The 1999-2000 Sheldon Statewide exhibition focuses on a popular yet powerful subject for artist in the Western artistic tradition. Food for Thought assembles a diverse group of artists, working from diverse perspectives and with diverse intentions, who have chosen to represent food.

Food is the very stuff of life, it nourishes us, sustains us, even gives us pleasure. However, in the hands of artists, food is transformed aesthetically and imbued with added meaning and significance. The representation of food in the Western artistic tradition has served a variety of symbolic purposes. First and foremost is the representation of the material beauty of the world around us, a beauty that has intrigued and seduced artists for centuries. Second, some artists have represented this material beauty in order to emphasize its transient nature, thus serving to redirect attention from the temporal pleasures of this world for the presumably more enduring concern of one's soul.

The collections represent the dominant trends of a new generation of Cuban artists that emerged in the last 30 years. Their work continues a tradition of testing the limits of artistic freedom in Cuban society-a critical practice consistent with the Cuban Revolution in 1959, but which fell under intense state scrutiny in the 1970s.

In recent decades artists have worked with increasing self-reflection in responding to life in Cuba. They have explored new representational strategies with which to frame their aesthetically and conceptual responses. The art they produce is less concerned with the standpoint of the collective-an earlier, revolutionary interest-than with the individual's response to the collective-a later, laissez faire interest. The island's contemporary art reveals an increasing sensitivity to individualism in its critical responses to Cuban society.

Artists with an affinity toward nature, especially landscape painters, chose water as a primary subject because of its reflective beauty and emotive qualities. Those close to the land also wish to protect it, and to do so some have turned to documentary imagery. Water was a central theme of the Provincetown, Massachusetts, painters and the San Francisco Bay Area figurative artists. American Impressionists gravitated toward water's abstract, absorbing quality.

Water and exceptional light drew artist and art teacher Charles Hawthorne to Cape Cod, where he helped established an artist colony and persuaded Ross Moffett to join their circle. Although Moffett studied in Chicago and New York, he was born on an Iowa farm, and could identifY with the Portuguese fishermen in the west end of Provincetown. "I regarded this group as proletarian," he wrote, "at least as a working class, and .. .! thought, not too difficult to connect them with farmers .... " Red Dory exemplifies Moffett's attempt to depict the fishermen and their environment as inseparable, organic elements. His use of patterning, negative space, color, and form reflects his interest in modernist ideas as well as life on the water.

FISH, FOWL AND FAUNA, offers a selection of animal images drawn from the permanent collection that document a variety of stylistic, art historical and technical resolutions to the familiar subjects. Like the previous statewide exhibitions, FISH, FOWL AND FAUNA spans approximately one-hundred fifty years and includes examples of painting, sculpture, and works on paper, made by both academically trained and folk artists. From internationally renowned sculptor Alexander Calder's abstract bronze, Snake on Arch, to the charming iron frog decoy made by an unknown artist, and from John Woodhouse Audubon's 19th century zoological study of the Californian Hare to the expressionist painting, Longhorn #7, by Theodore J. Waddell, a wide variety of artistic responses to the animal kingdom is evident.

While many staff members contribute to the year long preparation of each exhibition, we are especially appreciative of the efforts of the Community Programs Coordinator, Lonnie Pierson Dunbier. Ms. Dunbier has 'luthored the notes which support the photographs herein , and she has trained innumerable volunteer docents to conduct local tours in each hosting community. We also thank Curatorial Assistant, Karen Williams, for her thoughtful design of this brochure.

The motivations and limitations of portraiture have changed over the course of history. During the Renaissance, portraits were used not only to record historical personages, but also to advertise the role of the subject. The sitter typically sought to be portrayed as if "from nature," a request which required the artist to achieve a "true likeness." But Renaissance verisimilitude was acceptable only in an idealized form, thus Renaissance portraits typically achieve a balance between the classical ideal and actuality. Artists sought this balance in different ways, some accentuating the real, some the ideal. Thus, while facial imperfections and idiosyncrasies are faithfully recorded, an idealistic veneer is also apparent.

During the seventeenth century, portraiture more directly embraced the mind of the subject. Artists were fascinated with the details of costume and peculiarities of character. Also, dramatic lighting was used to promote the importance of the sitter to the viewer. Typically, the subject would directly encounter the viewer with a steady gaze. Sometimes an arm or hand would drape over a foreground windowsill or ledge. Thus the subject's proximity to the picture plane made the subject appear to enter the viewer's space. The Baroque portrait style was perhaps the most influential type, and remains the dominant traditional approach to likeness.

The artists in Evolving Eden address the much-discussed topic of the environment and our relationship with our surroundings, using three distinct approaches. While Arno Rafael Minkkinen's spiritual images attempt to eliminate the boundary between self and the external world, Hans Eijkelboom shows us a world of homogenous consumerism in an urban environment far removed from nature. Minkkinen's self-portraits leave those material objects and associations, including clothes, behind. He is the lone person in much of his work. Eijkelboom's subjects strive to obtain individuality through their personal style and dress, but in actuality they become elements in a larger collective. Edward Burtynysky's beautiful yet detached photographs of industrial wreckage capture the environmental consequences of consumer culture and exemplify a lack of responsible management of our natural resources.

Finnish-born American photographer Arno Minkkinen contorts his tall, thin body within pristine, Eden-like environments. Equipped with his lens and without the aid of an assistant, he photographs himself as being in a harmonious, solitary relationship with nature. Minkkinen's approach might best be described as spiritual or transcendental; his body can be seen as a metaphor for the land. For almost 40 years Minkkinen has created black-and-white, large-scale self-portraits, unmanipulated, and developed in his darkroom. They are evocatively beautiful yet serendipitous and witty in their defiance of what seems humanly possible to achieve. They take us to places seemingly unmarred by human intervention and remind us of the ideal to seek a balance with nature.

Although the style of the Mexican muralists' work echoed that of their European counterparts, the subjects were inherently Mexican and realism was maintained in order to communicate with the masses. Equipped with strong personalities, artistic genius and support from good relations between the U. S. and Mexico, the "three greats:' Rivera, Siqueiros and Orozco, received much attention in America and made lasting impressions. In 1931, Rivera (1886-1957) was commissioned to paint a mural at the San Francisco Stock Exchange, and a retrospective of his work followed at the Museum of Modern Art, drawing a record crowd of 57,000 people. Rivera's self-portrait was created in 1930, the year he began experimenting with lithography. Capturing his full, rounded face and forthright stare, the work communicates confidence at this point in his career. I In Open Air School, Rivera depicts students of all ages, including adult field workers, who gather to broaden their education.

Though EARTH AND FIRE addresses the American connibution to the ceramics tradition, clay vessels and figures have been formed by nearly every culture since the beginning of civilization. These objects, made of the very earth itself, were not only utilitarian, but also often ritualistic or created for purely aesthetic reasons. The earliest American ceramic objects - pots and jars from the ancient Southwest - date from about 850 AD through the late Pueblo eras. With the coming of the Europeans, more and more types of ceramic vessels were introduced to this country.

Included in EARTH AND FIRE are works by eccennic artist George Ohr whose work of the early twentieth century was unknown to the art world until the recent past. The art potteries of the late nineteenth and early twentieth centuries are represented by examples from the Rookwood and Grueby studios. The art pottery movement laid the groundwork for the establishment of an American ceramic tradition. The ensuing decades, up to mid-century, saw the emergence of characteristics that can be identified as peculiar to ceramics produced by Americans. During the last forty years these qualities have been more fully defined, most particularly in the works of those artists who were involved in and who have benefitted from the "revolution" in ceramics that took place after the second world war. Notable among these are sculptural ceramic works by masters such as Peter Voulkos, Tom Rippon, Peter Shire and Richard Shaw. EARTH AND FIRE also includes works by Nebraska ceramicists Gail Kendall and Margaret Furlong. Today American ceramics, once a stepchild of other cultures, is strong enough to influence many of those cultures on which it once depended.

As the art museum of the University of Nebraska-Lincoln, the Sheldon Memorial Art Gallery staff is committed to making the exceptional permanent collection available to all Nebraskans. The Sheldon Statewide exhibition program realizes that goal by circulating art of the highest quality to communities throughout the state. Each Sheldon Statewide exhibition addresses an art historical geme or theme, and together the six exhibitions constitute a mini-art history course and a unique focus on the Sheldon Gallery's renowned collection. As the exhibition series continues, the relationships between diverse artworks are increasingly apparent.

Historical factors contributing to this transformation included the diminished influence of the Catholic Church, improved education, and foreign travels. Intellectually, they were guided by historically far-ranging philosophies. Pythagoras, for example, taught them that there was only one substance, "the absolute," from which all things, from the minutest particle to the farthest star, were composed and that a world soul animated this unified reality. Spinoza also proclaimed that everything is a manifestation of the one substance, his concept of God. Jacob B6hme, a German mystic, had a vision of this unitary reality when he saw divine energy shining forth from every object around him. Madame (Helena Petrovna) Blavatsky in the 19th century introduced Theosophy; its doctrine asserts that all cultures and religions strive for spiritual awareness and would unite in the universal absolute when they evolved to a higher consciousness.

