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RAF RED ARROWS
Acknowledged as one of the world's premier aerobatic display teams, the Red Arrows are renowned throughout the world as ambassadors for both the Royal Air Force and the UK. So expect plenty of flair and precision-flying when the team takes to the skies above RAF Fairford to demonstrate their breath-taking close-formation flying. The team formed at RAF Fairford in 1965 and flew Folland Gnat jet trainers until 1980 when they transferred to the BAE Hawk T1.
RAF TYPHOON
The power and agility of the RAF's Eurofighter Typhoon FGR4 will be demonstrated at RIAT 2016 by Flt Lt Mark Long from No 29 (Reserve) Squadron, the Typhoon Operational Conversion Unit, at RAF Coningsby in Lincolnshire. Since deliveries commenced in 2003, nine years on from the first Eurofighter prototype's maiden flight, the RAF has continually expanded the capabilities of its Typhoon force. The type has assumed responsibility for the UK's QRA (Quick Reaction Alert) air defence capability, stationed at both Coningsby and RAF Leuchars in Fife, taken over the air defence of the Falkland Islands, and shown its potency in the air-to-ground role - in which the RAF has, among the Typhoon's operating nations, led the way - when making its combat debut during Operation 'Ellamy' over Libya in 2011. Typhoons stand ready to police UK airspace at a moment's notice and have been involved in recent combat operations over Syria.
US MARINE CORPS F-35B
The arrival of the USMC F-35B will be of most interest to both the public and British delegations at RIAT 2016 as both the Royal Air Force and Royal Navy will be receiving the 'B' model.
The first units to receive their F-35Bs will be the RAF's No. 617 Squadron and the Fleet Air Arm's 809 NAS, intended to replace the Tornado GR4 and the Harrier GR9 (which was retired in 2010).
The F-35B is the short take off/vertical landing (STOVL) variant and will be operated from the Royal Navy's new aircraft carriers, as well as having the ability to operate from austere airbases.
The aircraft's STOVL capability is provided by a Rolls-Royce system that swivels thrust 90 degrees, supported by new fan technology. Air-to-air refuelling is achieved through the probe and drogue method, compatible with the RAF's Voyager tanker fleet.
The aircraft displaying at RIAT 2016 are a mixed team, coming either from VMFAT 501, MCAS Beaufort, South Carolina, or VMX1, Edwards Air Force Base, California.
3-22-18 Wildfires Thank You Event at the ARC Santa Rosa office. Volunteers shared poignant and inspiring stories about their experiences and were thanked by staff and each other.
Photography by Ritch Davidson/American Red Cross
Are you thinking about the trends that matter? Consider this statement:
"When it comes to the future, it’s always important to think about a trend from a long-term perspective while acknowledging the short-term issues that occur along the way.
But as the future comes at us with greater speed and intensity, it could be that we lose sight of the long-term view of where the future is taking us as short-term issues come to dominate the discussion. With that in mind, it’s a good time to think about The BIG Future."
That's how I open my page about what I call the BIG Future - which you can find, of course, over at bigfuture.jimcarroll.com.
It's a page that I started pulling together last year when AI was becoming all the rage; my thought process was that while there was something significant happening with accelerating AI technologies, we might see everyone forget about all the other 'stuff.' I believed (and rightly so) that many people would commit the fundamental mistake of focusing mostly on the 'hot' trends (i.e. AI), and ignoring other trends that were equally, if not more, significant. My goal with my 'BIG future' series was to begin to pull together a group of disparate, unrelated but very significant trends that would have a big impact on us going forward, but that was often not covered in the context of everything else.
So far, I've covered such issues as vertical farming, the acceleration of brain science, regenerative medicine, "connected" energy, materials science, the longevity divide, and more. Each of these trends is massive in scope, significant in their potential (or risk), and involves a LOT of opportunity. If you haven't had a look, you might want to make sure you do.
In addition to that, I've sprinkled throughout the page a variety of images that summarize the major, long-term transformative trends that are redefining entire industries, including healthcare, insurance, agriculture, retail, manufacturing, and others. Each of these bears a mention - and is all a part of what I do within my stage work when I am doing a deep dive into a particular industry. My overall goal? People should think BIG about the BIG transformations occurring within entire industries.
With that in mind, here's an overview of a bit of what I believe you need to consider, with a variety of industries under the microscope. Each of these BIG trends will take years and perhaps decades to unfold but will have a profound impact. There's more of this thinking over at another one of my trends series - trends of 2030, which you can find, of course, at 2030.jimcarroll.com.
