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Lila Tretikov, Chief Executive Officer, Terrawatt Initiative, France; Young Global Leader speaks at the press conference "Accelerating Energy Decarbonization." The World Economic Forum holds the Sustainable Development Impact Summit 2017 in New York, NY USA. Copyright by World Economic Forum / Ben Hider
Leaders, social innovators, and decision makers from large and small businesses, corporations, higher education institutions, government, non-profits, social enterprises, social venture capital firms, and more joined in exploring how we can effectively collaborate to create a sustainable future as part of the Accelerate Collaborating for Sustainability Conference in Guelph ON, June 10-11, 2013.
Leaders, social innovators, and decision makers from large and small businesses, corporations, higher education institutions, government, non-profits, social enterprises, social venture capital firms, and more joined in exploring how we can effectively collaborate to create a sustainable future as part of the Accelerate Collaborating for Sustainability Conference in Guelph ON, June 10-11, 2013.
BRC HOG WAP - 7 #30526 departs Vadodara with 22210 New Delhi - Mumbai Central AC Duronto Express.
Date : 01/04/18
The Natural Step Canada hosted the 2nd annual Accelerate: Collaborating for Sustainability Conference June 5-6, 2014, at the Evergreen Brick Works in Toronto, Ontario www.naturalstep.ca/.
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Breeders' Cup Classic winner Accelerate at Lane's End where he stands at stud.
All rights reserved. Protected with PIXSY
Leaders, social innovators, and decision makers from large and small businesses, corporations, higher education institutions, government, non-profits, social enterprises, social venture capital firms, and more joined in exploring how we can effectively collaborate to create a sustainable future as part of the Accelerate Collaborating for Sustainability Conference in Guelph ON, June 10-11, 2013.
KLIO - Die Rührende, Muse der Geschichtsschreibung
MELPOMENE - Die Singende, Muse der Tragödie
THALIA - Die Blühende, Muse der Komödie
KALLIOPE - die Schönstimmige, Muse der epischen Dichtkunst
TERPSICHORE - Die im Reigen Tanzende, Muse des Tanzes
EUTERPE - Die Erfreuende, Muse der Musik
ERATO - Die Liebevolle, Muse der Liebesdichtung
URANIA - Die Himmliche, Muse der Astronomie
POLYHYMNIA - die Hymnenreiche, Muse der lyrischen Dichtkunst
Apollo und die neun Musen
Der Figurenzyklus hat sein Zentrum und seinen Ausgangspunkt in der Figur von Apollon, den Sohn von Göttervater Zeus und der Titanentochter Leto. Als Gott der Künste, vor allem der Musik und des Gesangs, wird Apollon mit der Lyra dargestellt, die er von dem Götterboten Hermes geschenkt bekommen hatte. In seiner Funktion als Musenführer trägt er den Beinamen Musagetes. Die Musen, Töchter von Zeus und der Titanin Mnemosyne, bewohnen den Parnass und begleiten das Göttermahl mit Musik und Gesang.
Der Musensaal
Der Musensaal ist das repräsentative Zentrum der Habsburgischen Prunkräume. Der prächtig gestaltete Festsaal wurde 1822-1825 im Sinne eines Gesamtkunstwerks von Joseph Kornhäusel 1772-1860 für Erzherzog Carl (1771-1847) hergestellt. Kornhäusels künstlerischer Partner Joseph Klieber (1773-1850) versah ihn mit den namensgebenden Figurenzyklus Apollo und die neun Musen. Die überlebensgroßen, griechisch-mythologischen Gottheiten stellen das umfangreichste Skulpturenensemble des Wiener Klassizismus dar. Joseph Klieber war ein glühender Verehrer von Antonio Canova (1757-1822) und fertigte deshalb die gegenüber Apollon aufgestellte Muse des Tanzes Terpsichore exakt nach dem Entwurf von dessen berühmter Danzatrice. Erzherzog Carl pflegte mit seiner Familie im Musensaal zu speisen, wobei ein verstecktes Panharmonicum, eine Art Musikautomat, die Tafel musikalisch untermalte. In diesem prachtvollen Ambiente fanden auch Soireen und Bälle statt, die durch die fünf mächtigen, feuervergoldeten und bronzierten Kristallluster sowie mehrere freistehende Kandelaber zwischen den Statuen prächtigst illuminiert wurden.
