664 resultados para Chelsea
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The text includes a retrospective discussion of the Warren and Charles River Bridges.
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Home of Robert J. Hubbard, 13369 Riker Road, Chelsea, MI 48118. Built by UM Alumnus James Paul with bricks from Waterman Gym
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Top Row: Rebecca Adams, Leslie Babich, Katherine Banas, Lori Barnett, Stacey Bednarz, Kelly C Berryman, Adam Brieger, Tina Brown, Kimberly Burleigh, Anne Byrne, Julia Carl, Terra Caswell, Angela Chabot, Molly Colgan, Desiree Conyers, Amy Cook, Melissa Cooley, Ashley Cooper, Morgan Cornell
Row 2: Delphine Cornet, Laura Cortina, Casey Cox, Bradley Crow, Lauren D'Agostino, Katelyn Davis, Kara Dendrinos, Rachael Dunckel, Carolyn Ellis, Kristin Ellis
Row 3: Deonna French, Erin Gasser, Amanda George, Michelle Gilmore, Jacquelene Goyett, LaRonda Gracia, Tera Greenberg, Tracy Guzzardo, Amy Hamlin Tapper, Shawn Hathaway
Row 4: Jennifer Heller, Michele Hetfield, Hilary Heuer, Christen Hicks, unknown, Melissa Jenkins, Terri Jobkar, Jennifer Keller, Karissa Kerg, Katherine Kern
Row 5: Keri Kingma, Amanda Kristofik, Brigid Kutner, Melissa LaDuke, Lorraine Law, Katherine Lawler, Allison Ledtke, Corinne Lee
Row 6: Kerrie Lemerand, Kristen Maki, Smith Margaret, Cynthia Mathew, Thomas Mazzocco, Cara McAlpin
Row 7: Lana McCarthy, Erin McKeever, Nicolyn Meek, Patricia Coleman-Burns, Carol Loveland-Cherry, Judith Lynch-Sauer, Ada Sue Hinshaw, Barbara Guthrie, Marge Calarco, Carolyn Sampeselle, Joanne Pohl, Therese Messing, Rachel Milkowski, Renee Miller
Row 8: Andrea S Miller, Stephanie Mizer, Melissa Morgan, Heather Bidgoli, Elisa Brunetto, Jessica Cleghorn, Jade Curry, Ashley Dorow, Megan Finn, Lisa Gruen, Margaret Kelemen, Andrea Munger, Elizabeth Spencer, Mary Vanderweele, Abigail Vertalka, Jackelyn Ng, Phuong Nguyen, Gracia Nicolaescu
Row 9: Laura Norris, Elizabeth Osborn, Lavinia Pacurar, Carly Palmer, Kristine Parish, Jill Patterson, Mary Pepper, David Perout, Michael Pfeifer, Kristin Phillips, Susanne Pickman, Vanessa Polly, Sabrina Porter, Christina Quillan, Lauren Ramoie, Natasha Rivers, Teresa Roberts, Megan Robertson, Byanqa Robinson
Row 10: Mary Rodzik, Kimberly Sanders, Weber Sasha, Rebecca Scheiblauer, Taylor Schmidt, Jacquelyn Schrot, Tanya Shisler, Daniel Shivel, Sophia Shyu, Michelle Skurulsky, Melissa Smalligan, Erin Sorensen, Allison Spinweber, Lindsay Steiger, Natalya Stokely, Karen Stoneburner, Katherine Stout, Stephanie Swihart, Aaron Taylor
Row 11: Lori Thome, Christopher Thuer, Carolyn Trabka, Kathryn Trommbley, Valerie Tumbleson, Stacey Ventola, Dana Verkade, Caitlyn Vert, Angela Videto, Kari Wanless, Abby Wegener, Stephanie Westphal, Eric Williams, Whitney Zachritz, Amber Zemer, Joanna Zizzo, Chelsea Zussman
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Top Row: Alexis Adamjee, Jennifer Ahlquist, Crista Andress, Dawn Arringdale, Freda Ayensu, Genevieve Balangero, Maureen Berlucchi, Amanda Bevier, Nina Bibicoff, Rachel Black, Denise Black, Jackie Braun, Kristen Bryant, Betty Burgner, Julie Butchart, Nicholas Cameron, Jessica Carver, Christine Cha, Kelly Clement
Row 2: Lauren Cochran, Kathleen Connell, Amanada Cooperwasser, Lindsay Cousino, Lindsey Evans, Stephen Kilijanczyk, Kathryn Evans, Kathryn Bucrek, Ida Elise Broadwater, Renee Havey, Sharon Warner, Katie Darnell, Katrina DeWitt, Kolleen Kowalske, Keather Rechtweg, Kristen Cowan, Alison Damioli, Dinah Denton, Melinda Dobie
Row 3: Rosemarie Donnelly, Kelly Doyle, Deanna Dusseau, Jacqueline Elegant, Ashley Faulk, Kristin Ferszt, Christine Catalan, Sarah Borgstadt-Smith, Paul Holtz, Tracy Jakubiec, Chemari Justice, Patricia Oppenheim, Kelly Fleming, Melissa Foster, Emily French, Tracy Gallo, Kathie Garrett, Jacqueline Garry