Automotive and transportation? The BIG trend is that we're moving from a world in which today, while we mostly drive carbon-based cars - tomorrow, they are essentially becoming big computers with big batteries on wheels, with some big thinking on autonomous technology (although I will admit that I have soured somewhat on the whole 'self-driving car' thing.) Despite the short-term noise around the electrification of vehicles, the long-term trend is such that in just over a decade, you'll be hard-pressed to find a gasoline or diesel vehicle; and the typical vehicle will essentially be like a big iPad on wheels.
Construction? We're moving from a world in which do much more factory-based manufacturing offsite, with rapid final assembly on-site. Add to that new methodologies and new material science based on 3d printing technology, and the entire process of construction is changing. In numerous construction and infrastructure-oriented keynotes over the last few years, I've pointed out that we are implementing new methodologies and new thinking to the entire process of construction, with more and more of the processes undertaken offsite, in large-scale facilities dedicated to the construction process. It's assembly line thinking coming to the manufacturing sector.
Education? We're moving to a world of just-in-time knowledge - getting the right knowledge at the right time for the right purpose. Education becomes less about 'teaching specific knowledge' and more about how to 'find specific knowledge.' This is going to become particularly relevant as the era of AI is unleashed upon us, and we continue to drown in massive volumes of information. On stage, I speak about the rapid emergence of new knowledge and the fast obsolescence of existing knowledge - and the knowledge industry will increasingly focus on how to navigate this complexity.
Energy? Let's face it - despite the political machinations at COP28, we all know that carbon is over - even the Saudis and BP and others know that. In the utility sector, the big trend is 'connected energy' - we are moving a world of local energy microgrids based on renewable technologies, carefully balanced and managed through advanced AI technologies. In that context, batteries are the future of just about everything, and production is all about solar, wind, and other new forms of energy generation. Spare me the pushback - the science and economics don't support the whining.
Food? As new science takes hold and massive urbanization takes place, we are chasing new ideas on how to produce more food with few inputs - and eat healthier. This leads to ideas like vertical farming, cellular agriculture, and customizable, programmable, AI-based, real-time food planning based on instant health assessment! The future of food is all about new ideas, rapid innovation, and bold thinking.
Healthcare, medicine, and pharmaceuticals? In essence, we're turning the global healthcare system upside-down with precision medicine, targeted therapies, and accelerated science - fixing people before they are sick rather than after! It's all about DNA-based medicine, connected medical devices, the virtualization of healthcare, and the rapid discovery of new science, methodologies, treatments, and forms of diagnosis.
Insurance? We're moving from a world in which insurance risk is assessed by actuaries looking back in time, to one that involves real-time predictive risk analysis. As we extend connectivity to every device, we can underwrite insurance risk based on real-time data. We won't do your health insurance based on a urine or blood test - but based on your current blood pressure, glycemic index, and more. The entire philosophy of insurance is undergoing a massive change, on both the life as well as the property and casualty insurance side of the industry.
Manufacturing? We're moving from a world of mass production to one of mass customization, accelerated by digitization, and robotics. It leads to build-to-demand as opposed to building-to-inventory business models for many industries, with a LOT of highly intelligent robotics leading the way. New materials science - which I cover within my trends series - leads to the invention of all kinds of new products that can be manufactured in new and different ways.
Retail? We're moving from a world in which we go out to get all the stuff we need, to one in which more of the stuff comes to us - accelerated, of course, by the global pandemic. The future of the industry is driven by drone technology, robotics, and advanced last-mile logistics methodologies. We will continue to see an ongoing collapse in traditional retail locations and an acceleration of everything involving home delivery - it's all Amaon-like concepts all the time.
Last but not least? One of my favorites is agriculture. We're moving from a world in which we only farm when the sun is up - to farming 24 hours a day, based on robotics, autonomous technology, virtualization, and more. I like to emphasize that the kid playing Farmville today is the young adult who will be managing the high-tech, autonomous virutalized farm of tomorrow!
All of these industry transformations involve massive, significant trends, many of which have already been underway for quite some time. These are not necessarily fast trends - they are slowly moving and will take years and decades to unfold. As they do, they will continue to lead to the birth of new companies, entire new sub-industries, new jobs and careers, massive new knowledge sets, and so much more. It's by delving into and understanding these trends that you will be able to discover and shape so much of your future.
The interesting thing is that many of these trends now involve significant pushback by what I referred to in post #1 of this series - what I call the anti-future futurists. I suggested that you ignore their whining, prattle, and political efforts, because ultimately, in the face of the relentless march of tomorrow, most of their compelling will essentially go nowhere.
That's why, throughout 2024, I would encourage you to not only keep involved with today's hot trends (hello AI!) but also keep your eye on the BIG trends that over the long term matter. Consider what you need to do to understand them, align with them, and align your career, knowledge, and industry path toward them.
