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My life, from my birthday to the last decade of 1900s, is a spectrum of events both good and bad as I follow T. S. Elliot’s lines, “We shall not cease from exploration, And the end of all our exploring, Will be to arrive where we started, And know the place for the first time.” Growing up on my father’s farm, there was plenty of exploration, but I never went back to the farm. Far from it! My explorations took me where no teacher in my main field, which is printmaking, had gone because I was hired at 24 by a major research university where its campus services gave me a head start exploring electronic arts and computers, I could blend with teaching printmaking. Ironically, while these brought opportunities, there were hidden limitations. In the 1980s I gambled our home to take us on a vast sabbatical research project for the university. We returned to find the school corrupt, and so it ended my career. Fortunately, I married well. My high school sweetheart, Lynda, stayed with me even on my wayward ventures. In addition she brought two fine daughters to our lives. And had it not been for her ability to restore our property, my exploring would have ended forever. Because, when the art school closed its door, others opened. Everything I learned in nineteen years at the UW prepared me to continue privately. By 1990, I was on cloud nine and the Internet was within my grasp. These are the words from one of two volumes I illustrated with a thousand pictures. What autobiography of a teaching artist’s life would be complete without pictures? Not only my art, but my students’, and from collaborations with diverse artists, crafts people, designers, and writers. Plus QR codes! It is for anyone who loves a good read about teaching art as I was known for in Seattle, but also about an old professor’s family, friends, art patrons, and former students who made it possible. It continues in Volume 2. Volume 1 takes this farmboy to the approach of the information superhighway.
Disclosure: This description was prompted and edited by Bill Ritchie, in Microsoft’s current Copilot, an AI text generator for the second volume of Bill H. Ritchie's two-part autobiography. We traverse the years from 1991 to 2023. Ritchie, a trailblazer in the art world continues his life story. In the first book he told how he embarked on a remarkable odyssey that defied convention and reshaped the art, craft, and design of fine art printmaking. At the tender age of 24, Ritchie secured a groundbreaking position—the youngest ever—in the vibrant city of Seattle. His appointment as a teaching artist in fine art printmaking at the University of Washington marked the beginning of a transformative chapter. But this was no ordinary academic journey; Ritchie's innovative spirit would soon set him apart, a maverick in academe. The traditional classroom was too confining for Ritchie. Driven by a hunger for exploration, he wove technology into his art courses in the 1980s. Bill Ritchie's experiments disrupted the staid printmaking department and shocked the UW School of Art. Forced to leave the stifling ivory towers, by the 1990s the emergence of electronic arts opened with the Internet and would extend the boundaries of printmaking. Ritchie's vision blurred the lines between historic creativity and cutting-edge technology, birthing a new era dating back to the Paleolithic era when printmaking was invented. Ritchie pushed the envelope. Printmaking was no longer confined to ink and paper; it now danced with video, performance, computer graphics, and games. His colleagues, patrons, and former students watched in awe, wondering at the audacity of his moves. Telling all, Ritchie weaves rich, detailed tales. In his printed books he placed thousands of pictures to enliven the narrative, capturing moments shared with those who left their marks on his journey. QR codes link videos and backstories, bridging epochs—from prehistoric cave paintings to the digital age. The echoes of ancient handprints resonate, showing that explication transcends time if replicated creatively. In a world illuminated and echoed by electronic media, Ritchie poses a poignant question: "Is there hope?" As climate change and global stressors threaten the future, his words resonate. Whether through brushstrokes or those fleeting, elusive pixels and here in eBook form and auxiliary Read Aloud option, Ritchie's legacy endures—a beacon for students of all ages, urging them to embrace creativity, defy boundaries, and find hope in the interplay of art, technology, and the human imagination.