(further information about the world of the Habsburg you can get by clicking on the link at the end of page!)
The Hall of the Muses
The Hall of the Muses, the spatial and ceremonial center of the state apartments, served as a dining room and offered the prestigious setting for glamorous soirees and splendid balls.
Five gorgeous crystal chandeliers enlighted the room in light brightness, 258 additional candles that were additionally anchored in the running rosette frieze, plunged it in a sea of lights.
Hall of the Muses © Albertina, Vienna (Photo: Alexander Ch Wulz)
Musensaal
To the splendid appearance of the hall also contribute the precious stucco marble panelings of the wall panels and pilasters as well as the gilded doors and decorative elements.
The name of the hall is derived from the cycle of figures "Apollo and the Nine Muses". The life-size, with a marble imitating polishing white surface provided sandstone figures come from Joseph Klieber (1773-1859), who drew inspiration for this work from the oeuvres of the sculptor Antonio Canova.
www.albertina.at/das_palais/prunkraeume/musensaal
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
I am using video to accelerate serendipity! I didn't plan my career so far; now I'm engineering conversation and self-presentation to help me find my next cause or undertaking. This video explains that I don't have an answer for "what am I doing with my life" - I only have a method to ask the question. And you are a part of the method! Thank you for watching!
More context, as ever, at links.net/
Zooming with the 17-40L...still waiting for my brother Vic to land. No enhancements just one exposure.
11.45 pm Cork Airport
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Accelerating Climate Action through Philanthropic-Public-Private-Collaboration
Gim Huay Neo, Managing Director, Centre for Nature and Climate, World Economic Forum; Ray Dalio, Founder, Co-Chairman and Co-Chief Investment Officer, Bridgewater Associates, USA; Frans Timmermans, Executive Vice-President for the European Green Deal, European Commission; Klaus Schwab, Founder and Executive Chairman, World Economic Forum
Copyright: World Economic Forum/Jeffery Jones
Sustainable Development Impact Meetings, New York, USA 19 - 23 September
Leaders, social innovators, and decision makers from large and small businesses, corporations, higher education institutions, government, non-profits, social enterprises, social venture capital firms, and more joined in exploring how we can effectively collaborate to create a sustainable future as part of the Accelerate Collaborating for Sustainability Conference in Guelph ON, June 10-11, 2013.
Leaders, social innovators, and decision makers from large and small businesses, corporations, higher education institutions, government, non-profits, social enterprises, social venture capital firms, and more joined in exploring how we can effectively collaborate to create a sustainable future as part of the Accelerate Collaborating for Sustainability Conference in Guelph ON, June 10-11, 2013.
Leaders, social innovators, and decision makers from large and small businesses, corporations, higher education institutions, government, non-profits, social enterprises, social venture capital firms, and more joined in exploring how we can effectively collaborate to create a sustainable future as part of the Accelerate Collaborating for Sustainability Conference in Guelph ON, June 10-11, 2013.
Harald Hirschhofer, Senior Advisor, TCX Investment Management Company, speaks at the press conference "Accelerating Energy Decarbonization." The World Economic Forum holds the Sustainable Development Impact Summit 2017 in New York, NY USA. Copyright by World Economic Forum / Ben Hider
We made our annual trip to London in November. We travel down by coach from Slaithwaite and stay at The Cumberland Hotel at Marble Arch. It’s actually a weekend ladies shopping trip that is run as a fundraiser for Slaithwaite Brass Band – I’m the only bloke that goes every year! We decided ( the two of us) to stay down in London until Thursday this time as we wanted to see weekday London and be able to explore a bit further afield on foot. We covered up to 16 miles a day, which is tough going on crowded pavements with hundreds of busy roads to cross. I photographed anything that looked interesting but I bent a contact in the CF card slot, fortunately I had quite a few SD cards with me and the 5D has dual slots so I was able to carry on using it. It’s currently at Lehmann’s getting fixed.