It's only by following the first part of my mantra - "Think BIG, start small, scale fast" - that you can capitalize on tomorrow, today.
Original post: jimcarroll.com/2023/12/daily-inspiration-24-strategies-fo...
Time to acknowledge our pastor this day! Thank you for all that you do for us and our church! God bless... This was during The Cornerstone SJ church’s service at the park particularly at Fowler Creek Park in San Jose, CA...
The weather started out a bit on the cold & cloudy side but right when the sun broke thru the clouds, the weather turned out picture-perfect with a nice cool breeze. We had lots of good food including freshly-made tacos, courtesy of Sister Melodina! For our games, we played volleyball & 9-square (our signature game, gotten from our recent church retreat lol). We also had a fantastic worship this morning & simply enjoyed the great outdoors to appreciate our Pastor PJ. It was pastor’s appreciation day, aka Clergy Appreciation Day, though it was a week late since the actual Pastor’s Appreciation Day was on Sunday, October 13. We all appreciate you so much for everything that you do for our church! Thank you & we love you & your wonderful family! We are so blessed to have you as our loving, caring pastor!
(Sunday afternoon, October 20, 2019)
Us praying for and acknowledging our May birthday celebrants right after our weekly Bible study session here at Pastor PJ's place in San Jose, CA. Happy birthday Gail, Jeron, Paula, Jelanie & Jason! May GOD bless you guys more!
(Tuesday evening, May 7, 2019)
Our company in Peru, Vacation.pe, ensures the best possible service to the tourist employing highly qualified, multilingual personnel combined with our acknowledged professionalism and dedication. We promote and sell the magic destinations that our country has to offer, from a desert coastline, to the volcanoes and towering, craggy peaks of the Sierra, to its deep, dense Jungle with innumerable plant and animal species, providing at the same time, the peace of mind our clients require when trusting their trip to us. We design and operate diversified products such as conventional and domestic tourism, adventure and incentive travel and special interest tours.
We are proudly a member of IATA, the International Air Transport Association (IATA#91500802) and fullfill the finantial requeriments of this worldwide recognized institution. Click here to validate information
We are member of ASTA, short for the American Society of Travel Agents, (ASTA# 900181553) this is the world's largest association of travel professionals founded in 1930. The American Society of Travel Agents' mission is to enhance the professionalism of member agents through education and training, to identify and meet the needs of the traveling public and to advocate for the travel industry.
Our company in the United States is operated by California registered Dual Source Enterprises Inc. dba Inca Trail Reservations. We are California Seller of Travel with Registration Number Inca Trail Reservations CST# 2085372-40
Machu Picchu Delux operations in Cusco are in charge of Inca Trail Reservations E.I.R.L., registered with the Ministry of Tourism DIRCETUR No 068-2008-GR andINRENA-INC AG0088 (only INRENA approved companies are allowed to operate the Inca Trail).
I acknowledged him but tried to nicely tell him that PBP riders were not supposed to be pulled by non-PBP riders by rule. Looked like he understood it and we rode together (with keeping some distance) until reaching SQY. Very nice guy.
It's time to acknowledge the awesome season by our cross country teams!
After winning the YAIAA Division III title, the boys' team finished third in the YAIAA Cross Country Championship and qualified for the PIAA District III Cross Country Championship. At the District meet, the squad finished 15th, thanks to the fastest time in recent York Tech history (Adam Gaidos, 16:39) and a total of eight personal records.
Not to be outdone, the girls' team also earned several noteworthy milestones. Its fourth-place finish in YAIAA Division III was very respectable, and three runners qualified for the PIAA District III Cross Country Championship. Piper Degges beat out 118 runners at the District meet by shaving off nearly 85 seconds from her qualifying time!
The league took notice of York Tech's success, because the following individuals earned YAIAA Division III honors:
⭐ Rich Smith, Coach of the Year
⭐ Adam Gaidos, Runner of the Year
⭐ Reid Pargament, First-Team All-Star
⭐ Orion Smith, First-Team All-Star
⭐ Ethan Snow, First-Team All-Star
⭐ Nicholas Urey, First-Team All-Star
⭐ Piper Degges, Honorable Mention All-Star
Congratulations, Spartans!
Please acknowledge any use of this photo: Andy Jones, Cleveland Museum of Natural History. Photo taken at La Selva Biological Station, Costa Rica, March 2014.
Da Nang is acknowledged by TripAdvisor as a must-see tourist destination in Vietnam. Therefore, you cannot miss this place on your journey in Vietnam. This is a coastal city so the most appropriate time to visit is the summer ranging from June to August. This period is the best time to enjoy the most interesting things.
