Picturing Transformation

The remarkable story of how a First Nations chief, an artist and a mountaineer evolved a new form of environmental and cultural activism, and saved 50,000 hectares of forest in the processThe history of British Columbia is rife with stories of conflict between loggers and environmentalists, First Nations and government-backed corporations. Many of them have ended in violence, arrests and clear-cutting. Between 1997 and 2007 Farm License 38 , encompassing Sims Creek in the upper Elaho Valley became the site of a wholly different kind of protest. Because of the actions of ten thousand people brought together by Squamish Nation Hereditary Chief Bill Williams, artist Nancy Bleck and the late mountaineer John Clarke, this land - a 50,000-hectare section of the Squamish First Nation now known as Wild Spirit Places--was saved. It was a stunning example of how welcoming people to the land, showing them its physical and spiritual wealth and allowing them to experience it themselves transformed the way they saw it. And by quietly, cumulatively building a critical mass of people who had seen--witnessed--this land firsthand and come to view it as important; the Uts'am/WitnessProject provided a new way for peacefully mobilizing people and preserving land from logging. Picturing Transformation is the story of Uts'am/Witness, a series of camping weekends held at Sims Creek that brought together First Nations and non-First Nations people to walk, sleep, eat, make art, have conversations and participate in ceremonies on this disputed land. Through the words and photos of those who attended, this beautiful book pays homage to the power that people with strong vision and a common purpose can play in honouring tradition, safeguarding land and changing policy. It is a lesson in the possibilities for resolving conflict peacefully, now and in the future.homage to the power that people with strong vision and a common purpose can play in honouring tradition, safeguarding land and changing policy. It is a lesson in the possibilities for resolving conflict peacefully, now and in the future.

From the villainous beast of “Little Red Riding Hood” and “The Three Little Pigs,” to the nurturing wolves of Romulus and Remus and Rudyard Kipling’s The Jungle Book, the wolf has long been a part of the landscape of children’s literature. Meanwhile, since the 1960s and the popularization of scientific research on these animals, children’s books have begun to feature more nuanced views. In Picturing the Wolf in Children’s Literature, Mitts-Smith analyzes visual images of the wolf in children’s books published in Western Europe and North America from 1500 to the present. In particular, she considers how wolves are depicted in and across particular works, the values and attitudes that inform these depictions, and how the concept of the wolf has changed over time. What she discovers is that illustrations and photos in works for children impart social, cultural, and scientific information not only about wolves, but also about humans and human behavior. First encountered in childhood, picture books act as a training ground where the young learn both how to decode the “symbolic” wolf across various contexts and how to make sense of “real” wolves. Mitts-Smith studies sources including myths, legends, fables, folk and fairy tales, fractured tales, fictional stories, and nonfiction, highlighting those instances in which images play a major role, including illustrated anthologies, chapbooks, picture books, and informational books. This book will be of interest to children’s literature scholars, as well as those interested in the figure of the wolf and how it has been informed over time.

• A comprehensive resource for understanding the various components of spiritual direction • The first such resource written entirely by spiritual directors of color Early mystics of the Near East and northern Africa created the monastic traditions and were the first psychologists, exploring various practices to test the human capacity. In medieval times, spiritual direction was common in the Roman Catholic monastic traditions. It extended significantly into Protestant Christianity in the late twentieth century by predominantly white and affluent organizations. Spiritual direction has progressively become a global, multi-religious and interfaith practice. This book is a comprehensive and concise text from a spiritual director of color, offering inclusive resources and tools to spiritual directors of many faiths and for people of diverse cultures and traditions. Core skills such a deep listening, hospitality, and discernment are presented with cutting-edge lessons on internal liberation, systemic trauma, and imaginative discovery. Spiritual direction is taught by more than 100 educational institutions and spirituality centers in the US alone, but typical curriculum generally does not reflect current cultural reality and growing diversity. This is a textbook for anyone who studies spiritual direction as both preparation for and deepening of their calling.

Business transformation typically involves a wide range of visualisation techniques, from the templates and diagrams used by managers to make better strategic choices, to the experience maps used by designers to understand customer needs, the technical models used by architects to propose possible solutions, and the pictorial representations used by change managers to engage stakeholder groups in dialogue. Up until now these approaches have always been dealt with in isolation, in the literature as well as in practice. This is surprising, because although they can look very different, and tend to be produced by distinct groups of people, they are all modelling different aspects of the same thing. Visualising Business Transformation draws them together for the first time into a coherent whole, so that readers from any background can expand their repertoire and understand the context and rationale for each technique across the transformation lifecycle. The book will appeal to a broad spectrum of readers involved in change, whether that is by creating change models themselves (strategists, architects, designers, engineers, business analysts, developers, illustrators, graphic facilitators, etc.), interpreting and using them (sponsors, business change managers, portfolio/programme/project managers, communicators, change champions, etc.), or supporting those involved in change indirectly (trainers, coaches, mentors, higher education establishments and professional training facilities).

This book grapples with fundamental questions about the evolving nature of pictorial representation, and the role photography has played in this ongoing process. These issues are explored through a close analysis of key themes that underpin the photography practice of Canadian artist Jeff Wall and through examining important works that have defined his oeuvre. Wall’s strategic revival of ‘the picture’ has had a resounding influence on the development of contemporary art photography, by expanding the conceptual and technical frameworks of the medium and introducing a self-reflexive criticality. Naomi Merritt brings a new and original contribution to the scholarship on one of the most significant figures to have shaped the course of contemporary art photography since the 1970s and shines a light on the multilayered connections between photography and art. This book will be of interest to scholars in the history of photography, art and visual culture, and contemporary art history.

TO COMPUTER GRAPHICS BASED ONGKS Part I gives an introduction to basic concepts of computer graph ics and to the principles and concepts of GKS. The aims of this part are twofold: to provide the beginner with an overview of the terminology and concepts of computer graphics, based on GKS, and to give the computer graphics expert an introduc tion to the GKS standard. In the early chapters of this part, the main areas of computer graphics, the various classes of com puter graphics users, the interfaces of GKS and its underlying design concepts are discussed and important terms are defined. The later chapters give an informal introduction to the main concepts of GKS and their interrelationships: output, attributes, coordinate systems, transformations, input, segments, metafile, state lists, and error handling. This introduction to the GKS framework will prepare the ground for the detailed description of 2D GKS functions in Part III and the 3D extensions to GKS in Part IV. 1 WHAT IS COMPUTER GRAPHICS? 1. 1 Defmition of Computer Graphics The Data Processing Vocabulary of the International Organization for Stan dardization (ISO) [ISO 84] defines Computer Graphics as follows: "Methods and techniques for converting data to and from a graphic display via computer. " This definition refers to three basic components of any computer graphics system - namely "data", "computer", and "display".