Knitting Architecture: 20 Patterns Exploring Fo...

Knitting Architecture: 20 Patterns Exploring Fo...

Download File >>> https://urllie.com/2tkDAV

Study knitwear construction, form, function, and more with Knitting Architecture, a collection of 20 designs that celebrate architectural themes. The parallels between knitting a sweater and constructing a building seem obvious when considered. Sweaters suspend from yokes and shoulders; vertical planes are shaped to provide fit and allow movement; necklines, sleeves, and hems are adapted for specific purposes. Stitch patterns and textures elaborate design themes, and new and unusual materials can be used to striking effect.

Symmetries are prominent in textile arts including quilting,[60] knitting,[64] cross-stitch, crochet,[65] embroidery[66][67] and weaving,[68] where they may be purely decorative or may be marks of status.[69] Rotational symmetry is found in circular structures such as domes; these are sometimes elaborately decorated with symmetric patterns inside and out, as at the 1619 Sheikh Lotfollah Mosque in Isfahan.[70] Items of embroidery and lace work such as tablecloths and table mats, made using bobbins or by tatting, can have a wide variety of reflectional and rotational symmetries which are being explored mathematically.[71]

Mathematical objects including the Lorenz manifold and the hyperbolic plane have been crafted using fiber arts including crochet.[d][152] The American weaver Ada Dietz wrote a 1949 monograph Algebraic Expressions in Handwoven Textiles, defining weaving patterns based on the expansion of multivariate polynomials.[153] The mathematician Daina Taimiņa demonstrated features of the hyperbolic plane by crocheting in 2001.[154] This led Margaret and Christine Wertheim to crochet a coral reef, consisting of many marine animals such as nudibranchs whose shapes are based on hyperbolic planes.[155] The mathematician J. C. P. Miller used the Rule 90 cellular automaton to design tapestries depicting both trees and abstract patterns of triangles.[156] The \"mathekniticians\"[157] Pat Ashforth and Steve Plummer use knitted versions of mathematical objects such as hexaflexagons in their teaching, though their Menger sponge proved too troublesome to knit and was made of plastic canvas instead.[158][159] Their \"mathghans\" (Afghans for Schools) project introduced knitting into the British mathematics and technology curriculum.[160][161]