Da Nang has a variety of celebrated sceneries, namely Five Mountains (Ngu Hanh Son), Cu Lao Cham island, My Khe beach, Linh Ung Pagoda, Han River and Love bridge as well as many amusement parks like Ba Na Hill and Asia Park.
azlocaltrip.com/vietnam/travel-guide/places-to-visit-in-v...
EPCH Acknowledges the Benefits of Furniture Accessories through Wide Range of Products
New Delhi, 3 April 2018: Decorative accessories can bring life to a room’s appearance with planned designing concepts. The rooms with neutral shades may receive depth with the addition of proper accessories. It is also possible to add subtlety to a room’s appearance using the furniture accessories. The Export Promotion Council for Handicrafts (EPCH) understands the benefits of furniture accessories and presents a huge collection of room accessorizing products to the global customers.
Wall Decorating Items
The decorative wall-hangings can instantly change the appearance of a room. The tribal masks, paintings or fabric wall-hangings can add dynamism to a room’s appearance with an earthy feel. The terracotta wall-hangings of Assam or West Bengal and Dhokra craft of Orissa, Jharkhand or Madhya Pradesh bring originality of tribal artistry. The artisans of Rajasthan, Gujarat and Uttar Pradesh make traditional decorative items on the metal or fabric. These vibrant wall-arts can brighten up the décor of any room. The shell-based wall-hangings from India’s coastal regions bring the spirit of ocean into a room with their subtle appeals. The Indian manufacturers of housewares bring a variety of home accessories to the EPCH organized houseware fair. These handicraft products give the buyers around the world many opportunities to play with the appearances of their rooms’ décors.
Floor/Tabletop Accessories
The tabletop or floor accessories are equally capable of changing the room’s appearance. The eco-friendly cane and bamboo handicrafts from Assam, Meghalaya or Arunachal Pradesh can bring an ethnic feel to the décor. The metal handicraft items with Bidri craft from Andhra Pradesh and Karnataka can add instant elegance to a room’s décor. On the other hand, the craftsmen of Uttar Pradesh and Rajasthan decorate silver, copper, white-metal or brass handicrafts products with traditional motifs using engravings or lattice work. The craftsmen of Rajasthan and Uttar Pradesh also manufacture decorative items using marble tiles with the stone studded or engraved designs. The tribal communities of Jharkhand are famous for the wrought iron figurines and tabletop decorative items. The suppliers of household handicraft products accessories bring exclusive products to EPCH organized Indian trade fair every year to enthrall the aficionados of handcrafted furniture accessories.
To inquire about Indian trade fair in 2018, please visit www.epch.in
Acknowledging my dad's (official) b-day and his hard work for us here at our church. This was at The Cornerstone SJ Church located at the Independence High School in San Jose, CA. Me and my family had to leave early since we had our own family Labor Day beach outing at Seacliff State Beach in Aptos, CA.
(Sunday, September 1, 2019)
.
Join an Interactive Meeting organised by GSCASH with Counselors and GSCASH .
~8{2.0\~ . Counselors Shifa Haq (Psycltotlzerapist, Ehsaas, Ambedkar University).
4 Aug Tonight .
Nupur Dhingra (Psychotlterapist, Eltsaas, Ambedkar University).
Shipra Mess 9.30pm .
It isn't enoughto acknowledge that it's wrong to attack a wornan with an axe. Or with a knife or gun Or with acid. .
After all, that is something most ofus here in JNUwould acknowledge-and yet this terrible incident could take place .
on our campus. .
We need to begin to talk about how we-men and wornen both-and our culture acknowledges the right ofwomen to .
. Do we teach and encow-age men to acknowledge a woman's autonomy with grace and with respect?.
.
say 'No' .
In the wake ofthe terrible incident ofgender violence that has shaken JNU, we all need to look within and re-examine .
.
our attitudes towards gender and towards our the relation between men and women. .
Kolaveri Da? .
.Ren1ember 'Kolaveri Di', which went viral on the internet?The song has a man singing languidly about a woman's .
'Soup boys', and the singer himselfexplains that.
.
'killer rage' ('kolaveri'), when she rejects him. The song is about .
"'Soup song' means 'rejection' song. 'Soup boys' are boys who got rejected." The song has lyrics about amannursing .
his glass ofalcohol, in the wake ofrejection by a girl who insists on English, and who is 'white'but has a 'black' heart. .
.
This popular song accuses woman of'kolaveri' (Tamil for killer rage). But in fact, is it women, or men who display .
'killer rage'?Isn't it tnostly men whose 'ego' is hurt by a won1an's 'No', who indulge in acid attacks, in stalking and .
other forms ofviolence? Doesn't our culture glorify this masculine inability to take 'No' from a woman? Doesn't our .
culture have immense reserves ofsympathy and even admiration for the figure ofthe tragic, 'spurned' lover? The .