While the Romanticists were active in Germany, New England Transcendentalists inspired the Hudson River School artists. Influenced by Swedish philosopher, scientist, and Christian mystic Emanuel Swedenborg,Transcendentalists also saw a spiritual world underlying nature. American artist Ralph Albert Blakelock, for instance, maintained a Romantic artistic style, mystically reordering reality. Dusky evening scenes with luminescent moonlight became his signature style. Heavy Woods -Moonlight communicates a spiritual essence that envelops the viewer in a meditative stillness. Norman Geske, Blakelock biographer, notes that the artist "proceeded with an imagination that was singularly free of any allegiance to established procedures" and was "critically and tragically" ahead of his time in his abstract impressionistic style.

Schooled as a painter in his native South Wales, much of Rosser's work refers to the dilemma of rendering a three-dimensional world on a two-dimensional surface. This classic conundrum has led Rosser into sculpture, back to drawing, and, most recently, away from gesture and toward works that include photography and kinetic elements. Fundamental to his physical solutions is Rosser's reference to the human form. In earlier works, the body was an explicit subject. With "Dislocated Emblems," Rosser uses the verticality of the figure as an implied coordinate, a way of orienting the viewer to the artist's psyche.

Some of Rosser's titles give us an indication of his thematic concerns. Titles like Reflex and MemoryRevisited, Stages, and Union of Fortune- Tellers and Alchemy allude to the artist's interest in universal concepts such as the duration of time, the mutability of perception, and the transitory nature of human experience. Poetics aside, Rosser has committed himself to deciphering the plethora of information that bombards us daily, organizing and dissecting his visual language and placing it in a wider, philosophical context. He has set as his task the creation of "emblems" that signify the very stuff of reality: time, motion, and memory. Throughout the exhibition, single works are constructed as sequential imagery, to be read in real time, from left to right, or from top to bottom. Machinelike, motorized components churn and whir, lending magically absurd qualities to the more formal elements. In each work we are met with a complement of sensory signposts, as the eye moves from form to shadow, from actual space to the ghostly residue of a form, from static imagery to rotating contraptions which emit lowlevel repetitive sounds that mimic the body's pulse.

The Rohmans have continued to build this institution's holdings of nineteenth- and twentieth-century sculpture by donating pieces by Malvina Hoffman and Edward Thaxter, but perhaps their most visible contribution was to the acquisition of Claes Oldenburg and Coosje van Bruggen's monumental outdoor sculpture Torn Notebook (fig. 7), a work that has become synonymous with the University of Nebraska since its unveiling and, appropriately, greets all visitors to the campus and the city.

The artworks on display here and in Poetical Fire are but a small fraction of the more than one hundred objects that the Rohmans have contributed over the last forty years. The collection that bears their name is a testament to their astute eye and discriminating tastes, as well as to their generous philanthropy.

Although drawing is often dismissed as preparatory in nature, it is in fact central to most visual enterprises. The revered neoclassical artist JeanAuguste- Dominique Ingres declared, "Drawing is the probity of art. To draw does not simply mean to reproduce contours; drawing does not simply consist of line: drawing is also expression, the inner form, the surface, modeling." To Ingres and to many others before and since, drawing constituted the bedrock of art. One only need look across the expansive history of art to see the truth of his assertion. Renowned artists such as Leonardo da Vinci, Albrecht Durer, Kathe Kollwitz, and Pablo Picasso produced breathtakingly affecting and impressive paintings, prints, sculptures, and works in other mediums, all of which stemmed from their enviable abilities as draftsmen. And drawing's importance is not limited to the West; consider the centrality of ink drawings to centuries of Asian art.

In Decisive Line, the primacy of drawing-and line in particular-is on full display. Most of the works on display here, especially those done in graphite or pen and ink, consist predominately of crosshatched lines. This is consistent with Howard's working methods over the course of his career, which got an early start. The artist was born in Iowa City in 1931 and majored in art as an undergraduate at the University of Iowa. After a short stint in the Air Force in the mid-1950s, he returned to the university, where he received his Master of Fine Arts (with a concentration in painting) in 1958. After moving through the ranks at Arkansas State and Kansas State universities, Howard came to the University of Nebraska-Lincoln in 1974 as a full professor and chair of the Department of Art, in which capacity he served until 1983. He retired in 1997 but has continued the vigorous practice that he established years earlier.

About two years ago, during a conversation in which the relation of birds to horticulture incidentally arose, Professor F. W. Taylor suggested the advisability of devoting a portion of a succeeding annual report to our Nebraska birds. With this object in view both the professor and the writer broached the matter to other members of the Society. Several at once not only became interested in the matter, but suggested its early accomplishment. Our late lamented Secretary, D. U. Reed, was especially in favor of the scheme. Accordingly it was decided that my usual report as entomologist should be omitted from the present volume and its place given to one on birds.

It is on these grounds that I now present for publication some " Notes on Nebraska Birds," and it is to be hoped that they will in a measure, at least, have the desired effect, viz., the protection of our birds, which means the destruction of insect pests in proprotion as the protection reaches out. Just so soon as it was decided that this subject be treated in the present report efforts were at once made to secure all such additional material and information as would tend towards making our knowledge as complete as possible. Correspondence with various persons interested resulted in the bringing together of notes taken by about forty separate workers located in different parts of the state.

By referring to the catalogue on the succeeding pages it will be seen that there are 415 distinct species and subspecies listed. Of these, future more critical examination may eliminate six or seven forms. Perhaps it will also be found that at least twenty-five are only accidental visitors. To counteract these possible eliminations there will undoubtedly be several additions made when we shall be better acquainted with our bird fauna.

These notes, besides definitely extending the recorded ranges of many of our North American birds, will show that at least 227 breed within the state and that more than 100 remain within our borders during ordinary winters.

Covers issues that affect the rural school population including poverty, mental health problems, and substance abuse, as well as limited access to services. Includes a list of suggested reading.

In each of its diverse manifestations, abstraction refers to that which is not seen in the world around us, but felt, imagined, or conceived in the mind of the artist. The viewer must take a leap of faith when contending with a work of abstraction, because the usual methods for corroborating the truth are not applicable. A painting of a bouquet of flowers or a bronze sculpture of a mythological goddess are verifiable subjects. The viewer can recognize them from personal or literary experience. But abstraction exists in a hermetic place, unsullied by worldly assumptions. This inherent isolation from the visible world has continually lent abstraction a mysterious role in twentieth century art. And that which is mysterious is often suspect and sometimes threatening.

The first true abstract paintings were made by Wassily Kandinsky in Russia and Arthur Dove in the U.S., each in about 1910. They were logical evolutions of the late nineteenth century rejection of academic art and its insistence upon placid depictions of the natural world or moralistic interpretations of history. As the culmination of early modernism, the first abstractions embodied the radical imperative to pursue an art which could communicate certain transcendental truths without the mediating elements of narration, symbolism, or retinal mimicry. They were paintings which sought a direct communion with the pure truth of an inner reality, or the reality of another plane. They were the tools with which modernists would establish a new aesthetic for the new century, an aesthetic dependent upon the crucial separation of abstraction from realism.

Christensen was born in Lexington, Nebraska and grew up outside of Cozad. As a teenager Christensen listened to music on radio stations from Shreveport and Little Rock and grew fond of soul, blues, and pop music. His early aspirations to reach beyond his Midwest roots and experience a larger world, coupled with a youthful sense of independence and self-reliance, contributed to his eventual move to New York City. In 1964 he graduated from the Kansas City Art Institute and after one year of graduate school moved to the East Coast where he spent the rest of his life. Although he was painting the figure when he arrived in New York, he soon made an abrupt break from this style.

Artists in Christensen's circle met and shared ideas at Max's Kansas City, a bar on Park Avenue South in New York City. There, Christensen met Minimalist artists Carl Andre and Brice Marden, whom he considered important early influences. Max's is also where Christensen met art dealer Rich8rd Bell8my, who offered to represent him in 1966. Shortly afterward, Bellamy brought art collector and author James Michener for a studio visit. Michener bought a paintingthe first real sale Christensen made

World War I ended the joint investigations of Picasso and Braque and dispersed the international community of artists who had gathered in Paris. Excepting Juan Gris and Ferdinand Leger, all of these artists, including the American artists, were on-lookers. Few grasped all of the issues and formal ideas with which Braque and Picasso experimented. Most seized upon an aspect of the style and wedded it to theories of their own, sometimes political, sometimes purely aesthetic.

Those theories produced Futurism in Italy, Vorticism in Britain, Constructivism and Suprematism in the Soviet Union, De Stijl in Holland. Orphism and Purism were generated by French painters while two Americans in Paris, Morgan Russell and Stanton MacDonald-Wright developed their concept of Synchronism. The work of some of these moved toward pure abstraction, the work of others returned to a more traditional, often figurative art.

Fundamental to nearly all, however, was the use of the facets of Analytic Cubism. Fractured planes served to generate complex, geometric images which frequently were held to be a metaphor for the mechanized and shattered quality of modern industrialized experience. To many parts of this complicated avantgarde profusion of styles the American artist could and did respond. Generally, however, progressive American painters did not, collectively, generate a national style as can be discovered in Russia or Holland. Rather, Cubism in America tends to reflect the diversity of styles produced internationally.

