View allAll Photos Tagged Commit
UN Women Executive Director Phumzile Mlambo-Ngcuka welcomes Jordan's commitment to address and prevent violence against women and girls, bringing to 62 the number of Governments that have joined UN Women’s COMMIT initiative.
Ms. Mlbambo-Ngcuka visited Amman, Jordan from 20 to 23 February 2014.
Photo: UN Women Jordan/Abdullah Ayoub
Motion City Soundtrack
Commit This To Memory
Epitaph Records
Pink | /500
brianstowell.tumblr.com/post/1671000814/motion-city-sound...
Leading up to the 57th UN Commission on the Status of Women (CSW57), UN Women launched COMMIT to End Violence against Women, an action call for Governments to make new and concrete national commitments to end violence against women and girls. By the end of 2013, more than 61 countries and the European Union had joined the initiative and announced specific measures to address and prevent violence against women and girls. These ranged from passing or improving laws, ratifying international conventions, launching public awareness campaigns, providing safe houses or free hotline services and free legal aid to survivors, supporting education programmes that address gender stereotypes and violence, as well as increasing women in law enforcement, peacekeeping forces and frontline services.
Read more: www.unwomen.org/en/what-we-do/ending-violence-against-wom...
Jordanian National Commission for Women Secretary-General Asma Khader signs and announces her government's commitment to address and prevent violence against women and girls, bringing to 62 the number of Governments that have joined UN Women’s COMMIT initiative.
Photo: UN Women Jordan/Abdullah Ayoub
The Black Sleep (1956)
dai.ly/x14wrtw Full Feature on Daily motion
England, 1872. The night before he is to be hanged for a murder he did not commit, young Dr. Gordon Ramsey is visited in his cell by his old mentor, eminent surgeon Sir Joel Cadmund. Cadmund offers to see that Ramsey gets a proper burial and gives him a sleeping powder to get him through the night, which Ramsey takes, unaware it is really an East Indian drug, "nind andhera" ("the black sleep"), which induces a deathlike state of anesthesia. Pronounced dead in his cell, he is turned over to Cadmund, who promptly revives him and takes him to his home in a remote abbey. Cadmund explains he believes Ramsey is innocent and needs his talents to help him in an project, which he is reluctant to immediately discuss further. In fact, Cadmund's wife lies in a coma from a deep-seated brain tumor, and he is attempting to find a safe surgical route to its site by experimenting on the brains of others, whom Ramsey comes to learn are alive during the process, anesthetized by the "black sleep", and are taken to a hidden recovery room in the abbey from which few emerge, though they still live...
- Written by Rich Wannen
Old-fashioned as it is, however, The Black Sleep still gets the job done at least as well as most of the movies to which it hearkens back. Most notably, it crystallized a vague sense I’ve had for some time now that it’s too bad Rathbone got pigeonholed so early on as Sherlock Holmes. He had a commanding elegance about him akin to that later displayed by Peter Cushing and Christopher Lee, and which nobody else on the 30’s and 40’s horror scene could match. Lionel Atwill and John Carradine came close on occasion, but Atwill was always a little too foppish and Carradine a little too homespun to play the depraved Old World nobleman with Rathbone’s authority; neither of them would have been up to the challenge of Tower of London’s Richard III, for example. As Joe Cadman, Rathbone simultaneously prefigures the Cushing Frankenstein, and hints at all the brilliant mad movie scientists that might have been if only Rathbone hadn’t been so busy chasing Nazi agents all over the English moors during the years of the second Hollywood horror boom. He might even have injected some unwonted class into a Monogram or PRC production! The rest of the cast doesn’t quite match up to the top-billed star, but most of those who are required to do any actual acting (which is to say, not Tor Johnson, Bela Lugosi, or Lon Chaney Jr.) acquit themselves respectably well. Another thing The Black Sleep does right is to incorporate a bit of defensible real-world science into the mad variety more familiar from movies of its type. Much of the film’s horror stems from the certainty that attempting such delicate neurological investigations with the clumsy and invasive techniques of the late 19th century really would produce monstrous derangement's of brain function, even if these specific symptoms (John Carradine’s character is convinced that he’s Bohemond of Taranto— the hell?) are not always especially plausible. Finally, Udo the Gypsy, who in most horror films of this era would be nothing but a comic relief character, is portrayed in much too sinister a light to become as irritating as one might anticipate. His clowning creates more unease than anything else, for it is plainly but a cover for a complete absence of conscience. All in all, The Black Sleep represents a commendable effort to bring some seriousness of purpose back into the gothic mad scientist movie, which had grown silly enough on its own over the years that it hadn’t really needed Abbott and Costello to poke fun at it.
