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PRESIDIO OF MONTEREY, California -- The 2018 Language Day celebration was held by the Defense Language Institute Foreign Language Center at the Presidio of Monterey, May 11. Language Day is open to the public and attended by schools across the nation to promote an understanding of diverse customs and cultures from around the world. Approximately 6,000 people attended this annual event featuring cultural displays, activities and international ethnic cuisine served by local vendors.
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PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
Why Body language?
More than 90% of our communication is conveyed by non-verbal means. Body language is the main factor in such communication. This is an ancient form of interaction that is even more evident in the animal world. The non-verbal messages are mostly perceived in our unconsciousness leading us to a hunch or a feeling regarding a person or a situation: “I don’t like him, I can feel he is lying” or on the positive side, “I immediately felt connected to her”.
Body language can be used to improve your negotiation skills, your presentation ability and in different social interactions, including a romantic date.
If it is a natural form of communication, why do I need to learn it?
Only a small percentage of the population perceive the non-verbal signs at the consciousness level and can use body language as a tool to “read” others and to present themselves and their messages in a reliable way. These people can create empathy, detect lies within seconds, and feel immediately when it’s the right time to close a deal. Others can learn it; many politicians practice body language techniques and use personal training for these purposes. Similarly, police and security experts are trained to understand body language as a tool to detect lies. In the corporate world, body language interpretation is a key tool in the interview and hiring process of new employees. Some companies even have a body language expert present during interviews and as part of a negotiation team for large-scale deals.
Why cards?
Mastering the secrets of the body language might be complicated. Body Language is a visual mode of communication- you cannot learn it just from reading- you need to see it. Body Language Cards do just that; they flood your consciousness with the visual gesture and connect it to its meaning.
Most important: It works!!!
Body Language Cards are used as an integral part on professional body language courses; they are practiced as an educational devise in corporations; Body Language Cards are even used in psychology courses in colleges all over the world as they were recently translated in 4 additional languages
The National Anthem in American Sign Language and sung, before the annual Old Time Baseball Game in Cambridge.
Vision, Language, and Influence:
Photographs of the South by Baldwin Lee, Walker Evans, and Eudora Welty
Knoxville Museum of Art
May 14 – August 1, 2010
Vision, Language, and Influence brings together for the first time the work of three photographers of the American South over a 50-year period. Walker Evans (1903-1976) is represented by incisive images of Alabama sharecroppers stemming from his epic collaboration with James Agee on Let Us Now Praise Famous Men. Eudora Welty (1909-2001) was a Pulitzer Prize-winning Southern writer and photographer who traveled across Mississippi in the 1930s and early 1940s taking photographs and documenting rural and small-town life in her home state. Baldwin Lee (born 1951) is a professor of photography at the University of Tennessee, and a former assistant to Walker Evans. Complementing the 50 or so works by Evans and Welty are more than 30 of Lee’s images of African-American life in the South taken during the 1980s with the support of fellowships from the Guggenheim Foundation and the National Endowment for the Arts.
Vision, Language, and Influence was organized by the Knoxville Museum of Art in collaboration with Baldwin Lee.