This exhibition's subtitle, "Art and Objecthood," alludes to several important aesthetic themes. First, it refers to the title of one of the most influential critical essays of the last thirty years, written by Michael Fried in 1967, which argued that the "theatricality" of Minimalism ("objecthood") needed to be defeated through the "absorption" of advanced modernist painting and sculpture (art).l Second, Art and Objecthood refers also to a problem that interested Marcel Duchamp throughout his career, namely, what separates an art object from a non-art object? This concern is seen most explicitly in his "Readymades," in which he explored and exploited the distinction between art object and non-art object. Third, Art and Objecthood also refers to the "objecthood" of art, that is, art's identity as a commodity for consumption among other objects and the socio-political implications of consumer culture.

Commemoration-the theme of this year's exhibition-is particularly appropriate, as 2012 marks the twenty-fifth anniversary of Sheldon Statewide. The program began in 1987 as a joint effort of the Sheldon Museum of Art and the Sheldon Art Association, then known as the Sheldon Memorial Art Gallery and the Nebraska Art Association. Conceived as a project of the association's Statewide Committee, chaired by Lois Roskens, it was part of the group's centenary celebrations. From its first exhibition, Miniature Masterworks, Sheldon Statewide has provided opportunities for communities throughout the state to gain access to original works of art. Miniature Masterworks, organized by Sheldon Educator Suzanne Wise, was launched in North Platte, where it succeeded due to the organizational skills of Rhonda Seacrest, the support o,f the North Platte Telegraph and Superintendent of Schools Doug Christensen, and the vigilance of Sharon Skinner. Sheldon docents Nancy Dawson, Lonnie Pierson Dunbier, Phyllis Pauley, Alison Petersen, Jan Roberts, and Ellen Zumwalt worked with local volunteers to provide tours. Over the last quarter century, Sheldon Statewide exhibitions have been viewed in twenty-four Nebraska communities, reached over 275,000 people, and supported additional outreach programs such as Art in Society: Nebraska. Venues have included art galleries, banks, historical museums, and libraries in Chadron, Columbus, Falls City, McCook, North Platte, and Scottsbluff, to name only a few.

The Sheldon Museum of Art wishes to acknowledge the visionary planning of those who first helped to guarantee that the program became a truly statewide endeavor. In Sheldon Statewide's first decade, Nebraska Art Association President Art Thompson, Sheldon Director George Neubert and Curator Daphne Deeds, and museum staff and steady supporters including Nancy Dawson, Lonnie Pierson Dunbier, Karen Janovy, Janice Roberts, and Rhonda Seacrest all helped to guide and shape it. The program has also benefited from the direction of Sharon Kennedy, Susan Soriente, and Sarah Feit. Initial financial support for Sheldon Statewide was provided by the Sheldon Art Association and was renewed in 1992 by UNL Chancellor Graham Spanier. Today, Lonnie Pierson Dunbier, Rhonda and James Seacrest, Farmers Mutual Insurance Company of Nebraska, the Nebraska Arts Council, Nebraska Cultural Endowment, and the Sheldon Art Association support the project. Sheldon Statewide remains a key embodiment of the museum's mission as part of a land-grant institution that is committed "to fostering collaborations within the University and among our constituents in the community, Nebraska, and the nation."

This year's Sheldon Statewide examines commemoration as a theme in art-what brings people together, gives them a sense of identity, and how our perception of commemoration changes over time. Today, for example, Doris Lee's Thanksgiving (fig. 1) seems an endearing and whimsical depiction of a favorite American holiday: a scene of domesticity and tradition in which women and children prepare for the annual family feast in a bustling kitchen. However, the painting actually sparked a firestorm of criticism upon its debut in the 1930s.

As part of the Sheldon Memorial Art Gallery's responsibility and mission to reflect and document the historical development of the visual arts of the United States, we have a commitment to respond to those artists within our own region who contribute to that development. It is within this context that we present Characters: Portraits by Robert Weaver as one of the Sheldon Solo series. Lincoln artist, Robert Weaver, has established a regional reputation for his artistic effort and achievements, but he also has become a well-known "character" because of his artistic independence and personality. This current exhibition focuses on Weaver's recent highly charged and bold portrait paintings of local, powerful and influential individuals that capture the subjects/ personalities with directness and honesty, often revealing the nature of both the artist and the sitter.

A midwestern native who attended Doane College and the University of Nebraska-Lincoln, Carol Haerer studied in Paris on a Fulbright Fellowship in 1955, and after receiving an M.F.A. from the University of California-Berkeley, she moved to New York. It was in New York where she began to paint intensely subtle white paintings which received considerable critical attention in the late sixties, in part because they seemed to offer a way out of what was perceived by many in the art world to be the straightjacket of Minimalism. But the critical attention they received in the sixties has rarely been noted by art historians, who have tended to evaluate painting or sculpture from this period by the theoretical standards of Minimalism. But as "minimal" as Haerer's paintings appear at first blush, they are images, even atmospheres, but not "objects." This exhibition offers an opportunity for our audience actually "to experience" these paintings as they were intended to be viewed, as an aesthetic environment. We would like to thank Dr. Charles Eldredge, Hall Distinguished Professor of American Art at the University of Kansas and former Director of the National Museum of American Art in Washington, DC for writing the essay for this publication.

The history of the African-American contribution to national and international culture in the 20th century deserves a much more nuanced treatment than is possible in the scope of this brief essay. But it is useful for the purposes of this exhibition to sketch out at least the outlines of a series of developments as a framework within which Black Image and Identity can be viewed. W.E.B. DuBois's influential book, Souls of Black Folk (1903) attempted to destroy the 19th-century racial stereotypes by emphasizing the presence of a consistent and coherent "black culture." Artists such as Henry Ossawa Tanner contributed to such racial reconceptualization through paintings that communicated the humanity of black family and community life through the cultural idiom of white, middleFig. 3. Michael Rav Charles, While Power, 1994. class Victorian America. These intellectual and aesthetic attempts to articulate a black culture "fully human" formed the foundation for the so-called Harlem Renaissance of the teens and twenties. Over against the "Old Negro" of the 19th century, which dominant culture represented as subservient, always willing to please, and unable to engage serious culture, the Harlem Renaissance participated in reconstituting the "New Negro;' a concept that was both "isolationisF and "integrationist." On the one hand, the Harlem Renaissance focused on the distinct Harlem community as a "black community." On the other hand, the Harlem Renaissance portrayed the black intellectual and artist as fully equipped and capable of interacting and advancing high culture. James VanDerZee's photographs, two of which are represented in this exhibition, communicate quite profoundly the tension of this two-pronged conception of "Blackness," a phrase Richard Powell described as "always signif[ying] more- visually and conceptually--than it has been allowed to represent officially."

Despite the fact that such trends exist among scholars, there are other historians who value these sources and use them as part of the reconstruction of the history of the period. Raymond H. Kevorkian's monumental contribution to the history of the Armenian Genocide is one such example. His extensive reliance on the Armenian sources has contributed immensely to our understanding ofthe Armenian Genocide from micro-social, political, and economic perspectives. In addition, his concentration on the process of the Genocide from each and every province to the death camps along the Euphrates and Der Zor route ought to be regarded as an important contribution to understanding the mechanisms of the Genocide and the different processes that contributed to the systematic annihilation of the indigenous Armenian populations of historic Armenia. Another useful source is the history books that were written by Pan-Armenian Unions in the Armenian Diaspora during the post-Genocide period. The main objective of these history-writing practices was to preserve the local identities of the Armenians. Ninety percent of these works were written in Armenian. While one would argue that much of this kind of literature presents a way of mourning their lost homeland, whatever was written during this period is unique since as far as I know there is no popular counterpart mirroring the same period of time in Turkish. Although some of these pieces sound more folkloric/amateur than methodologically sound and historical, it does not undo the fact that they provide invaluable information on the history of the Armenian Genocide. In addition, the Armenian press during the period from the beginning of the War and prior to the formation of the Republic of Turkey should be considered as an important source for understanding the reaction of the remaining Armenian communities within the Ottoman Empire in particular and the Diaspora in general towards the horrendous event. A thorough examination of these newspapers will not only provide vital information about the period but will also shed light on the ways in which Ottoman Turkish society reacted to the Genocide. It is important to mention that many of these rare newspapers are found at the Gulbenkian Library in Jerusalem, which houses the world's third largest collection of Armenian historic newspapers spanning from the 19th to the 20th centuries.

The ills are numerous and reflect the fragility of many if not most works of art. Variations in relative humidity can cause a canvas to shrink or expand. Variations in temperature can do the same. With time and continued fluxations, tiny cracks may appear and grow into fissures that cross the surface of the painting. The paint may actually lift away from the canvas; if the cleavage is sufficiently severe, flakes of paint may fall away from the surface and be lost. Both paint and canvas may become so dry that either can threaten to turn to powder when touched.

The artist may use a stretcher too flimsy for his canvas. The canvas itself may develop draws, sags and buckles, all of which threaten the paint on the surface.Or the artist may use paints and glazes which are chemically incompatible; he or she may use materials that are destined to self-destruct. (As an example, for a large number of drawings, Franz Kline used paper that was expected to last only a year or two: pages torn from a Manhattan telephone directory).

Apart from such inherent vices, a work hands of a viewer reaching to fleetingly explore the actual texture of a surface leave behind a residue of oils and grime. Rings or buttons or fingernails may mar the surface. In time, soil and scratches multiply and the original work becomes defaced. These problems and dozens of combinations and variations the conservator must face. Some difficulties have quick solutions. More usually, conservations and restoration is painstaking business. Compounding the problems themselves is the fact that the contemporary conservator refuses to simply repaint where part of an image is lost. Further, conservation now is done so that it may be reversed. The intent is to recover the artist's intent as fully as possible without supplying counterfeit passages which fuse with and become a permanent part of the work.

