Robert Lindsey :: CV
monographs whose goal is “to work toward a clearer understanding of the com- . bility that a member of a relationship or community has to answer to the other. Rachel Lindsay & Bryan Abasolo ❤ Beautiful interhue couple Interracial Couples, . Young Black Couples, Celebrity Couples, Family Goals, Couple Goals, Black . been quite secretive regarding her relationship with the NFL star Victor Cruz. 'My relationship with Samantha Ronson was toxic': Lindsay Lohan on why her lesbian romance went wrong. Lindsay Lohan has described her relationship with Samantha Ronson as 'toxic'. The couple split up three years ago and although Lindsay says they are now friends again, she doesn't.
End of an Era: Being an film school graduate and avid cinema history buff, Lindsay likes to discuss these a lot. As American society became more jaded thanks in part to the aftermath of WWII, the Civil Rights Movement, and the Cold War with Russia, as discussed in "Mel Brooks, The Producers and the Ethics of Satire about N zis" people felt less invested in big, lavish, extravagant musicals catering to an emotional innocence no one felt anymore, and favored more edgyrevolutionary, counterculture films and anti-musicals like Cabaret.
Dolittleand Hello, Dolly! In classic films from when Walt Disney was alive, most movies were simple good verses evil stories where the villains acted as the evil for the heroes to defeat.
In the early Disney Renaissancevillains manipulating teenage protagonists searching for a coming-of-age sense of identity for their own ends also worked, but by the late Renaissance and early Revival, Disney villains had become The Artifact. By the early Disney Revival, Dr. Facilier and Mother Gothel were the last of their kind.
In a number of videos, Lindsay also discusses the end of Disney Renaissancehow audiences got tired of seeing the same good vs evil teenage coming-of-age musical over and over, paving the way for the more unique and subversive Pixar and DreamWorks Animation stories during the Turn of the Millennium.
Lindsay in her video on Beauty and the Beast jokingly comes up with BeastForShe referencing the HeForShe movementapplying it to the film's shallow attempts at being progressive. Entitled to Have You: This concept is discussed a few times, mostly around films averting it: Lindsay finds that the prevalence of "immature Manchild always getting the girl in the end" is because said Manchild is usually meant to be an Audience Surrogate whose immaturity isn't a character flaw that needs to be overcome, but an endearing trait that the filmmakers believe relates to and represents their audience.
While the Guardians films have some trouble deciding whether Peter's immaturity is the former or the latterboth he and Gamora are ultimately portrayed as "radioactive spike-balls of defense mechanisms" who still have to come to terms with a lot of personal trauma before they can have a mutually healthy relationship. Also discussed in her video of The Hunchback of Notre Dameaddressing the common complaint that Quasimodo Did Not Get the Girlespecially since the film also values the differently-abled as being equal to everyone else.
Lindsay argues that A Esmeralda is not a "sexy lamp" that only exists to be a reward, and B Quasi valuing her friendship but also respecting her autonomy enough to let her go is the difference between him and Frollowho would rather die and burn down all of Paris.
Argues in her Bright and PBS Fantasy video that this is present to some extent in all fantasy and sci-fi stories, whether the author intends it or not. Even if the world and races are all fictional, they're all made by an author who lives in our world and thus has to draw at least some inspiration from our world and how they see it. She again argues that this is not necessarily a bad thingbut just something that happens and something that creators and consumers alike should try to be aware of.
She has no qualms praising the perfect casting of Chris Evans as Captain America. I beg to differ. In the academic Mulveyan sense, " Female Gaze " as a term isn't really a thing, as even if one's to invert the normal trend and fetishize male bodies as with the case of Magic Mike XXLit's still using the same film language and techniques male filmmakers used to film female bodies, just substituting male bodies for female bodies, meaning it technically still counts as male gaze.
