Cedar Point Midway on Opening Day

Dozens of high school bands from all over the state of Ohio played on opening day at Cedar Point in 1969. They were an opening day tradition in the 60s and 70s. This photograph also shows the Wild Mouse coaster, the refurbished Coliseum, the Sky Ride, as well as the concrete Midway.

Grand Pavilion of Cedar Point

This picture, taken from the lake side, shows the Grand Pavilion, the boardwalk, and the band shell. The Grand Pavilion was the center of activity on the peninsula for many seasons. Beautiful floral displays were located on the grounds.

Strolling the Cedar Point Midway

Three women stroll the Cedar Point midway. The new Bath House is featured behind them. The facade atop the Bath House features the latest styles in swimwear for ladies.

Bay Side Scene at Cedar Point

This image shows the peaceful scene of the bay side of Cedar Point around 1885. In the distance can be seen the city of Sandusky, Ohio. A steamer docks nearby/

Sandusky Bay side of Cedar Point

The sheltered bay side of Cedar Point offered small boaters calm waters. During the 19th century, Cedar Point was heavily wooded as this picture shows.

Dredging the Cedar Point Lagoons

This picture shows the men of the Detroit Dredging Company hand digging lagoons for owner George A. Boeckling at Cedar Point. The lagoon network would be used for transportation so that visitors could reach the boat docks at the Hotel Breakers. They also made it possible to carry coal to the new electric power station. Visitors could also enjoy traveling the lagoons by themselves.

USING MOSSES TO ASSESS CONDITIONS IN NORTHERN WHITE CEDAR SWAMPS

Northern white cedar (Thuja occidentalis L.) (NWC) swamps are valuable both commercially and ecologically. Unfortunately, many NWC swamps are degraded and information about them is not abundant. Especially there have been no definitive studies about mosses in northern white cedar swamps and how they react to disturbances. Mosses are sensitive to changes in their environment and thus they could be used to assess ecosystem conditions of NWC swamps. The objective of this study was to determine if mosses could be used to asses conditions in NWC swamps and if there are differences between moss communities in disturbed and undisturbed sites. Seventeen sample plots were taken from 12 disturbed and undisturbed sites around upper Michigan and northern Minnesota in the summer of 2012. All mosses occurring on the plots were identified and several associated environmental parameters were measured. The main environmental conditions affecting moss communities were identified with non-metric multidimensional scaling (NMS). Multiple response permutation procedures (MRPP) were run to ascertain if there were significant differences in community composition between disturbances. Indicator species analysis was then done to identify species that are related to different types of disturbances. A one-way ANOVA was used to check for significant differences between species richness and moss cover of undisturbed and disturbed sites. Over all sixty-two moss species were identified. The results indicate that there was no significant difference in species richness or moss cover between disturbed and undisturbed sites. However, moss community composition was affected by disturbance and strongly divided by a wetness gradient. Dicranum fuscescens was found to indicate undisturbed conditions. Calliergon cordifolium and Climacium dendroides indicated disturbed sites with wet conditions. Brotherella recurvans and Eurhynchium pulchellum indicated swamps with other disturbances.

A technique for preserving pigmentation in some capsalid monogeneans for taxonomic purposes

A technique is described to preserve the pigment found in the bodies and the intestine of some brightly coloured and darkly pigmented benedeniine capsalid monogeneans. Previous studies of these pigmented capsalids have proven difficult because the pigmentation usually disappears when the worms are fixed using preservatives containing concentrations of formalin over 5% and/or ethanol, acetic acid, chromic acid, picric acid and mercuric chloride. The technique developed here uses a fixative comprising glycerol, acetone and formalin (GAF). After fixation under light coverslip compression for three minutes, specimens are transferred to absolute acetone for three minutes and cleared in a mixture of nine parts cedar wood oil and one part absolute acetone before mounting in Canada balsam. Processing must be carried out quickly, as these chemicals will cause the pigments to fade if the specimens are exposed to them for too long. Pigmented benedeniines processed using this technique retain the distribution, intensity and colour observed in live worms. The colour and distribution of pigmentation in monogeneans may be of taxonomic importance and this technique aids preparation of whole-mounts suitable for registration as type-material.

