deploy: dbb6754

resources/student-projects/fa21_alberts_naomi_final-project_ph-lesson/index.html

@@ -10,11 +10,11 @@
 and relationship between seventeenth-century art and science.”
 1</p><h2 id=terms>Terms:</h2><p>[can either be provided for the students, or this could be a
 discussion-based activity where the class works together to define the
-terms]</p><ul><li><p>pH (power of Hydrogen)</p></li><li><p>Acid (acidic/acidity)</p></li><li><p>Base (basic/basicity)</p></li><li><p>Alkaline (alkalinity)</p></li><li><p>Litmus strip/sheet</p></li><li><p>“Transmuted”</p></li></ul><p><img src=./media-alberts/image1.png alt></p><blockquote><p>Photo Credit: ThoughtCo / Grace Kim,
+terms]</p><ul><li><p>pH (power of Hydrogen)</p></li><li><p>Acid (acidic/acidity)</p></li><li><p>Base (basic/basicity)</p></li><li><p>Alkaline (alkalinity)</p></li><li><p>Litmus strip/sheet</p></li><li><p>“Transmuted”</p></li></ul><p><img src=https://cu-mkp.github.io/research-teaching-companion/media-alberts/image1.png alt=IMAGE></p><blockquote><p>Photo Credit: ThoughtCo / Grace Kim,
 <a href=https://www.thoughtco.com/definition-of-ph-in-chemistry-604605>https://www.thoughtco.com/definition-of-ph-in-chemistry-604605</a></p></blockquote><h2 id=ph-questions>pH Questions:</h2><ul><li><p>What is pH? What is the pH of some common liquids? (water, blood, vinegar, salt water)</p></li><li><p>What can pH tell us? Why might it be useful to measure the pH of a liquid?</p></li><li><p>Why might pH be helpful in a lab?</p></li><li><p>What are some physical observations you may make when the pH of a liquid changes?</p></li><li><p>How do you use a pH test strip/take a litmus test?</p></li></ul><h2 id=pre-lab-reading-and-questions>Pre Lab Reading and Questions:</h2><p><strong>Reading</strong>: Anna Marie Roos, “The Saline Chymistry of Color in
 Seventeenth-Century English Natural History” in <em>Early Science and
 Medicine</em> 20 (2015): 562-588,
-<a href=https://doi.org/10.1163/15733823-02046p11>https://doi.org/10.1163/15733823-02046p11</a>.</p><ol><li><p>What are some of the different views expressed in the reading regarding color and its cause?</p></li><li><p>What are some of the human activities in which color plays a role? [Think medicine, art, etc.]</p></li><li><p>What did Robert Boyle believe about color and how did he go about proving his theories?</p><ol><li>Additionally, [perhaps after the lab has been completed] what similarities do you see between Boyle’s experiments and the “Varied and Transmuted Wine” experiment? What about Hooke’s experiments?</li></ol></li><li><p>How did Robert Hooke build upon Boyle’s theories, and what was Hooke’s conclusion?</p></li><li><p>How did Hooke’s artisanal background influence his scientific analysis of color? How did Boyle connect the artisanal and scientific worlds?</p></li></ol><h1 id=the-manuscript-bnf-ms-fr-640>The Manuscript, BnF Ms. Fr. 640:</h1><h1 id=media-albertsimage2png><img src=./media-alberts/image2.png alt></h1><h2 id=ufolio-43vuhttpsedition640makingandknowingorgfolios43vf43vtl><a href=https://edition640.makingandknowing.org/#/folios/43v/f/43v/tl>Folio 43v</a></h2><blockquote><p><strong>Varied and transmuted wine</strong></p><p>Grate brazilwood very finely, put it to soak one or two hours in clear
+<a href=https://doi.org/10.1163/15733823-02046p11>https://doi.org/10.1163/15733823-02046p11</a>.</p><ol><li><p>What are some of the different views expressed in the reading regarding color and its cause?</p></li><li><p>What are some of the human activities in which color plays a role? [Think medicine, art, etc.]</p></li><li><p>What did Robert Boyle believe about color and how did he go about proving his theories?</p><ol><li>Additionally, [perhaps after the lab has been completed] what similarities do you see between Boyle’s experiments and the “Varied and Transmuted Wine” experiment? What about Hooke’s experiments?</li></ol></li><li><p>How did Robert Hooke build upon Boyle’s theories, and what was Hooke’s conclusion?</p></li><li><p>How did Hooke’s artisanal background influence his scientific analysis of color? How did Boyle connect the artisanal and scientific worlds?</p></li></ol><h1 id=the-manuscript-bnf-ms-fr-640>The Manuscript, BnF Ms. Fr. 640:</h1><h1 id=imagemedia-albertsimage2png><img src=https://cu-mkp.github.io/research-teaching-companion/media-alberts/image2.png alt=IMAGE></h1><h2 id=ufolio-43vuhttpsedition640makingandknowingorgfolios43vf43vtl><a href=https://edition640.makingandknowing.org/#/folios/43v/f/43v/tl>Folio 43v</a></h2><blockquote><p><strong>Varied and transmuted wine</strong></p><p>Grate brazilwood very finely, put it to soak one or two hours in clear
 water, then take this tinted water & add to it some clear water & you
 will make wine as claret colored as you like. If you please, put a
 drop of lemon or orange juice in it & it will immediately turn white.