Commit your way to the Lord;
trust in him and ...He will make
yout righteousness shine like the dawn...
- Psalm 37:5-6
I have been a commited paddler in the past but sometime I just have to take a walk on the beach instead
ODC - COMMIT is the topic for Monday 15 July 2013
The premiere of Generation Startup at the 2016 COMMIT!Forum, the Westin Hotel in Times Square on October 18, 2016 in New York City. (Photos by Ben Hider)
The Class of 2023 completes their Affirmation Ceremony and commits to their Active Duty requirement in the Army. (U.S. Army Photo by CDT Alexa Zammit)
On a rather cool and sunny Sunday morning, well over 100 individuals arrived at Willowbrook High School in the Chicago suburb of Villa Park. They gathered in the parking lot to listen to citizens of the community, school staff, students, alumni and activists speak out against perceived injustice and make an appeal for a lasting committment to ending the status quo that in their view disproportionately harms African-Americans and their communities. Attendees were also encouraged to continue to educate themselves on institutional racism, to speak out against injustice in their respective family and friend circles, and to commit to voting in the upcoming elections, with an emphasis on making sure to vote in the local races that so often determine what types of policies are implemented close to home. Eight minutes and forty-six seconds of silence were observed, with many taking a knee, in remembrance of George Floyd. A short march and protest was then commenced around the local residential area before returning back to the high school. This event was one example of the increasing number of local rallies in recent weeks in the Chicagoland suburbs.
Villa Park, Illinois, USA
Pierrot se suicident (Pierrot Committing Suicide), 1887
Adolphe-Leon Willette
Silhouette for the shadow play L'Âge d'Or (The Golden Age)
Created by Henri Rivière with Henry Somm in 1886 on the third floor of the Chat Noir's second venue, the shadow theatre became its most popular attraction. In the early days of the shadow theatre, a pianist would often improvise a musical score during the performances, while Rudolphe Salis provided lively commentaries. Using sophisticated machinery and up to twelve technicians, the productions were animated by silhouettes of zinc figures, sometimes with the addition of more detailed props and landscape elements. Light from an open flame was projected from backstage onto the figures, conjuring complex atmospheric effects. The plays ranged from solemn epics to fairy tales and satires, sometimes including archetypes from the Commedia dell'arte tradition such as the sad clown Pierrot. In L'Âge d'Or (The Golden Age, 1887), Pierrot is the tragic victim of his unrequited love for Columvine and in Pierrot pornographe (Pierrot Pornographer, 1893), he goes on trial for creating a painting of Columbine naked.
La Tentation de Saint Antoine (The Temptation of St Anthony) was the Chat Noir's first major shadow theatre production and is perhaps Henri Rivière's best-known play. Premiering on 28 December 1887, it was inspired by Gustave Flaubert's fantastical prose-poem published in 1874 about the legendary life of St Antony, who was haunted by visions and tempted by the Devil. The play chronicles Anthony's life as a hermit in the Egyptian desert and the many temptations he face, until successfully overcoming his torments.
[Barbican Centre]
Le Chat Noir - Paris, 1881 Le Chat Noir cabaret club was founded by eccentric storytelling show man and entrepreneur, Rodolphe Salis. Its eclectic interior had a medieval feel, crammed with objects and images from different eras and it soon became the exciting epicentre of the artistic avant-garde in France. Its outpouring of spontaneous poetry performances, visual arts, improvised performances, satirical songs and debates on contemporary politics became legendary. Its ‘open stage’ meant no two evenings were ever the same, with performers rising to their feet as inspiration struck or the mood took them!