With it being close to Christmas the decorations are up everywhere so there was plenty of colour at night. In Hyde Park the Winter Wonderland was in full swing, we’ve never bothered going to it before but I went twice at night this time. It is massive this year, I couldn’t get over how big it is and the quality of some of the attractions. The cost and effort involved must be phenomenal – it was quite expensive though. It was very difficult to photograph, with extremes of light (LED’s) and darkness and fast moving rides into the bargain. I think I have some decent usable stuff but at the time of writing I am only part way through the editing process so I don’t know for sure.
We set off at around 8.15 am every day and stayed out for at least 12 hours. The weather was poor for a day and a half with drizzle and very dull grey conditions, fortunately we had some pleasant weather (and light) along the way as well. Being based at the end of Oxford Street – Europe’s busiest shopping street – meant that I did quite a bit of night shooting on there. Although I carried a tripod everywhere I only used it once and that was during the day! Because there is always a moving element in almost every shot it seemed pointless using a tripod. I would have got some shots free of movement – or I could have gone for ultra-long exposures to eliminate people and traffic but it would have been problematic I felt. In the end I wound the ISO up and hand held – fingers crossed.
We walked out to Camden Market and Locks but it had been raining and we were a bit early as many were only just setting up for the day. We tried to follow routes that we hadn’t used before and visit new places. We paid a fortune to get in St Pauls but you can’t use cameras. This something that I fail to see the point of, ban flash if you want but if you are going to encourage tourism why ban cameras when there is nothing in particular happening in there. It’s a rule that seems to be applied arbitrarily in cities around the world. Fortunately we could take photos from the outside of the dome, which was real reason for visiting, and we had some great light. Expensive compared with a couple of euros in some famous cathedrals. I’ve wanted to walk to Canary Wharf for a number of years and this year we did. We crisscrossed the Thames a few times and tried to follow the Thames path at other times. We covered around ten miles but it was an interesting day. It was also very quiet for the last four or five miles. We got there about 12.00 and managed to get a sandwich in a café in the shopping centre at the foot of the high rise office blocks before tens of thousands of office workers descended from above. It was mayhem, packed, with snaking queues for anywhere that sold food. We crossed to the other side of The Isle of Dogs and looked across to the O2 Arena and the cable car, unfortunately there isn’t a way across for pedestrians and it was around 3.00 pm. With darkness falling at around 4.30 we decide it was too late to bother. We made our way back to the Thames Clipper pier to check the sailing times. They sail every twenty minutes so we had a couple of glasses of wine and a rest before catching the Clipper. Sailing on the Thames was a first in 15 trips to London. The Clipper is fast and smooth, the lights had come on in the city and there was a fantastic moon rise. It was nigh on impossible to get good shots at the speed we were traveling though and there were times that I wished I could be suspended motionless above the boat. Again, hopefully I will have some usable shots.
We felt that the shopping streets were a little quieter, following the Paris massacre it was to be expected, I might be wrong as we were out and about at later times than previous trips. I think I have heard that footfall is down though. It was good to get into some of the quieter backstreets and conversely to be stuck in the city business district – The Square Mile- at home time. A mass exodus of people running and speed walking to bus stops and the rail and tube stations. It was difficult to move against or across the flow of bodies rushing home.
