Two regional scale deformation events are observed in the Kamloops region. A Late Triassic-Early Jurassic southwest directed compressional event and a later Tertiary extensional deformation episode, manifested in the uplift of the Nicola horst. The Nicola horst is bounded to the northeast by the Cherry Creek Tectonic Zone, a northwest striking fault zone that separates schistose footwall rocks of the Nicola horst from relatively undeformed Nicola Group rocks in the hanging wall. The fault is interpreted to have accommodated multiple episodes of movement associated with both compressional and extensional tectonics. A pervasive metamorphic fabric, exposed in the horst and cross-cut by the 144.8 5.9 Ma LeJeune granodiorite, is interpreted to represent a broad, Middle Jurassic shear zone, formed by east-directed translation of the Nicola arc during contractional tectonics inboard of an east dipping subduction zone. Variations in orientation of the fabric suggest subsequent east-directed compression during post-Jurassic, pre-Eocene deformation.

No description available.

Vor 111 Jahren erschien in der Fachzeitschrift „Photographische Mitteilungen“ eine Pinatypie von Nicola Perscheid, der Anfang des 20. Jahrhunderts zu den bekanntesten Fotografen in Deutschland gehörte. Als Berufsfotograf entwickelte er sein ästhetisches Formgefühl vor der Jahrhundertwende in der kunstfotografischen Bewegung. Die Aufnahme mit der häufiger Modell stehenden Empfangsdame und Stenotypistin des Ateliers Änne Jungmann hat zunächst eine überraschende Farbästhetik, denn verglichen mit zeitgleich entstandenen Farbfotografien verzichtet Perscheid nahezu vollkommen auf die Verwendung der Farbe Rot. Stattdessen dominieren die Komplementärfarben Gelb und Blau, die durch die Gegenüberstellung des blauen Kleides und der gelben Blumen betont werden. Die Pinatypie‐Aufnahme wurde 1907 von Fritz Löscher in der Zeitschrift „Photographische Mitteilungen“ besprochen, der allgemein auf die Farbfotografie bezogen resümierte: „Die Farben bleiben einzeln und entbehren der feineren Nuancierung; [...]. Das Resultat hat immer einen Einschlag primitiver Buntheit für den feineren Geschmack, weshalb sich auch diese immerhin recht umständlichen und teuren Aufnahmen beim Publikum nicht einführen können, solange der heutige Stand der Technik nicht überwunden ist.“ (Fritz Löscher: Zu unseren Bildern. In: Photographische Mitteilungen. Halbmonatsschrift für Amateur‐Photographie, Jg. 44, 1907, S. 251–253, hier S. 252.)

Este trabalho tem como objetivo apresentar ao público brasileiro a obra e a vida do ensaísta e crítico italiano Nicola Chiaromonte (1905-1972). O autor foi diretor da revista Tempo Presente (1956-1968) junto com o romancista Ignazio Silone, revista que se propunha como um livre espaço de pensamento e discussão, contrária ao totalitarismo que se propagava na Europa. Chiaromonte foi um intelectual empenhado politicamente, sempre preocupado com o compromisso entre Liberdade e Verdade, lutou contra o fascismo na Itália e combateu na Guerra Civil Espanhola. Durante sua jornada enquanto intelectual publicou constantemente ensaios em revistas culturais por onde passou, além de ser colaborador da Tempo Presente durante os doze anos de publicações. A presente dissertação pretende esboçar seu itinerário na qualidade pensador e crítico através da exposição de momentos, pessoas e ensaios que compuseram sua vida. Além disso, será apresentada a tradução de um de seus ensaios para a inserção desse crítico nos estudos do Brasil. / This work aims to present to the brazilian public the work and life of the critic and essayist Nichola Chiaromonte (1905-1972). The author was director of the review Tempo Presente (1956-1968) along with the novelist Ignazio Silone, a review which was proposed as a free space of thought and discussion, contrary to the totalitarianism that was spread in Europe. Chiaromonte was a politically engaged intellectual, always concerned with the commitment between Freedom and Truth, has fought against the fascism in Italy and battled the Spanish Civil War. During his journey as an intellectual, he constantly published essays in cultural reviews in many places he went, apart from collaborating with Tempo Presente for twelve years of publishing. The present dissertation intends to outline his itinerary as a thinker and critic throught the exposition of moments, people and essays that composed his life. Furthermore, will be presented the translation of one of his essays, in order to insert this critic in the Brazilian studies.

