Niagara Falls Special Attractions - Postcards

Board with five postcards of Niagara Falls attractions. First postcard, Lincoln Beachey's Flight under Niagara Falls Bridge (copyright 1911 by Photo Specialty Co.). Second postcard, Calvery Walking Niagara Gorge on 3/4 in. cable. Third postcard, Burning Spring, Niagara Falls, Canada. Fourth postcard, Mrs. Anna Edson Taylor "Shot Horseshoe Falls (165 feet) October 24, 1901, and survived - a feat never before accomplished. Entered barrel one and one-half miles above the Falls. Was in barrel one hour and fifteen minutes. Had 32 pounds of air in barrel; 100 pounds weight on foot of barrel. Rescued six hundred yards below falls on Canadian shore". Fifth postcard, Burning Spring, Niagara Falls, Canada.

Canadian Niagara Power Company - Tunnel

Another photograph of several men walking through the tunnel.

Geographical Applications for Sound Walks

Geography has long been a predominantly visual discipline, but recent work in geography has sought to explore the multisensory, embodied, emotional and affective dimensions of people’s relations with places. One way to engage this type of exploration is through the use of sound walks: walks along a specified route accompanied by a soundtrack (on headphones or stationary speakers) that conveys information, enacts a story, produces an ambience or atmosphere, or illuminates certain aspects of the environment through which the listener is walking. This thesis aims to show how geographers can benefit from using sound walks as thinking tools, representational tools and teaching tools. Drawing on my own experiences producing sound walks, I first examine the ways that sound walk production processes help generate productive geographical thinking for those producing sound walks (Chapter Two). The various stages of producing a sound walk require different skill sets, pose different challenges, and require different sorts of environmental awareness, and therefore present novel opportunities for developing geographical insights about specific places or spatial relations. Second, I focus on four experientially-oriented aspects of sound walks – using multiple senses, walking, contingency, and moments of interaction – to argue that sound walks can be useful representational tools for geographers, whether those creating sound walks subscribe to a representational or non-representational theory of knowledge (Chapter Three). The value of sound walks as representational tools is in the experience of ‘doing’ them. That is, audiences discover for themselves through interaction what is being represented, rather than having it delivered to them. The experiential elements of ‘doing’ sound walks recommend them as potentially helpful representational tools for geographers. Third, by examining the work of a small sample of fourth year “Advanced Geography of Music” students, I develop the argument that sound walks can be effective tools for teaching students and for creating circumstances for students to learn independently (Chapter Four). Sound walks have potential to be effective pedagogical tools because they are commensurate with several key pedagogical schools of thought that emphasise the importance of requiring students to engage actively with their environment using a combination of senses. The thesis demonstrates that sound walks are a worthwhile resource for geographers to use theoretically, representationally and pedagogically in their work. The next step is for geographers to put them into practice and realize this potential.

Horsemanship Notes

Notes or an essay from Dorothy Rungeling's time in horsemanship classes in the 1940s. The notes/essay is three pages in length and is focused on the "head and neck" of a horse. She mentions the "schooling" of a horse, much like people. The horse must be taught the way to use his head and neck in the judging ring. She focuses on the horses use of it's neck and head for balance much like we use our arms, for example, "Did you ever try walking the rails on a railroad track or try walking on any narrow board? You would automatically put your arms out if you felt unbalanced. Your arms would be your balancer and the horse's head and neck are his".