Le Chat Noir is particularly known for its famous and influential shadow theatre which was initiated in 1886 by Henri Rivière. Be inspired by these shadow plays and work by other figures associated with Le Chat Noir including: artist Toulouse Lautrec, dancer Jane Avril, cabaret singer Aristide Bruand, composer Claude Debussy, poet Paul Verlaine and the group of artists known as the Incoherants whose satirical work, prefigured both Dada and Surrealism.
[Barbican Centre]
From Into the Night: Cabarets & Clubs in Modern Art
(October 2019 to January 2020)
Spanning the 1880s to the 1960s, Into the Night celebrates the creative spaces where artists congregated to push the boundaries of artistic expression. The exhibition offers insight into the heady atmosphere of Berlin clubs in Weimar Germany; the energy of Harlem’s jazz scene; the vibrant context of the Mbari clubs in 1960s Nigeria; and many more.
Taken in the Barbican
Peter I ; 19 April 1320 – 18 January 1367), called the Just (Portuguese: o Justiceiro), was the eighth King of Portugal and the Algarve from 1357 until his death. He was the third but only surviving son of Afonso IV of Portugal and his wife, princess Beatrice of Castile.
Fernão Lopes labels Peter as "the Just" and said that Peter loved justice--especially the dispensing of it, which he enjoyed doing for himself. Inês' assassins received his harshest punishment: the three had escaped to Castile, but Peter arranged for them to be exchanged for Castilian fugitives residing in Portugal with his nephew, Peter of Castile. One man escaped, but the other two were brought to justice, and Lopes says that Pedro ripped their hearts out with his own hands.
It is possible that Peter I of Portugal has been confused with Peter of Castile: both have the same name, both lived at the same time, the two were closely related, and both are credited with committing violent acts towards their subjects. Despite his gruesome legacy, Peter I of Portugal did have a peaceful reign and managed to install a system of justice which was relatively fair for the times. He attempted this with his Beneplácito Régio in 1361, which forbade any Papal Bulls to be published without his prior consent. This was a result of the number of fake papal documents that had been entering the country. He also began the "nationalization" of the military orders by placing his youngest son João (an illegitimate child born after Inês' death) as the Master of the Order of Avis. He claimed that he and Inês had been married and thus that their four children were legitimate, but nothing ever came of this. Oeter and Inês' children went to live in Castile.
Legend holds that Peter later had Inês' body exhumed and placed upon a throne, dressed in rich robes and jewels, requiring all of his vassals to kiss the hand of the deceased "queen". This has never been proven, but what is known is that Peter did have Inês' body removed from her resting place in Coimbra and taken to Alcobaça where her body was laid to rest in the monastery. Peter had two tombs constructed in the monastery, one for each of them. These still exist today; they contain images of Peter and Inês facing each other, with the words "Até o fim do mundo..." or "Until the end of the world..." inscribed on the marble.
Peter was also the father of Ferdinand I of Portugal and John I of Portugal. John was the Master of the military order of Avis, and he would become the founder of the Avis dynasty in 1385, after defeating an attempt by Beatrice of Portugal and John I of Castile to ascend the Portuguese throne
English
en.wikipedia.org/wiki/Palace_of_the_Marquesses_of_Fronteira
The Palace of the Marquesses of Fronteira, also known as Fronteira Palace (in Portuguese Palácio Fronteira), in Lisbon, was built in 1640 as a hunting pavilion to Dom João de Mascarenhas, 1st Marquis of Fronteira.
In spite of some tall buildings, the palace is still located in a very quiet area, near the Monsanto forest-park (Lisbon). The house and the garden have beautiful glazed tiles representing different themes such as battles or monkeys playing trumpets.
In spite of being the current Marquis residence, some of the rooms, the library and the garden are open to public visits. The Battles Room has beautiful panels representing scenes of the Portuguese Restoration War; one of them shows D. João de Mascarenhas fighting a Spanish general. For his loyalty to King Pedro II of Portugal, during that war, he received the title of 1st Marquis of Fronteira.
The Dining Room is decorated with portraits representing some members of the Portuguese nobility, painted by artist such as Domingos António de Sequeira.
