Wu brings all his practices in different mediums and technological platforms to bear on a series of singular, intermedial works and vignettes containing various configurations of painting, video projection and sculpture.
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The intermedial supraclavicular nerve middle supraclavicular nerves (nn. supraclaviculares medii; supraclavicular nerves) cross the clavicle, and supply the skin over the pectoralis major and deltoideus, communicating with the cutaneous branches of the upper intercostal nerves.
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Paulo Felipe Monteiro, "An Art in the Rough: The Cinema of João César Monteiro", in Lucia Nagib, Anne Jerslev, eds., Impure Cinema: Intermedial and Intercultural Approaches to Film (I.B.Tauris, 2013), , p. 152. Excerpts available at Google Books.
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André Gaudreault approaches the earliest years of cinema and cinema practices from an intermedial perspective. The intermedial approach consists in taking into account contemporaneous cultural practices which inspired or shaped the work of kinematographers.See "Pour une approche narratologique intermédiale," Recherches en Communication, 11, 1999, pp. 133-142. According to him, kinematic practices of the early years were the result of an “intermedial meshingAndré Gaudreault, Cinéma et attraction, Paris, CNRS, 2008, p. 113.” which encouraged a “hodgepodge of institutionsAndré Gaudreault, "Les genres vus à travers la loupe de l'intermédialité; ou, le cinéma des premiers temps : un bric-à-brac d'institutions," Leonardo Quaresima, Alessandra Raengo and Laura Vichi (eds), La nascita dei generi cinematografici, Udine, Università degli Studi di Udine, 1999, pp. 87-97.”: “Before the cinema ended up becoming a relatively autonomous medium, kinematography was not merely subjected to the influence of the other media and cultural spaces in vogue at the turn of the twentieth century.
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One of the major features of poetism was that it had a combination of media and genres or could be called the “intermedial” work which is to describe liminal artistic works combining two or more media forms. The favoured intermedial genre was the picture-poem in case of the Czech avant-garde artists. Among the painters, there were naturally a more pictorial aspect, sometimes produced entirely pictograms rather than words. Among the verbal artists, the picture- poem was in the form of connecting images and texts on a single surface or in a space which is treated as a canvas instead of the page of a book.
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Otumba is a municipio (municipality) of State of Mexico in Mexico. The municipal seat (cabecera municipal) and largest settlement is Otumba de Gómez Farías. The municipality of Otumba has a land area of some , and a population recorded in the intermedial 2005 census, the Conteo de Población y Vivienda, of 29,873.
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The major landform consists of craggy rocks and compact salt lake bottoms, intermedial areas and fixed dunes. Despite a fragile ecosystem, there is an abundance of birdlife. The region is a haven for migratory and resident birds of the desert. Many eagles, harriers, falcons, buzzards, kestrel and vultures are spotted here.
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The book received very good reviews. Lindgren's text was, however, considered secondary to the pictures by Rikwin Brick.Kümmerling-Meibauer, Bettina & Surmatz, Astrid (2011): Beyond Pippi Longstocking: Intermedial and International Approaches of Astrid Lindgrens work. Routledge. P. 21 Bettye I. Latimer praises the excellent photographs of the stories and recommended it for pre-schoolers through 4th grade.
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Yannis Karpouzis makes a structuralistic analysis on La Jetée, examining it as an intermedial artwork: Chris Marker creates an "archive" of objects and conditions that have a photographic quality of their own and they are followed by the same predicates as pictures. The dialogue between the media (photography and cinematography) and the filmic signifier (film stills, storyline and narration) is constantly in the backdrop.
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New York City College of Technology, CUNY. 2018. Retrieved March 25, 2020. The current legal definition is based on a 1949 Actors' Equity agreement with smaller theaters in New York to allow union members to perform, dividing theater spaces in the city into the system of Broadway and Off-Broadway seen today.Kaiser, DJ. The Evolution of Broadway Musical Entertainment, 1850–2009: Interlingual and Intermedial Interference.
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The lower end of the radius is clavate. The wrist consists of three elements, one of which is a fusion of the radial and intermedial, and the second is a fusion of the ulnar carpal, and the third and the third party is identical to the fifth carpal. The formula of the phalanges is 1-3-3-2- (3/4). The width of the wrist is 70% of the length of the hand.
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When torn, it can result in a flatfoot deformity, and impair mobility. The dorsal or superomedial component of the ligament presents a fibrocartilaginous facet, lined by the synovial membrane, upon which a portion of the head of the talus rests. Its plantar surface, consisting of the intermedial and lateral ligaments, is supported by the tendon of the tibialis posterior; its medial border is blended with the forepart of the deltoid ligament of the ankle-joint.