Reintroduction of captive-bred Western Burrowing Owls (Athene cunicularia hypugaea) in the Nicola Valley, British Columbia, has had limited success in increasing the local breeding population. Traditionally, yearling captive-hatched Burrowing Owls that were paired and released into artificial burrows in the field, held overnight, and provided with supplemental food throughout the breeding season (hard release) have had high post-release dispersal and mortality. In 2005 and 2006, I used an alternative soft-release technique to test for an improvement upon the hard-release technique. The soft release followed the same procedure as the traditional hard release but also included enclosures around burrow entrances to contain the owls for a 2-week period in the field prior to release. I compared immediate post-release dispersal, seasonal survival, and reproductive success for 37 hard-released and 30 soft-released pairs. I radio-tagged 39 of these released owls in order to accurately monitor their activities, regardless of whether they remained at release sites or dispersed. The soft-release technique led to 20% more owls remaining at the release sites, 14% more owls surviving the breeding season, and 20% more owl pairs fledging juveniles. In addition to investigating adult survival and reproductive success, I examined post-fledging juvenile survival, local recruitment, and habitat use, and adult prey consumption behaviour in order to assess the potential of these aspects to limit the success of the reintroduction. Survival and local recruitment rates of the juveniles of captive-bred adults released with two different techniques were similar to that of juveniles of wild adults in the same study area or in other parts of the Burrowing Owl's range. Juvenile habitat-selection analyse sidentified the importance of rangeland, and comparisons of prey consumption revealed the rapid development of foraging abilities by captive-bred Burrowing Owls. I concluded that these aspects of the owl's ecology were not negatively affected by a captive upbringing, and therefore not likely limiting the success of the reintroduction. Overall, the use of an enclosure-based soft-release technique addresses major limitations to the success of releases, and shows promise for increasing the breeding population in this region. This approach can also be applied to recovery efforts throughout the Burrowing Owls' range, and provide guidelines for other species' reintroduction programs.

This thesis argues for a more expansive historiography rooted in Indigenous peoples’ oral, social and land-based modes of sharing knowledge. Such an approach may help to decolonize the practices and narratives of history in British Columbia, which have too often excluded or undermined Indigenous peoples' perspectives. Over the past several centuries, Indigenous knowledge-keepers have used their languages to maintain their oral traditions and other modes of sharing, despite colonial policies in Canada aimed at destroying them. This thesis gives careful consideration to ethical approaches to cross-cultural engagement, including researcher’s position in discourse and colonial paradigms, as well as modes of listening that emphasize attitudes of respect, flexibility, responsibility and trust-building. I travelled to Syilx (Okanagan) territory in south central British Columbia to interview five knowledgeable Upper Nicola band members about their knowledge practices. Their views, combined with those of others (from Nlaka’pamux, to Coast Salish, to Maliseet peoples and more) pointed to the importance of a vibrant Indigenous historiography at the local community level. Interviewees discussed the ways speaker/listener relationships, as well as timing and life experience, shape knowledge passed on. They also explained the ways Indigenous knowledge practices are linked to particular territories, as knowledge may help to sustain or may be sustained by particular places. Lastly, all touched on how colonial policies have impacted their knowledge practices. This thesis proposes some decolonizing approaches for engaging with Indigenous knowledge and knowledge practices. By accounting for Indigenous knowledge 'institutions' that have long existed outside of colonial frameworks, we can move one step closer to decolonization. / Graduate

Reintroduction of captive-bred Western Burrowing Owls (Athene cunicularia hypugaea) in the Nicola Valley, British Columbia, has had limited success in increasing the local breeding population. Traditionally, yearling captive-hatched Burrowing Owls that were paired and released into artificial burrows in the field, held overnight, and provided with supplemental food throughout the breeding season (hard release) have had high post-release dispersal and mortality. In 2005 and 2006, I used an alternative soft-release technique to test for an improvement upon the hard-release technique. The soft release followed the same procedure as the traditional hard release but also included enclosures around burrow entrances to contain the owls for a 2-week period in the field prior to release. I compared immediate post-release dispersal, seasonal survival, and reproductive success for 37 hard-released and 30 soft-released pairs. I radio-tagged 39 of these released owls in order to accurately monitor their activities, regardless of whether they remained at release sites or dispersed. The soft-release technique led to 20% more owls remaining at the release sites, 14% more owls surviving the breeding season, and 20% more owl pairs fledging juveniles. In addition to investigating adult survival and reproductive success, I examined post-fledging juvenile survival, local recruitment, and habitat use, and adult prey consumption behaviour in order to assess the potential of these aspects to limit the success of the reintroduction. Survival and local recruitment rates of the juveniles of captive-bred adults released with two different techniques were similar to that of juveniles of wild adults in the same study area or in other parts of the Burrowing Owl's range. Juvenile habitat-selection analyse sidentified the importance of rangeland, and comparisons of prey consumption revealed the rapid development of foraging abilities by captive-bred Burrowing Owls. I concluded that these aspects of the owl's ecology were not negatively affected by a captive upbringing, and therefore not likely limiting the success of the reintroduction. Overall, the use of an enclosure-based soft-release technique addresses major limitations to the success of releases, and shows promise for increasing the breeding population in this region. This approach can also be applied to recovery efforts throughout the Burrowing Owls' range, and provide guidelines for other species' reintroduction programs.