Ko!averi song isc'1e instance. And then, look at ow· obse~.sion y·vith the Devdas story-astoryofaman who self-.
destructs because ofhis obsessive love for a woman he cannot marry. Govinda sings "kab tak roothegi, cheekhegi, .
.
chillayegi, dil kehta hai ek din haseena maanjaaye~i''-indicating to n1en that they should keep 'pursuing' women .
even when they shout, scream and make it amply clear that the answer is a NO. .
.
How does popular cinema in India look at thefigure ofthe woman who rejects a man or walks out ofa relationship? .
When Bollywood remakes 'Kramer vs Kramer' (as Akele Hum Akele Tum), it has to vilify the divorce-seeking wife .
and subject her to lectures on her job as wife and mother. The same when Hollywood remakes Mrs Doubtfire as .
Chachi 420. Inthe Hollywood versions ofthese films, there is a fair bit ofsympathy for the wife's frustration with .
.
husbands who are insensitive to their careers and neglectful ofany domestic work, and the men concerned learn and .
change as a result of having to bear the responsibility ofbringing up a child. But in the Bollywoodversions, as in the .
Kolaveri song, the women are lectured about their class arrogance and/or career aspirations which they place .
.
above maternaland wifely duty. .
What is scary is that our sympathy for the obsessive J'H~le 'lover' (and condemnation ofa woman who .
.
breaks/rejects a relationship) isn't confined to films. It plays out in real life. And therefore, stalking, wrist-.
slitting, erratic and violent behavior that threatens destruction rtnd self-destruction both is rationalized as love, and .
natural given how hurt the man is and how deeply he loves tne girl. \Vhen our friend indulges in stalking, sending .
hundreds ofSMSes or making incessant calls,threatening suicide orviolence to the woman they 'lovt;' do \¥e recognise .
it as stalking? Do we counsel him to stop and make sure be does? Or do we believe this isjust natumJ behaviour for .
someone in 'love', and do we believe the woman is being insensitive for 'rejecting' him? Re1nember how Sharad .
Yadav, JD(U) MP, during the debate in Parliament over the new rape law some months back asked how men could .
.
persuade any woman to marry them unlessthey stalked her? l It is almost as ifthe agency ofa woman to take decisions about her life, to decide to walk in orwalk out of 't we be concerned about.
relationships, simply does not need to be acknowledged and respected. Shouldn.
teaching men to respect a woman's autonomy and her right to take decisions, instead ofglorifying obsession and .
violence in the narrie of'love'? We need to keep reminding ourselves that no 1natter what the Hindi or the Tamil orthe .
.
P.T.O. .
.
, .
.
Acknowledging the key role of employment services in assisting jobseekers in times of economic transformation in Indonesia, the ILO and the Ministry of Manpower Indonesia, BINAPENTA co-designed a three-tiered learning strategy on public employment services, comprising online, in-person, and provincial level trainings.
During the first half of 2024, trainings were rolled out to remaining employment counsellors at the provincial level, benefitting 194 beneficiaries in Bogor, Bali, Surabaya, and Padang.
©Tarinee Youkhaw/ILO.
More information on the Promoting the Global Development Initiative with a Focus on South-South Cooperation in Employment in ASEAN Project: www.ilo.org/projects-and-partnerships/projects/promoting-...
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creativecommons.org/licenses/by-nc-nd/3.0/igo/deed.en_U
EPCH Acknowledges the Benefits of Furniture Accessories through Wide Range of Products
New Delhi, 3 April 2018: Decorative accessories can bring life to a room’s appearance with planned designing concepts. The rooms with neutral shades may receive depth with the addition of proper accessories. It is also possible to add subtlety to a room’s appearance using the furniture accessories. The Export Promotion Council for Handicrafts (EPCH) understands the benefits of furniture accessories and presents a huge collection of room accessorizing products to the global customers.
Wall Decorating Items
The decorative wall-hangings can instantly change the appearance of a room. The tribal masks, paintings or fabric wall-hangings can add dynamism to a room’s appearance with an earthy feel. The terracotta wall-hangings of Assam or West Bengal and Dhokra craft of Orissa, Jharkhand or Madhya Pradesh bring originality of tribal artistry. The artisans of Rajasthan, Gujarat and Uttar Pradesh make traditional decorative items on the metal or fabric. These vibrant wall-arts can brighten up the décor of any room. The shell-based wall-hangings from India’s coastal regions bring the spirit of ocean into a room with their subtle appeals. The Indian manufacturers of housewares bring a variety of home accessories to the EPCH organized houseware fair. These handicraft products give the buyers around the world many opportunities to play with the appearances of their rooms’ décors.
