The Newberry Library is an independent research library, specializing in the humanities and located on Washington Square in Chicago, Illinois. It has been free and open to the public since 1887, its collections encompass a variety of topics related to the history and cultural production of Western Europe and the Americas over the last six centuries. The Library is named to honor the founding bequest from the estate of philanthropist Walter Loomis Newberry. Core collection strengths support research in several subject areas, including maps and exploration. Although the Newberry is a noncirculating library, it welcomes researchers into the reading rooms who are at least 14 years old or in the ninth grade, have a research topic corresponding to the nature of the collections. Additional public services are offered through exhibitions, meet-the-author lectures, adult education seminars, other programming; the Newberry was established in 1887 as the result of a bequest by Walter Loomis Newberry, an early Chicago resident and business leader involved in banking, real estate, other commercial ventures.
Newberry died at sea in 1868. He included in his will a provision of funds for the creation of a "free public library" should his daughters die without heirs, they did, so, following the death of Newberry's widow, Julia Butler Newberry, in 1885, it was up to Newberry estate trustees William H. Bradley and Eliphalet W. Blatchford to bring the library to fruition. Without much direction and without its founder's personal collection as a foundation, the first officers and staff members were instrumental in forming the character of the Newberry; the Newberry's first librarian, William Frederick Poole, was a major figure in the library world when he came to the Newberry. Poole saw the Newberry as a blank canvas on which he could project his ideas, which included and found their most impassioned articulation in the design and construction of libraries. In 1887-88 it was located at 90 La Salle Street, in 1889-90 at 338 Ontario Street, in 1890-93 at the northwest corner of State and Oak Streets; the present building, designed by Poole and architect Henry Ives Cobb, opened in 1893.
It is located at 60 West Walton Street, across from Washington Square. It is a structure in the Spanish Romanesque architectural style, built of Connecticut granite. Poole and Cobb feuded bitterly over their different visions for the library building. Poole favored a number of reading rooms with open shelving of materials that could be accessed by patrons. Poole's influence with the library's trustees coerced Cobb to temper the grand staircase he had envisioned and to accommodate open shelving. Over time, the open shelving would put too much strain on the Newberry's staff and the security of its collections, the library would convert to a centralized storage system. Poole served as Newberry librarian until his death in 1894. Under his leadership, the library built broad reference collections that would be useful to many different Chicagoans professionals and tradespeople; the Newberry's medical department, created in 1890, is an example of this emphasis. Poole steered the Newberry toward the acquisition of rare materials for use by professional scholars.
Two en bloc acquisitions made during his tenure, the private collections of Henry Probasco and Count Pio Resse, yielded notable rarities in music and early printed specimens, as well as Shakespeare folios and editions of Homer and Horace. To focus its own collecting and to avoid the duplication of resources in Chicago at large, the Newberry entered into a cooperative agreement in 1896 with the Chicago Public Library and the John Crerar Library, by which each institution would specialize in certain fields of knowledge and areas of service; as a consequence, the Newberry came to specialize in the humanities, the natural sciences became the province of the Crerar. The Newberry transferred its holdings in this area, including its copy of Audubon's Birds of America; the Newberry's medical department was transferred to the Crerar in 1906. Stanley Pargellis, the fifth Newberry librarian, emphasized not just the "passive" collection of materials but the active orchestration of programs and events to encourage scholarly inquiries into the insights those materials might contain.
Under Pargellis, a fellowship program was inaugurated and academic conferences were held at the Newberry, out of which emerged new scholarship using the library's collections. Pargellis expanded the scope of the collection. Understanding the important role corporations played in American life and believing that those corporations could only be properly assessed if their records were accessible, Pargellis started a trend across the library world with the acquisition of the Chicago, Burlington & Quincy Railroad Company's private archives. Since this acquisition, in 1943, the Newberry would continue to add to its CB&Q archives, while collecting the records of other major corporations of the Midwest. Between 1962 and 1986, the library was expanded under the leadership of president Lawrence William "Bill" Towner. During this time, the Newberry acquired many important collections, a stacks building dedicated
Philip Hoffman is a Canadian filmmaker and a member of the faculty of York University. Hoffman was born December 1955 in Kitchener, Ontario, he studied at Sheridan College, where he received a diploma in media arts in 1979, Wilfrid Laurier University, where he received a B. A. in English literature in 1987. While a student at Sheridan College he became associated with a group of filmmakers known as the Escarpment School, other members of which included Richard Kerr and Mike Hoolboom. In 1986 he became an instructor at Sheridan College. In 1994, he started operating a summer film workshop, the Film Farm Retreat, at Mount Forest, Ontario with support from Sheridan College. In 1999 he joined the York University Video Department as a faculty member, he has been a visiting professor at the University of Helsinki and University of South Florida. Hoffman has been described as "filmmaker of memory and association" whose "highly personal" work blends fiction and documentary and "contests the claim to the truth" that characterizes conventional documentary film.