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The term transmediality was first used in this sense by Irina O. Rajewsky in her publication Intermedialität (2002) and defined as "medienunspezifische Phänomene, die in verschiedenen Medien mit den dem jeweiligen Medium eigenen Mitteln ausgetragen werden können, ohne dass hierbei die Annahme eines kontaktgebenden Ursprungsmediums wichtig oder möglich ist." In her theory, the concept of transmediality is differentiated from the two opposing concepts of intramediality and intermediality. She defines intramediality as the quality of phenomena which occur only within one medium, while intermediality describes the quality of phenomena which can move in between two or more media, that is, which transgress media boundaries. The important distinction between intermedial and transmedial phenomena is that an intermedial phenomenon has a clear origin medium, while a transmedial phenomenon does not, it is non-media specific. Werner Wolf adopted Rajewsky’s term transmediality in his intermediality theory and defined it similarly, saying that transmediality “concerns phenomena that appear in more than one medium without being (viewed as) specific to, or having an origin in, any of them.
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Leiden: Brill Publishers, 1994. His work is considered to be one of the first Arabic language works on the theory of love, though only the first half is concerned with this: the second half is an anthology of poetry.Lara Harb, 'Beyond the Known Limits: Ibn Dāwūd al-Iṣfahānī's Chapter on "Intermedial" Poetry', in Arabic Humanities, Islamic Thought: Essays in Honor of Everett K. Rowson, ed. by Joseph Lowry, Shawkat Toorawa, Islamic History and Civilisation: Studies and Texts, 141 (Leiden: Brill, 2017), pp.
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Gopala Davies (born 14 May 1988) is a South African actor and director. He is best known for his intermedial theatre production Barbe Bleue: A story about madness, which won a Standard Bank Ovation Award at The National Arts Festival in 2015, and the Best Student Director Award in 2014. Gopala plays the character Adam in the short Film Lilith: Genesis One which won the Film category at the 2015 PPC Imaginarium Awards. and the 2016 'Best International Experimental' at the ICARO Festival Internacional de Cine.
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In 1962 Andersen first took part in one of the early concerts given by Fluxus held during the Festum Fluxorum in the Nikolai Kirke (Nicolas Church) in Copenhagen.Owen Smith (1998) Fluxus: The History of an Attitude, San Diego State University Press, p.83 He soon took an early interest in intermedial art.The Fluxus Reader by Ken Friedman Page 43, Page 44, Page 125Hannah B Higgins, "The Computational Word Works of Eric Andersen and Dick Higgins" in H. Higgins, & D. Kahn (Eds.), Mainframe experimentalism: Early digital computing in the experimental arts, p.
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Eli Skogerbø & Arne H. Krumsvik, "Newspapers, Facebook and Twitter: Intermedial agenda setting in local election campaigns," Journalism Practice (2015) 9#3 DOI:10.1080/17512786.2014.950471 From 2010 to 2014, there was a 15% increase in the number of Americans who use their cellphones to follow political campaigns and/or campaign coverage and that number continues to grow today. Social media is changing the nature of political communication because they are tools that can be used to inform and mobilize users in new ways. Users are able to connect directly to politicians and campaign managers and engage in political activities in new ways.
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In 1994, Michelangelo Pistoletto proclaimed his programme Progetto Arte, the aim of which was the creative and social economic unification of all parts of human existence; in a narrower sense, the systematic combination of all achievements and knowledge of civilisation with aspects of art (e.g. fashion, theatre, design, etc.). In 1996, he founded the art city Cittadelarte – Fondazione Pistoletto in an abandoned textile factory near Biella, as a centre and "laboratory", supporting and researching creative resources, and producing innovative ideas and possibilities. The Cittadelarte is divided into different Uffici/Offices ( work, education, communications, art, nutrition, politics, spirituality, and economics), which exchange with each other within an intermedial network.
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The robot on the cover of the January 1950 Startling Stories, painted by Earle K. Bergey, has "an engaging art deco stylishness to it" in the words of science fiction art historian Vincent Di Fate.di Fate (1997), p. 35. This iconic image, Bergey's 43rd cover for Startling Stories, connects to Princess Leia's metal bikini and slave-girl attire as intermedial visual influence.Rikke Schubart, Super bitches and action babes: the female hero in popular cinema, 1970-2006, page 225, McFarland & Co., 2007, ISBN 0-7864-2924-0 Startling Stories was an American pulp science fiction magazine, published from 1939 to 1955 by publisher Ned Pines' Standard Magazines.
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Klaus Peter Dencker also stresses the continuity to the new genre in his theoretical paper "From Concrete to Visual Poetry" (2000), pointing out its "intermedial and interdisciplinary" nature. The two are also interdependent and "without concrete poetry the current forms of visual poetry would be unthinkable".Dencker 2000 However, the academic Willard Bohn prefers to categorise the whole gamut of literary and artistic experiment in this area since the late 19th century under the label of Visual Poetry and has done so in a number of books since 1986. From his reductionist point of view, "Visual poetry can be defined as poetry that is meant to be seen – poetry that presupposes a viewer as well as a reader".