Floor/Tabletop Accessories
The tabletop or floor accessories are equally capable of changing the room’s appearance. The eco-friendly cane and bamboo handicrafts from Assam, Meghalaya or Arunachal Pradesh can bring an ethnic feel to the décor. The metal handicraft items with Bidri craft from Andhra Pradesh and Karnataka can add instant elegance to a room’s décor. On the other hand, the craftsmen of Uttar Pradesh and Rajasthan decorate silver, copper, white-metal or brass handicrafts products with traditional motifs using engravings or lattice work. The craftsmen of Rajasthan and Uttar Pradesh also manufacture decorative items using marble tiles with the stone studded or engraved designs. The tribal communities of Jharkhand are famous for the wrought iron figurines and tabletop decorative items. The suppliers of household handicraft products accessories bring exclusive products to EPCH organized Indian trade fair every year to enthrall the aficionados of handcrafted furniture accessories.
To inquire about Indian trade fair in 2018, please visit www.epch.in
Time to acknowledge Pastor PJ and his family. It was Pastor PJ & Sister Leonie's anniversary! We had our church service here at the park this day. It's nice to finally get together with The Cornerstone SJ Church fam! The weather was picture-perfect out for the occasion. This was at Marissa Park around my neck of the woods in San Jose, CA. (Sunday, September 20, 2020)
*From Pastor PJ: "Join us for our Park Service! It begins at 11am! Bring a chair and get there early to find a spot. Our message is “The Proof” as we discover how to truly know we are HIS disciples. Don’t miss it! (Masks and Social Distancing guidelines apply - if you are not feeling well please stay home and view our online service) God bless!"
Acknowledges the crowd after scoring a century at Northampton (Cat No. YO 1033)
If you are interested in any of these photos please contact me at vassphotographers@sky.com
The sign for the Homestead Greys pub in the luxury club walkway in Nationals Park
Washington, DC, 05/24/09
Praying for & acknowledging our May birthday celebrants right after our weekly Bible study session here at Pastor PJ's place in San Jose, CA. Happy birthday Gail, Jeron, Paula, Jelanie & Jason! May GOD bless you guys more!
(Tuesday evening, May 7, 2019)
Acknowledging the key role of employment services in assisting jobseekers in times of economic transformation in Indonesia, the ILO and the Ministry of Manpower Indonesia, BINAPENTA co-designed a three-tiered learning strategy on public employment services, comprising online, in-person, and provincial level trainings.
During the first half of 2024, trainings were rolled out to remaining employment counsellors at the provincial level, benefitting 194 beneficiaries in Bogor, Bali, Surabaya, and Padang.
©Tarinee Youkhaw/ILO.
More information on the Promoting the Global Development Initiative with a Focus on South-South Cooperation in Employment in ASEAN Project: www.ilo.org/projects-and-partnerships/projects/promoting-...
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creativecommons.org/licenses/by-nc-nd/3.0/igo/deed.en_U
LONDON, ENGLAND - JANUARY 12: Martin Odegaard of Arsenal acknowledges the fans after the Emirates FA Cup Third Round match between Arsenal and Manchester United at Emirates Stadium on January 12, 2025 in London, England. Arsenal are playing in a special all-white kit for today's FA Cup third-round tie as part of their ‘No More Red’ initiative which was launched in collaboration with Adidas in 2022 to keep young people safe from knife crime. (Photo by Stuart MacFarlane/Arsenal FC via Getty Images)
DANNY COUCH ACKNOWLEDGING A FRIEND WHILE PRESENTING Religious Album of the year AT THE PODIUM OF THE 2007 NA HOKU HANOHANO AWARDS
www.nostalgicmemoriesbylea.com
DANNY COUCH FANADDICTS FAN APPRECIATION WEBSITE AND FAN CLUB
Please acknowledge this as part of my application. This was part of my AGATE (Gifted and Talented Education) project emulating the Australian landscape photographer Peter Lik.
Point Reyes, CA
Sunlight in a Cafeteria - 1958
Artist: Edward Hopper (American, 1882–1967)
From the time he was a young man, Edward Hopper was intrigued by people in urban restaurants, where strangers had little interaction. Sunlight in a Cafeteria captures an unsettling tension between the man and woman who are clearly aware of, but do not acknowledge, each other’s presence. This edgy stillness suggests the closed lines of communication in much of modern urban life. As in so many of Hopper’s paintings, the ambiguity in the scene opens up multiple narrative possibilities.
