Système universitaire de documentation
The système universitaire de documentation or SUDOC is a system used by the libraries of French universities and higher education establishments to identify and manage the documents in their possession. The catalog, which contains more than 10 million references, allows students and researcher to search for bibliographical and location information in over 3,400 documentation centers, it is maintained by the Bibliographic Agency for Higher Education. Official website
Anthony Schmalz "Tony" Conrad was an American avant-garde video artist, experimental filmmaker, composer, sound artist and writer. Active in a variety of media since the early 1960s, he was a pioneer of both structural film and drone music, he performed and collaborated with a wide range of artists over the course of his career, most prominently the 1960s New York experimental music group Theatre of Eternal Music. Conrad was born in New Hampshire to Mary Elizabeth Parfitt and Arthur Emil Conrad, but raised in Baldwin and Northern Virginia. His father worked with Everett Warner during World War II in designing dazzle camouflage for the US Navy. Conrad graduated from Harvard University in 1962 with a degree in Mathematics. While studying at Harvard, Conrad was exposed to the ideas of Karlheinz Stockhausen. After graduating, Conrad went to Copenhagen to see a friend, a research mathematician working on a computer project at the Physics Chemist Institute; that computer had a memory of 8 kilobytes. Conrad worked on it in machine language during the summer.
He did work as a computer programmer for a year when he came back to the United States. After working as a computer programmer, Conrad got into the experimental music scene in New York City. In an interview with Tony Oursler, as part of Oursler's Synesthesia: Interviews on Rock & Art, Tony Conrad said he moved to New York in the early 1960s and entered into the art picture because of his interest in music, but went to film because it was "too boring" in music. At the time, film was institutionally unattached, which drew Conrad towards the community of New York filmmakers. In 1966, he made his first film, The Flicker, said to be a "landmark in structural filmmaking." Conrad said, "Since other filmmakers were making films at the time that dealt with structure as a foregrounded principle, this seemed to be built around mathematical principles, it was adopted as a kind of flagship film for the structural film movement, where it dealt with abstract light-organizing ideas." The film consists of only black and white images, which, as the title suggests, produces a flicker when projected.
When the film was first screened, several viewers in the audience became physically ill. Conrad wished to generalize the whole technology of film, he approached the film by considering the relationship between the subjective psychological conditions of the flicker, its relation to narrative and storytelling. He says, "I had felt that my own experience with flicker was a transporting experience in the way that movies affect the imagination at their best by sweeping one away from reality into a different psychic environment.". Yellow Movies was a project of Conrad's in 1973 of twenty "movies" consisting of rectangular borders painted in black house paint on large pieces of photographic paper framing each sizable expanse of emulsion. Conrad's concept came from a continued attempt at pushing the framework of film, his interest in engaging the audience in long spaces of time, he wanted to make a film that would last fifty years, but knew that "normal materials" and projection could not last that long.
So he created an new conceptual stratagem for Yellow Movies whereby the physical aging and transformation of the emulsion itself would constitute a definitively slow-motion moving picture over such an extended period of time. Conrad began to work in video and performance in the 1970s as a professor at Antioch College in Ohio, where he overlapped with the filmmaker Paul Sharits. In 1976, Conrad joined the faculty at the Center for Media studies at the University at Buffalo. While in Buffalo, Conrad was part of a scene that included Sharits, as well as Hollis Frampton and Woody Vasulka, Peter Weibel, James Blue, Cathy Steffan and Gerald O'Grady, their practices in film, video and other forms were documented in the 2008 book Buffalo Heads: Media Study, Media Practice, Media Pioneers, 1973–1990, edited by Vasulka and Weibel. In the mid-1970s, Conrad began performing film. With Sukiyaki Film he decided that the film should be prepared before viewing. Sukiyaki was chosen as the paradigm for the work because it is a dish cooked before eating, in front of the diners.
Conrad cooked sukiyaki in front of an audience: egg, vegetables, 16mm film. Conrad made. Well, if you take a roll of film and instead of making pictures on it, you process it by pickling it in vinegar and putting it in a jar and presenting it for people to look at that way, projected through the lens of the fluid around it, this is so distorted and such a monstrous disfigurement of the normal way in which you are "supposed to use" film, that it is a kind of pathology. I think wellness and change are measured by comparison to potential for extremes of illness or death. I was trying to kill film. I wanted to die. Another of Conrad's early films was "Coming Attractions", released in 1970; this film led indirectly to the founding of Syntonic Research and the Environments series of natural sound recordings. Conrad's work has been shown at many museums including the Museum of Modern Art, P. S. 1, the Whitney Museum of American Art in New York City. His film The Flicker was included in the Whitney Museum of American Art's exhibition, The American Century.