Tradução, adaptação e legendagem de textos poéticos

A legendagem, sendo um modo de tradução audiovisual muito peculiar, implica verter um discurso oral, real ou ficcionado, para texto escrito. A primeira questão que nos colocamos é, como será isto exequível, sem se perder uma parte significativa do discurso oral: os elementos paralinguísticos? Depois, o que acontece nesta passagem da oralidade para a escrita? Haverá forma de contornar as perdas evidentes? Como ponto de partida para este projecto de legendagem, escolhemos dois filmes ainda não legendados em português, cujos argumentos, coincidentemente, também ainda não se encontravam traduzidos em português. Os filmes escolhidos foram Pull My Daisy e The Last Clean Shirt, documentos visuais da cultura da Beat Generation, movimento sediado nos Estados Unidos da América. A partir da tradução, adaptação e legendagem destas obras, procurámos, então, analisar as dificuldades levantadas pela tradução e introdução das marcas de oralidade existentes nos textos de partida, bem como as suas possibilidades de adaptação, tendo em conta as características do público-alvo e os constrangimentos impostos pela própria natureza deste modo de tradução. Procurou tomar-se em consideração também os problemas relacionados com a transferência da cultura da língua de partida para a língua de chegada. A legendagem destas duas curtas-metragens foi realizada através do programa de software SPOT. Depois de concluído, foi analisado todo o processo de tradução, adaptação e legendagem, considerando a necessidade de contextualizar os filmes a nível literário, artístico e cultural, bem como as decisões relativamente a alguns aspectos do resultado final da legendagem, nomeadamente no que respeita às dificuldades impostas pela transposição da oralidade para a escrita. O argumento de Pull My Daisy, nas palavras do autor Jack Kerouac, baseia-se no Acto III da peça “The Beat Generation”. Esta peça foi escrita em 1957, mas foi recentemente redescoberta em 2005, em forma manuscrita, num armazém de New Jersey. Na sua essência, este argumento consiste num improviso de Kerouac elaborado em voz off durante o filme realizado por Robert Frank e Alfred Leslie, em 1959. Desde então, ambos os realizadores desenvolveram as suas criações artísticas, tendo, por exemplo, Alfred Leslie estreado o seu trabalho mais recente, o vídeo The Cedar Bar no London Film Festival em 2002 e Robert Frank realizado vídeos para canções dos New Order, Run de 1989, e de Patti Smith, em 1996, para Summer Cannibals. A curta-metragem começa com um canção cuja letra é um excerto do poema Pull My Daisy de Allen Ginsberg e Jack Kerouac. Depois, Jack Kerouac representa e encarna com a sua própria voz cada uma das personagens do filme, enquadrando, descrevendo e comentando a acção. O argumento do filme é, assim, um exercício livre de improviso sobre as imagens montadas pelos realizadores. The Last Clean Shirt é um filme experimental de Alfred Leslie, realizado em 1964, cujas legendas originais incluídas no filme são textos do poeta americano Frank O’Hara. Este filme tem sempre o mesmo enquadramento de câmara, ao passo que a “acção” nos é sugerida pelo conteúdo das legendas que integram a obra. Isto é, se por um lado o cenário e os protagonistas do filme são os mesmos do início ao fim do filme, é o texto de O’Hara, associado ao momento da inserção dos segmentos no filme, que atrai ou distrai a atenção do espectador para uma viagem que pode ter vários destinos. Estas duas curtas-metragens constituem textos-limite que põem em evidência os desafios do processo de legendagem, graças às suas características muito especiais, enquanto obras de arte cinematográfica. Para além das dificuldades emergentes que todos os trabalhos de tradução envolvem, neste trabalho considerou-se essencial tentar tratar da melhor forma a estrutura poética livre e conferir significado suficiente e coeso no texto de chegada ao fluxo de pensamento exteriorizado no texto de partida, procurando, especialmente, não prejudicar a característica poética dos textos.

Grey Ghost

Combined media on photographic paper. 99½” x 54" Cedar Rapids Art Museum

Majo

Combined media on photographic paper. 85" x 55" Cedar Rapids Art Museum

The Lincoln Highway Association’s “Object Lesson:” The Seedling Mile in Linn County Iowa,

The Seedling Mile in Linn County, Iowa, was part of the Lincoln Highway Association’s so-called “object lesson” program that sought to graphically demonstrate, in the paving of selected one-mile demonstration sections, the benefits of concrete paving to improving road travel across the nation. Constructed in 1918-19, this Seedling Mile became much more than an object lesson and served as something of a battleground between two municipalities—Marion and Cedar Rapids—in their struggle over the county seat and their place on the Lincoln Highway. The Seedling Mile eventually became part of a continuously paved section of the Lincoln Highway between Chicago and Cedar Rapids, with the whole of the Lincoln Highway in Iowa paved in some fashion by the 1930s. In 2002, Linn County reconstructed Mt. Vernon Road from the City of Mt. Vernon to the west end of the Seedling Mile impacting the historic road section. An agreement between concerned government agencies resulted in this publication in partial mitigation of the impact to this historic road section under the guidelines of the National Historic Preservation Act.

RAGBRAI Learn about the Land; Day 6, July 2008

Today you will be biking over the Iowa and Cedar rivers, two major rivers hit by the Iowa flood of 2008. Three miles northeast of North Liberty you’ll cross the Iowa River. The river crested on June 15, 2008 at a record 31.53 ft., three feet higher than the previous record during the flood of 1993. The flooding river caused extensive damage to the University of Iowa (see cover photo of Iowa Memorial Union taken by Univ. Relations, Univ. of Iowa), Coralville, and numerous smaller towns. The flooding of the Cedar River, which RAGBRAI will cross at Sutliff, caused even greater damage. At Cedar Rapids, the 2008 flood crest of 31.12 ft. was over 11 ft. higher than the previous record set in 1851! This massive amount of water inundated downtown Cedar Rapids, Palo, and Columbus Junction and caused massive damage to buildings and infrastructure. When crossing the Cedar River at Sutliff, be sure to look to your right to see the remains of the Historic Sutliff Bridge, one of the many casualties of the Iowa flood of 2008.

Iowa Workforce Monthly, November 2010, Issue 19

Highlights: * New Iowan Center 10th Anniversary Open House........................................pg. 2 * New ICAP Workforce Services Center Held Open House.............................pg. 2 * Cedar Rapids IowaWORKS Hosts Career Fair...............................................pg. 3 * New Hours for Washington IowaWORKS office.............................pg. 3 * Regional Update.................................pg. 4 * Regional Veteran’s Day Events & Photos ...............................................pg. 5