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We hate their music shows a One Direction music videowe hate their insipid backstabbing, we hate their vanity, we hate their selfie sticks, we hate their make-up, we hate their stupid books and the stupid sexy actors they made famous and their stupid sparkly vampires, and then we wonder why so many girls are eager to distance themselves from being objects of societal contempt. Discussed and deconstructed in "Dear Stephenie Meyer", where she makes it a point to illustrate that many so-called "strong female role models" can have many elements of internalized misogyny in them as well.
Her response to the Convection Schmonvection displayed in The Hobbit: The Desolation of Smaug as she's baffled at the narrative decisions of somehow melting a gold statue and then Thorin riding metal on it. She often sneaks in several interesting Google Searches in other tabs whenever she displays a website in a video. For her first Beauty and the Beast video, when she first scrolls through the Cracked article to illustrate her point on how pretty much everyone has said that Belle has Stockholm Syndrome, to the tab's left is "lumiere x cogsworth".
In The Whole Plate episode 1, as she demonstrates how Star Wars has a large amount of academic papers devoted to it unlike Michael Bay's Transformers, the Google search on this window is "am i a jedi or a sith". However, most of the new generation of artists and writers who began to exhibit and publish in the late s and had come under the influence of modernism found Lindsay's art and writing old fashioned and its philosophy, so strongly tainted with anti-Semitism, sinister.
During the s Lindsay's political cartoons expressed the Bulletin's isolationist policies, but during World War II they became as ardently anti-German as they had been in World War I. Rose, fearing an allied defeat and a German occupation of Springwood, left Australia for America with her married daughter Honey Glad and her husband.
Norman returned to Springwood, as did his other daughter, Jane.
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Rose took with her the Casanova drawings that McIntosh had failed to publish years before, but they were destroyed by fire in a freight train with other Lindsay drawings.
Depressed by the incident, Rose returned to Springwood. In Lindsay published The Cousin from Fiji, his most carefully constructed novel. He continued to exhibit with the Australian Water-Colour Institute untilbut after that his work was mostly shown in retrospective exhibitions or with that of other members of his family.
His views had not changed substantially since he wrote Creative Effort, but he had more to say about his belief in the lost city of Atlantis. He died at Springwood on 21 November that year and was buried with Methodist forms in Springwood cemetery. He was survived by his son Jack, who had become a prolific and very distinguished writer, and by his second wife and their two daughters. In his autobiography, My Mask, was published.
Norman Lindsay was a pen draughtsman and etcher of great technical brilliance, a fine watercolourist and craftsman of ship-models.
His oil paintings were less successful, heavy handed both in touch and colour. Though a private man, happiest in the company of a few friends, throughout his life he enacted, in a manner unrivalled in Australia, the public role of the artist as a critic of moral and social values. In his early years he exercised a liberating force upon Australian culture but in later life his fear of modernism in literature and art and his anti-Semitism were characteristic of a generation that feared change.
Norman's second son Raymondartist, was brought up in Brisbane by his mother. Towards the end of World War I he became a cadet reporter on the Brisbane Courier, but lost the job after reporting a local council meeting that did not take place.
He joined his mother in Sydney in and, keen to become an artist, received free tuition at Ashton's Sydney Art School; his father provided his art materials. Ray left Ashton's, probably because of differences over painting technique, and studied for a time at the Royal Art Society's class.
During the late s Ray painted several large canvases depicting aspects of the mutiny of and the arrest of Governor William Bligh. When shown at the annual exhibition of the Society of Artists inthey were well received.
Cecil Mann wrote in the Bulletin that they surpassed the work of Norman at a comparable age. Rubery Bennett exhibited Ray's work at his Australian Fine Art Gallery in Julyand again it was favourably reviewed and sold well. Lindsay's success as a painter did not survive the difficult years of the Depression and he turned increasingly to freelance illustration and reading for publishers.
In the mids he separated from his wife, whom he divorced in Marchand married Margaret Joan Skinner on 21 May. He wrote art criticism for the Daily Telegraph and continued to paint subject pictures occasionally, particularly of pirate themes. Like his uncle Percy, Ray was a convivial Bohemian and lacked the driving energy of his father. Afterwith both his brothers in England, he was solely responsible for his ailing mother.