The Chapel, dated from the end of the 16th Century is the oldest part of the palace. The façade is adorned with stones, shells, broken glass and porcelains. It seams that those pieces were used during the palace’s inauguration and were broken on purpose just not to be used again.
The palace garden has an area of 5,5 ha. The visits to the garden begin in the Chapel yard. There, you will find niches with glazed tiles with pictures that represent the different arts as well as mythological figures. The garden hedges are cut in order to represent the different year seasons. There is also a stone staircase which take us to a yard where several niches are decorated with the Kings of Portugal busts
Português
pt.wikipedia.org/wiki/Pal%c3%a1cio_dos_Marqueses_de_Front...
O Palácio Fronteira, em Lisboa, foi construído em 1640 como pavilhão de caça para D. João de Mascarenhas, o primeiro marquês de Fronteira.
Apesar de alguns prédios altos serem visíveis à distância, continua a ocupar um lugar tranquilo, à beira do Parque Florestal de Monsanto. A casa e o jardim têm belos azulejos cujos temas vão desde as batalhas a macacos que tocam trombetas.
Embora o palácio ainda seja ocupado pelo 12º marquês, algumas das salas, a biblioteca e o jardim podem ser visitados. A Sala das Batalhas tem belos painéis com cenas da Guerra da Restauração e um pormenor de João de Fronteira que combate um general espanhol. Foi a sua lealdade a D. Pedro II, durante esse conflito, que o fez ganhar o título de marquês.
A Sala de Jantar está decorada com frescos retratos da nobreza portuguesa, de artistas como Domingos António de Sequeira.
A Capela de finais do século XVI é a parte mais antiga. A fachada está dornada com pedras, conchas, vidros partidos e restos de porcelanas. Diz-se que essas peças foram usadas na inauguração do palácio e partidas para que ninguém mais as utilizasse.
Small Group Discussion: Education in Emergencies: Committing to the Full Continuum
The world is currently experiencing the largest refugee crisis since World War II. In this context, prioritizing education is not only crucially important, but also a smart investment—providing stability, structure, and routine, as well as enabling children and youth to build relevant skills and lead productive lives. Yet few refugee children are benefitting from this basic service: only half are in primary school, one quarter in secondary school, and one percent in higher education. At the same time, host governments face a wealth of challenges while working to absorb the massive inflows of refugees into national systems, further complicating their capacity to provide education.
In this session, the conclusion of a year-long focus on education in emergencies, participants will:
• Look at the full continuum that is needed to support school-aged children throughout their education.
• Explore the benefits of informal versus formal education.
• Discuss the shared responsibility of the private, public, and nonprofit sectors to deliver this critical service to refugees.
REMARKS:
Kelly Tallman Clements, Deputy High Commissioner, United Nations High Commissioner for Refugees
MODERATOR:
Dennis Walto, Executive Director, Children's Health Fund
PARTICIPANTS:
Hila Azadzoy, Co-Founder and Head of Academics, Kiron Open Higher Education
Teodora Berkova, Director of Social Innovation, Pearson
Mrs. Simone Filippini, CEO, Cordaid
The premiere of Generation Startup at the 2016 COMMIT!Forum, the Westin Hotel in Times Square on October 18, 2016 in New York City. (Photos by Ben Hider)
"Commit whatever grieves you
At heart, and all thy ways,
To Him who never leaves thee,
On whom creation stays.
Who freest courses maketh
For clouds, and air, and wind,
And care who ever taketh
A path for thee to find."
- Paul Gerhard
I haven't uploaded something in a long time... So here is some catch up.
Autum is coming. This is a throwback to the long summer days.
Oh, I'm going to miss you, summer. See you again, next year!
Svetlana had been tracking the target for a month, ever since Agent Vanessa had given her the order.
Now the permission for the assassination had been confirmed.
Svetlana wore a nice dress for the mission, with a belt, one of those she receives from France through Josephine. The woman tied a headscarf on her head, not in the Russian style, but in the Eastern style, put on black leather gloves, and covered her face with glasses.
At 21:14, the girl drove up to a house in the city center. The house was luxurious, built during Stalin's time.
