1977 University of Michigan Football Team

University of Michigan Men's Tennis Team, 1977

Front Row: Scott Seemen, Jack Neinken, Brad Holland, Jeff Etterbeek, Mark Freedman, Judd Schaufler

Middle Row: coach Brian Eisner, Mark Zausmer, Rick Garcia, Ollie Owens, Steve Solys, Steve Swanson and assistant coach Eric Fleischer

Back Row: Gary Grant, Clark Friedman, Tim Beyer, Dan Aronovic.

1977 UM Track Team

Top Row: Calvin Williams, Mike Boehmer, Tim Thomas, Dan Heikkinen, Greg Thomas, Scott Walters, Sam Angell, Mike Hetes.

3rd Row: asst. coach Greg Syphax, Doug Sweazey, Bruce McFee, Jim Baumgartner, Charles Crouther, Jay Anstaett, Gary Hicks, Warren T. Dobson, James Henry.

2nd Row; Bob Scheper, Arnett Chisholm, John Risk, Don Wheeler, Randy Foss, Lynn Dobosy, Scott Hurd, asst. coach Ron Warhurst

Front Row: Steve Elliott, Bill Donakowski, James Grace, co-captain Jeff McLeod, coach Jack Harvey, co-captain Greg Meyer, Andy Johnson, Dave Furst, Doug Hennigar.

Jack's ward /

Mode of access: Internet.

Jack, the young ranchman; or, A boy's adventures in the Rockies,

Mode of access: Internet.

Mr. Jack Hamlin's mediation ; Two men of Sandy Bar /

Mode of access: Internet.

Empresa bananera e intervención política en Costa Rica (1899-1939) y Honduras (1912- 1933)

Resumen Analizar los diversos mecanismos de intervención empleados por las compañías bananeras para ejercer presión e intervenir en la vida política en Costa Rica y Honduras, durante la primera década del siglo XX. Abstract Analyses the diverse mechanisms of intervention used by the banana companies to exert pressure and to interfere in the political live in Costa Rica and Honduras during the first decades of the 20 th century.

Jack's Bay (the architecturalisation of memory)

Jack's Bay (the architecturalisation of memory) is a key work of the author's exhibition Lightsite, which toured Western Australian galleries from February 2006 to November 2007. It is a five-minute-long exposure photographic image captured inside a purpose-built, room-sized pinhole camera which is demountable and does not have a floor. The work depicts octogenarian Jack Morris, who for forty years held the professional salmon fishing license in the hamlet of Bremer Bay, on the SE coast of Western Australia. The pinhole camera-room is sited within sand dunes new Jack's now demolished beachside camp. Three generations of Jack's descendents stand outside the room - from his daughter to his great grand children. The light from this exterior landscape is 'projected' inside the camera-room and illuminates the interior scene which includes that part of the sand dune upon which the floorless room is erected, along with Jack who is sitting inside. The image evokes the temporality of light. Here, light itself is portrayed as the primary medium through which we both perceive and describe landscape. In this way it is through the agency of light that we construct our connectivity to landscape.

Jack's Bay

Jack's Bay expands understandings of the role of photographic media in the representation of landscapes. It does so by combining architectural construction with B&W photographic processing techniques. A purpose-built room-sized camera obscura is first constructed over a portion of the landscape to be recorded. Photosensitive paper is applied to the interior wall surfaces and is exposed to the inverted light entering a small aperture. These photographs are subsequently developed within the camera itself and consequently 'suffer' embellishments and aberrations from the makeshift darkroom conditions. In this way the specificity of both the landscape and the event of its recording are registered in the final image. Many images were destroyed in the process. The idea of the work is to help the viewer reflect on the role media plays in our understanding of landscape and to thus question the means by which they themselves record and interpret landscape representations.