Whilst the Northern(manufacturing) economy is collapsing, London is a giant development site, it must be the tower crane capital of Europe at the moment. It was difficult to take a shot of any landmark free of cranes, it was easier to make the cranes a feature of the photo. It’s easy to see where the wealth is concentrated – not that there was ever any doubt about it. The morons with too much money are still driving their Lambo’s and Ferraris etc. like clowns in streets that are packed with cars , cyclists and pedestrians, accelerating viciously and noisily for 50 yards. They are just sad attention seekers. From Battersea to Canary Wharf we walked the Thames Embankment, the difference between high and low tide on the river is massive, but the water was the colour of mud – brown! Not very attractive in colour. We caught a Virgin Train from Kings Cross for £14.00 each – a bargain!. We had quite a bit of time to kill around midday at Kings Cross so I checked with security that I was OK to wander around taking photos, without fear of getting jumped by armed security, and set off to photograph the station and St Pancras International Station across the road. I haven’t even looked at the results as I type this but I’ll find out if they are any good shortly. Talking of security, following Paris, there was certainly plenty of private security at most attractions, I don’t know if it was terrorism related though, I can’t say I noticed an increased police presence on the streets. It took us three hours and five minutes from Kings Cross to being back home, not bad for a journey of 200 miles. I can’t imagine that spending countless billions on HS2 or HS3 is going to make a meaningful (cost effective) difference to our journey. Improving what we have, a little faster, would be good. There are some bumpy bits along the route for a mainline and Wakefield to Huddersfield is the equivalent of a cart track – and takes over 30 minutes – it’s only a stone’s throw.
Accelerating the Women’s Movement for Peace and Humanitarian Action: Innovating & Challenging the Status Quo
A Women’s Peace & Humanitarian Fund (WPHF) event, co-hosted by the Permanent Missions of Australia, Canada, Ireland, the Global Network of Women Peacebuilders, Cordaid, UNFPA and UN Women. WPHF’s commitment night and reception spotlighting the actions and commitments of partners to reach USD 40 million by 2020 and celebrate the results of WPHF-supported women peacebuilders and crises responders. Moderated by CBS News Chief Foreign Affairs and 60 Minutes Correspondent Lara Logan—and featuring remarks from WPHF Global Advocate Kristen Bell and a special tribute performance by French recording artist Louane—the event concludes with the lighting of New York City’s Empire State Building in support of WPHF and its mission to empower women working to build peace and responding to crises around the world. Speakers include: Natalia Kanem, Executive Director, UN Population Fund; Phumzile Mlambo-Ngcuka, Executive Director, UN Women; Mavic Cabrera Balleza, CEO, Global Network of Women Peacebuilders.
Photo: UN Women/Ryan Brown
The Natural Step Canada hosted the 2nd annual Accelerate: Collaborating for Sustainability Conference June 5-6, 2014, at the Evergreen Brick Works in Toronto, Ontario www.naturalstep.ca/.
A 700T Train set is accelerating after departure from Taichung.
(Requires Google Earth)
See where the photo was taken at maps.yuan.cc/
The Natural Step Canada hosted the 2nd annual Accelerate: Collaborating for Sustainability Conference June 5-6, 2014, at the Evergreen Brick Works in Toronto, Ontario www.naturalstep.ca/.
The Natural Step Canada hosted the 2nd annual Accelerate: Collaborating for Sustainability Conference June 5-6, 2014, at the Evergreen Brick Works in Toronto, Ontario www.naturalstep.ca/.
Accelerating the Women’s Movement for Peace and Humanitarian Action: Innovating & Challenging the Status Quo
A Women’s Peace & Humanitarian Fund (WPHF) event, co-hosted by the Permanent Missions of Australia, Canada, Ireland, the Global Network of Women Peacebuilders, Cordaid, UNFPA and UN Women. WPHF’s commitment night and reception spotlighting the actions and commitments of partners to reach USD 40 million by 2020 and celebrate the results of WPHF-supported women peacebuilders and crises responders. Moderated by CBS News Chief Foreign Affairs and 60 Minutes Correspondent Lara Logan—and featuring remarks from WPHF Global Advocate Kristen Bell and a special tribute performance by French recording artist Louane—the event concludes with the lighting of New York City’s Empire State Building in support of WPHF and its mission to empower women working to build peace and responding to crises around the world. Speakers include: Natalia Kanem, Executive Director, UN Population Fund; Phumzile Mlambo-Ngcuka, Executive Director, UN Women; Mavic Cabrera Balleza, CEO, Global Network of Women Peacebuilders.