Luckily, there was no concierge, and Sveta quickly went up to the floor of the house and pulled on the second, white gloves.
"Hmm, the lock has a secret," the woman said. "What a fool!"
Opening the Soviet "lock with a secret" was as easy for Svetlana as any other, it just took 10 seconds longer. Having made sure that there were no strangers on the stairs, the girl picked the lock and put the master keys in her purse.
Opening the door, Svetdana took out a flashlight and a revolver, not registered anywhere, which the agent had given her for the murder.
Sveta saw the light in the living room and went in.
The dissident, all black-haired and a scoundrel, was sprawled in a chair, reading an illegal newspaper.
Seeing the armed girl, he screamed:
- Who are you? Should I call the police now?
- And they won't help you! Sit down! - the girl smiled.
At that moment, the dissident's fat wife entered, screamed, wanted to run away, but Sveta deftly pointed the revolver at her.
- Stop! In the chair, quickly, fat woman!
Sobbing, the woman sat down in the chair.
- Do you have children, freaks? Svetlana asked.
- Don't kill the child, she's the only daughter, the man begged.
- Call her here, or I'll find her myself and blow your brains out!
- Sarah!... the woman screamed through her tears.
A dark-haired, plump schoolgirl of about 12 years old entered.
- So, girl, where do mom and dad hide the jewelry? Sveta asked smiling.
The girl with the rhinestone stared at the revolver, a puddle formed under her pants.
- Yeah, she's wet herself! Sveta burst out laughing - and now give me the money quickly! Otherwise I'll kill everyone, every minute!
The woman and the girl fearfully pulled out several boxes of gold and pearls from the sideboard, as well as several packs of Soviet rubles and German marks.
- Put everything here! said the robber, grabbing the briefcase standing on the floor and throwing it to the frightened and tearful ladies.
At that moment the man tried to rush to the curtain (yeah, where the gun was hidden, Sveta immediately realized) and Svetlana shot him dead with two shots to the head. The women screamed and rushed to the man's body.
- Well, no problem, no problem, bitch! Sveta screamed, she will know better than to disobey me!
The women, all in tears, looked at the killer with fear and anger. Svetal grabbed the briefcase and made a move as if she wanted to shoot the girl.
- Puck! - Sveta laughed - okay, bitches, live!
Sveta flew out of the apartment like a bullet and quickly jumped into the car.
Pierrot se suicident (Pierrot Committing Suicide), 1887
Adolphe-Leon Willette
Silhouette for the shadow play L'Âge d'Or (The Golden Age)
Created by Henri Rivière with Henry Somm in 1886 on the third floor of the Chat Noir's second venue, the shadow theatre became its most popular attraction. In the early days of the shadow theatre, a pianist would often improvise a musical score during the performances, while Rudolphe Salis provided lively commentaries. Using sophisticated machinery and up to twelve technicians, the productions were animated by silhouettes of zinc figures, sometimes with the addition of more detailed props and landscape elements. Light from an open flame was projected from backstage onto the figures, conjuring complex atmospheric effects. The plays ranged from solemn epics to fairy tales and satires, sometimes including archetypes from the Commedia dell'arte tradition such as the sad clown Pierrot. In L'Âge d'Or (The Golden Age, 1887), Pierrot is the tragic victim of his unrequited love for Columvine and in Pierrot pornographe (Pierrot Pornographer, 1893), he goes on trial for creating a painting of Columbine naked.
La Tentation de Saint Antoine (The Temptation of St Anthony) was the Chat Noir's first major shadow theatre production and is perhaps Henri Rivière's best-known play. Premiering on 28 December 1887, it was inspired by Gustave Flaubert's fantastical prose-poem published in 1874 about the legendary life of St Antony, who was haunted by visions and tempted by the Devil. The play chronicles Anthony's life as a hermit in the Egyptian desert and the many temptations he face, until successfully overcoming his torments.