Gautham Vasudev Menon (born 25 February 1973), more commonly known as Gautham Menon, is an Indian film director and producer, who predominantly works in Tamil cinema. Many of his films have been critically acclaimed, most notably his semi-autobiographical Vaaranam Aayiram (2008), Vinnaithaandi Varuvaayaa (2010) and his action-thrillers Kaakha Kaakha (2003), Vettaiyaadu Vilaiyaadu (2006). Vaaranam Aayiram won the National Film Award for Best Feature Film in Tamil. Gautham Menon spearheaded releasing movies of same content in different languages, simultaneously. He produces films through his London Stock Exchange-listed Photon Kathaas film production company.Early life and education[edit]
Gautham was born to a Malayali father and Tamil mother on 25 February 1973 in Ottapalam, a town in Palakkad district of Kerala. Although, born in Kerala he grew up in Trichy, Tamil Nadu.[1][2] He studied Mechanical Engineering in Mookambigai College of Engineering, Trichy.[3][4]
Career[edit]
Early work, 2001[edit]
Gautham Menon was a student of mechanical engineering at Mookambigai College of Engineering, Trichy in the batch of 1993, and his time there inspired to make his lead characters of Minnale, Vaaranam Aayiram and Vinnaithaandi Varuvaayaa, students of the same course.[5] He claims to have been inspired by films such as Dead Poets Society and Nayagan and expressed his desire to his parents to change career path and become a filmmaker and consequently wrote his first film at his college hostel. His mother insisted he became an ad film maker by shooting various commercials and took an apprenticeship under filmmaker Rajiv Menon. He went on to work as an assistant director for Minsara Kanavu in 1997, in which he also appeared in a cameo role.[6]
Gautham Menon launched a Tamil romantic film O Lala in 2000 with the project eventually changing producers and title into Minnale with Madhavan, who was at the beginning of his career, being signed on to portray the lead role.[7] About the making of the film, Menon revealed that he found it difficult as the team was new to the industry with only the editor of the film, Suresh Urs, being a prominent technician in the industry.[8] Menon had come under further pressure when Madhavan had insisted that Menon narrated the story to his mentor, Mani Ratnam, to identify if the film was a positive career move after the success of his Alaipayuthey. Despite initial reservations, Menon did so and Ratnam was unimpressed; however Menon has cited that he thought that Madhavan "felt sorry" and later agreed to continue with the project.[8] The film also featured Abbas and newcomer Reemma Sen in significant roles, whilst Menon introduced Harris Jayaraj as music composer with the film.[7] The film was advertised as a Valentine's Day release in 2001 and told the tale of a young man who falls in love with the girl engaged to his ex-college rival and how he manages to get married to her. Upon release it went on to become a large success commercially and won positive reviews from critics with claims that the film had a lot of " lot of verve and vigour" and that it was "technically excellent".[9]
The success of the film led to producer Vashu Bhagnani signing him on to direct the Hindi language remake of the film, Rehnaa Hai Terre Dil Mein, which also featured Menon in a short role; having Madhavan with Dia Mirza and Saif Ali Khan added to the film. Menon was initially apprehensive but said it took "half an hour" to agree and against his intentions, the producer opted against retaining the technical crew of the original.[6] He changed a few elements, deleted certain scenes and added some more for the version. However in comparison, the film gained poor reviews with a critic citing that "the presentation is not absorbing" though stating that he " handled certain sequences with aplomb"; the film subsequently went on to become a below average grosser at the box office.[10] The failure of the film left him disappointed, with Menon claiming in hindsight that the film lacked the simplicity of the original with the producer's intervention affecting proceedings.[11] In 2011, the producer of the film approached him to remake the film with the producer's son Jackky Bhagnani in the lead role, but Menon was uninterested with the offer.[12]
Police duology, 2003–06[edit]
Menon returned in 2003 by directing the realistic police thriller Kaakha Kaakha featuring Suriya, Jyothika and Jeevan in the lead roles. The film portrayed the personal life of a police officer and how his life is affected by gangsters, showing a different perspective of police in comparison to other Tamil films of the time.[11] Menon revealed that he was inspired to make the film after reading of articles on how encounter specialists shoot gangsters and how their families get threatening calls in return, and initially approached Madhavan, Ajith Kumar and then Vikram for the role without success, with all three actors citing that they did not want to play a police officer. The lead actress Jyothika asked Menon to consider Suriya for the role, and he was subsequently selected after Menon saw his portrayal in Nandha.[13] He held a rehearsal of the script with the actors, a costume trial with Jyothika and then enrolled Suriya in a commando training school before beginning production, which he described as a "very planned shoot".[13] The film consequently opened to very positive reviews from critics on the way to becoming another success for Menon, with critics labeling it as a "career high film".[14] Furthermore, the film was described as for "action lovers who believe in logical storylines and deft treatment" with Menon being praised for his linear narrative screenplay.[15]