Since his emergence on the art scene in the early 1960s, Ruscha's work has evolved and matured. However, the one consistent and most significant aspect throughout his work is the emphasis on the work as the central focus of his art. An understanding of Ruscha's use of the word is critical to a comprehension of his oeuvre. Moreover, his emphasis on the verbal is crucial because it illustrates important issues in the art world during the past three decades. Ed Ruscha's works are thus incisive in their ability to lay bare critical aspects of art production and, reception, and it is this added dimension that lends greater import to his art. In the early years of his career, Ruscha's paintings were closely associated with the Pop art movement of the1960s because of their focus on images from the contemporary urban, consumer-oriented environment. Pop was a pivotal movement in the historical continuum of art in part because of its insistence on figuration, in contrast to the overwhelming predominance of abstraction in preceding and concurrent movements such as Abstract Expressionism, Post-Painterly Abstraction, and Minimal art. Through its content, style, and presentation, Pop art blatantly exposed the commodification of art and of our society in general, and Ruscha's paintings reinforced this.

Early surveys of American art tend to focus only on those American painters who fit comfortably into the accepted perimeters of ERY Girl with Turkeys, Giverny, 1886, oil on canvas the French Impressionist style, specifically the light-suffused, intensely colored, and form dissolving canvases pioneered by Claude Monet. More recently, scholarship has recognized the pervasiveness of certain aspects of Impressionism contained in the work of many American artists of the late 19th and early 20th centuries that is too insistent to be ignored.

In reality, the term Impressionism, even when applied to the French, is only a label of convenience that encompasses a variety of individual styles. Originally it was meant as a derisive nickname applied by an indignant critic to works in the first group exhibition , Societe anonyme des artistes peintres, sculpteurs, graveurs, etc. in 1874. "Impressioniste" was quickly adopted by the French group as being far less unweildy than their original title, while also lending a certain notoriety to their subsequent exhibitions.

The garden is first of all a physical enlargement of the gallery facility, but it is as well an expansion of the interpretive function of the institution as a whole. It is, in fact, the first completed unit in an overall plan for the redesign of the University campus, a plan which will undertake to balance the practical needs of the urban institution with the amenities of the spirit which it represents. In the present instance, the inaugural exhibition undertakes to demonstrate the purpose and value of that plan, not only within the University itself, but as regards the relationship of the institution to the immediate community. It offers an unprecedented opportunity to extend the impact of works of contemporary art beyond the traditional limits of the art gallery and the garden into the context of downtown Lincoln. The random confrontations of daily business will provide a test of some of the ideas current in present day art. These ideas are hardly new, but they nevertheless have taken a form which is peculiarly characteristic of our times.

In a more traditional sense, this will constitute one of the rare occasions on which the history of sculpture in the United States has been taken as a whole as the subject for such an exhibition. Ideally such a conception would be difficult, it not impossible, to realize. The very nature of the material involved is against it. To undertake the project even so, necessitates immediate and continuous compromise and the organizers can only hope to keep within sight of the ideal, representing much by the token presence of important material, suggesting much by implication and taking variable samples of different depth and quantity. If some major achievements are missing, some important figures omitted altogether, we can at the same time call attention to some unknown, forgotten or neglected achievements. Our hope would be, that however much we fail in an encyclopedic sense, we gain, at the same time, a fresh view of the art of sculpture as a gauge of American experience.

But the Sheldon's permanent collection does not only document the history of American art, it reveals the history of the Sheldon Art Gallery as a collecting institution. Since the 1970s, historians, critics, and theorists have directed a considerable amount of attention toward the function of art museums in U.S. culture. Despite the diversity of these views, a common observation has emerged. Far from being a neutral space where works of art are allowed to "speak," art museums actively shape how art communicates to the viewer. Far from being a passive space, the art museum is a proactive space, aggressively shaping our experience of the art it presents, from what art is on view and how works of art are exhibited in relation to others, to the didactic text on the walls.

Art museums with active permanent collections, then, participate in several histories. They participate in documenting and constructing histories of art. But they also are documenting and constructing their own histories as institutions. Works of art in permanent collections not only participate in histories of art, but also in histories of the institution that acquired them. They tell not only of an artist who made them, but of a collector or curator who purchased them or a patron who donated them. As important as the permanent collection is, an art museum is not merely the sum total of the art it cares for and exhibits. It includes the people who acquire it, exhibit it, interpret it; in short, invest their passion in the institution.

And there it is-the most direct way of describing that curious combination of fear and euphoria made immediately apparent in Alice Aycock's sculpture. Like a giant mousetrap, The Machine That Makes The World issues a direct challenge to those who enter-can you make your way through without getting caught? The answer is both yes and no. For unlike the breathless speed of a sky dive or roller coaster ride, The Machine That Makes The World operates very, very slowly. Infinite patience is required to negotiate the complex series of gates and concentric labyrinth. One must wait for each element to gradually reveal an opening to squeeze through.

Mexican muralism, a government public art initiative, sponsored after the 1910 Mexican Revolution, encouraged social change by depicting the ideals and struggles for independence, while elevating and glorifying the indigenous heritage of Mexico. The Mexican muralists were influential in the United States, especially among young, socially minded artists, many of whom later participated in the WPA. The Guggenheim Foundation further strengthened ties to Mexican art when it offered travel funding to Mexico for artists such as Howard Cook, Doris Rosenthal, and Rico Lebrun.

When Roosevelt took the presidential oath in 1933, he faced a nation immobilized by the Great Depression. Artist George Biddle was the first to step forward for struggling artists. After learning about the Mexican Muralist Movement, Biddle wrote President Roosevelt, a childhood friend and schoolmate, and proposed a similar federal program. Roosevelt's New Deal work relief programs put over 8 million back to work, including thousands of artists on various WPA projects throughout the years of 1933 - 1943

He has had retrospectives at The Lincoln Center, The Cinematheque Francaise, Festival Nemo and Pompidou Center in Paris, and at The Lisboa Bienal of Contemporary Art. Pierce has received fellowships from the Rockefeller Foundation, The Guggenheim Memorial Foundation, the National Endowment for the Arts, and The Camargo Foundation. He teaches and directs the Film and Video Production Program in the Department of Cinema and Comparative Literature at the University of Iowa.

Sharon Kennedy, interim curator at the Sheldon Museum of Art, interviewed Leighton Pierce about his work and his Sheldon installation, Agency of Time.

A Moment's Notice is the Sheldon Gallery's third annual statewide traveling exhibition. The 1989-90 statewide traveling exhibition program has been sponsored by the Statewide Council of the Nebraska Art Association. Additional support has been provided by the Cooper Foundation, the Seacrest Foundation, the Nebraska Arts Council, the Theodore G. Baldwin Foundation, and the University of NebraskaLincoln Extension and Service Council.

These generous organizations have collaborated with the Sheldon Memorial Art Gallery at the University of Nebraska-Lincoln to make the museum's exceptional collection of American art available to all the citizens of Nebraska. A Moment's Notice will circulate to ten Nebraska communities from September 1989 to June 1990.

The second area of collaborative research involves Drs. Twain Butler, Ryan Reuter and Jon Biermacher and focuses on evaluation of legume species in pastures. Research objectives include: 1.) evaluating spring forage availability of winter annual legume species; and 2.) documenting net returns to land, labor and management from stocker cattle grazing N-fertilized and legume-interseeded pastures. Results have been promising. From 2006 to 2008, hairy vetch and Austrian winter pea produced dry matter yields ranging from 2,204 to 6,720 lb/acre across six environments. In 2008, a grazing experiment was established to compare bermudagrass fertilized with urea at 112 kg N/ ha; bermudagrass interseeded with a grazingtype alfalfa; and bermudagrass interseeded with a mixture of winter annual legumes (hairy vetch, crimson clover and arrowleaf clover). Net returns were $292, $109 and $227/ha for N-fertilized, alfalfa and annual legume systems, respectively. Net returns between the N-fertilized and the annual legume system were sensitive to price of N, gain/ha, value of gain and grazing days.

The third area of research evaluates the use of fire to improve rangeland for beef cattle and wildlife. In collaboration with Ken Gee and others, research at the Oswalt Road Ranch will examine how controlled burning affects stocker cattle production, herbaceous and woody species composition and biomass, and land management economics. Three experimental units will be controlled burned and grazed, and three will receive grazing only. Annual changes in herbage mass and plant communities will be documented beginning in 2009 and prescribed burning and grazing will continue until 2020.

1. clean energy;
2. energy efficiency;
3. reducing global warming pollution; and
4. transitioning to a clean energy economy.

Section 3 contains a description of the proposed cap-and-trade program designed to reduce industrial emissions of greenhouse gases (GHG) including carbon dioxide (CO₂), methane (CH4), nitrous oxide (N₂O), hydro-fluorocarbons (HFCs), perfluorocarbons (PFCs), sulfur hexafluoride (SF6) and nitrogen trifluoride (NF3). Agricultural sources, although largely diffuse and not regulated directly by the bill, account for 8 percent of U.S. annual GHG emissions (U.S. EPA, 2008). The agricultural community can address climate change by reducing its emissions and adopting management practices that enhance storage of carbon in soil. The objective of this article is to describe the effects of grazing land management on soil carbon storage.