10. Introduction to Theater Design and Technology. F,S Addresses imagination and creativity. Using the framework of theater production, students explore the process of translating a script into a performance. Topics include visual literacy, creative problem solving, establishing effective working teams, tear sheets, storyboarding, drawing, sound and color theory. This course is a prerequisite for all upper-division design courses. (General Education Code(s): IM, IH, A.) B. Baron, K. Edmunds 12. Stage Management. F Designed to acquaint students with the complexities of staging productions from the audition process to final performance. Directing, lighting, scenic production, sound, cueing, and personnel management are aspects that will be touched upon in class. Students are billed a materials fee. (Formerly Production Management.) (General Education Code(s): A.) The Staff 14. Drawing. * A fundamental course in drawing from still life, the figure, and in the landscape. The approach is from the tonal and volumetric aspects of the object. Color is introduced as the course progresses. Instruction fashioned to the individual needs of the student. The inexperienced are welcomed as well as the experienced. Students are billed a materials fee. (General Education Code(s): PR-C, A.) K. Edmunds 15. Special Topics in Textiles. * Introduces varied techniques in textile manipulation to create scenic and costume-design properties including drapery, upholstery, masks, bags, and millinery. Students learn basic sewing and surface-design methods, such as knitting, screen-printing, painting/dyeing, and distressing. Enrollment limited to 20. (General Education Code(s): PR-C, A.) B. Baron, The Staff 17. Costume Construction. W The process of interpreting a costume designer's sketch into a finished theatrical costume. Some techniques included are dyeing, fabric selection, draping, flat pattern drafting, pattern manipulation, adaptation, fitting, and alteration. Using various techniques, students make basic pattern pieces and learn to modify them to create costumes. Students are billed a materials fee. Enrollment limited to 20. (General Education Code(s): PR-C, A.) The Staff 18. Drafting for Theatrical Production. W An examination of the fundamentals of drafting scale drawings for production, including floor plans, elevations, sections, working drawings, dimensions, layout, and lettering. Students learn isometric drawing, perspective, and rendering techniques. Students are billed a materials fee. Enrollment limited to 20. (General Education Code(s): A.) K. Edmunds, The Staff 18C. Drafting-Computer Aided. * In-depth exploration of computer-aided drafting, specifically the programs Vectorworks, Spotlight, and Renderworks. Topics include: the user interface, ground plan, section and detail views, paper space vs. working space, tool palettes, USITT drafting standards, layers, line weights, objects, classes, library annotations, importing rasters, and 3D modeling. Students required to do weekly projects such as ground plans, lighting plots, perspectives, and detail drawings, as well as turn in a major final project, and complete a mid-term, final, and quizzes. Students are billed for a materials fee. Enrollment restricted to theater arts majors. Enrollment limited to 10. (General Education Code(s): A.) D. Cuthbert, The Staff 19. Design Studio: Lighting Studio A. S An introduction to the theory and practice of lighting design with attention to the practical skills and creative approaches to lighting performance pieces; the technical side of lighting design via demonstrations, lectures, and labs. Students complete projects evolving and executing concepts for lighting chosen pieces. Students are billed a materials fee. Prerequisite(s): course 10. (General Education Code(s): PR-C, IH, A.) D. Cuthbert 20. Introductory Studies in Acting. F,S Introduction to basic acting skills and the problems of performance. Concentrates on expanding the students' range of expression and ability to respond to and analyze dramatic text. Students with little or no experience are encouraged to attend. (General Education Code(s): IM, IH, A.) P. Gallagher, The Staff 21A. Acting Studio 1A: Psychological Realism. F,W Explores the fundamentals of the work of Konstantin Stanislavski as developed at the Moscow Art Theater to the works of his and our contemporary playwrights. Specifically, students apply those techniques of action, physical score, given circumstances, subtext, interior monologue, goals, and objectives, throughline, superobjective, and emotional recall to works of Henrik Ibsen, Anton Chekov, and appropriate American realists, such as Sam Shepard, August Wilson, etc. Enrollment by interview only: audition at first class meeting. Enrollment limited to 31. (General Education Code(s): A.) D. Scheie 21B. Acting Studio 1B, Actors' Physicality. * Uses a rigorous physical approach to acting (rather than the text-based approach of course 21A). Provides an \"outside-in\" starting point for theatrical creation and study, balancing and countering the \"inside-out\" approach of Stanislavski-based actor training. Emphasis on physical characterization, ensemble theater, mask work, and object performance. May involve practices, theories, and readings of Jerzy Grotowski, Eugenio Barba, Jacques Lecoq, and/or Tadashi Suzuki. Enrollment by interview only. Enrollment limited to 30. (General Education Code(s): A.) P. Gallagher 22. Indonesian Dance and Drama. F Students learn the basic movement repertoire of the specific characters of the Indonesian dance-drama/puppetry tradition over the quarter with explication of how these types operate in their own cultural context. The course culminates in an open showing of scene work. May be repeated for credit. (General Education Code(s): CC, A, E.) P. Gallagher 23. Voice for the Actor. F Students work on developing resonance, range and expressivity for stage performance via physical exercises and text explorations undertaken in small groups. Prerequisite(s): course 20. Audition required for acceptance into class. Enrollment limited to 20. (General Education Code(s): A.) The Staff 30. Introduction to Dance Theory and Technique. W,S Intensive instruction in developing the dancer's mind/body, with introduction to movement