Wooster is a city in the U. S. state of Ohio and the county seat of Wayne County. The municipality is located in northeastern Ohio 50 mi SSW of Cleveland, 35 mi SW of Akron and 30 mi W of Canton; the population was 26,119 at the 2010 Census. The city is the largest in Wayne County, the center of the Wooster Micropolitan Statistical Area. Wooster has administrative offices of the Wayne County Public Library; the College of Wooster is located in Wooster. FDi magazine ranked Wooster among North America's top 10 micro cities for business friendliness and strategy in 2013. Wooster was established in 1812 by John Bever, William Henry, Joseph Larwill, named after David Wooster, a general in the American Revolutionary War. According to the United States Census Bureau, the city has a total area of 16.36 square miles, of which, 16.31 square miles is land and 0.05 square miles is water. The local bedrock consists of the Cuyahoga Formation and the overlying Logan Formation, both Lower Carboniferous and rich in fossils.
In 2011, 93.3% spoke English, 2.4% Spanish, 1.3% German. As of the census of 2010, there were 26,119 people, 10,733 households, 6,244 families residing in the city; the population density was 1,601.4 inhabitants per square mile. There were 11,822 housing units at an average density of 724.8 per square mile. The racial makeup of the city was 91.2% White, 3.6% African American, 0.3% Native American, 1.9% Asian, 0.7% from other races, 2.4% from two or more races. Hispanic or Latino of any race were 2.2% of the population. There were 10,733 households of which 26.5% had children under the age of 18 living with them, 43.1% were married couples living together, 11.3% had a female householder with no husband present, 3.8% had a male householder with no wife present, 41.8% were non-families. 35.4% of all households were made up of individuals and 14.2% had someone living alone, 65 years of age or older. The average household size was 2.21 and the average family size was 2.86. The median age in the city was 37.3 years.
20.4% of residents were under the age of 18. The gender makeup of the city was 47.6% male and 52.4% female. As of the census of 2000, there were 24,811 people, 10,040 households, 6,174 families residing in the city; the population density was 1,726.1 people per square mile. There were 10,674 housing units at an average density of 742.6 per square mile. The racial makeup of the city was 92.59% White, 3.82% African American, 0.26% Native American, 1.54% Asian, 0.01% Pacific Islander, 0.36% from other races, 1.42% from two or more races. Hispanic or Latino of any race were 1.07% of the population. There were 10,040 households out of which 28.4% had children under the age of 18 living with them, 46.9% were married couples living together, 11.2% had a female householder with no husband present, 38.5% were non-families. 32.4% of all households were made up of individuals and 11.7% had someone living alone, 65 years of age or older. The average household size was 2.28 and the average family size was 2.88.
In the city, the population was spread out with 22.0% under the age of 18, 14.9% from 18 to 24, 25.9% from 25 to 44, 22.4% from 45 to 64, 14.8% who were 65 years of age or older. The median age was 36 years. For every 100 females, there were 91.3 males. For every 100 females age 18 and over, there were 88.3 males. The median income for a household in the city was $37,400, the median income for a family was $47,118. Males had a median income of $34,021 versus $23,608 for females; the per capita income for the city was $21,505. About 7.8% of families and 10.4% of the population were below the poverty line, including 14.5% of those under age 18 and 8.0% of those age 65 or over. Wooster is the headquarters of several industrial entities. Buehler Food Markets Inc. Wooster Brush, Seaman Corp. Tricor Industrial, Wooster Motor Ways, Certified Angus Beef have corporate headquarters located in Wooster. Rubbermaid made its corporate headquarters in Wooster until the end of 2003. LuK, the German maker of dual-clutch transmissions has its North America headquarters in Wooster where torque converters are produced.
Other large commercial operations in Wooster are Frito-Lay, Akron Brass, United Titanium, Western Reserve Group Insurance Company, Daisy Brands, Bogner Construction Company. Wooster is the world headquarters of the Prentke Romich Company, a member of a consortium of companies that produce assistive technology and augmentative communication devices. For its size, Wooster is dedicated to the "industry of education." It has The College of Wooster, two subsidiaries of The Ohio State University: the Agricultural Technical Institute. In addition to these industries, Wooster remains an agricultural center for Ohio; the OARDC enriches the local farms with knowledge and expertise, proudly displayed at the annual Wayne County Fair, held each September. Students in Wooster and surrounding rural communities continue to enroll in youth farming programs such as 4-H and National FFA Organization. Many Amish farmers come to Wooster by horse-and-buggy for commerce as well. In June 2013, the city of Wooster announced that Daisy Brand, a sour cream producer, plans to open a new Midwest manufacturing plant in Wooster.