Row 4: Monique Gennari, Megan Gerlinger, Deborah Glazer, Terah Griggs, Edward Grosser, Kristy Haigh, Amanda Halbert, Jennifer Hammer, Emily Harris, Erin Harris, Elizabeth Hassenrik, Elizabeth Heinbeck
Row 5: Brianna Hirsch, Jessica Hoffman, Heather Hoffner, Bridget Holtz, Melissa Housefield, Sarah Hudson, Kathy Huffnagle, Hilary Hunt, Ashley Jannesen, Lauren Jarvis, Sarah Jarvis, Younhee Jee
Row 6: Ruth Jensen, Janet Wilson Johnston, Brandi Josephs, Amy Kangwankij, Julie Kramb, Dianna Krankurs, Allan Kucab, Kimberly Lai, Sarah Layher, Erin Layher, Dung Le, Hedy Leiter
Row 7: Lauren Loftus, Michael Long, Caroline Loukotka, Shoshana Love, Norma Martinez, Kristen McElreath, Lindsi McErlean, Renee McGlone, Lynne McIntosh, Ian McLelland, Ashley Mester, Anika Meyers
Row 8: Elizabeth Miles, Sarah Miller, Juliana Moore, Nicole Nastanski, Sarah Neighbours, Emily Newman, Judith Lynch-Sauer, Patricia Coleman-Burns, Judith Wismont, Kathleen Potempa, Carol Loveland-Cherry, Carolyn Sampselle, Joanne Pohl, Katie Pace, Bethany Panyard, sejal Patel, Chelsea Patnoude, Amy Jo Perry, Joseph Piotrowski
Row 9: Kate Pittel, Natalie Podolsky, Jessica Pollman, Nicole Pratt, Laura Ready, Amanda Retzbach, Katie Richards, Nicole Rico, April Robertson, Meighan Robinson, Stephanie Robinson, Talia Roesner, Autumn Romanowski, Anne Sage, Sally Scharg, Melissa Schultz, Renee Shelton, Natalie Sherry
Row 10: Rebecca Siereveld, Karen Simon, Emily Sosnowski, Elissa Stier, Darcy Stoll, Nicole Sukich, Erin Sykes-Miller, Tami Szuba, John Tallman, Michelle Taylor, Ashley Thelen, Gina Thomas, Rachel Tovian, Yuanyuan Wan, Nicole Young
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Top Row: Jocelyn Aden, Rachel Ades, Katrina Allen, Kayla Ashcraft, Kristie Baker, Amy Beaudoin, Heidi Beck, Beth Bentrum, Amber Blake, Lee Anna Braden, Dan Burd, Meaghan Burke, Mallory Calus, Irene Casillas, Veronica Cherney, Samantha Cholewa, Molly Conlen
Row 2: Wendy Corriveau, Meaghan Cotter, Kara DeGlopper, Colleen DeVoe, Hadley Dobbs, Kimberly Drury-Wallace, Hyesun Eitel, Sarah Elner, Douglas E. Elsey, Alyssa Fallot, Folake Famoye, Kristen Farr, Christine Fleck, Jennifer Fleming, Soncerae Gardner, Sarah Gilley, Joelle Gilmet
Row 3: Sara Goss, Amy Guffey, Taylor Griglak, Bridget Belvitch, Jaclyn Janks, Andrea Engles, Cassandra Smith, Lyndsy Brenner, Mallorie Patterson, Kristen Oltersdorf, Laura Kokx, Ross Zoet, Mary Osbach, Courtney Norman, Monica Habeck, Erica Hadley
Row 4: Amanda Hanert, Dayna Hasty, Nicole Heller, Ashley Howard, Robert Humburg, Andrew Humes, Grace Hwang, Amira Jackson, Kathryn Jipping, Shelly Johnson
Row 5: Lindsey Kappler, Jacqueline Klaiman, Sarah Knoedler, Jessica Kopicki, Kathryn Kovanda, Sarah Kovats, Emily Krogel, Kellie Kunkel, Kristin Lakatos, Chelsea Lazaroff, Bo Hwa Lee, Kelly Leja
Row 6: Kelli Littlejohn, Emilee Losey, Patricia Luna, Wilma MacKenzie, Matt Malkowski, Rachel Mallas, Emily McCallister, Diane McDonald, Dorian Michelson, Mary Miller, Nicole Miller, Kristen Muehlhauser
Row 7: Renee Muller, Katherine Mulvaney, Eugene Ngala, Christine Novotny, Colleen O'Connor, Cassey Parrish, Kimberly Peters, Kathleen Potempa, Bonnie Hagerty, Heather Poucher, Charles Reisdorf, Eric Retzbach, Sarah Rhem, Shannon Rice, Amy Roberts, Christie Schonsheck
Row 8: Franciska Schuett, Rhonda Schultz, Kristina Seidl, Teresa Semaan, Shelley Sibbold, Stacy Slater, Mary Snell, Mallory Stanton, Dennis Stevens, Miranda Stoddard, Tatiana Tafla, Priscilla Tang, Bethany Thelen, Jessica Thibert, Rebecca Thurk, Lauren Tormoehlen, Chinasa Uwandu
