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Resolute Bay, Nunavut, Canada, Aug 12, 2010
Knowledge sharing
Dr. Whitney Lackenbauer talks with Ranger Paul Atagoota of 1st CRPG. Dr. Lackenbauer is associate professor of history at St. Jerome’s University (University of Waterloo) who specializes in Arctic sovereignty and security. Over the last decade, he has travelled extensively with the Canadian Rangers from coast to coast to coast.
Operation NANOOK is one of three major recurring sovereignty operations conducted annually by the Canadian Forces (CF) in Canada's Arctic.
Planned and directed by Joint Task Force North (JTFN) the whole-of-government operation highlights interoperability, command and control, and cooperation with interdepartmental and intergovernmental partners in the North.
Operation NANOOK 10 takes place in Canada's Eastern and High Arctic area from August 6 to 26 and includes two major exercises, Exercise NATSIQ, a sovereignty and presence patrolling exercise of military resources, and Exercise TALLURUTIIT a whole-of -government exercise that focuses on environmental containment and remediation resulting from a simulated fuel spill..Operation NANOOK 10, as a combined, joint and integrated operation engages personnel and resources (ships and aircraft) from: the Canadian Navy, the Canadian Army, Canada's Air Force and CF Special Forces; other federal government departments to include Public Safety, the Royal Canadian Mounted Police, the Canadian Coast Guard (central and Arctic region), Transport Canada, Indian and Northern Affairs Canada, Natural Resources Canada, Environment Canada, Parks Canada, the Government of Nunavut; the municipal communities of Resolute Bay, Pond Inlet, Grise Fjord, Iqaluit and Arctic Bay; and internationally the US Navy's 2nd Fleet, the US Coast Guard and the Royal Danish Navy.
Canadian Forces Image Number LT2010-0151
By Sergeant Marco Comisso with Army News.
_____________________________________Traduction
Resolute Bay, Nunavut, Canada, 12 août 2010
Le partage de connaissance,
Le Dr Whitney Lackenbauer discute avec le Ranger Paul Atagoota du 1er GPRC. Le Dr Lackenbauer est professeur associé d'histoire à l'université St-Jérome (Université de Waterloo) spécialisé en souveraineté et sécurité de l'arctique. Au cours de la dernière décennie il a effectué de nombreux voyages d'un océan à l'autre à l'autre accompagné des Rangers canadiens.
L’opération Nanook est l’une des trois principales opérations récurrentes visant à affirmer notre souveraineté menées annuellement par les Forces canadiennes (FC) dans l’Arctique. Planifiée et dirigée par la Force opérationnelle interarmées (Nord) (FOIN), cette opération pangouvernementale met l’accent sur l’interopérabilité, le commandement et le contrôle ainsi que la coopération avec des partenaires interministériels et intergouvernementaux dans le Nord.
L’opération Nanook 2010 s’est déroulée dans l’Arctique de l’Est et dans le Grand Nord entre le 6 et le 26 août. Elle comprend deux exercices principaux : l’exercice Natsiq, un exercice de patrouilles visant à assurer une présence et à affirmer notre souveraineté à l’aide de ressources militaires et l’exercice Tallurutiit, un exercice pangouvernemental axé sur le confinement et la correction d’un déversement simulé de pétrole. L’opération Nanook 2010 est une opération multinationale, interarmées et intégrée qui fait appel au personnel et aux ressources (navires et aéronefs) des FC, y compris la Marine, l’Armée de terre, la Force aérienne et les Forces spéciales. Parmi les autres participants figurent Sécurité publique Canada, la Gendarmerie royale du Canada, la Garde côtière canadienne (régions du Centre et de l’Arctique), Transports Canada, le ministère des Affaires indiennes et du Nord canadien, Ressources naturelles Canada, le ministère de l’Environnement, Parcs Canada, le gouvernement du Nunavut et les municipalités de Resolute Bay, de Pond Inlet, de Grise Fiord, d’Iqaluit et d’Arctic Bay. La 2e flotte des Forces navales des États Unis, la Garde côtière américaine et la Marine royale danoise participent
aussi à l’opération.
Image des Forces canadiennes numéro LT2010-0151
Par le Sgt Marco Comisso avec Nouvelles de l’Armée
"In the grand tradition of generals and surrealists, we have been playing games. People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. Lately, we have been using games to critically examine the dynamics and assumptions of larger social givens.Our new game SET was inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, we have tried here to do just the opposite."