Thesis (Ph. D.)--University of North Texas, 2005. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 164-172).

Reintroduction of captive-bred Western Burrowing Owls (Athene cunicularia hypugaea) in the Nicola Valley, British Columbia, has had limited success in increasing the local breeding population. Traditionally, yearling captive-hatched Burrowing Owls that were paired and released into artificial burrows in the field, held overnight, and provided with supplemental food throughout the breeding season (hard release) have had high post-release dispersal and mortality. In 2005 and 2006, I used an alternative soft-release technique to test for an improvement upon the hard-release technique. The soft release followed the same procedure as the traditional hard release but also included enclosures around burrow entrances to contain the owls for a 2-week period in the field prior to release. I compared immediate post-release dispersal, seasonal survival, and reproductive success for 37 hard-released and 30 soft-released pairs. I radio-tagged 39 of these released owls in order to accurately monitor their activities, regardless of whether they remained at release sites or dispersed. The soft-release technique led to 20% more owls remaining at the release sites, 14% more owls surviving the breeding season, and 20% more owl pairs fledging juveniles. In addition to investigating adult survival and reproductive success, I examined post-fledging juvenile survival, local recruitment, and habitat use, and adult prey consumption behaviour in order to assess the potential of these aspects to limit the success of the reintroduction. Survival and local recruitment rates of the juveniles of captive-bred adults released with two different techniques were similar to that of juveniles of wild adults in the same study area or in other parts of the Burrowing Owl's range. Juvenile habitat-selection analyse sidentified the importance of rangeland, and comparisons of prey consumption revealed the rapid development of foraging abilities by captive-bred Burrowing Owls. I concluded that these aspects of the owl's ecology were not negatively affected by a captive upbringing, and therefore not likely limiting the success of the reintroduction. Overall, the use of an enclosure-based soft-release technique addresses major limitations to the success of releases, and shows promise for increasing the breeding population in this region. This approach can also be applied to recovery efforts throughout the Burrowing Owls' range, and provide guidelines for other species' reintroduction programs. / Land and Food Systems, Faculty of / Graduate