Row 9: Margaret van Buitenen, Stacey Victor, Jennifer Waag, Kirstyn Wade, Ariel Warren, Elizabeth White, Natalie Wierenga, Jessica Wihowski, Wendy Witkowski, Aliza Wolfe, DaShaunn Woolard, Ting Wan Yip, Alexander Young, Kellie Zenz, Kristen Ziulkowski, Jessica Zmierski
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Includes index.
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Island County is located in the Puget Sound of Washington State and includes several islands, the largest of which is Whidbey Island. Central Whidbey Island was chosen as the project site, as residents use groundwater for their water supply and seawater intrusion near the coast is known to contaminate this resource. In 1989, Island County adopted a Saltwater Intrusion Policy and used chloride concentrations in existing wells in order to define and map “risk zones.” In 2005, this method of defining vulnerability was updated with the use of water level elevations in conjunction with chloride concentrations. The result of this work was a revised map of seawater intrusion vulnerability that is currently in use by Island County. This groundwater management strategy is defined as trigger-level management and is largely a reactive tool. In order to evaluate trends in the hydrogeologic processes at the site, including seawater intrusion under sea level rise scenarios, this report presents a workflow where groundwater flow and discharge to the sea are quantified using a revised conceptual site model. The revised conceptual site model used several simplifying assumptions that allow for first-order quantitative predictions of seawater intrusion using analytical methods. Data from water well reports included lithologic and well construction information, static water levels, and aquifer tests for specific capacity. Results from specific capacity tests define the relationship between discharge and drawdown and were input for a modified Theis equation to solve for transmissivity (Arihood, 2009). Components of the conceptual site model were created in ArcGIS and included interpolation of water level elevation, creation of groundwater basins, and the calculation of net recharge and groundwater discharge for each basin. The revised conceptual site model was then used to hypothesize regarding hydrogeologic processes based on observed trends in groundwater flow. Hypotheses used to explain a reduction in aquifer thickness and hydraulic gradient were: (1) A large increase in transmissivity occurring near the coast. (2) The reduced aquifer thickness and hydraulic gradient were the result of seawater intrusion. (3) Data used to create the conceptual site model were insufficient to resolve trends in groundwater flow. For Hypothesis 2, analytical solutions for groundwater flow under Dupuit assumptions were applied in order to evaluate seawater intrusion under projected sea level rise scenarios. Results indicated that a rise in sea level has little impact on the position of a saltwater wedge; however, a reduction in recharge has significant consequences. Future work should evaluate groundwater flow using an expanded monitoring well network and aquifer recharge should be promoted by reducing surface water runoff.
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This research project examines the development and implementation of municipal-level urban forestry policy in the cities of Seattle, Washington, and Portland, Oregon. The research examines the issue-specific context in which both developed, both broadly as an emerging area of scientific research and in the context of each state. Next, through a synthesis of interviews and analysis, it traces the development of each city’s approach and examines both its efficacy and the significant factors that emerged through the course of research as having made a significant impact on overall outcomes.