As a forage agronomist, I am involved in our current and future plans for the management of the range and forestland covering this property. Today, I'm going to tell you more about this property, explain why it has unique value as a native ecosystem, illustrate how it fits as a component of the natural heritage of Oklahoma, and discuss our plans for managing this property to enhance its value for wildlife and cattle, while hopefully providing some insight on how you might manage similar properties.

A goal of our research is to identify best practices for establishing and managing cool-season or temperate forage legumes in winter and summer pasture systems. Besides increasing nitrogen availability through atmospheric nitrogen fixation, temperate legumes can help bridge a gap between winter and summer pastures. Optimum growth and availability of temperate legumes occur during spring, a time in which the quality of winter small-grain pastures is declining and bermudagrass is yet unavailable. In 2006, we initiated research at three regional sites to determine forage yields of different legume species. The following is a description of common legumes included in our trials and their use as forage in southern pastures.

The U.S. Department of Energy identified switchgrass as a model cellulosic crop because it combined more attributes desirable for bioenergy production than other grasses. Among these attributes, switchgrass was a seeded, perennial grass native throughout North America. It was widely distributed and productive across a wide geographical range.

In research at Ardmore, we have found biomass yields of switchgrass (cultivar "Alamo") to average 6.5 tons per acre. Multilocation experiments were initiated in 2007 to evaluate the response of switchgrass to nitrogen, phosphorous and potassium fertilization rates, and biomass harvesting. Data is limited or sometimes nonexistent on biomass yields of other perennial grasses for bioenergy production in Oklahoma.

Second-year stands of switchgrass become available for grazing near April 15. To enhance growth and nutritive value, we recommend fertilizing switchgrass stands with nitrogen at 50 to 100 pounds per acre. Intensive early stocking with young growing cattle from April 15 through June 15 could take advantage of the early season period of rapid growth and associated young, high quality plant tissue. Under such management, we recommend that switchgrass not be grazed from July through November. The rest period will allow switchgrass enough time to recover leaf area and store energy reserves by fall. Alternatively, one could manage switchgrass with a continuous, season-long stocking at a moderate rate with beef cows from late April through September. Such management has been practiced for years on native range.

Leadership has been identified as essential for success in the 21st century and according to Bennis, “our quality of life amidst the volatility, turbulence and ambiguity of our present day societal context, depends on the quality of our leaders” (4). Leadership research theory has been based on objective measures such as traits, attitudes and performance, intellect, personality, relationships, competencies, and values. Dietetic leadership studies are limited and describe these objective characteristics and leadership styles (5-9). In their review of traditional leadership theory, Gregoire and Arendt (10) suggested that more information is needed about how dietitians develop as leaders. The present article describes one theory of leadership development—constructive developmental theory. Registered dietitians at advanced leadership stages can be identified and factors enabling their development can be studied. This theory provides a subjective approach for studying dietetic leadership and gives insight for leadership development programs.

The purpose of this study was to evaluate the effects of the addition of LNA- and DHA-enriched eggs on serum lipids of people with hyperlipidemia who were consuming a low-fat diet.

Rising costs of N fertilizer coupled with evidence of improved forage production and quality has increased interest among beef cattle producers in legume-grass mixtures for pasture. Our objectives were to evaluate forage yields of temperate legumes seeded with perennial grasses in the Southern Plains. Replicated field trials were established in 2006 at Burneyville, OK; Vashti, TX; and Stephenville, TX, to evaluate potential legume dry matter (DM) yields under different soil and rainfall regimes.

MATERIALS AND METHODS

Burneyville. Legumes were broadcast-seeded and lightly raked by hand within individual 3 x 5 m plots in an existing stand of eastern gamagrass (Tripsacum dactyloides) on 25 Sept. 2006. Before seeding, the eastern gamagrass stand was mowed and baled to a 20- cm height. Diammonium phosphate was applied at 112 kg ha^-1 on 3 Nov. 2006. Cumulative legume forage yields were determined by harvest of two 0.1-m² quadrats at a 2.5-cm height between the eastern gamagrass rows on 19 April, and 27 June 2007. Vashti. Legumes were seeded at < 6.0-mm depth with a HEGE 500 drill into a clean-tilled seedbed along with ‘Flecha’ tall fescue (Festuca arundinacea) at 17 kg PLS ha-1 on 4 Oct. 2006. Before planting, diammonium phosphate was incorporated into the soil at 112 kg ha-1. Grass and legume DM yields were determined by harvest of two 0.4-m² quadrats at 2.5-cm height on 23 Mar. 2007. Plots were grazed from April through May 2007 to allow for estimation of reseeding and persistence in spring 2008. Stephenville. Legumes were seeded in individual plots at < 6.0-mm depth with a HEGE 500 drill into an existing switchgrass (Panicum virgatum) stand on 31 Oct. 2006. Before seeding, the switchgrass stand was mowed to a 5-cm height, and triple superphosphate was applied at 112 kg ha^-1. Forage DM was measured by clipping two 0.4-m² quadrats at 2.5-cm height from each plot when each legume species reached 50 percent bloom. The trials were randomized complete block designs. Treatments were replicated four times, and data were analyzed with the GLM procedure in SAS (Statistical Analysis Software, Cary, NC). Significance was determined at P < 0.05.

Livestock and forage production are the largest contributors to agricultural income in the primary service region of the Noble Foundation. The small grains variety testing program which includes oats, rye, triticale and wheat is designed to provide up-to-date performance information to producers in Oklahoma and Texas about varieties that are commercially and commonly available. In addition, the program provides a tool to evaluate and compare experimental breeding lines emerging from the Noble Foundation breeding program as well as other public and private breeding programs. The program is intended to furnish producers with supplemental information and to aid decision-making and idea formation. The information coming from the variety testing program should be a valuable tool when used with similar information from other sources. The objective of this report is to summarize forage and grain yields from the 2008-2009 small grains variety trials.

Materials and Methods

The small grains variety trials were conducted at the Noble Foundation Dupy Farm (Dale silt loam) near Gene Autry and the Red River Demonstration and Research Farm near Burneyville, Okla. The experimental design was a randomized complete block with three replications. The experimental unit is a 5- by 10-foot plot of a single variety. The trial consisted of 30 entries of wheat, 10 entries of oats, 14 entries of rye and 12 entries of triticale that were evaluated during the 2008-2009 crop growing season. The entries were seeded in a clean-tilled seedbed on Oct. 1, 2008, at the Dupy Farm (Dupy) and on Sept. 29, 2008, at the Red River Demonstration and Research Farm (Red River). Depending on the crop and variety, approximately 90 to 120 lbs/ac (pure live seed basis) of seed was planted which amounts to 2,000,00 PLS/ac. Each entry was drilled in two adjacent 5- by 10-foot plots, in 7-inch rows, at 1-inch planting depth with a HEGE 500 drill. These adjacent plots were used to represent forage only and dual purpose (forage and grain). Fertilization consisted of preplant incorporation of 80 lbs N/ac on Oct. 3, 2008, at Dupy and on Oct. 6, 2008, at Red River. Soil tests showed all other nutrients to be adequate at both locations. Plots received a topdress application of 80 lbs N/acre on Feb. 5, 2009, at Dupy and on Feb. 6, 2009, at Red River. Annual ryegrass was controlled using Amber application at 0.56 ou/ac on Oct. 2, 2008, at both farms. Plots are harvested with a HEGE sickle bar forage plot harvester at a 3-inch height. Adjacent plots of each variety were harvested at the same time for forage during fall until first hollow stem stage of wheat was reached. At hollow stem stage, the dual purpose half is no longer harvested and was allowed to grow for grain production. At Dupy, forage-only plots were harvested on Jan. 23, March 2, April 22 and June 2, 2009. At Red River, they were harvested on Feb. 10, March 3, May 5 and June 6, 2009. At Dupy, dual purpose plots were harvested on Jan. 23, and at Red River, they were harvested on Feb. 10, 2009. Data was analyzed with the general linear models procedure in SAS (Statistical Analysis Software, Cary, N.C.), and means were separated by the least significant difference (LSD) method (P ≤ 0.05).

Livestock and forage production are the largest contributors to agricultural income in the primary service region of the Noble Foundation. The ryegrass (Lolium multiflorum L) variety testing program is designed to provide up-to-date performance information to cooperators and producers in Oklahoma and Texas about ryegrass varieties that are commercially and commonly available. In addition, the program provides a tool to evaluate and compare experimental breeding lines emerging from the Noble Foundation breeding program as well as other public and private breeding programs. The program is intended to furnish producers with supplemental information, aid decision-making and idea formation. The information coming from the variety testing program should be a valuable tool when used with similar information from other sources. The objective of this report is to summarize forage yields from the 2008-2009 ryegrass variety trial.