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In his book Shakespeare and romantic opera (2000) he outlined how Shakespeare's plays entered the European continental literature and culture, mostly through French dramatic rewritings during the XVIII Century and, after the romantic consecration, through Italian operatic adaptations during the XIX Century.See and In his book The Threshold of the Invisible. A Journey into Macbeth: Shakespeare, Verdi, Welles (2005), he deepened the points of the intertextual, inter-semiotic, inter-cultural and intermedial translation focusing on the case of Macbeth (Shakespeare's tragedy, Giuseppe Verdi's opera and Orson Welles's movie) In his book Dream in Opera. Oneiric Tales and Operatic Texts (2010) he used the Freud's psychoanalysis tools to build a theory about the structural relationship between oneiric and operatic languages.
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Early variety, burlesque, and minstrelsy halls were built along Broadway below Houston Street. As the city expanded north new theaters were constructed along the thoroughfare with family friendly vaudeville, developed by Tony Pastor, clustering around Union Square in the 1860s and 1870s, and larger opera houses, hippodromes, and theaters populating Broadway between Union Square and Times Square later in the century. Times Square became the epicenter for large scale theater productions between 1900 and the Great Depression. There is no standard date that is considered the beginning of Broadway-style theatre.Kaiser, DJ. The Evolution of Broadway Musical Entertainment, 1850–2009: Interlingual and Intermedial Interference. AllTheses and Dissertations (ETDs). 1076. 2013. pp. 6–7.
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Other publications include the Student Economic Review and the Trinity College Law Review, produced independently by students of economics and law respectively, the Trinity College Journal of Postgraduate Research, produced by the Graduate Students Union, the Social and Political Review (SPR), now in its 22nd year, the Trinity Student Medical Journal, The Attic, student writing produced by the Dublin University Literary Society, the Afro-Caribbean Journal produced by the Afro-Caribbean Society, and grass an intermedial magazine based on collaboration between media. Some older titles currently not in publication include In Transit, Central Review, Harlot, Evoke, and Alternate. More recent publications include the reactionary magazine The Burkean Journal; a politically and culturally conservative magazine named after one of Trinity's most notable alumni, Edmund Burke.
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He has taught at NYU, Yale University, the School of Visual Arts in New York, the Free University of Berlin, and the University of New Mexico. Courses that Bukatman has developed include a range of interdisciplinary, intermedial offerings such as Cinema and the City, World's Fairs and Theme Parks, The Body in American Genre Film, and Cyborgs and Synthetic Humans. In 1994, Bukatman co-organized "Cine City: Film and Perceptions of Urban Space 1895-1995" at the Getty Center in Los Angeles. In 1997, he was appointed Assistant Professor of Media Studies in the Departments of Art and Comparative Literature at Stanford University, where he has developed the Film and Media Studies program in collaboration with Henry Breitrose and Art History professor Michael Marrinan.
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The plantar calcaneonavicular ligamentous complex is a broad and thick band with three constituent ligaments that connect the anterior margin of the sustentaculum tali of the calcaneus to the plantar surface of the navicular. Its individual components are the superomedial, intermedial (medioplantar) and lateral (inferoplantar) ligaments, which fan out and attach to the navicular bone at three separate locations. This ligamentous complex not only serves to connect the calcaneus and navicular, but supports the head of the talus, forming part of the articular cavity in which it is received. It helps to maintain the medial longitudinal arch of the foot, and by providing support to the head of the talus, bears most of the body weight in a normally functioning foot.
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Rebecca Gabay, 'M. G. Sanchez’s Bombay Journal: Redressing the Past from the Colonial Present,' Kervan International Journal of Afro-Asiatic Studies, 22, 2018, pp. 291-294. Amanda Gerke, ‘Discursive Boundaries: Code- Switching as Representative of Gibraltarian Identity Construction in M. G. Sanchez's Rock Black,’ Miscelánea 57, 2018 pp. 35-57. Ina Habermann, 'British- European Entanglements: M.G. Sanchez's The Escape Artist and the Case of Gibraltar,' Journal for Literary and Intermedial Crossings 2, 2018, pp. b1-20. Ina Habermann, 'Gibraltarian Hauntologies: Spectres of Colonialism in the Fiction of M. G. Sanchez', Open Library of Humanities, 6(1), 2020, p.19. Ana Maria Manzanas Calvo, 'The Line and the Limit of Britishness: The Construction of Gibraltarian Identity in M. G. Sanchez’s Writing,’ ES Review 38, 2017, pp. 27-45. Robert Patrick Newcomb, 'Review of Border Control and Other Autobiographical Pieces', International Journal of Iberian Studies, 33, 1, 1 2020, pp. 107-108. Elena Seoane, 'Telling the true Gibraltarian Story: an interview with Gibraltarian writer M. G. Sanchez,' Alicante Journal of English Studies 29, 2016, pp. 251-258 John A. Stotesbury, 'Mediterranean Gothic: M. G. Sanchez’s Gibraltar Fiction in its Context,’ British and American Studies 21, 2016, pp. 156-172.
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