The fame of his father Norman and the reputations of his uncles Lionel and Percy did not make his success as a painter in Sydney any easier.
Lindsay Ellis (Creator) - TV Tropes
Survived by his wife, he died of cancer on 13 June at Elizabeth Bay and was cremated. Norman's third son Philipnovelist, was educated at the Church of England Grammar School, Brisbane, where his only interest lay in history and literature. At 14 he returned to Sydney with his mother and brothers and lived in rented rooms at Darlinghurst and Bondi.
Also provided with free tuition at the Sydney Art School, he quickly found that art was not for him and drifted into the company of a mob of Kings Cross larrikins—graphically described in his autobiography, I'd Live the Same Life Over His father encouraged his early efforts at writing and lent him books, notably Anthony Trollope. A short sketch of Philip's was published in Vision November and some early verses appeared in the Spinner in In September he arrived in London after encouragement from Jack, and some of his poems and sketches were published in the London Aphrodite Reading in the British Museum, Philip turned increasingly to the historical novel.
His first book, Morgan in Jamaicaand his novel, Panama is Burningcontinued that interest in piracy which had obsessed his family since the s. He then took to writing historical romances of the Tudor and later medieval periods.
Writing with verbal exuberance and violent colour, Philip Lindsay published a historical novel or monograph and sometimes two almost every year.
He wrote some sensitive studies of Australian poetry and in a biography, Don Bradman. They lived in Sussex where his adopted village 'adored him in his Johnsonian chair at the Rose and Crown'.
He died of a respiratory disease at Hastings on 4 Januarysurvived by his wife.
Australian Dictionary of Biography
Robert and Jane Lindsay's seventh child and second daughter, Ruby, was born on 20 March She left home for Melbourne at 16 and resided for a time with her brother Percy, while attending the National Gallery School. She drew occasionally for the Hawklet, the Bulletin and regularly for the Adelaide satirical journal, the Gadflyillustrated books such as 'Rudd's' Back at Our Selection and William Moore 's Studio Sketchesand designed posters.
In England she continued with book illustrations, particularly of children's books. Her daughter Elizabeth was born on 11 September After the war her brother Daryl took her to visit relations in Belfast and Dublin. There she caught the influenza virus then sweeping Europe and died in Chelsea a few days later on 12 March Of shy, retiring disposition, Ruby Lindsay was described by Henry Tonks as 'the most beautiful creature I ever looked at'. Many others remarked on her unusual beauty.
Haldane MacFall described her as 'one of the most remarkable women-artists with pen-line now living' in A History of Painting Shortly after her death Will Dyson published Poems: About a year later Daryl became a jackeroo. He worked for two years at Yeranbah on the Narran River, south Queensland, and took part in overlanding Shorthorns from Hebel to Camooweal.
Then he put in another two years at Kulki near Argoon, before becoming an overseer first at Ercildoune, then at Trawalla near Ballarat. Daryl enlisted as a driver in the Australian Army Service Corps, served in France for almost two years and became batman to his brother-in-law Will Dyson who encouraged him to make drawings of trench life and portraits of diggers.
On leave in London in his talent in drawing was noticed and he was posted with the rank of honorary lieutenant to the Australian section for wounds to the face and jaw at Queen Mary's Hospital, Sidcup, Kent. Here he met Henry Tonks, head of the Slade School of Fine Art, at whose suggestion he was given one day a week to study drawing at the Slade, his task at Sidcup being to make medical diagrams for facial surgery.
Tonks and Lindsay became lifelong friends and his taste in art was largely fashioned around the work of the artists of the New English Art Club, such as Walter Sickert and Wilson Steer, and patient study of the English water-colour tradition. Sun Art studios published his Digger Book Ltd, Queensland, to make a series of drawings and water-colours of the mine.
In he returned to London for further study, taking with him a letter of introduction from Sir Baldwin Spencer to Frank Rinder, adviser to the Felton bequest committee.