resources/student-projects/fa21_weisgall_benjamin_final-project-architecture-workshop/index.html

@@ -1,7 +1,7 @@
 <!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><title>Research and Teaching Companion</title>
 <meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.e0f1dd65cd23dc813eec622067d93337f3a2ad97f3d95d0f9e6e8a0ff2982804.css></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion//img/mk-banner-logo.png>
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-<label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><h1 class=page-title></h1><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#syllabus>Syllabus</a></li></ul></nav></aside><content><h1 id=the-making-and-meaning-of-intermediates-workshop-and-syllabus-for-students-of-architecture>The Making and Meaning of Intermediates: Workshop and Syllabus for Students of Architecture</h1><p>Benjamin Weisgall</p><p><img src=./media-weisgall/image1.png alt></p><p><em>Screen capture from <a href="https://www.youtube.com/watch?v=PHgEcPmCPUA&amp;t=14s">“How was it made? Plaster
+<label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><h1 class=page-title></h1><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#syllabus>Syllabus</a></li></ul></nav></aside><content><h1 id=the-making-and-meaning-of-intermediates-workshop-and-syllabus-for-students-of-architecture>The Making and Meaning of Intermediates: Workshop and Syllabus for Students of Architecture</h1><p>Benjamin Weisgall</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/media-weisgall/image1.png alt=IMAGE></p><p><em>Screen capture from <a href="https://www.youtube.com/watch?v=PHgEcPmCPUA&amp;t=14s">“How was it made? Plaster
 cast”</a> by the V&amp;A
 Museum</em></p><p>The following six-week unit is designed for students of art and
 architecture and others who are already comfortable in the workshop