Gautham Menon subsequently remade the film in the Telugu language for producer Venkata Raju and went on to claim that the new version was better than the previous version and that his new lead actor Venkatesh was more convincing that Surya in the role.[16] The film also featured actress Asin and Saleem Baig in prominent roles and went on to earn commercial and critical acclaim with reviewers citing that "film redeems itself due to the technical excellence and masterful craft of Gautham", drawing comparisons of Menon with noted film makers Mani Ratnam and Ram Gopal Varma.[17] In July 2004, Menon also agreed terms to direct and produce another version of Kaakha Kaakha in Hindi with Sunny Deol in the lead role and revealed that the script was written five years ago with Deol in mind, but the film eventually failed to take off.[18] Producer Vipul Shah approached him to direct the Hindi version of the film in 2010 as Force with John Abraham and Genelia D'Souza, and Menon initially agreed before pulling out again.[19] Menon and the original producer, Dhanu, also floated an idea of an English-language version with a Chechnyan backdrop, though talks with a potential collaboration with Ashok Amritraj collapsed.[13]
Gautham Menon was then signed on to direct a venture starring Kamal Haasan and produced by Kaja Mohideen, and initially suggested a one-line story which went on to become Pachaikili Muthucharam for the collaboration.[13] Kamal Haasan wanted a different story and thus the investigative thriller film Vettaiyaadu Vilaiyaadu, was written with Jyothika, Kamalinee Mukherjee, Prakash Raj, Daniel Balaji and Saleem Baig added to the cast. The film told another episode from a police officer's life, with an Indian cop moved to America to investigate the case of psychotic serial killers before returning to pursue the chase in India. During the shooting, the unit ran into problems after the producer had attempted suicide and as a result, Kamal Haasan wanted to quit the project.[13] Menon subsequently convinced him to stay on as they had taken advance payments. He has since revealed that unlike Kamal Haasan's other films, he did not take particular control of the script or production of the film. The film however had gone through change from the original script with less emphasis on the antagonists than Menon had hoped and he also revealed that scenes for songs were forced in and shot without him.[13] The film released in August 2006 and went on to become his third successive hit film in Tamil and once again, he won rave reviews for his direction.[20][21] Menon later expressed interest in remaking the film in Hindi with Amitabh Bachchan in the lead role without the love angle, though the project fell through after discussions. In 2012, he re-began negotiations with producers to make a Hindi version of the film with Shahrukh Khan in the lead role.[22] He has stated his intent on making a trilogy of police episode films, with a possible third featuring Vikram in the lead role.[13]
Success, 2007–08[edit]
His next project, Pachaikili Muthucharam, based on the novel Derailed by James Siegel, featured Sarath Kumar and Jyothika in the lead roles and was released in February 2007. Initially the lead role was offered to Kamal Haasan who passed the opportunity, while actors Cheran and Madhavan declined citing date and image problems respectively.[23] Menon met Sarath Kumar at an event where he cited he was looking to change his 'action' image and Menon subsequently cast him in the lead role.[23] During production, the film ran into further casting trouble with Simran dropping out her assigned role and was replaced by Shobana after another actress, Tabu, also rejected the role.[24] Shobana was also duly replaced by a newcomer, Andrea Jeremiah to portray the character of Kalyani in the film. The film was under production for over a year and coincided with the making of his previous film which was largely delayed. The film initially opened to positive reviews with a critic citing that Menon is "growing with each passing film. His style is distinctive, his vision clear, his team rallies around him and he manages to pull it off each time he attempts".[25][26] However the film became a financial failure for the producer, Venu Ravichandran and in regard to the failure of the film, Menon went on to claim that Sarath Kumar was "wrong for the film" and that he tweaked the story to fit his image; he also claimed that his father's ailing health and consequent death a week before the release had left him mentally affected.[23]
His next release, Vaaranam Aayiram, saw him re-collaborate with Suriya, who played dual roles in the film. The film illustrates the theme of how a father often came across in his son's life as a hero and inspiration, and Menon dedicated the film to his late father who had died in 2007.[27] The pre-production of the film, then titled Chennaiyil Oru Mazhaikaalam began in 2003, with Menon planning his a romantic film with Suriya as a follow-up to their successful previous collaboration, Kaakha Kaakha.[28] Abhirami was signed and then dropped due to her height before a relatively new actress at the time Asin was selected to make her debut in Tamil films with the project. The first schedule of the film began in January 2004 in Visakhapatanam and consequently romantic scenes with Suriya and Asin were shot for ten days and then a photo shoot with the pair.[28] The film was subsequently stalled and was eventually relaunched with a new cast including Divya Spandana, Simran and Sameera Reddy in 2006 with Oscar Ravichandran stepping in as producer, who opted for a change of title. Menon has described the film as "autobiographical and a very personal story and if people didn’t know, that 70% of this [the film] is from my life".[23] The film's production process became noted for the strain and the hard work that Suriya had gone through to portray the different roles with production taking close to two years.[27] The film released to a positive response, with critics heaping praise on Suriya's performance while claiming that the film was "just a feather in Gautam's hat" and that it was "hardly a classic".[29] The film was made at a budget of 150 million rupees and became a commercial success, bringing in almost 220 million rupees worldwide.[27] It went on to become Menon's most appreciated work till date winning five Filmfare Awards, nine Vijay Awards and the National Film Award for Best Feature Film in Tamil for 2008 amongst other accolades.