People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. A project developed by Erik Carver and Marisa Jahn, SET is a game that critically examines the dynamics and assumptions of larger social givens. It's a game inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, SET tries to do just the opposite.
--
Erik Carver
Erik Carver is an architect and artist. He is a founder of the Institute for Advanced Architecture (advancedarchitecture.org)-- an organization dedicated to advancing architecture through research, exchange, and exhibition-- as well as the Common Room exhibition space (common-room.net) and the interdisciplinary art group Seru. He lives in Brooklyn and teaches architecture at Rensselaer Polytechnic Institute.
Erik has worked for the firms of Diller+Scofidio, Laura Kurgan, and Lyn Rice before starting his own practice. These designs have included a student center renovation, an art museum, apartment renovations, a vacation home, exhibitions, a performance space/bar, an expo pavilion, schools, offices and an interpretation center.
His work has appeared in Volume magazine, Art in America, and Nature, and he has shown work and lectured at venues including Exit Art, the Ise Foundation, and Columbia's Neiman Gallery, and the Storefront for Art and Architecture (NYC), The Institute of Contemporary Art (Philadelphia), CAVS (MIT), Basekamp (Philadelphia), the Contemporary Art Center (North Adams, MA), and Pond (San Francisco).
Marisa Jahn
Of Ecuadorian and Chinese descent, Marisa Jahn is an artist whose work explores, constructs, and intervenes natural and social systems. In 2000, Jahn has co-founded Pond: art, activism, and ideas (www.mucketymuck.org), a non-profit organization dedicated to showcasing experimental art. Jahn has presented and exhibited work in museums, galleries, and spaces at venues such as The Institute of Contemporary Art (Philadelphia), the Asian Art Museum of San Francisco, Yerba Buena Center for the Arts (San Francisco), ISEA/Zero One 06/08 (San Jose, CA), MoKS (Estonia), the Moore Space (Miami), the Museum of Contemporary Art (North Miami), in galleries and public places in Tokyo, Honduras, Estonia, Turkey, North America, and Taiwan. Jahn's work has been reviewed in Art in America, Frieze, Punk Planet, Clamor, San Francisco Chronicle, the Fader, Artweek, Metropolis, the Discovery Channel, and Canadian Broadcasting Corporation (CBC). She has received awards and grants such as the Robert & Colleen Haas Scholarship, MIT Department of Architecture Fellowship (2005-8), CEC Artslink, and is an artist in residence at the MIT Media Lab (2007-9) and at the Headlands Center for the Arts (2008). She received her BA from UC Berkeley and an MS from MIT's Visual Arts Program. She lives between Boston and New York, where she functions as the Immediator of art-activist campaigns for The Church of Stop Shopping/Reverend Billy. www.marisajahn.com, www.mucketymuck.org
Afiche realizado para la clase de serigrafia brindada por Chuck Sperry, Chris Shaw y Jon Paul Bail en la Free University of San Francisco.
Poster made for Chuck Sperry's, Chris Shaw's and Jon Paul Bail's class on Screen Printing at the Free University of San Francisco.
Gracias a Melanie Cervantes por las fotos!
Samuel Kilonzo (left), a research technician at the Kenya Agricultural Research Institute (KARI) Njoro research station, shares extension materials with a farmer during a field visit in the Kenyan Highlands. The farmer's field is suffering from a heavy grass infestation and her wheat infected with stem rust, as she has little knowledge of how to prevent these problems and few resources to afford inputs such as herbicide or fungicide. Kilonzo explains some important information about the disease to the farmer, such as how the disease survives and preventative measures she can take.
The fungus causing the disease is the virulent Ug99 race of stem rust. This was discovered in Uganda in 1999 and is now endemic in the area. It has already caused severe losses in epidemics around the world, as it is able to overcome the resistance of popular wheat varieties. As part of a global effort, CIMMYT is working with KARI to screen thousands of wheat lines at Njoro every year to identify sources of durable resistance and test resistant lines.
Photo credit: Petr Kosina/CIMMYT.
For more on Kilonzo and his partnership with CIMMYT, see the following blog story: blog.cimmyt.org/index.php/2011/06/behind-the-science-samu....
For more on CIMMYT's ongoing work on Ug99, see the following e-news stories:
2010, "Planting for the future: New rust resistant wheat seed on its way to farmers": www.cimmyt.org/newsletter/231-2010/716-planting-for-the-f....
