Pro-abortion rally at St. Patrick's Cathedral

General note: Title and date provided by Bettye Lane.

Men for abortion rights at St. Patrick's Cathedral

General note: Title and date provided by Bettye Lane.

Pro-choice and pro-gay rally at St. Patrick's Cathedral

General note: Title and date provided by Bettye Lane.

Pro-abortion rally at St. Patrick's Cathedral

General note: Title and date provided by Bettye Lane.

Pro-choice demonstration at St. Patrick's Cathedral

General note: Title and date provided by Bettye Lane.

Protecting Roe vs. Wade demonstration in front of St. Patrick's Cathedral

General note: Title and date provided by Bettye Lane.

Merle Hoffman (long, blond hair), director of "Choices" an abortion clinic in NYC. Rally in front of St. Patrick's Cathedral

General note: Title and date provided by Bettye Lane.

Pro-abortion rally on the steps of St. Patrick's Cathedral

General note: Title and date provided by Bettye Lane.

Pro-abortion demonstrator is arrested on steps of St. Patrick's Cathedral

General note: Title and date provided by Bettye Lane.

Pro-abortion demonstrator arrested on steps of St. Patrick's Cathedral

General note: Title and date provided by Bettye Lane.

The Capital Sculpture of Wells Cathedral, c. 1184-1210

The understudied capital sculpture of Wells Cathedral in Somerset, England (c. 1184-1210) provides ample opportunity of expanding the current scholarship and understanding of interior ecclesiastical sculpture in a West Country cathedral. While the Gothic style of architecture is typically understood as, according to Paul Binski (2014), rational in execution and reception, the capital sculpture at Wells Cathedral has been considered illogical in terms of both its iconography and location within the nave, transepts, and north porch. Utilizing Michael Camille’s post/anti-iconographical approach, this project examines the Wells figural capitals in five case studies: labour, Old and New Testament Scenes, animals and beast fables, busts, and monsters and hybrids. Each group of capitals will be approached with an understanding that this type of art was viewed by people of different classes and professions, with each viewer bringing their own personal experiences and abilities into how they could have read and understood these types of images. Therefore, the capitals at Wells must be read through layers of meaning and interpretation while also considering their locations within the cathedral and how they react and respond to surrounding figural capitals.

Architectural gems from Ely Cathedral : and the monastic buildings.

Illustrations engraved by W. Woolnoth, S. Rawle, F.J. Havell, and E. Challis.

Max Reger Symposium UW School of Music in conjunction with St. Mark's Cathedral Dr. Carole Terry Wyatt Smith, co-directors November 11-12, 2016

Concert Program

Whisper our futures

Whisper Our Futures was an invited design proposal to produce a major public artwork for the State of Queensland’s 150th Anniversary Celebrations. It involved a network of 100 individual scrolling digital text boxes each with individual audio systems arranged together in a tessellated format. This form (specified by the originating brief) both mimicked the soaring gothic arches typical of Queensland cathedrals and was also suggestive of their stained glass windows. Each text module presented a message in both visual and audible forms for Queenslanders living 150 years hence - spoken both by the general public aw well as prominent figures. In this way the work was designed as a focus of future hope, historical reflection and inspiration to visitors to Queensland cathedrals throughout the entire year of celebrations (2009). The work was planned to premiere at Brisbane’s main Anglican Cathedral and then tour to nine other state cathedrals throughout 2009.---- Two staged proposals and budgets were invited throughout 2007. After the second successful proposal stage the State Premier and cabinet changed, ultimately leading the public art components to be dropped from the program. The proposal currently remains on file at the Queensland Premiers Office.

Tangible interfaces to explain Gaudi's use of ruled-surface geometries

This paper summarises the development of a machine-readable model series for explaining Gaudi's use of ruled surface geometry in the Sagrada Familia in Barcelona, Spain. The first part discusses the modeling methods underlying the columns of the cathedral and the techniques required to translate them into built structures. The second part discusses the design and development of a tangible machine-readable model to explain column-modeling methods interactively in educational contexts such as art exhibitions. It is designed to explain the principles underlying the column design by means of physical interaction without using mathematical terms or language.