In London Lindsay haunted the art museums and art auction houses, laying the foundation of knowledge of the art market and connoisseurship that was to serve him so well later. Rinder introduced him to men of influence in London's art world such as Harold Wright of Colnaghi's, D.
Lindsay continued to work with Dillon but developed his landscape painting, sketching often in company with George Bell. In June the Fine Arts Society Gallery, Melbourne, held an exhibition of the water-colour drawings of Joan and Daryl Lindsay, and in July a second exhibition of his water-colours.
In the Lindsays returned to Europe and Daryl held an exhibition of water-colour paintings at Colnaghi's. During a visit to Ireland he painted hunters, then landscapes on the Norfolk Broads with Sir Alison Russell before returning to Australia. It well reveals the style and range of interests from which his art never departed, clear and well-structured but unambitious water-colours of picturesque landscapes, and oil paintings in similar vein reminiscent of the late style of Gruner.
In the late s Lindsay became a close friend of Sir Keith Murdoch and encouraged him to collect and take an active interest in art. In Lindsay and his wife again visited Europe, travelling widely on the Continent. In London he bought pictures for Murdoch, made drawings of the de Basil ballet, and was elected an associate of the Royal Society of Painters in Water Colours.
Inon Murdoch's advice, he applied for and was appointed keeper of the prints, National Gallery of Victoria. He was appointed director in Under Lindsay the gallery broadened its appeal to the general public, abandoned its traditional hostility to modern art, and made notable acquisitions both of old masters and contemporary work. With Murdoch's assistance he took steps to establish the National Gallery Society of Victoria in Lindsay retired as director in December and was knighted for his services to Australian art next year.
In he returned to the Northern Territory, camping with cattlemen while sketching and painting. The Legend Press later published a portfolio of reproductions of his paintings entitled 'A tribute to the men and horses of the Northern Territory'.
Lindsay was a member of the Commonwealth Art Advisory Board in chairman and founding president of the Victorian branch of the National Trust of Australia. In a book of essays was published to commemorate his services to the National Gallery of Victoria, entitled In Honour of Daryl Lindsay.
He published an autobiography, The Leafy Tree, in Survived by his wife d. Ure Smith and B. Through fits to a simple model, this article aims to bring resolution to the subject of LTR by arguing that LTR is nothing more than ordinary forgetting.
When individuals make judgments, they are incapable of using an absolute rating scale, and instead rely on reference points from recent experience. This relativity of judgment limits the usefulness of responses provided by individuals to surveys, questionnaires, and evaluation forms.
Fortunately, the cognitive processes that transform internal states to responses are not simply noisy, but rather are influenced by recent experience in a lawful manner. We explore techniques to remove sequential dependencies, and thereby decontaminate a series of ratings to obtain more meaningful human judgments. In our formulation, decontamination is fundamentally a problem of inferring latent states internal sensations which, because of the relativity of judgment, have temporal dependencies.
We propose a decontamination solution using a conditional random field with constraints motivated by psychological theories of relative judgment. Our exploration of decontamination models is supported by two experiments we conducted to obtain ground-truth rating data on a simple length estimation task.
Testing also provides tutoring software with potentially valuable information regarding the extent to which a student has mastered study material. In this paper, we propose and evaluate several algorithms that tackle the benefit-prediction aspect of this goal. Each algorithm is tasked with calculating the likelihood a student will recall facts in the future given recall accuracy and response latencies observed in the past. The disparate algorithms we tried, which range from logistic regression to a Bayesian extension of the ACT-R declarative memory module, proved to all be roughly equivalent in their predictive power.
Our modeling work demonstrates that, although response latency is predictive of future test performance, it yields no predictive power beyond that which is held in response accuracy. Behavioral experiments have shown a nonmonotonic relationship between spacing and retention: Appropriate spacing of study can double retention on educationally relevant time scales. We introduce a Multiscale Context Model MCM that is able to predict the influence of a particular study schedule on retention for specific material.
On the surface, these models are unrelated and incompatible, but we show they share a core feature that allows them to be integrated. MCM can determine study schedules that maximize the durability of learning, and has implications for education and training.