October 2009, "From Cairo to Kabul: Rust resistant wheat seed just in time": www.cimmyt.org/newsletter/38-2009/460-from-cairo-to-kabul....
December 2008, "Report from the field: Wheat stem rust resistance screening at Njoro, Kenya": www.cimmyt.org/newsletter/37-2008/110-genetic-resources-p....
December 2006, "Threat level rising": www.cimmyt.org/newsletter/82-2006/263-threat-level-rising.
September 2005, "The World’s Wheat Crop is Under Threat from New Disease": www.cimmyt.org/newsletter/86-2005/331-the-worlds-wheat-cr....
“People who design products are experts cursed by their knowledge, and they can’t imagine what it’s like to be as ignorant as the rest of us”
Chip Heath, co-author Made to Stick: Why Some Ideas Survive and Others Die | NYT
www.nytimes.com/2007/12/30/business/30know.html
Background image courtesy of davemorris: flickr.com/photos/davemorris/94957224. This citation appears in the top right of the image.
On of the roads to knowledge is the one that links my Kindle and my computer. Kindle are really awesome ereaders.
For the dailyshoot nº663.
Subject:
Make a photograph of a path, road, or trail that leads the viewer's eye through the frame.
Otaru Yuki Akari no Michi 2011 (Otaru Snow Light Path Festival). Unga Kaijo area (Canal). Very busy and crowded. Too busy & crowded. Manners seem to go out the window :( Still it was pretty.
I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.
I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.
I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.
Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.
Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.
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The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.
The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.
The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.
A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.
The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.
The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.
The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work
In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.
The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.
The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.
The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.
On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.
The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.
The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.
The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.
There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.
The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.
The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.
The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]
The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]
The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.
The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.
Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.
en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford
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The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.
Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.
The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.
I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.
The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.
The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.
Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.
You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.
The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.
Simon Knott, January 2013
Designer: Hu Haichao, Zhang Zhimin, Zhang Suyu (胡海超，章志敏，张苏予)
1956, July
Knowledge is strength - Strive to make sure that within twelve years our nation's most needy scientific institutions can reach the world's advanced levels
Zhishi jiushi liliang - Zhengqu zai shi'er nian nei shi women zui jixude kexue bumen nenggou jiejin shijie xianjin shuiping (知识就是力量 - 争取在十二年内使我国最急需的科学部门能够接近世界先进水平)
Call nr.: PC-1956-009 (Private collection)
More Chinese propaganda posters? See: chineseposters.net/
I love books. I love reading - be it for pleasure or for learning and I feel sad if a day goes by with out me picking up a book and reading.
This man was sharing tales of history, Native American culture and living skills. I always find it very interesting to learn more and could listen for hours.
This was the 7th Annual Gathering of the Tribes at Brown's Farm located at 890 Luther Road, East Greenbush NY 12061.
If you wish to attend next year you can learn more at gatheringofthetribes.weebly.com/
Our Daily Challenge: Knowledge
My images are posted here for your enjoyment only. All rights are reserved. Please contact me through flickr if you are interested in using one of my images for any reason.
The description of these sculptures are :
Knowledge, like water, is vital to life. The stream of water connects the two figures. The water is symbolic of the passing of knowledge from generation to generation.
I took this photo the same time I took my "Day 5" photo for Project 365. At the time I took it, I didn't really like it. But I did some tweaking on it and I think it looks way better now than it did before.
Bildungsauftrag Bücherhalle: durch die Art der Leihrückgabe werden auch Verweigerer wie altmodische Buchleser zur Auseinandersetzung mit moderner Technik gezwungen.
WINSTON-SALEM —The N.C. Department of Transportation has named the winner of the Brent Hamilton Excellence Award. NCDOT Division 9 Business Officer Willie Bradwell, Jr. was recognized by his peers during today’s Board of Transportation meeting as this years’ honoree.
Division 9 Engineer Pat Ivey said, “Bradwell was the perfect choice for the reward in part because of his thorough knowledge of financial and accounting principles and the highest level of professional competence and ethical standards.”
Bradwell began his career at NCDOT in November 1995 as the Division 9 accounting technician and has served as the division business officer since 2000. Prior to coming to NCDOT, he worked with the Florida Department of Agriculture and Florida State University.
Division 9 Board Member Jake Alexander said, "His commitment to the highest integrity has been noticed by all who work with him, myself included. Mr. Bradwell is consistently a good steward of taxpayer dollars. He helps counties keep a balanced inventory by researching issues himself and works to help the field achieve the goals set in place by our Division and by the staff in Raleigh. Willie is indeed an excellent choice for this Award."