theory and practice. Students are billed a materials fee. (Formerly Introduction to Modern Dance Theory and Technique.) May be repeated for credit. (General Education Code(s): PR-C, IH, A.) E. Warburton, The Staff 31P. Postmodern Dance I. * Introduction to postmodern dance theory and technique. Focus on performance practices of historically significant postmodern dance choreographers in the U.S. and worldwide. Enrollment limited to 30. May be repeated for credit. (General Education Code(s): IM, A.) E. Warburton 33C. Dance Studio I. F Intensive instruction in developing the dancer's physical instrument. Intended for students who have a previous fundamental knowledge of the basics of classic dance, combined with movement theory. Students are billed a materials fee. Formerly Theater Arts 33, Advanced Introduction to Modern Dance. Prerequisite(s): course 30. Enrollment limited to 30. May be repeated for credit. (General Education Code(s): IH, A.) G. Casel 36. Introduction to Dance Composition. S Composing solo dances using a variety of approaches for developing movement combinations. Observation and recognition of personal movement patterns and discovering new sources for creative material. Students are billed a materials fee. May be repeated for credit. (General Education Code(s): PR-C, IH, A.) E. Warburton 37. African Dance. S A griot (musician-entertainer from western Africa) from Burkina Faso teaches \"The African Journey,\" which emphasizes dance as combined in Africa, including singing, history, oral tradition, and storytelling. Students are billed a materials fee. Enrollment limited to 30. (General Education Code(s): PR-C, A.) The Staff 40. Introduction to Directing. F An overview of the analytical and creative processes that inform the director's work. Close examination of texts, concepts, and directorial choices in staged performances, opera, films, and video. (General Education Code(s): IM, IH, A.) The Staff 45. Student-Directed Production. F,W,S Participation in a student-directed play or student-choreographed dance concert under faculty supervision. (See course 192). Rehearsals culminate in public performances. Prerequisite(s): admission by audition; see department office for more information. The Staff 50. Fundamentals of Theater Production (2 credits). F,W,S Work is on various aspects of theatrical production, including scenery, lighting, costumes, sound, stage management, and video documentation. Satisfies the department's technical experience requirement. May be repeated for credit. D. Cuthbert, The Staff 52. Basic Stagecraft. S Provides introduction to technical theater and basic stagecraft. Course examines two-dimensional and three-dimensional scenery, scenic engineering, the physical theater, stage and scene shop equipment, project organization and process, technical theater graphics, materials, and theatrical construction techniques. Prerequisite(s): course 10. Enrollment limited to 30. (General Education Code(s): A.) The Staff 55A. Workshop in Performance: Barnstorm. F,W,S Process-oriented investigation of practical theater production by working in and on productions in the Barnstorm season. Requires a total of 150 hours working backstage or onstage. Admission by audition at first class meeting; see department office for more information. May be repeated for credit. D. Cuthbert, The Staff 55B. Workshop in Performance: Barnstorm Lab (2 credits). F,W,S Process-oriented investigation of practical theater production by working in and on productions in the Barnstorm season. Requires a total of 50 hours working backstage or onstage. Admission by audition at first class meeting; see department office for more information. May be repeated for credit. K. Edmunds, D. Cuthbert 61A. Ancient and Medieval Drama. F Ancient enmities; horrific acts of parricide; monumental errors; suffering and contrition. This course examines the enormous appeal of the ancient Greek tragic and comic visions from their inception through their enthusiastic adaptation by the Romans and on into the Middle Ages. For comparison purposes, Greek and Roman dramas are studied back-to-back with the contemporary non-Western dramatic forms of Noh and ancient Sanskrit drama. (Formerly Issues and Methods in Theater Arts.) (General Education Code(s): TA, IH, A.) M. Chemers 61B. Drama from the Renaissance to the Modern Age. W Examines major trends in European drama from the rediscovery of ancient Greek and Roman drama in the early 17th century to the late 19th century. Examines major trends in European drama from the discovery of ancient Greek and Roman drama in the early 17th century to the late 19th century. These trends include neo-classical drama, the rise of middle-class drama, social realism, romanticism, early naturalism, and the well-made play. These trends are compared with the parallel developments of the non-Western forms of Japanese Kabuki and Javanese Wayang. (Formerly Tragedy.) Enrollment limited to 40. (General Education Code(s): TA, IH, A.) K. Jannarone, The Staff 61C. The Birth of the Modern: Drama and Performance After the Renaissance. S Examines dramatic and theatrical works that sprang into being in the wake of the European Renaissance. Follows the ways modern artists have dramatized their questions, struggles, beliefs, and despair in the face of world wars, cultural fragmentation, unprecedented prosperity, and new technologies that changed the concrete experience of life itself. Enrollment limited to 60. (General Education Code(s): TA, IH, A.) K. Jannarone 80A. Introduction to African American Theater. * Surveys African American theater from late 19th century to contemporary 21st-century playwrights and examines dramatic narratives to trace creation, evolution, and development of African American cultural identity formation in American theater. Enrollment limited to 50. (General Education Code(s): ER, T4 (TH), A, E.) The Staff 80B. Rock 'n' Roll Design. * Examination of the genesis, history, and development of technical theater practices used in large arena rock shows. Topics will include the development of rigging practices used in arenas, touring logistics, lighting instrumentation and aesthetics of rock shows, and the nature, practice, and approach of sound in these venues. (General Education Code(s): T4-Humanities