_____________________
" Hopper is a master of subtle allusion. We see a man and woman seated at separate tables in a sunny cafeteria. They are the only customers. What interests the artist is the suspenseful moment before a first tentative contact is made, the mental and emotional forcefield that can arise between two strangers.
In a sense, Sunlight in a Cafeteria represents a reversal of the situation in Nighthawks. Instead of a diner with counterman we see a cafeteria with no one to wait on the customers. Instead of a nocturnal scene with fluorescent light, we have bright daylight. Instead of looking into an interior from out-side, we are inside looking out. Instead of an apparently prominent big-city corner, we are on a quiet side street. But the most important difference lies in the fact that while the night owls have apparently come to the diner together, the two cafeteria guests are strangers. She sits in full sunlight, he in semi-shadow. He turns towards her, but conceals his interest by looking out of the window. She is unable to show her interest even to this extent, not even attempting to catch his eye as if by accident. She might turn inconspicuously towards him, but hesitates and looks down at her hands. This is not going to work. The harsh shadow-line between man and woman will not be overcome unless one of them takes the initiative."
www.edwardhopper.net/sunlight-in-a-cafeteria.jsp#google_v...
"My dad and I never talked a lot because he always had business until 3 o’clock in the morning, and the very few times when we did talk, he was trying to lecture me about his philosophy on life. I‘m in an age of independent thinking, so I sometimes unconsciously became a little sarcastic in our conversations. As a result, he thought I was too cynical and sensitive, while I believed he was arrogant.
Things changed this September. He came home one night when I had just finished school.
Mom was snoring. The whole city was sleeping. He knocked on my door and came in. There was only one desk lamp on. A dim light blurred half of his face, so I could only see the tiredness and cautiousness in the wrinkles near his eyes.
“Hey.. Eh..what are you doing?” His voice was a little unnatural, probably because he was wondering whether we would have an intense conversation again.
“Looking at a painting.”
“Oh, paintings. Why don’t you watch some games?“
I frowned. He mumbled a few words and came in. He stood there, strong, a barrel-like belly, typical acute eyes of a businessman, seeming like an insensitive person.
”Okay. Let’s see.” He leaned down to my computer. “What painting is that?“
“Sunlight in a Cafeteria.”
“Sorry, What?”
But he sat down on the bed reluctantly.
And so I told my father about Sunlight in a Cafeteria. It was painted by Edward Hopper in 1958, and now it is in the Yale University Art Museum permanent collection. Hopper’s works often depicted loneliness in modern life. He focused on portraying the American city and the countryside, but strangely, the buildings, the people and the scenery under his brushes are all silent and still, giving people a sense of hollowness. Hopper was good at adding ingenious metaphorical elements into his artwork, and Sunlight in a Cafeteria showcased his ability to capture subtle and ordinary beauty in real life.
In this painting, the faintly visible but tense relationship between strangers emerges on the canvas. It is afternoon. The city is lonely. The streets and the buildings are outside. No one is walking. A man and a woman sit at different tables in the sunny restaurant, and they seem like the only two customers there.
The woman puts her empty glass aside and plays with her fingers. Her head is down to one side and shyness rises in her rosy cheeks, an indication that she is not busy and is Indirectly inviting the man to talk . On the other side, the man gazes at the windows. He has a cigarette in his hands, and awkwardly leans to the left; it seems like he is going to buy the woman another drink. Perhaps he is going to ask the woman out.
At the same time, the lights also indicate their connection and alienation; although the woman is under the sun while the man is in the shadow, they can be familiar with each other by simply being near one another.
Hopper didn’t like to explain too much about the concepts of his painting; he would only say that ”all the answers are on the canvas.” This vagueness allows audiences to fill in the blanks with their imagination.
The two people in the painting are strangers, and the emptiness and quiet of the scene reinforces a sense of loneliness, but Hopper ironically used this universal loneliness to attach people and establish connection as he did in Sunlight in a Cafeteria.
With all the careful details and the sunlight pouring into the restaurant, audiences can freely imagine that time and space in this cafeteria will be frozen in that moment, but in the next second, anything could happen. Romance is the second before a conversation starts.
I finished telling my dad about the painting, and found that he was looking at me. He frowned but tears glittered like lights in his eyes. Maybe this was the first time he realized I was no longer eight years old.
“Good..I mean..” He carefully chose the words, and I saw a quick fragile flash across his face. “I don’t know. I sometimes feel I miss a lot of things…you told everything to your mom. The last time I bought pears back ‘cause I remember you liked them.” His voice was low in the night. “…and your mom said you don’t like them anymore.”
I felt I needed to say something, but it’s hard. My family is not good at saying how we feel to our loved ones, so I looked outside the window. The night felt like a dark, rippling ocean with faraway lights, like little fish, glistening in the water. The whole world seemed to only have me and my dad now.