[Barbican Centre]
Le Chat Noir - Paris, 1881 Le Chat Noir cabaret club was founded by eccentric storytelling show man and entrepreneur, Rodolphe Salis. Its eclectic interior had a medieval feel, crammed with objects and images from different eras and it soon became the exciting epicentre of the artistic avant-garde in France. Its outpouring of spontaneous poetry performances, visual arts, improvised performances, satirical songs and debates on contemporary politics became legendary. Its ‘open stage’ meant no two evenings were ever the same, with performers rising to their feet as inspiration struck or the mood took them!
Le Chat Noir is particularly known for its famous and influential shadow theatre which was initiated in 1886 by Henri Rivière. Be inspired by these shadow plays and work by other figures associated with Le Chat Noir including: artist Toulouse Lautrec, dancer Jane Avril, cabaret singer Aristide Bruand, composer Claude Debussy, poet Paul Verlaine and the group of artists known as the Incoherants whose satirical work, prefigured both Dada and Surrealism.
[Barbican Centre]
From Into the Night: Cabarets & Clubs in Modern Art
(October 2019 to January 2020)
Spanning the 1880s to the 1960s, Into the Night celebrates the creative spaces where artists congregated to push the boundaries of artistic expression. The exhibition offers insight into the heady atmosphere of Berlin clubs in Weimar Germany; the energy of Harlem’s jazz scene; the vibrant context of the Mbari clubs in 1960s Nigeria; and many more.
Taken in the Barbican
The premiere of Generation Startup at the 2016 COMMIT!Forum, the Westin Hotel in Times Square on October 18, 2016 in New York City. (Photos by Ben Hider)
Festival of Lights
Nice excuse for committing legitimate arson, cracking neighbours eardrums and binging on sweets.
Combination of three images from the Japanese National Diet Library showing a gloomy scene depicted as a propaganda print by Toshihide. This was illustrated during the Sino-Japanese War in 1894-95. The title, 万死を冒して大同江に敵情を探, translates (according to Google Translate) to "It looks for Tekijo to Daedong to committing a certain death."
COMMIT!Forum at the Westin Hotel in Times Square on October 18, 2016 in New York City. (Photos by Ben Hider)
this little foster baby is all snuggled in after a bath and blowdry. he's transitioning from bottle to soft food and was covered from head to toe in cat food!
Commit No Nuisance, Coin St/Barge House St, Southwark, 1979
20t-52: works, notice
At one time notices with the message 'Commit No Nuisance' were common on walls in our cites, and probably most of us, or at least most men, understood their meaning and moved away around the corner before urinating in the street.
There still are a number of such signs on London walls, particularly and perhaps appropriately in the area not far from Waterloo. They are often photographed and shared on sites such as Flikr, often with comments that show that people don't know they mean 'Don't urinate here'. When we exported these signs to the empire and in particular to India, the English 'Commit No Nuisance' was accompanied by local language equivalents that were much more specific about the particular type of nuisance meant.
More interesting is the poster about the battle for Coin St. When a developer (with architect Richard Rogers) announced plans for Europe's tallest hotel and huge offices for the area, locals set up the Coin St Action Group to put forward their own plans for housing, a new riverside park and walkway, managed workshops, shops and leisure facilities. After 7 years of campaigning and two public inquiries which gave permission to both the competing schemes, the GLC backed the action group, buying the half of the land owned by the office developers in 1984, then selling it to Coin St Community Builders. It was a great victory for the community (and in some respects was reprised in the opposition to the ridiculous Garden Bridge project.)
Why do I need this Protection?
Identity theft takes place when somebody uses your personally identifying information, such as your name, Social Security number, or your credit card number, without your permission, to commit fraud and other crimes.
The US government estimates that as many as 9 million Americans have their identities stolen every year. In fact, you or someone you know may have experienced some form of identity theft.
This crime takes different forms. Identity thieves may rent a house, get a credit card, or establish a telephone number using your details. You may not find out about the crimes until you check your credit card statement and notice charges you did not make - or until you’re contacted by a debt collection agency.
Identity theft is very serious. While some identity theft victims can resolve their problems quickly, others spend hundreds of dollars and a lot of time attempting to repair the damage done to their good name and credit history.
Some consumers victimized by identity theft may lose out on job opportunities, or be denied bank loans for school, housing or cars because of the negative data on their credit reports. In rare cases, they may even be arrested for crimes they did not commit.