resources/student-projects/sp22_arocho_alejandra_herodotus-workshop/index.html

@@ -4,7 +4,7 @@
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><h1 class=page-title></h1><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#introduction>Introduction</a></li><li><a href=#folio-162r-for-the-workshop>Folio 162r, “For the workshop”</a></li><li><a href=#folio-166r-for-the-workshop-contd>Folio 166r, “For the workshop” (cont’d?)</a></li><li><a href=#conclusions>Conclusions</a></li><li><a href=#works-cited>Works Cited</a></li></ul></nav></aside><content><h1 id=herodotus-workshop-a-core-curriculum-pathway-into-ms-fr-640-and-its-author-practitioner>Herodotus’ ‘Workshop’: A Core (Curriculum) Pathway into Ms. Fr. 640 and its Author-Practitioner</h1><blockquote><p>Alejandra Quintana Arocho
 Professor Pamela Smith | Naomi Rosenkranz | Caroline Surman
 Making and Knowing in Early Modern Europe: Hands-on History
-10 May 2022</p></blockquote><p>This project is directed toward Columbia College and General Studies students who have taken the course &ldquo;Literature Humanities&rdquo; (<a href=https://www.college.columbia.edu/core/lithum>Lit Hum</a>) as part of <a href=https://www.college.columbia.edu/core/core>Columbia&rsquo;s Core Curriculum</a> and want to see how an author/artisan from Renaissance Toulouse participates in their ongoing literary/scholarly conversations.</p><p><img src=./media-arocho/image1.jpg alt></p><blockquote><p>&ldquo;Illuminated border in Herodotus: Historiae&rdquo; by University of Glasgow Library is marked with CC BY-NC-SA 2.0.</p></blockquote><h2 id=introduction>Introduction</h2><p>In his account of the Greco-Persian wars,<sup id=fnref:1><a href=#fn:1 class=footnote-ref role=doc-noteref>1</a></sup> Herodotus doesn’t string
+10 May 2022</p></blockquote><p>This project is directed toward Columbia College and General Studies students who have taken the course &ldquo;Literature Humanities&rdquo; (<a href=https://www.college.columbia.edu/core/lithum>Lit Hum</a>) as part of <a href=https://www.college.columbia.edu/core/core>Columbia&rsquo;s Core Curriculum</a> and want to see how an author/artisan from Renaissance Toulouse participates in their ongoing literary/scholarly conversations.</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/media-arocho/image1.jpg alt=IMAGE></p><blockquote><p>&ldquo;Illuminated border in Herodotus: Historiae&rdquo; by University of Glasgow Library is marked with CC BY-NC-SA 2.0.</p></blockquote><h2 id=introduction>Introduction</h2><p>In his account of the Greco-Persian wars,<sup id=fnref:1><a href=#fn:1 class=footnote-ref role=doc-noteref>1</a></sup> Herodotus doesn’t string
 together a series of events into a narrative like we would expect a
 historian to do nowadays (Dewald xxx). Rather, as you readers of the
 <em>Histories</em>, might already know, Herodotus acts as a modern-day
@@ -82,7 +82,7 @@
 obvious nowadays for authors to have a particular presence and voice in
 a text, the idea of the “self’ was part of a gradual development, one
 that involved precisely what the author-practitioner values most in his
-text: experimentation.</p><h2 id=folio-162r-for-the-workshop>Folio 162r, “For the workshop”</h2><p><img src=./media-arocho/image2.png alt></p><blockquote><p>162r
+text: experimentation.</p><h2 id=folio-162r-for-the-workshop>Folio 162r, “For the workshop”</h2><p><img src=https://cu-mkp.github.io/research-teaching-companion/media-arocho/image2.png alt=IMAGE></p><blockquote><p>162r
 Making and Knowing Project, Pamela H. Smith, Naomi Rosenkranz, Tianna
 Helena Uchacz, Tillmann Taape, Clément Godbarge, Sophie Pitman, Jenny
 Boulboullé, Joel Klein, Donna Bilak, Marc Smith, and Terry Catapano,
@@ -166,7 +166,7 @@
 as there is something to be gained from Herodotus’ unconventional
 approach towards writing history, there are perhaps lessons to be
 shared, spread, and expanded upon in his work by readers or potential
-apprentices.</p><p><img src=./media-arocho/image3.png alt></p><blockquote><p>166r
+apprentices.</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/media-arocho/image3.png alt=IMAGE></p><blockquote><p>166r
 Making and Knowing Project, Pamela H. Smith, Naomi Rosenkranz, Tianna
 Helena Uchacz, Tillmann Taape, Clément Godbarge, Sophie Pitman, Jenny
 Boulboullé, Joel Klein, Donna Bilak, Marc Smith, and Terry Catapano,