Materials and Methods

The annual ryegrass variety trial was conducted on a Wilson silt loam soil at the Noble Foundation Headquarters Farm, Ardmore, Okla. The experimental design was a randomized complete block with three replications. The experimental unit was a 5- by 10-foot plot of a single variety. The trial consisted of 28 entries that were evaluated during the 2008-2009 crop growing season. Twelve sources contributed entries to the trial (Table 1). The entries were seeded into a clean-tilled seedbed on Sept. 24, 2008. Each entry was drilled in 5- by 10-foot plots, in 7-inch rows, with 25 lbs/ac (pure live seed) at a ½-inch planting depth with a HEGE 500 drill. Fertilization consisted of preplant incorporation of 120 lbs N/ac and 30 lbs P205/ac, 60 lbs K2O/ ac during September 2008, and a topdress application of 80 lbs N/acre on March 1, 2009. Broadleaved by Jagadeesh Mosali, J. Guretzky, M. Saha and S. Norton Agricultural Division 2510 Sam Noble Pkwy. Ardmore, OK 73401 Forage Yields from 2008-2009 Ryegrass Variety Trial weeds were controlled with an application of 2,4-D amine at a rate of one pt/ac during January 2009. Plots were harvested with a HEGE sickle bar forage plot harvester at a 3-inch height on April 21 and May 20, 2009. Data was analyzed with the general linear models procedure in SAS (Statistical Analysis Software, Cary, N.C.), and means were separated by the least significant difference (LSD) method (P ≤ 0.05).

In an effort to assist cattle producers in Oklahoma and Texas judge forage crop performance, a trial was held to determine forage yield of commercially available varieties and advanced experimental lines of annual ryegrass. The objective of this report is to summarize results from the 2008 trial.

Materials and Methods

The trial was conducted on a Wilson silt loam at the Noble Foundation Headquarters Farm near Ardmore, Okla. The trial consisted of 25 entries contributed from seven sources (Table 1). The entries were seeded in a clean-tilled seedbed on Sept. 17, 2007. Each entry was drilled in 5- by 15-foot plots, in 7-inch rows, at 25 lb/acre (pure live seed basis) at a ½-inch planting depth with a HEGE 500 drill. Fertilization consisted of preplant incorporation of 23 lb P205/acre and 20 lb K2O/acre on Sept. 13, 2007. Plots were topdressed with 80 lb N/acre on Oct. 29, 2007, and Feb. 4, 2008. Plots were harvested with a HEGE sickle bar forage plot harvester at a 3-inch height on Jan. 4, March 14, March 31, April 29 and June 3, 2008. The trial was a randomized complete block design with three replications. Data were analyzed with the general linear models procedure in SAS (Statistical Analysis Software, Cary, N.C.), and means were separated by the least significant difference (LSD) method (P ≤ 0.05).

Results and Discussion

Precipitation was below the 30-year average for Ardmore (Table 2). The deficit occurred primarily during the fall, limiting fall forage production. Good precipitation during the spring allowed for good spring forage production. Consequently, yields on average were 1000 lb/acre greater than average yield of entries in the 2007 trial. by J.A. Guretzky / jaguretzky@noble.org, and S. Norton / slnorton@noble.org Forage yield depended on the harvest date and entry (Table 3). Entries that stood out for producing the most forage during early spring, more than 4000 lb/acre by April 1, included Attain, Big Boss, Diamond T, Ed, Fantastic, Flying A, ME4, ME94, Surrey II, TXR2006-T22 and WD-40. Ed, ME4, ME94 and WD-40 also produced good forage yields during this same time period last year. Entries that stood out for producing more forage during late spring (April 29 harvest) included AM-4T, Attain, Barextra, Big Boss, Florida 4N, Hercules, ISI-LWD4, Jumbo, Marshall, MO 1, Surrey II, Tam TBO, TXR2006-T22 and Verdure (Table 3). When forage yield was examined over the whole season, differences among entries were mostly not significant. Forage yield among the top entries ranged from 6079 to 7420 lb/acre (Table 3). Any entry producing more than 6000 lb/acre across the season performed well.

In an effort to assist producers in Oklahoma and Texas judge variety performance, the Noble Foundation has held trials to determine forage and grain yields of commercially available varieties and advanced experimental lines of small grains. The objective of this report is to summarize yields from the 2007-2008 trials.

Trial Procedures

The small grains tests were conducted at the Noble Foundation Dupy Farm near Gene Autry and the Red River Demonstration and Research Farm (RRF) near Burneyville, Okla. Soils were a Dale silt loam at Dupy and a Minco fine sandy loam at RRF. Ten sources contributed entries to the trial (Table 1). The entries were seeded in a clean-tilled seedbed on Oct. 4, 2007, at Dupy and Oct. 2, 2007, at RRF. Each variety was sown at 2,000,000 pure live seed (PLS) per acre, which approximated 90 to 120 lb PLS/acre, depending on the crop and entry. Seeds were drilled in 7-inch rows at a 1-inch planting depth with a HEGE 500 drill. The entries were seeded in two adjacent 5- by 15-foot plots. The adjacent plots represented forage only use and dual purpose forage and grain use. Both plots were harvested at the same time for forage during the fall. Once first hollow stem stage of wheat was reached in the spring, the dual-purpose half was no longer harvested for forage to allow grain production. Plots harvested for forage only were harvested on Dec. 4, Feb. 12, March 14, April 1 and May 16 at Dupy and on Dec. 7, Feb. 18, March 18, April 11 and May 19 at RRF. Plots harvested for forage and grain were harvested for forage on Dec. 4 and Feb. 12 and for grain on June 17 at Dupy. At RRF, plots harvested for forage and grain were harvested for forage on Dec. 7 and Feb. 18 and for grain on June 23. Fertilization at Dupy consisted of preplant incorporation of 80 lb N/acre on Sept. 11 and a topdress application of 80 lb N/acre on Feb. 12. At RRF, plots were topdressed with N at 80 lbs/ac on Feb. 18, 2007. An application of Amber at 0.56 ou/acre was applied on Oct. 5 at Dupy and RRF to control annual ryegrass. The trials were randomized complete block designs with three replications. Entries were blocked by crop and randomized within each replication. Data were analyzed by crop with the general linear models procedure in SAS (Statistical Analysis Software, Cary, N.C.), and means were separated by the least significant difference (LSD) method.

In an effort to assist producers in Oklahoma and Texas judge variety performance, the Noble Foundation has held trials to determine forage and grain yields of commercially available varieties and advanced experimental lines of small grains. The objective of this report was to summarize forage yields of commercial varieties in the 2006-2007 trials.

Trial Procedures

The small grains test was conducted at the Noble Foundation Headquarters Farm (HQF) near Ardmore and the Red River Demonstration and Research Farm (RRF) near Burneyville, Okla. Soils were a Heiden clay at HQF and a Minco fine sandy loam at RRF. Twelve sources contributed entries to the trial (Table 1). The entries were planted into a clean-tilled seedbed on Sept. 26, 2006, at HQF and Sept. 19, 2006, at RRF. Each entry was sown at 2,000,000 pure live seed (PLS) per acre, which approximated 90 to 120 lbs PLS/ ac. The seeds were drilled in 7-inch rows at a 1-inch planting depth with a HEGE 500 drill into two adjacent 5- by 15-foot plots. The adjacent plots represented forage only use and dual purpose forage and grain use. Plots harvested for forage were harvested on Feb. 7, March 5 and April 5 at HQF and on Feb. 22, March 20 and April 10 at RRF. Plots harvested for dual purpose forage and grain were harvested for forage on Feb. 7 and for grain on June 6 at HQF, and for forage on Feb. 22 and for grain on June 12 at RRF. At HQF, fertilization consisted of preplant incorporation of 100 lbs N/ac and 46 lbs P2O5/ac on Sept. 19, 2006, and a topdress application of 80 lbs N/ ac on Feb. 16, 2007. Broadleaf weeds were controlled with an application of 2,4-D amine at one pt/ac on Jan. 2, 2007. At RRF, plots were topdressed with 80 lbs N/ac on Nov. 29, 2006, and 70 lbs N/ac on Feb. 23, 2007. Broadleaf weeds did not pose a problem at RRF. The trials were randomized complete block designs with three replications. Variety/strain were blocked by crop and randomized within each replication. Data were analyzed by crop with the general linear models procedure in SAS (Statistical Analysis Software, Cary, N.C.), and means were separated by the least significant difference (LSD) method (P ≤ 0.05).

Results and Discussion

Growing conditions were fair for the trial (Table 2). Although precipitation for Ardmore and Burneyville was near the long-term average from October 2006 through April 2007, forage production was limited by the lack of subsoil moisture following severe drought throughout the spring and summer of 2006. Rainfall increased substantially in May and June, but these increases occurred towards the end of the trial. Fall forage production was best for Bates, Maton II, Wintergrazer 70 and TAMcale 5019 on the clay soils at HQF, as determined by forage yields on Feb. 5 (Table 3). The best fall forage producing wheat varieties on the clay soils included Coker 9553 (soft), Fannin, Kingrazer (soft), Doans and Overley. On sandy loam soils at RRF, the best fall forage producers included the ryes: Bates, Elbon, Maton, Oklon and Wintergrazer 70; the triticales: TAMcale 5019 and TAMcale 6331; and the oats: Dallas, Harrison and Plot Spike (Table 4). Total forage production was similar among all rye and triticale varieties on the clay soils at HQF, ranging from 3188 to 4013 lbs/ac (Table 3). Total annual forage production among wheat varieties was best for Coker 9553 (soft), Doans, Duster, Fannin and Kingrazer (soft), with yields ranging from 3416 to 3968 lbs/ac. Dallas and Harrison had the highest total forage production of oat varieties, ranging from 2775 to 2918 lbs/ac. On the sandy loam sites at RRF, total forage production was best for the ryes: Bates, Maton, Elbon and Oklon; and the triticales, TAMcale 5019 and TAMcale 6331 (Table 4). Total forage production among wheat varieties was best for Custer, Deliver, Doans, Duster, Endurance, Lockett, Overley and Ranger Brand (soft). Overall, varieties that performed well across both locations, in terms of total forage production, included the ryes: Bates, Elbon, Maton and Oklon; the triticales: TAMcale 5019 and TAMcale 6331; and the wheats: Doans and Duster.