Daisy Brand promised to create at
Harvard Film Archive
The Harvard Film Archive is a film archive and cinema located in the Carpenter Center for the Visual Arts at Harvard University in Cambridge, Massachusetts. Dedicated to the collection and exhibition of film, the HFA houses a collection of over 25,000 films in addition to videos, photos and other film ephemera from around the world and from every period in film history; the HFA cinematheque screens films weekly in its 188-seat theater. It maintains a film conservation center near Central Square, Cambridge; the archive was founded in 1979 by Robert Gardner and his colleagues in Harvard's Department of Visual and Environmental Studies, with grants from the Henry Luce Foundation and the National Endowment for the Humanities. It opened on March 1979 with a screening of Ernst Lubitsch's silent film, Lady Windermere's Fan; the archive's first curator was Vlada K. Petric, who expanded the collection and established the year-round regular screenings, he retired in 1995 and in 1999 Bruce Jenkins assumed the post.
In January 2005, Harvard Faculty of Arts and Sciences dean William C. Kirby announced that the archive would be absorbed by the Harvard College Library and managed by the Library of Fine Arts; this caused some concern within the Harvard community about the future of the archive and its programming. Jenkins resigned soon after the announcement. In September 2006 film scholar Haden Guest became the new director of the archive, he has calmed fears that the archives' absorption in the Library would affect its public film screenings. The collection spans the history of film-making from the silent film era to today, includes Hollywood films, animation, short films, B-movies and feature films from all over the world, it is the largest collection of 35mm film in New England. The collection grows by an average of 15 to 20 films a year and contains some rarities, such as some of the only prints in the United States of several films by Serbian director Dusan Makavejev, it features a large collection of German cinema and the Bavarian Film Fund donates prints of any films that it finances.
It is part of the Archive's mission to conserve and exhibit the collection's prints. For reasons due to authenticity, archival stability and beauty, film-to-film preservation is a priority; the Harvard Film Archive's website
Michael Snow, is a Canadian artist working in a range of media including film, sculpture and music. His best-known films are Wavelength and La Région Centrale, with the former regarded as a milestone in avant-garde cinema. Michael Snow was studied at Upper Canada College and the Ontario College of Art, he had his first solo exhibition in 1957. In the early 1960s Snow moved to New York with his wife, artist Joyce Wieland, where they remained for nearly a decade. For Snow this move resulted in a proliferation of creative ideas and connections and his work gained recognition, he returned to Canada in the early 1970s "an established figure, multiply defined as a visual artist, a filmmaker, a musician."His work has appeared at exhibitions across Europe, North America and South America. Snows' works were included in the shows marking the reopening of both the Centre Pompidou in Paris in 2000 and the MoMA in New York in 2005. In March 2006, his works were included in the Whitney Biennial. Snow is considered one of the most influential experimental filmmakers.
Annette Michelson, in writing about Snow, his 1967 film Wavelength, his films in general, speaks of the impact of Snow's films, placing viewers in a "position to more understand the particular impact of Snow's filmic work from 1967 on, to discern the reasons for the large consensus given" to Wavelength when it was honoured with the Grand Prize at the 1967 Experimental Film Festival EXPRMNTL 4 in Knokke and that "Wavelength, as a celebration of the'apparatus' and a confirmation of the status of the subject, it is in those terms that we may begin to comprehend the profound effect it had upon the broadest spectrum of viewers...." Wavelength has been the subject of numerous retrospectives internationally. Film scholar Scott MacDonald says of Snow that "ew filmmakers have had as large an impact on the recent avant-garde film scene as Canadian Michael Snow, whose Wavelength is the most discussed'structural' film."Wavelength has been designated and preserved as a masterwork by the Audio-Visual Preservation Trust of Canada and was named #85 in the 2001 Village Voice critics' list of the 100 Best Films of the 20th Century.
Snow's films have premiered in film festivals worldwide and five of his films have premiered at the Toronto International Film Festival. In 2000, TIFF commissioned Snow, along with Atom Egoyan and David Cronenberg, to make a series of short films collectively titled Preludes, for the 25th Anniversary of the festival. In his Village Voice review of Snow's 2002 film *Corpus Callosum, J. Hoberman writes that Snow's films are "igorously predicated on irreducible cinematic facts Snow's structuralist epics—Wavelength and La Région Centrale— the imminent passing of the film era. Rich with new possibilities, *Corpus Callosum heralds the advent of the next. Whatever it is, it cannot be too praised." *Corpus Calossum was screened at the Toronto, Berlin and the Los Angeles film festivals amongst others. In January 2003, Snow won the Los Angeles Film Critics Association, Douglas Edwards Experimental/Independent Film/Video Award for *Corpus Callosum. A professional jazz musician, Snow has a long-standing interest in improvised music, as indicated by the soundtrack to his film New York Eye and Ear Control.