Thanks to the unflappable efforts of Maou and friends, Emi has made it back from the world of Ente Isla in one piece, though at the cost of her job at the call center thanks to all those pesky, unexcused absences. Adding insult to injury, Maou confronts Emi with a bill for "expenses incurred" during her rescue: 350,000 yen! Emi is shocked, but her pride as the Hero means she can't bear to be indebted to a demon. Soon she's dipping into her saving to and searching for a new job to pay off the balance owed. At the same time, Urushihara, sequestered in a hospital by Maou's landlady, Miki-T, is experiencing frightening bodily changes... And all this while Maou refuses to go to work?!
Short summaries of 3,026 essays by Bill H. Ritchie, artist, teacher and visionary drawn from his journals written between 1969 - 2009. He structured the headings of each article according an imaginary place he calls "Emeralda," imagining ten islands on a lake where he, as a recipient of a mythical prize, is encouraged to write freely about anything that seems important to an artist, teacher and philosopher. Mindful of the use of new technologies, each essay summary has key index features which would allow a reader having a computer and optional CD/ROM to retrieve the full text of any article. Or, using freely chosen keywords of their own, find the articles which have those words in them.
Emeralda, the fallen Sage, is back (after two plus years) and she kidnaps Timmy by fooling him into believing she has his best friend, Suzy. Suzy misses the kidnapping by minutes, setting the stage for two adventures in Gorn by the two friends. Each must use their wits to overcome serious obstacles and adversaries intent on blocking their actions. During their journeys, Suzy and Timmy meet new friends and discover more about Gorn and themselves.
The Destiny of Escape weaves a nautical web of Emerald’s final journey through the exotic South Pacific. You will be sailing with her from the Fiji Islands to New Zealand, diving on intriguing shipwrecks, and exploring Australia’s immense beauty. The journey is intertwined with adventure and romance with interesting characters. Some will win your hearts and others will haunt you. The story flows easily from one situation to the next as Emerald and her friends overcome unexpected obstacles presented to them along the way. The reader connects with the travelers in a way that makes you feel you are part of the crew. Finally, you not only learn of the destiny of her sailboat Escape, but also the destiny of Emerald Conner.
War and conflict surround the world of Aalam. Emerald finds that she can no longer stay neutral to this as her parents have and now is forced to choose between sides.
This collection seeks to understand the long-lasting and global appeal of Tarzan: Why is a story about a feral boy, who is raised by apes in the African jungle, so compelling and so adaptable to different cultural contexts and audiences? How is it that the same narrative serves as the basis for both children’s cartoons and lavish musical productions or as a vehicle for both nationalistic discourse and for light romantic fantasy? Considering a history of criticism that highlights the imperialistic, sexist, racist underpinnings of the original Tarzan narrative, why would this character and story appeal to so many readers and viewers around the world? The essays in this volume, written by scholars living and working in Australia, Canada, Israel, The Netherlands, Germany, France and the United States explore these questions using various critical lenses. Chapters include discussions of Tarzan novels, comics, television shows, toys, films, and performances produced or distributed in the U.S., Canada, Israel, Palestine, Britain, India, The Netherlands, Germany and France and consider such topics as imperialism, national identities, language acquisition, adaptation, gender constructions, Tarzan’s influence on child readers and Tarzan’s continued and broad influence on cultures around the world. What emerges, when these pieces are placed into dialogue with one another, is an immensely complex picture of an enduring, multi-faceted global pop culture icon.
DO YOU WANT FRIES WITH YOUR HELLFIRE? Thanks to the efforts of Maou and friends, Emi has made it back from Ente Isla in one piece-at the cost of her job at the call center, after all those pesky, unexcused absences. To add insult to injury, Maou confronts Emi with an invoice for "expenses incurred" during the rescue. Emi is shocked, but her pride as the Hero means she can't abide being indebted to a demon. Soon, she's dipping into her savings and searching for a new job to pay her tab. Meanwhile, Urushihara has been sequestered in a hospital, where his body undergoes frightening changes... just as Maou (shockingly!) refuses to go to work?!