The San Francisco Cinematheque presented a retrospective of Hoffman's work in 2004, entitled "Passing Through: A Philip Hoffman Retrospective". The Canadian Film Institute presented a retrospective showing of his works in Ottawa in March and April 2008. A book, entitled Rivers of Time and consisting of an interview with Hoffman, "essays and reflections" on the filmmaker and his work, images from his films, was issued to coincide with the retrospective. In 2016, Hoffman was awarded a Governor General's Award in Media Arts. On the Pond, 1978 Dogs Have Tales, 1979 Freeze-up, 1979 Krieghoff, 1980 Megan Carey, 1981 The Road Ended at the Beach, 1983 On Land Over Water, 1984 Prologue: Infinite Obscure, 1984 Somewhere Between Jalostotitlan and Encarnacion, 1984. A "cinematic travelogue" set in Mexico and Colorado.? O, Zoo!, 1986, 23 minutes. A "subversive engagement with documentary convention" centered on the production of Peter Greenaway's film A Zed and Two Noughts. Choral Fantasy, 1986 From Home, 1988 Svetlana, 1988 river, 1979-1989, 15 minutes.
Kitchener-Berlin, 1990. Portrays the Canadian and German cities named in the title as "united in repressed history and the question of home". Opening Series 1, 1992, 10 minutes. Opening Series 2, 1993 Technilogic Ordering, 1994, 30 minutes. A composite of television footage of the Gulf War. Opening Series 3, 1995 Sweep, 1995 Chimera, 1996, 15 minutes. An "experimental travelogue" consisting of material from London, Egypt, Leningrad and Sydney. Destroying Angel, 1998, 32 minutes; the film celebrates co-director's Salazar’s gay marriage in the face of his continuing battles with AIDS, but is punctuated by Hoffman's being called away to the bedside of his long-time companion Marian McMahon, dying from cancer. Kokoro Is for 1999, 7 minutes. Opening Series 4, 2000 What These Ashes Wanted, 2001, 55 minutes. An exploration of Hoffman's relationship with McMahon and its sudden ending with her death; the Canadian Film Encyclopedia quotes Hoffman as saying that he wanted the film “to illuminate the conditions of her death… the mystery of her life and the reason why, at the instant of her passage, I felt peace with her leaving… a feeling I no longer hold.”
Present going past, 7 minutes. A "cine-poem" connecting gardens and poems. Slaughterhouse, 2014, 15 minutes. Aged, 2014, 45 minutes. By the Time We Got to 2015, 9 minutes. Philip Hoffman Films Philip Hoffman, Artist Biography and Filmography on Canadian Filmmaker's Distribution Centre's website
Joachim Cuntz is a German mathematician a professor at the University of Münster. Joachim Cuntz has made fundamental contributions to the area of C*-algebras and to the field of noncommutative geometry in the sense of Alain Connes, he initiated the analysis of the structure of simple C*-algebras and introduced new methods and examples, including the Cuntz algebras and the Cuntz semigroup. He was one of the first to apply K-theory to noncommutative operator algebras and contributed to the development of that theory. In collaboration with Daniel Quillen, he developed a new approach to cyclic cohomology and proved the excision property of periodic cyclic theory. In recent years, he has been working on C*-algebras that are related to structures from number theory, his doctoral students include Wilhelm Winter. 1990 Invited speaker at the International Congress of Mathematicians in Kyoto. Max Planck Research Award, 1993 Medal of the Collège de France, 1997 Gottfried Wilhelm Leibniz Prize of the DFG 1999, Honorary doctorate from the University of Copenhagen ERC Advanced Investigators Grant, 2010 Fellow of the American Mathematical Society, 2012 Joachim Cuntz, Georges Skandalis, Boris Tsygan.