Photo: UN Women/Ryan Brown
Volvo P1800 ES Shooting Brake (ES = Estate Sportwagon), 1971 - 1973, tail-design by Jan Wilsgaard (Volvo Sweden), 8'000 units only (P 1800 Coupe, 1961 - 1972: over 39'000 units)
The German car-magazin baptized the sporty Volvo with an all-glass tailgate as "Schneewittchensarg" (German: 'Snow White'-coffin).
The 2-litre engine with 125 PS accelerated the 1800ES up to 190 km/h (manual gearbox).
Leaders, social innovators, and decision makers from large and small businesses, corporations, higher education institutions, government, non-profits, social enterprises, social venture capital firms, and more joined in exploring how we can effectively collaborate to create a sustainable future as part of the Accelerate Collaborating for Sustainability Conference in Guelph ON, June 10-11, 2013. www.naturalstep.ca/
The panel Miranda A. Ballentine, Managing Director, Business Renewables Center, Rocky Mountain Institute, USA, Ibrahim Baylan, Minister for Policy Coordination and Energy of Sweden, Carlos Moedas, Commissioner for Research, Science and Innovation, European Commission, Brussels, Dev Sanyal, Chief Executive, Alternative Energy; Executive Vice-President, Regions, BP, United Kingdom, Yang Woong-Chul, Vice-Chairman and Chief Research and Development Officer, Hyundai Motor Company, Republic of Korea, and Naomi Oreskes, Professor of the History of Science, Harvard University, USA, speaking during the session, Accelerating Sustainable Energy Innovation, at the Annual Meeting 2018 of the World Economic Forum in Davos, January 26, 2018. Copyright by World Economic Forum / Ciaran McCrickard
Accelerating Grassroots Innovation (Option 2)
Copyright ©️ World Economic Forum/Pascal Bitz
Alban Bressand, Co-Founder and Chief Revenue Officer, Reforestum, Spain
Wajiha Khalid, Steering Committee, Rawalpindi Hub, Pakistan
Kenneth Kwok, Founder and Chief Executive Officer, Global Citizen Capital, Hong Kong SAR, China
Alexei Levene, Co-Founder, Desolenator, Netherlands
Moderated by John Dutton, Head, Uplink; Member of the Executive Committee, World Economic Forum; Young Global Leader
Leaders, social innovators, and decision makers from large and small businesses, corporations, higher education institutions, government, non-profits, social enterprises, social venture capital firms, and more joined in exploring how we can effectively collaborate to create a sustainable future as part of the Accelerate Collaborating for Sustainability Conference in Guelph ON, June 10-11, 2013.
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Shobana Kamineni, Executive Vice-Chairperson, Apollo Hospitals Enterprise, India,
Manny Maceda, Chief Executive Officer, Bain & Company, USA,
Jeffrey R. Tarr, Chief Executive Officer, Skillsoft, USA,
Josephine Teo, Minister for Communications and Information of Singapore, Zanny Minton Beddoes, Editor-in-Chief, The Economist, United Kingdom, speaking during the Session: Creating a Global Skills Framework, A skills-based approach to hiring is five times as effective at delivering job success for entry-level employees as a focus on qualifications. What are the key requirements for a common framework to put skills at the heart of talent management, enabling individuals to flourish and organizations to succeed? At the Annual Meeting 2022 of the World Economic Forum in Davos, 23 May, Copyright by World Economic Forum / Walter Duerst