II/TimothyMurphyAFineLine.htm copy of above.

Poems accessible through webpages

 * http://www.poemtree.com/Murphy.htm Links to about 20 poems
 * http://www.versedaily.org/thedrownedimmortal.shtml "The Drowned Immortal" (Li Po)
 * http://theformalist.evansville.edu/NemerovWinners/1996.htm "The Track of the Storm"
 * http://www.wcupa.edu/_ACADEMICS/sch_cas/poetry/the_deed_of_gift.asp Links to 5 poems from Deed of Gift
 * http://www.the-chimaera.com/January2008/Feature/Murphy.html Several poems posted.

Miscellaneous prose

 * http://www.umbrellajournal.com/winter2006/prose/MortalStakes.html A Poet Reflects on the Drinking Life.