Interfacing Jack and anybody : towards anthropometric musculoskeletal digital human modeling

Virtual prototyping emerges as a new technology to replace existing physical prototypes for product evaluation, which are costly and time consuming to manufacture. Virtualization technology allows engineers and ergonomists to perform virtual builds and different ergonomic analyses on a product. Digital Human Modelling (DHM) software packages such as Siemens Jack, often integrate with CAD systems to provide a virtual environment which allows investigation of operator and product compatibility. Although the integration between DHM and CAD systems allows for the ergonomic analysis of anthropometric design, human musculoskeletal, multi-body modelling software packages such as the AnyBody Modelling System (AMS) are required to support physiologic design. They provide muscular force analysis, estimate human musculoskeletal strain and help address human comfort assessment. However, the independent characteristics of the modelling systems Jack and AMS constrain engineers and ergonomists in conducting a complete ergonomic analysis. AMS is a stand alone programming system without a capability to integrate into CAD environments. Jack is providing CAD integrated human-in-the-loop capability, but without considering musculoskeletal activity. Consequently, engineers and ergonomists need to perform many redundant tasks during product and process design. Besides, the existing biomechanical model in AMS uses a simplified estimation of body proportions, based on a segment mass ratio derived scaling approach. This is insufficient to represent user populations anthropometrically correct in AMS. In addition, sub-models are derived from different sources of morphologic data and are therefore anthropometrically inconsistent. Therefore, an interface between the biomechanical AMS and the virtual human model Jack was developed to integrate a musculoskeletal simulation with Jack posture modeling. This interface provides direct data exchange between the two man-models, based on a consistent data structure and common body model. The study assesses kinematic and biomechanical model characteristics of Jack and AMS, and defines an appropriate biomechanical model. The information content for interfacing the two systems is defined and a protocol is identified. The interface program is developed and implemented through Tcl and Jack-script(Python), and interacts with the AMS console application to operate AMS procedures.

City meeting places: Brisbane's Hungry Jack's and Melbourne's Flinders Street Station

When arranging a place to meet in Brisbane, it has become almost second nature to say, “I’ll meet you outside Hungry Jack’s,” which is located in Queen Street Mall. In Melbourne, the common saying is, “I’ll meet you under the clocks,” which refers to the row of clocks above the main entrance to Flinders Street Railway Station. The saying “I’ll meet you under the clocks” is loaded with memory and history for most Melbournians—from WWII farewells to after school meetings. The clocks, and the station, have become part of the symbolic culture of the city. A feature of these two sites is the diversity of people who arrange to meet there, ranging from business people, tourists, teenagers, lovers, families to local schoolchildren. These two spaces cross boundaries of exclusion and enable people to feel as though they belong the city. While it seems appropriate for people to arrange to meet at a railway station, it is interesting that many people who meet at Flinders Street Station do not travel by train to arrive there: some walk; some take the tram and then walk; others arrive by bus. Similarly, most of the many people who arrange to meet outside Hungry Jack’s in Brisbane do not intend to enter the store...

Review : "The Adventures of Barry McKenzie" -- Bruce Beresford

Synopsis and review of the Australian ocker comedy The Adventures of Barry McKenzie (Bruce Beresford, 1972). Includes cast and credits. The Adventures of Barry McKenzie, adapted from a comic strip written by Barry Humphries, is a landmark film in the revival of Australian cinema. It was the first film to be fully funded by the new federal agency, the Australian Film Development Corporation (AFDC), and its unexpected success (in Britain as well as in Australia) both demonstrated that Australian films could be popular, and helped establish the ‘ocker comedy’ as the first indigenous (sub)genre of the Australian ‘new wave’. In common with other ocker comedies including Stork (Tim Burstall, 1971), and Alvin Purple (Tim Burstall, 1973), The Adventures of Barry McKenzie was derided by critics despite its popular success. But as Tom O’Regan has argued, these films were vitally important in developing a public profile for Australian films, for encouraging private investment in production, and for convincing exhibitors to screen Australian films...