Romance and experimentation, 2010–present[edit]
In 2010, Menon made a return to romantic genre after nine years with the Tamil romantic film Vinnaithaandi Varuvaayaa, starring Silambarasan and Trisha Krishnan.[30] The film explored the complicated relationship between a Hindu Tamil assistant director, Karthik, and a Syrian Christian Malayali girl, Jessie and their resultant emotional conflicts. The film featured music by A. R. Rahman in his first collaboration with Menon whilst cinematographer Manoj Paramahamsa was also selected to be a part of the technical crew. Menon cited that he was "a week away from starting the film with a newcomer" before his producer insisted they looked at Silambarasan, with Menon revealing that he was unimpressed with the actor's previous work.[8] The film was in production for close to a year and throughout the opening week of filming, promotional posters from classic Indian romantic films were released featuring the lead pair.[31] Prior to release, the film became the first Tamil project to have a music soundtrack premiere outside of India, with a successful launch at the BAFTA in London.[32] Upon release, the film achieved positive reviews, with several critics giving the film "classic" status, whilst also become a commercially successful venture.[33][34] Reviewers praised Menon citing that "credit for their perfect portrayal, of course, goes to Gautam Menon. This is one director who's got the pulse of today's urban youth perfectly" and that "crafted a movie that will stay in our hearts for a long, long time."[34] The film was simultaneously released with a Telugu version, titled Ye Maaya Chesave featuring a fresh cast of Naga Chaitanya and debutante Samantha in the lead roles. Like the Tamil version, the film won critical acclaim and being given "classic" status from critics.[35][34][36]
Menon had also made progress over the previous two years directing the psychological thriller Nadunisi Naaygal featuring his assistant and debutant Veera Bahu and Sameera Reddy in the lead roles. Menon claimed that the film was inspired by a true event from the USA, while also claiming that a novel also helped form the story of the film.[8] During the making, he explicitly revealed that the film was for "the multiplex audience" and would face a limited release, citing that "it will not cater to all sections of the audience".[8] He promoted the film by presenting a chat show dubbed as Koffee with Gautham where he intereviewed Bharathiraja and Silambarasan, both of whom had previously worked in such psychological thriller films with Sigappu Rojakkal and Manmadhan. The film, which was his first home production under Photon Kathaas and did not have a background score, told the story of a victim of child abuse and the havoc he causes to women, narrating the events of a particular day. The film opened to mixed reviews with one critic citing it as "above average" but warning that "don’t go expecting a typical Gautham romantic film" and that it "is definitely not for the family audiences", while criticizing that "there are too many loopholes in the story, raising doubts about logic".[37] In contrast another critic dubbed it as an "unimpressive show by l director Menon, as it is neither convincing nor appealing, despite having some engrossing moments".[38] A group of protesters held a protest outside Gautham's house on reason for misusing a goddess name in his film and also showing explicit sex and violent scenes, claiming that it was against the Indian, in particular Tamil culture.[39]
Menon returned to Bollywood with the Hindi remake of Vinnaithaandi Varuvaayaa, titled Ekk Deewana Tha, with Prateik Babbar and Amy Jackson in the lead roles.[40] Unlike the South Indian versions, the film opened to unanimously below average reviews, with critics noting the story "got lost in translation",[41] and became a box office failure.[42] Post-release, Menon admitted that he "got the casting wrong", and subsequently other Hindi films he had pre-planned were dropped.[43] During the period, Menon also began pre-production work on the first film of an action-adventure series of films titled Yohan starring Vijay in the title role. However after a year of pre-production, the director shelved the film citing differences of opinion about the project.[44] Menon's next releases were the romantic films Neethaane En Ponvasantham in Tamil and Yeto Vellipoyindhi Manasu in Telugu, both co-produced by Photon Kathaas. Jiiva and Nani played the lead roles in each version respectively, while Samantha was common in both films. Ilaiyaraaja was chosen as music composer for the film, which told the story of three stages in the life of a couple.[45][46] A third Hindi version Assi Nabbe Poorey Sau, was also shot simultaneously with Aditya Roy Kapoor essaying the lead role, though the failure of Ek Deewana Tha saw production ultimately halted.[47][48] The films both opened to average reviews and collections, with critics noting Menon "falls into the trap every seasoned filmmaker dreads -- of repeating his own mandatory formula" though noting that the film has its "sparkling moments".[49][50] The lukewarm response of the film prompted a legal tussle to ensue between Menon and the film's producer Elred Kumar, prompting the director to release an emotionally charged letter attempting to clear his name of any financial wrongdoing.[51] Menon was then briefly associated with the anthology film, X, helping partially direct a script written by Thiagarajan Kumararaja before opting out and being replaced by Nalan Kumarasamy.[52] He also began production work on a big-budgeted venture titled Dhruva Natchathiram, signing up an ensemble cast including Suriya, Trisha Krishnan and Arun Vijay, with a series of posters issued and an official launch event being held. However in October 2013, the lead actor walked out of the film citing Menon's lack of progress in developing the script and the film was subsequently dropped.[53]
Menon's upcoming films include the romantic drama Sattendru Maaruthu Vaanilai with Silambarasan,[54] and an untitled project with Ajith Kumar that entered production in April 2014.[55]
PRESIDIO OF MONTEREY, Calif. - Language Day brought over 3,000 visitors to the Presidio of Monterey May 14. The annual event showcases the various cultural displays and performing arts that are taught at the Defense Language Institute Foreign Language Center.