[ES] La fotografía se encuentra en un estado de masificación incontrolada. Todo el mundo es fotógrafo. En el terreno de las artes plásticas contemporáneas, todo creador (ya sea pintor, escultor, grabador...) es paralelamente fotógrafo. Históricamente, encontramos precedentes de estas relaciones entre las diferentes disciplinas de las artes plásticas hasta crear un todo inseparable; en la praxis del pintor, su relación con la fotografía se presenta de una manera directa y hermanada. En el caso de Cy Twombly, tanto su estética como su producción multidisciplinar, muestran un camino en que la fotografía se adopta como posible vía de exploración o nervio de producción. Todo ello nos lleva a necesitar, como observadores, un móvil; el espectador precisa saber por qué el modus operandi de un artesano de la materia pintura, intercede e interactúa con tal máquina, es decir, qué utiliza, qué extrae, cuál es el drenaje obtenido de tal acción. El objetivo de esta investigación es ahondar en el trabajo fotográfico de Cy Twombly, el cual ha permanecido en un plano de marginación respecto al resto de sus prácticas artísticas. El análisis y la documentación de estas imágenes, comprende desde sus primeras tomas de 1952 hasta los últimos disparos con máquina Polaroid los últimos días de su vida durante 2011. El estudio de estas imágenes se ha llevado a cabo, paralelamente, a las intenciones, códigos y formas de hacer del artista y, a su vez, puesta en relación con el resto de medios que este utilizó a lo largo de su carrera productora. Este conjunto de factores pretende dilucidar las razones de la existencia de estas fotografías y profundizar en su descripción visual y material de las obras. El proceso de esta tesis doctoral basa su grueso en la investigación de campo y en el trabajo con personas cercanas al entorno de Twombly, así como en contacto directo con las obras originales y objetos pertenecientes al artista. El trabajo durante dos años en la Cy Twombly Foundation ha servido para fundamentar lo expuesto en estas páginas, así como las conversaciones con las primeras fuentes, como las entrevistas transcritas con el Sr. Nicola Del Roscio (amigo, editor y compañero de viajes del artista), han servido para afianzar estas palabras y dotarlas de un peso significativo. / [CA] La fotografia es troba en un estat de massificació incontrolada. Tothom és fotògraf. En el terreny de les arts plàstiques contemporànies, tot creador (ja siga pintor, escultor, gravador...) és paral·lelament fotògraf. Històricament, trobem precedents d'aquestes relacions entre les diferents disciplines de les arts plàstiques fins a crear un tot inseparable; en la praxi del pintor, la seua relació amb la fotografia es presenta d'una manera directa i germanada. En el cas de Cy Twombly, tant la seua estètica com la seua producció multidisciplinària, mostren un camí en què la fotografia s'adopta com a possible via d'exploració o nervi de producció. Tot això ens porta a necessitar, com a observadors, un mòbil; l'espectador requereix saber per què el modus operandi d'un artesà de la matèria pintura, intercedeix i interactua amb tal màquina, és a dir, què utilitza, què extrau, quin és el drenatge obtingut de tal acció. L'objectiu d'aquesta investigació és aprofundir en el treball fotogràfic de Cy Twombly, el qual ha romàs en un pla de marginació respecte a la resta de les seues pràctiques artístiques. L'anàlisi i la documentació d'aquestes imatges, comprèn des de les seues primeres fotografies de 1952 fins als últims trets amb màquina Polaroid els últims dies de la seua vida durant 2011. L'estudi d'aquestes imatges s'ha dut a terme, paral·lelament, a les intencions, codis i maneres de fer de l'artista i, al seu torn, posada en relació amb la resta de mitjans que aquest va utilitzar al llarg de la seua carrera productora. Aquest conjunt de factors pretén dilucidar les raons de l'existència d'aquestes fotografies i aprofundir en la seua descripció visual i material de les obres. El procés d'aquesta tesi doctoral basa el seu gruix en la investigació de camp i en el treball amb persones pròximes a l'entorn de Twombly, així com en contacte directe amb les obres originals i objectes pertanyents a l'artista. El treball durant dos anys en la Cy Twombly Foundation ha servit per a fonamentar l'exposat en aquestes pàgines, així com les converses amb les primeres fonts, com les entrevistes transcrites amb el Sr. Nicola Del Roscio (amic, editor i company de viatges de l'artista), han servit per a afermar aquestes paraules i dotar-les d'un pes significatiu. / [EN] Photography is in a state of uncontrolled massification; everyone is a photographer. In the field of plastic arts, nowadays every creator (be it a painter, sculptor, engraver...) is, at the same time, a photographer. Historically, we find precedents of these relationships between the different disciplines of the plastic arts to create an inseparable whole and, in the praxis of the painter, this relationship with photography is presented in a direct and twinned way. In the case of Cy Twombly, both its aesthetics and its multidisciplinary production show a path in which photography is adopted as a possible route of exploration or production nerve. This leads us to need, as observers, a motive; the viewer needs to know why the modus operandi of an artisan of the pictorial matter intercedes and interacts with the photographic machine; what he uses, what he extracts, what is the drainage obtained from such action. The objective of this research is to delve into Cy Twombly's photographic work, which has remained in a state of marginalization compared to the rest of his artistic practices. The analysis and documentation of these images, including from his first shots of 1952, until the last ones with Polaroid machine the last days of his life during 2011. The study of these images has been carried out, in parallel, to the intentions, codes and ways of doing of the artist and, in turn, put in relation to the rest of the media that he used throughout his productive career. This set of factors aims to clarify the reasons for the existence of these photographs and deepen their visual and material description of the works. The process of this doctoral thesis bases its bulk on field research and work with people close to the Twombly environment, as well as in direct contact with places, original works and objects belonging to the artist. The two-year work at the Cy Twombly Foundation has served to base the exposed in these pages, as well as the conversations with the first sources, like the interviews transcribed with Mr. Nicola Del Roscio (friend, editor and travel companion of the artist ), have served to strengthen these words and give them a significant weight. / Peris Muñoz, CM. (2019). "STATE OF MIND" Un acercamiento al cosmos fotográfico de Cy Twombly [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/135274