As a pianist, he has performed solo and with other musicians in North America and Japan. Snow performs in Canada and internationally with the improvisational music ensemble CCMC and has released more than a half dozen albums since the mid-1970s. In 1987, Snow issued The Last LP, which purported to be a documentary recording of the dying gasps of ethnic musical cultures from around the globe including Tibet, India, Brazil and elsewhere, with more thousands of words of pseudo-scholarly supplementary notes, but was, in fact, a series of multi-tracked recordings of Snow himself, who gave the joke away only in a single column of text in the disc's gatefold jacket, printed backwards and readable in a mirror. One track, purported to be a document of a coming-of-age ritual from Niger, is a pastiche of Whitney Houston's song "How Will I Know."Snow, with Richard Serra, James Tenney and Bruce Nauman, performed Steve Reich's Pendulum Music on May 27, 1969 at the Whitney Museum of American Art. Before Snow moved to New York in 1961, he began a long-term project that for six years would be his trademark: the Walking Woman.
Martha Langford in Michael Snow: Life & Work describes this work as employing a single form that offered an infinite number of creative possibilities, the figure itself perceived variably as "a positive and a negative."Langford identifies duality as a guiding principle in Snow’s work. By combining materials and methods Snow creates hybrid objects that defy classification. A work which exemplifies Snow's testing of stylistic boundaries is his 1979 installation Flight Stop, a site-specific work in Toronto's Eaton Centre mall, which looks like a sculptural representation of sixty geese, but is in fact an intricate combination of fibreglass forms and photographs of a single goose. In 1982, Snow sued the corporate owner of the Toronto Eaton Centre for violating his moral rights by altering Flight Stop. In the landmark case Snow v Eaton Centre Ltd, the Ontario High Court of Justice affirmed the artist's right to the integrity of their work; the operator of the Toronto Eaton Centre was found liable for violating Michael Snow's moral rights by putting Christmas bows on the work.
Snow's works have been in Canadian pavilion at world fairs since his Walking Women sculpture
WOBC-FM is a student-run freeform community FM radio station at Oberlin College, located in Oberlin, Ohio. WOBC broadcasts 24 hours a day at 91.5-FM in Ohio. The station runs an internet simulcast via streaming mp3. WOBC broadcasts more than 150 programs weekly, each conceived by DJs. WOBC airs an eclectic mix of music and public affairs programming including new and old pop music, folk, blues, R&B, hip-hop, electronic, radio dramas, talk shows, news including the independently syndicated news program Democracy Now!. A radio station at Oberlin College was first established in 1949 as KOCN, the Oberlin College Student Network, which made its first broadcast November 5, 1950 at 590-AM; the first broadcast originated from a building located at 32 East College Street, demolished to allow the construction of the Oberlin Inn. When construction of the Inn began in the mid-1950s, the radio station moved to the garage behind Grey Gables, a building on West College Street, demolished to construct the Mudd Center.
The station’s call letters changed from KOCN to WOBC in the early 1950s to comply with new call-letter standards. During this early period, studio equipment and broadcast electronics were built by Oberlin College students, save the purchase of used turntables and microphones; the AM signal was broadcast directly to dormitories over a network of wire and transmission boxes attached to electrical poles in town. In 1953, the station acquired a Teletype machine as a result of a sponsorship deal with Lucky Strike which provided news updates. During the first two decades of the station’s operation, programming consisted of classical music, news and popular music; the station is notable in recent years for efforts to reach out beyond the Oberlin College student body that makes up the majority of volunteer DJs and listener to the wider Lorain County community. WOBC began broadcasting at 88.7-FM in 1961. The studio remained at the garage behind Grey Gables until 1964 when the station moved to its current location in Wilder Hall.
It now broadcasts through webcast. Official website Query the FCC's FM station database for WOBC Radio-Locator information on WOBC Query Nielsen Audio's FM station database for WOBC Web articles from a 1965-69 WOBCer
Integrated Authority File
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used for documentation in libraries and also by archives and museums; the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero licence; the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, an approach to unambiguous identification of single elements. It comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format; the Integrated Authority File became operational in April 2012 and integrates the content of the following authority files, which have since been discontinued: Name Authority File Corporate Bodies Authority File Subject Headings Authority File Uniform Title File of the Deutsches Musikarchiv At the time of its introduction on 5 April 2012, the GND held 9,493,860 files, including 2,650,000 personalised names.
There are seven main types of GND entities: LIBRIS Virtual International Authority File Information pages about the GND from the German National Library Search via OGND Bereitstellung des ersten GND-Grundbestandes DNB, 19 April 2012 From Authority Control to Linked Authority Data Presentation given by Reinhold Heuvelmann to the ALA MARC Formats Interest Group, June 2012