and Arts, A.) The Staff 80C. Monsters. W Examines the operation of monsters in plays from Ancient Greece to today, inquiring as to why these powerful cultural tools for the expression of social tension show no sign of diminishing despite our ostensible advance into scientific rationalism. (General Education Code(s): PE-H.) M. Chemers 80D. Commercial Design 1900 to Present. * History of 20th-century commercial design for the theater through the eyes of the Western consumer. (Formerly course 161W, Critical Survey of Commercial Design, 1900 to Present.) (General Education Code(s): IM, T4-Humanities and Arts, A.) B. Baron 80H. Hamlet Conundrums. * Offered online, the course explores major issues of interpretation of Shakespeare's classic play, which has occupied the minds of audiences, directors, designers, performers, and critics during its 400-year history. In doing this, it offers a sense of history of people's preoccupations with and thoughts about the play. Students taking this class are expected to complete the course during the quarter for which they are enrolled. All students enrolled in this course should visit elsinore.ucsc.edu and write to elsinore@ucsc.edu. (General Education Code(s): T4-Humanities and Arts, A.) J. Bierman 80K. Shakespeare 4every1. S Introduces all students, regardless of experience, to the plays and theater of Shakespeare, and directly addresses linked relevance to contemporary 21st century American culture. (General Education Code(s): TA, T4-Humanities and Arts, A.) D. Scheie 80L. Muppet Magic: Jim Henson's Art. F The artistic and social impact of the Muppets on American puppetry, children's television, and Hollywood film is explored through viewings, guest lectures, and analysis. Henson's legacy in artistic innovation, mainstreaming of puppet theater for adult audiences, and establishment of puppetry in media and marketing are also explored. (General Education Code(s): IM, T4-Humanities and Arts, A.) The Staff 80M. Chicano/a Teatro. * Introduction to Teatro Chicano/a with examination of how cultural diversity plays a role in theater. Through lectures, films, and workshop exercises, reflect upon the process of Teatro Chicano. Students write their own acts, improvise, and perform in class. (General Education Code(s): ER, T4 (TH), A, E.) The Staff 80N. Walt Disney. S An examination of Walt Disney's creation of the American vision of \"family entertainment.\" Particular attention will be paid to the classic animated feature films of Walt Disney and to the way this Disney invention has been preserved and developed since his death. We will also look at the live action films, theme parks, and other Disney creations. (General Education Code(s): IM, T4-Humanities and Arts, A.) The Staff 80P. The Pixar Feature. * Combines examination of the canon of Western dramatic literature and theater history through viewings of Pixar Animation Studios' full-length animated features, representing the most popular form of digital art and new media in the world today, and lectures focusing on digital art and new media viewed through established rules and traditions of dramatic art in literature, plays, and the theater. (General Education Code(s): IM, T4-Humanities and Arts, A.) D. Scheie 80Q. Introduction to Queer Theater. * Examines the history of the queer perspective in dramatic literature, from the Greeks to Marlowe and Shakespeare through the calcification of homosexuality in the era of Freud, then traces theater stewardship by gay and lesbian artists from within the closet and without. (General Education Code(s): IM, T4-Humanities and Arts, A.) The Staff 80S. Theater Arts Education and the Community. * This course is designed to develop ways in which we can direct our interest in the arts into concrete and successful community projects. Although the emphasis will be on developing skills to work within K-12 classrooms, other community projects will be discussed and designed. (General Education Code(s): T4-Humanities and Arts, A.) The Staff 80T. Flashmob! Mass Performance in the Information Age. * Flashmobs represent a new social configuration using information technology. Course covers the history of experiments in art and technology and the role of mass performance in society. Students consider the socio-cultural ramifications of flashmobs and participate in them. (General Education Code(s): PE-T.) E. Warburton 80V. The Circus in American Culture. * Circus arts from their shamanic roots to contemporary practice will be analyzed in a historical, aesthetic, and creative dimension. Lecture, discussion, and demonstrations will explore the theory and practice of American circus arts. In section, students will explore basic circus skills from clowning to tumbling to exhibition of freaks. (General Education Code(s): T4-Humanities and Arts, A.) The Staff 80X. The Performance of Story in Theater and Film. * An examination of the theory and practice of theater and film, comparing and contrasting works that have been adapted from one genre to another. Lecture, film and video viewing and discussion of materialist, psychoanalytic, and feminist approaches will be shared. (General Education Code(s): TA, T4-Humanities and Arts, A.) The Staff 80Y. American Musical Theater. * The history of American musical theater, from it's roots to today, is studied through scripts, scores, and film. Major composers and lyricists' work is shown, discussed, and analyzed. (General Education Code(s): T4-Humanities and Arts, A.) K. Edmunds 80Z. Indian Dance. F Classical Indian dance will be studied as a performance practice. Understanding of drum syllables and associated steps, religious and sociological context, and mimesis (abinaya) as well as introduction to epic stories (Ramayana, Mahbharata, Bhagavata Purana) and classical song. (General Education Code(s): CC, T4-Humanities and Arts, A.) The Staff 99. Tutorial. F,W,S Students must file their petitions for this course with the department office by the end of the fifth day of instruction in the quarter in which they would like to take the tutorial. Prerequisite(s): petition required, approved by instructor and department. May be repeated for credit. The Staff 59ce067264

https://www.phi-vietnamese.com/forum/general-discussion/places-that-buy-wedding-dresses