In an effort to assist livestock producers in Oklahoma and Texas judge variety performance, the Noble Foundation has held trials to determine forage yields of commercially available varieties and experimental strains of annual ryegrass. The objective of this report is to summarize forage yields from the 2006-2007 trial.

Materials and Methods

The test was conducted on a Wilson silt loam soil at the Noble Foundation Headquarters Farm near Ardmore, Okla. The trial consisted of 37 entries; 28 were commercially available varieties and nine were experimental strains. Twelve sources contributed entries to the trial (Table 1). The entries were seeded in a clean-tilled seedbed on Sept. 26, 2006. Each entry was drilled in 5- by 15-foot plots, in 7-inch rows, at 25 lbs/ac (pure live seed basis) at a ½-inch planting depth with a HEGE 500 drill. Fertilization consisted of preplant incorporation of 120 lbs N/ac and 23 lbs P₂0₅/ac on Sept. 19, 2006, and a topdress application of 80 lbs N/acre on March 1, 2007. Broadleaved weeds were controlled with an application of 2,4-D amine at one pt/ac on Jan. 29, 2007. Plots were harvested with a HEGE sickle bar forage plot harvester at a 3-inch height on Feb. 23, March 26, April 9 and May 14, 2007. The trial was a randomized complete block with three replications. Data were analyzed with the general linear models procedure in SAS (Statistical Analysis Software, Cary, N.C.), and means were separated by the least significant difference (LSD) method (P ≤ 0.05).

Results and Discussion

Growing conditions were good for the trial. After a slow start following severe drought in the spring and summer of 2006, precipitation from October 2006 through April 2007 was near the 106-year average for Ardmore (Table 2). Rainfall increased substantially in May, toward the end of the trial, and exceeded the 106-year annual average by 2.7 inches.

The philosophy of sustainable agriculture is gaining ground in a world becoming acutely aware of finite fossil fuel resources and adverse impacts of agriculture and other industries on the environment. In spite of substantial advances in productivity through applications of fertilizers, pesticides, and irrigation, we are learning that inappropriate or excessive use of these inputs can have unexpected and undesirable effects on the environment, natural ecosystems, and the world's human inhabitants. In order to develop the systems that will provide for our needs without endangering the quality of life of future generations, we must concentrate on an efficient use of renewable resources that are available within the immediate production environment. We need to reduce fossil fuel use to minimum essential levels. We must develop technologies that conform more closely with the environments where they will be used. The urgency associated with coming to grips with the problem is becoming more evident every day. These necessities precisely coincide with the capabilities of the FSR/E approach.

FSR/E practitioners work with families who live on the land and are acutely aware of their surrounding environments and how they are influenced by cropping and farming practices and systems. Because farmers participate in the development and testing of alternatives, their evaluation criteria will be used for screening. These may differ from the narrower and often misleading criteria used by researchers trained in specific disciplines. This aspect, in itself, enhances the efficiency and effectiveness of the technology development and adoption process.

When the farmers' concerns and resource base are more explicitly taken into account, technologies thus developed are more readily adapted to the farmers' environments. Perhaps most important, FSR/E on-farm research and technology evaluation methods have proven efficient for screening and selecting technologies that conform to the divergent environments found on farms throughout the world.

The pioneering work of the International Agricultural Research Centers has been successful in developing varieties and packages and in training national program scientists and extension specialists to validate and move them to the field. The process and progress have been summarized by Wortman and Cummings (1978). We now know that the substantial inputs of chemical fertilizers, pesticides, and fossil fuels needed to adopt many of these new technologies has made them unavailable or unaffordable to most limited resource farmers. In addition, experience shows that indiscriminate use of fertilizers and pesticides can add unnecessary production costs and even create dangers to farmers and their families.

The greatest immediate challenges facing national research and extension programs and the international centers are the development of appropriate and productive alternative technologies and how to move these practices and systems to those farmers who are as yet beyond the reach of current programs. There is growing concensus about the focus of future research and development priorities, including:
--concentration on low-input strategies which depend on internal resources on the farm;
--exploitation of biological efficiencies inherent in diversified cropping systems;
--development of more productive multiple cropping and crop/livestock integrated systems;
--examination of how components fit together in systems and how complex interactions can be understood and used to advantage;
--analysis of risk inherent in adoption of new and possibly more expensive technologies; and
--application of some farming systems methodology in identification of key constraints and participatory approaches to development of solutions.

These ideas are not new -- many have emerged through experiences of scientists in the international centers and in key national programs. Each of the topics is explored in some detail, with key references given for further reading and study.

A Dedication to Development

The Spirit of POD: The Next Twenty Years

Permission to Copy

Instructions to Contributors for the 1994 Volume

Foreword

Mission Statement

Membership

Conference and Programs

Contents

List of Contributors

About POD

Reflection on the Use of "The Return of Bill Jasper," by The Editors

Method

Procedure

Data Analysis

Results

Reactions to Content

Instructor-Content Interaction

Impact of Courses

Implications

Teaching

Further Research

Use of Focus Groups

Conclusion

References

Appendix A

Appendix B

Setting Up Case-Based Workshops

Facilitating Case Discussions

Setting Clear Expectations

Managing Time

Asking and Encouraging Questions

Listening

Organizing and Structuring

Avoiding Common Problems

Conclusion

References

Other Resources

Top row (L to R): Jack Lindquist, LouAnn Wilkerson, Joan North, Glenn Erickson.

Middle row: Gene Rice, Al Mizell, Bob Diamond, Claude Mathis, David Outcalt, Bobbie Helling, Bert Biles, Lance Buhl, Charlie Seashore.

Seated: Joe Clark, Marilla Svinicki, Mary Lynn Crow, Glen Nyre, Wally Sykes.

Instruction Can Be Improved

Instructional Tips, Tricks, and Techniques Bless and Curse Improvement

Instructional Improvement is a Difficult Process

Faculty Want to Improve

Conclusion

References

Use of the Case entitled ''Missed Exam"

Opening the Workshop

Developing a Culturally Sensitive Perspective

Explaining Theories of Cultural Variability

Comparing U.S. Values with Collectivist/High Context Values

Creating an Inclusive Classroom

Applying Cultural Knowledge

Conclusion

References

Appendix

The Case of the Irate Students

The Case of the Silent Students

Use of the Case entitled "Just Tell Us"

Issues Related to Use of Part-Time Faculty

Isolation

Professional and Instructional Development

Implications for Faculty/lnstructional Development

Orientations for Part-Time Faculty

Ongoing Development Activities for Part-Time Faculty

Collaboration for Part-Time Faculty

Conclusion

References

Partners in Learning Program

History and Development of the Coordinators' Meetings

Faculty Development Network

History and Evolution of FDN

The Annual Meeting

Networking

Conclusion

References

Results

Influences on Career Choice

Fulfillment in the Job

The Mentoring Role

Career Satisfaction

Implications

Conclusion

References

Use of the Case entitled "Edwina Armstrong"

Motivation

Cognition

Preparing for and Conducting the Live Mini-Lecture

Role of the Confederate Lecturer

Role of the Workshop Participants

Reporting and Discussing Participant Observations and Evaluations

Conclusion

References

Appendix: Motivation Strategies, Cognition Strategies

Sample

Measures

Results

Work Environment - Support and Resources

Teaching and Research

Review Procedures and Participation in Decision-Making

Salary

Job Satisfaction

Places for Relocation and Reasons for Choices

Summary and Recommendations

Rewards for Teaching

Communication of Expectations

Conflict Between Teaching and Research

Salary

Conclusion

References

Conducting Peer Observations

Conclusion

References

Appendix A: Classroom Visit Instrument (Consolidated)

Appendix B: Self-Assessment Instrument For General Teaching (Consolidated), Faculty Self-Assessment Questionnaire

Appendix C: Self-Assessment Instrument For Specific Session (Consolidated), Classroom Session Self-Appraisal, by Barbara J. Millis

Appendix D

Guidelines for Using Team Learning

Answering Key Design Questions

Forming Team Learning Groups

Establishing a Grading System

Using Minitests to ''Cover" Content Without Lectures

Developing Group Assignments and Activities

Ensuring the Development of Performance-Oriented Group Norms

Benefits of Using Comprehensive Group-Based Instruction

Using Instructional Resources Efficiently

Providing Social Support for Students

Developing Interpersonal Skills

Building and Maintaining Instructor Enthusiasm for Teaching

References

Felder and Silverman-Learning Styles

Perry and Cognitive Development

Belenky et al. and Women's Ways of Knowing

Additional Strategies for Facilitating Discussion in the Diverse Classroom

Flick-Inclusive Teaching

Collett-Teaching in the Culturally Diverse Classroom

Billingsley-Fostering Diversity Through Discussion

Conclusion

References

Departmental Programs

University-Wide Programs

Designing and Conducting University-Wide Orientation Sessions

Designing and Participating in University-Wide Workshops

Ongoing Instructional Support as Models and Mentors

Conclusion

References

Appendix A: Department Programs

The Catalyst

A Pattern for Discussion

Help Sheets

Using the Technique

Discussion

Conclusion

References

Appendix A: How Do I Learn Best

Appendix B

In my eight years of teaching at State U, I never saw anything like the survey responses I received from this class. Can community college students be that different? I just don't know how I'm going to cope.