“You are amazing.” I heard my dad say.
“Thank you.” I whispered.
“Art is cool.” He quickly realized he was a little emotional. So he coughed, and softly said, ”Good night.”
“Good night.”
Gentleness is the second after a conversation ends."
pshighlander.com/2407/arts-life/appreciating-sunlight-in-...
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Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
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artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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Celebrating my sister's birthday at The Cornerstone Church. Even my cousins Gretchen & Ronel and Uncle Reggie all came this day! This was at Independence High School located around San Jose, CA. Happy birthday again, sis! May you have many more blessed birthdays to come... Nomnomnom, those cakes look delicious, too!
(Sunday, October 28, 2018)
Praying for Pastor PJ on his birthday this day at the end of our church service. This was at The Cornerstone SJ Church located at the Independence High School in San Jose, CA...
We’re so blessed and grateful to celebrate Pastor PJ's 40th birthday this day here at The Cornerstone SJ Church with family and friends! This celebration was quite memorable with all the beautiful setups and decorations including the dessert table and food tables! Great job to everyone for your endless support of making this day truly special for our beloved Pastor... Anyway, happy birthday to you Pastor! May you have many more blessed birthdays to come. We love you!
(Sunday, October 13, 2019)
Pastor Greg acknowledging Ophelia for her hard work at teaching our kids here at The Point and of course after helping to prep for this special Sunday Christmas event! Our Kids Point Choir had performed their Christmas Musical during our church service this morning. We must not forget the true meaning of Christmas...Jesus! Merry Christmas and happy holidays, everyone! This was at The Point Church in San Jose, CA. (Sunday morning, December 7, 2014)
Acknowledging Night Wizard's inspiration on this one...though I had noticed it before myself....just not taken a picture of it yet.
52 weeks - Week 3.
Materials used:
Fluid acrylics
Stabilo marks all
Dymo embossed label
Sumi ink
Photo
Painted paper
Gel medium
Bamboo skewer
Acknowledging the 80th Anniversary of this day, 8 May 1945. VE Day. Signifying the cessation of hostilities in Europe, and the beginning of the end of the Second World War.
Never forgetting the cost of human lives payed which brought about the freedom and liberty of millions of people.
All gave some. Some gave all.
We will remember them.
RAF RED ARROWS
Acknowledged as one of the world's premier aerobatic display teams, the Red Arrows are renowned throughout the world as ambassadors for both the Royal Air Force and the UK. So expect plenty of flair and precision-flying when the team takes to the skies above RAF Fairford to demonstrate their breath-taking close-formation flying. The team formed at RAF Fairford in 1965 and flew Folland Gnat jet trainers until 1980 when they transferred to the BAE Hawk T1.
RAF TYPHOON
The power and agility of the RAF's Eurofighter Typhoon FGR4 will be demonstrated at RIAT 2016 by Flt Lt Mark Long from No 29 (Reserve) Squadron, the Typhoon Operational Conversion Unit, at RAF Coningsby in Lincolnshire. Since deliveries commenced in 2003, nine years on from the first Eurofighter prototype's maiden flight, the RAF has continually expanded the capabilities of its Typhoon force. The type has assumed responsibility for the UK's QRA (Quick Reaction Alert) air defence capability, stationed at both Coningsby and RAF Leuchars in Fife, taken over the air defence of the Falkland Islands, and shown its potency in the air-to-ground role - in which the RAF has, among the Typhoon's operating nations, led the way - when making its combat debut during Operation 'Ellamy' over Libya in 2011. Typhoons stand ready to police UK airspace at a moment's notice and have been involved in recent combat operations over Syria.
US MARINE CORPS F-35B
The arrival of the USMC F-35B will be of most interest to both the public and British delegations at RIAT 2016 as both the Royal Air Force and Royal Navy will be receiving the 'B' model.
The first units to receive their F-35Bs will be the RAF's No. 617 Squadron and the Fleet Air Arm's 809 NAS, intended to replace the Tornado GR4 and the Harrier GR9 (which was retired in 2010).
The F-35B is the short take off/vertical landing (STOVL) variant and will be operated from the Royal Navy's new aircraft carriers, as well as having the ability to operate from austere airbases.
The aircraft's STOVL capability is provided by a Rolls-Royce system that swivels thrust 90 degrees, supported by new fan technology. Air-to-air refuelling is achieved through the probe and drogue method, compatible with the RAF's Voyager tanker fleet.
The aircraft displaying at RIAT 2016 are a mixed team, coming either from VMFAT 501, MCAS Beaufort, South Carolina, or VMX1, Edwards Air Force Base, California.