While Mr. Bradwell’s main focus is on Division 9, his expertise is sought out on many statewide projects and various workgroups. He provides guidance and assistance to other Divisions and is held in very high regard by many of his colleagues across the state as evidenced by the following comments compiled for this nomination:
•Kathy Walker (Division 7) - “After I became the business officer, Willie physically came to Division 7 and showed me how to research to see where we had funds. He walked me through the process of creating funding documents. He showed me how to reconcile the overdrafts. He walked me through the process of allocating funds. He brought copies of his personal notes that he thought would be helpful. He has assisted me when I had inventory questions. He has shared excel spreadsheet formats that he has come up with that he thought would be beneficial to me. He has always been very patient and kind. Willie always has time for me and I will forever be thankful for him.”
•Melissa Dorman (NCDOT Financial Services Division) - “I think Willie is an excellent candidate for the Brent Hamilton award. In Fiscal, Willie is viewed as a business officer who is always on top of things. He is well respected and knowledgeable and always asks questions to ensure that his Division is operating properly. I have heard several Highway Division business officers make the statement that if they needed to know how to tackle a new situation; they would contact Willie for advice and to see how he would handle the same matter in his Division.”
•Fred Little (Division 6) - “Going back to my days as an accountant in the State Project Funding Unit (SPFU) of Accounting Operations (AO), I worked with and came to know all 14 Business Officers (BO), one of whom was Willie Bradwell. Although each had his/her own unique way of doing business in a unique division office, Willie stood out as the business officers’ business officer. Anytime I wanted to contact all B.O.s as a group, I would ask Willie to proof what I had to say for accuracy, clarity and relevance. And, when I sought the opinion of any one B.O., I would always seek out Willie for his candor and insight. Seven years ago, I became a B.O. myself, here in Fayetteville with Division 6. I immediately reached out to Willie for guidance. He took me in like he had gotten a new job, too, i.e. training Fred. I drove the two-plus hours to Winston-Salem twice to work hands-on with Willie and his uncommonly-capable Accounting Tech, Joy Ogburn. Together, they went over literally everything I would come to know as duties of a B.O. After that, I have continued (to this day) to call or email Willie for help or advice. If he is unavailable, I know he will get back to me ASAP. When I joined the SPFU, I got to know Brent Hamilton as she was preparing to leave AO, and working only part time. Because of my deep admiration for Brent’s integrity and dedication, her tireless efforts on behalf of our stakeholders, and her cheerful spirit, I take seriously an award in her memory. While there will not be another Brent Hamilton, I can truly say that Willie Bradwell’s traits of character model those set forth by Brent. I sincerely appreciate the opportunity to wholeheartedly endorse the nomination of my mentor and friend, Willie Bradwell Jr.”
•Keith Rudd (NCDOT Fiscal) “You may know, I work in the State Project Funding Unit of Fiscal in Raleigh. Willie and I have worked together for years. Willie has helped me countless times (too numerous to mention) with Division 9 financial issues concerning WBS elements, overdrafts, funding, etc. Some of our problems resolved through the years have been very complex, and required working together through several steps before the issue can be resolved. Willie has always been very courteous, friendly, and professional in all of our communications. Not only that his knowledge and experience are a value and asset to me and surely his fellow Division 9 coworkers. To be quite honest, Willie is so knowledgeable in his work, that whenever he calls with a question or a problem, it sort of worries me, because I think, ‘What can I possibly know that he doesn’t already know, to be asking me about it?’. Ha, ha, ha. But, when he does, we always work through it, and come up with a solution/answer to his question. I truly enjoy working with him, and it is always a pleasure to do so. I think Willie is very deserving of this award.”
The Brent Hamilton Excellence in Financial Management and Integrity Award is intended to recognize significant dedication and hard work to the betterment of financial services and operations within business units throughout the Department. Someone worthy of this award embodies NCDOT’s commitment to trustworthiness, always tries to do what’s right, even in difficult circumstances, and demonstrates integrity in all dealings, personal and professional.
The award will be given annually to an NCDOT employee demonstrating exemplary dedication to financial services and functions, increasing financial accountability, providing excellent stewardship of public dollars, and a being role model for adherence to ethical standards.
The award is named in honor of former Fiscal Manager Brent Hamilton. Brent was admired for her dedication to financial work and for her courage and strength during her long battle with cancer.