Creative Solutions

Involving Faculty in Program Initiatives

Seeking Administrative Leadership

Encouraging Collegiality

Creating Systems of "Outside" Support

Providing Rewards and Recognition

Conclusion

References

Bill Jasper's First Night Exhibit 2: Lecture Outline

Use of the Case entitled "Bill Jasper's First Night"

Appendix A

Sally Atkins: Reflections on a Graduate Seminar at Appalachian State University

Judy Greene: Reflections on a Training Institute for New Faculty Developers

Themes Across the Case Studies

Conclusion

References

The Varieties of Scholarship

The Varieties of Scholarship: A Case Study

The Diversity of Teaching and Scholarship

Building a Teaching Community

Conclusion

References

Instructional Research: A Sneaky Way into the Classroom

Faculty Committees: Purgatory or Possibility?

Assisting Others Helps the Helper

Team-Teaching

Freshman Seminar

Writing Support

Faculty as Persons

Empowering Others to Assist in Faculty Development

Rituals, Myths, and Magic

Conclusion

References

Permission to Copy

Instructions to Contributors for the 1993 Volume

Foreword, by Donald H. Wulff and Jody D. Nyquist, Editors

In Memory of Jack Lindquist (1945-1991)

Mission Statement

Membership

Conference and Programs

Contents

List of Contributors

The Traditional Role of Educational Institutions

The Role of Faculty Development Programs on a Multicultural Campus

One Institution's Response: The University of Hawaii

Conclusion

References

Identification of Need

Description of the Award

Benefits of the Award

Lessons Learned

Unresolved Issues

Conclusion

References

The Marginalization of Faculty Development

The Feminization of Academia

Faculty Development as a Feminist Agenda

References

Findings

Background Information Characteristics

Expectations and Concerns

Discussion and Implications for Faculty Development

References

Breaking Down the Walls Around Teaching

From State Mandate to Grass Roots: Program Evolution in New Jersey

Successful Campus Programs

The Crucial Campus Coordinator

Administrative Support

Campus Culture

Fruits of a Successful Program: Transformed Teaching

Conclusion

References

Three Common Staffing Options: Advantages and Disadvantages

Finding an Effective Faculty Developer

Staffing Faculty Development Centers: Planning for the Future

Conclusions

References

Appendix A: Candidate Application Rating Form

Appendix B: Telephone Questions Asked of Candidate's References

Appendix C: Sample Candidate Task

Where to Find These Faculty

Bridging Professional and Personal Development

Conclusion

References

Four Frames or Perspectives

Application of the Frames

Conclusion

References

Sample

Measures

Results and Discussion

Career path

Major responsibilities and role interests

Career commitment and job satisfaction

Balance between work and personal life

Recommendations

References

Institutional Quality of Life

Continuous Improvement Versus Assessment Processes

Social Structures

Work Stressors

Your Own Wellness and Vitality

1. Stressors

2. Improving Your Reactions to Stressors

3. Reversing the Stress Response in the Body

References

1. Report to the top

2. Give due credit to the boss

3. Help the boss solve problems

4. Give things away

5. Involve faculty in your efforts

6. Build relationships with other campus leaders

7. Publish a ''must have" newsletter

8. Sponsor nurturing activities

9. Don't act like an empire builder

Summary

Method: Data were collected from 60 participants (48 children, 12 adults) across 5 age ranges (beginners, 7 months, 12 months, 35 months, and adults); each age group included 12 participants. Three different food consistencies were trialed as appropriate. The data were analyzed to assess changes in chewing rate, chewing sequence duration, and estimated number of chewing cycles.

Results: The results revealed both age- and consistency-related changes in chewing rate, sequence duration, and estimated number of chewing cycles, with consistency differences affecting masticatory timing in children as young as 7 months of age. Chewing rate varied as a function of age and consistency, and chewing sequence duration was shorter for adults than for children regardless of consistency type. In addition, the results from the estimated number of chewing cycles measure suggest that chewing effectiveness increased with age; this measure was also dependent on consistency type.

Conclusions: The findings suggest that the different temporal chewing variables follow distinct developmental trajectories and are consistency dependent in children as young as 7 months of age. Clinical implications are detailed.

Method: A novel metronome paced fixed-target task was used to assess movement speed capacities during lower lip and jaw oscillations in seven talkers with ALS and seven age and gender matched controls.

Results: Lower lip peak speeds were significantly lower in talkers with mild ALS than in healthy talkers suggesting a lower lip speed constraint in talkers with mild ALS. Jaw peak speeds tended to be lower, but jaw displacements tended to be larger in talkers with mild ALS than in healthy talkers. Because greater speeds are typically expected for larger displacements, outcomes also suggest a jaw speed constraint in talkers with mild ALS.

Conclusions: Lower lip and jaw peak speeds may be sensitive measures to identify bulbar motor performance decline at an early stage of the disease when speaking rate and intelligibility are only minimally affected.

Learning Outcomes: The reader will be able to explain two different articulatory strategies to increase speaking rate and understand why fast speech tasks and diadochokinetic pseudo-speech tasks are not suited to assess articulatory speed capacity in healthy and impaired talkers. The reader will also be able to explain how orofacial movement speed capacity can be tested using a fixed-target task and how ALS affects lower lip and jaw speed capacities during the early stages of the disease.

1. Before initiating a new program

2. When effectiveness is hampered by interpersonal difficulties

3. When budget problems are hampering effectiveness

4. When in-house staff doesn't have time to do vital work

5. When a more objective viewpoint is is needed

How Do You Find the Right Consultant?

How Do You Ensure Maximum Benefit at Minimum Cost?

1. Before the initial phone call, define with care the problem to be addressed by the consultant

2. The initial phone call focuses on refining the definition of the problem(s) to be addressed and on identifying the information needed to develop a solution

3. The information is collected and used to develop the first draft of an action plan

4. The first-draft action plan is presented in a teleconference attended by all affected constituencies

5. The action plan is revised and implemented

5a. Follow-up

On-site Consultation

Before The Visit

The Visit

Summary

Conclusion

References

Narrative in Several Disciplines

Shifts in Ways of Knowing in the Social Sciences

Narrative Methods: A Personal Response

Narrative Methods in Adult Development Activities

Conclusion

References

Five Reasons for the Viability of the Teaching Portfolio

The Teaching Portfolio and the New Scholarship

Conclusion

References

Appendix A

Appendix B

What Theories Did We Start With?

What of the Future?

Conclusion

References

Theories of Attitude Change

Classical Conditioning Theory

Reinforcement (Behaviorist) Theory

Modelling Theory

Message Learning Theory

Balance Theory

Impression Management Theory

Cognitive Dissonance Theory

Self-Persuasion Theory

Probabilogical Theory

The Foot-in-the-Door Effect

Conclusion

References

Results

Descriptive Statistics

Teaching and Research

Morale

Inferential Statistics

Interest and Satisfaction in Research

Interest and Satisfaction in Teaching

Perceived Institutional Support for Teaching

Discussion

Conclusion

References

A Research University as a System

The Culture Audit

The University as a System

ITA Program Design

Orientation

Pre-term/Pre-teach

Concurrent

Curriculum Design

Program Implementation

Issues in ITA Assessment

ITA Tests

1. Pre-recorded Speaking Tests

2. Oral Interviews

3. Oral Communicative Performance Tests

4. Teaching Simulations

Models of ITA Assessment

Conclusion

References

Anxieties of Both Tenured and Untenured Faculty Working Together

Random Versus Focused Observation and Descriptive Versus Judgmental Observation

Underlying Value Systems That Propel Instruction

Factors That Contribute to Effective and Not-so-effective Teaching

Common Teaching Vocabulary

Observation Through Videotape and Microteaching Process

Microteaching Process

Classroom Observation Triads

Conclusions

Agenda for Peer Observation Training Groups

References

Appendix A

Tabs

Appendix B

Connections in the Classroom

The Medicine Wheel in the Classroom

References

Appendix A

The situation

1. An action plan and its recommendations

2. The Educational Facilities Committee

3. The results: improved facilities and enhanced learning

4. What we have learned

Conclusion

References

Subjects

Interview Protocol

Data Analysis

Results

Workloads

Collegial Support

Teaching

Scholarly Writing

Discussion

Workloads

Collegial Support

Teaching

Scholarly Writing

Summary

References

Mission Statement

Contents

An exciting possibility that emerges from this idea is the possiblity of ‘beams’ of dark matter coming from the decays of higher generation fermions – much in the same way as ‘beams’ of neutrinos are made. The result of such collisions could produce known particles via color/hypercolor interactions or another - as yet unknown - interaction of dark rishons.

More Faraway Places

Most Frequent Visitors

January–April 2012 Totals

What do they want ?

We’re (still) #2 !

We’re now doing Books !

Includes supporting information.

Includes corrected Table 4.

Adviser: Christopher R. Fielding