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The early axon scaffolding in the embryonic vertebrate brain consists of a series of ventrally projecting axon tracts that grow into a single major longitudinal pathway connected across the midline by commissures. We have investigated the role of Brother of CDO (BOC), an immunoglobulin (Ig) superfamily member distantly related to the Roundabout (Robo) family of axon-guidance receptors, in the development of this embryonic template of axon tracts in the zebrafish brain. A zebrafish homologue of BOC was isolated and shown to be expressed predominantly in the developing neural plate and later in the neural tube and developing brain. Zebrafish boc was initially highly localized to discrete bands in the mid- and hindbrain, but, as the major brain subdivisions emerged, it became more evenly expressed along the rostrocaudal axis, particularly in dorsal regions. The function of zebrafish boc was examined by a loss-of-function approach. Analysis of embryos injected with antisense morpholinos designed against boc revealed highly selective defects in the development of dorsoventrally projecting axon tracts. Loss of boc caused ventrally projecting axons, particularly those arising from the presumptive telencephalon, to follow aberrant trajectories. These data indicate that boc is an axon-guidance molecule playing a fundamental role in pathfinding during the early patterning of the axon scaffold in the embryonic vertebrate brain. (c) 2005 Wiley-Liss, Inc.
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Characters’ identities are integral to how audiences relate to them. But what happens when the character suddenly alters his or her outward appearance? Are they still the same person? This thesis seeks to argue that disguise does not alter a character’s true nature, as evidenced by Pyrocles in Sir Philip Sidney’s The Countess of Pembroke’s Arcadia and the Prince in Margaret Cavendish’s The Convent of Pleasure. Both Pyrocles’ suit of Philoclea and the Prince’s suit of Lady Happy are successful because, however subversive they appear at first, they ultimately adhere to societal norms of the time. The relationship between the cross-dressed prince and his love interest in both works only appears to subvert heteronormative expectations for the time, but ultimately adheres to these societal norms once the disguised character’s true identity is revealed to his chosen partner.
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This exhibition was a research presentation of works made at Center for Land Use Interpretation [CLUI]base in Wendover, Utah, USA between 2008-2010. The project was commissioned by the Centre For Land Interpretation in USA and funded by The Henry Moore Foundation in the UK. Documentation of research conducted in the field as made available as video and installation. An experimental discourse on the preservation of land art was put with GPS drawings and research information displayed as maps and documents. In examining physical sites in Utah, USA, the project connected to contemporary discourse centred on archives in relation to land art and land use. Using experimental processes conceived in relation to key concepts such as event structures and entropy, conceptual frameworks developed by Robert Smithson (USA) and John Latham (UK), the 'death drive' of the archive was examined in the context of a cultural impulse to preserve iconic works. The work took items from Lathams archive and placed them at the canonical 'Spiral Jetty', Smithson land art work at Rozel Point north of Salt Lake City. This became a focus for the project that also highlighted the role of the Getty Foundation in documenting major public artworks and CLUI in creating an American Land Museum. Work was created in the field at extreme remote locations using GPS technologies and visual tools were developed to articulate the concepts of the artists discussed, to engage the exhibition audience in ideas of transformation and entropy in art. Audiences were encouraged to sign a petition to be used in future preservation of spiral jetty currently facing development challenges.
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Las relaciones públicas se configuran como una actividad esencial en la gestión de la comunicación con los públicos de los clubes de fútbol ya que son muy activos y su grado de reactividad es alto. Con este texto se analiza el papel que desempeñan las redes sociales en los clubes de fútbol que poseen mayor número de ingresos. Para ello, se desarrolla una metodología que estudia qué presencia tienen en las redes sociales, el número de seguidores, qué grado de interacción se produce entre clubes y públicos y los contenidos y las temáticas de los textos de las redes sociales. Los resultados muestran un público activo pero con intervenciones relacionadas con los resultados futbolísticos y una gestión comunicativa unidireccional por parte de los clubes.
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Este artículo evita la mera disquisición teórica sobre museología crítica, sugiriendo en lugar de ello algunas pistas para calibrar su influencia en la praxis museal. Ante todo, se propone como emblemático de la museografía crítica el uso de interrogaciones en lugar de discursos asertivos; en segundo lugar, la sustitución de la impersonal autoridad institucional por prácticas participativas e interpretaciones compartidas, para dar idea de una variedad de opiniones, incluyendo las de gentes ajenas al museo; finalmente, es un rasgo distintivo el énfasis en la naturaleza subjetiva de los montajes museísticos, mostrando sus cambios a través de la historia, y señalando la autoría personal de las presentaciones y textos en el museo.