Official Presidio of Monterey Web site
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Photo by Hiro Chang, Presidio of Monterey Public Affairs.
PRESIDIO OF MONTEREY, Calif. -- The Defense Language Institute Foreign Language Center Joint Service Color Guard, along with marching units from the four service branches, once again kicked off Pacific Grove's Good Old Days festival by leading the parade along Pine St. on April 5.
The Annual Good Old Days Celebration and Music Festival started in 1957 and is a two-day event in downtown Pacific Grove with live music, parade, vendors and carnival rides. According to the Monterey Herald, an estimated 40,000 people attended this year.
Official Presidio of Monterey Web site
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PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
PRESIDIO OF MONTEREY, California -- The 2018 Language Day celebration was held by the Defense Language Institute Foreign Language Center at the Presidio of Monterey, May 11. Language Day is open to the public and attended by schools across the nation to promote an understanding of diverse customs and cultures from around the world. Approximately 6,000 people attended this annual event featuring cultural displays, activities and international ethnic cuisine served by local vendors.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
PRESIDIO OF MONTEREY, California -- The Defense Language Institute Foreign Language Center celebrated the upcoming Memorial Day with a ceremony on Presidio’s Soldier Field May 25. The ceremony included a solemn invocation by the Chaplain, a 21-gun salute rendered to fallen service members, firing of the ceremonial cannon, performances by the DLIFLC Joint Service Student Choir, and three names added to the plaque in honor of DLIFLC graduates killed in action during the Vietnam War. Guest speaker for the event was City of Salinas Mayor Joe Gunter, who is also a Marine Corps veteran.
Following the ceremony, the Presidio Garrison hosted a special reception event for Gold Star Families who were in attendance.
Official Presidio of Monterey Web site
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PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
Perhaps the signature structure of the Syracuse University campus, the Hall of Languages has stood here on University Hill since 1871. Its Second Empire architecture is the design of Horatio Nelson White. It was added to the National Register of Historic Places in 1973 and has even been featured on some of the men's basketball team uniforms.
Syracuse University. Syracuse, New York.
PRESIDIO OF MONTEREY, Calif. -- Defense Language Institute Foreign Language Center students and staff marked Patriot Day with a Fall Resiliency Day event held at the Price Fitness Center field Sept. 11. Presidio of Monterey Garrison Commander, Col. Paul Fellinger and DLIFLC Commandant, Col. Phillip Deppert kicked off the event by signing a joint proclamation declaring September suicide prevention month. Resiliency Day combined athletic competitions with a variety of additional recreational activities, food vendors and informational booths to improve the well-being of the body, mind and soul.
Official Presidio of Monterey Web site
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PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
Finnish, Swedish and English translation of the New Testament and the Psalms.
Philippians chapter 3:.
Irish language daily La is stashed away between Spain's El Pais and the Italian la Repubblica in Eason's in Dun Laoghaire. Ironically it's one of the few towns in old Co Dublin not to have an official name in English. Yet, it seems Irish is casually considered a foreign language here.
Young lady has a method for communicating that is not only simple and easy, but one that leaves no edge for misunderstanding. This classic photo was captured in the mid 80s when the Royals won the World Series. The subject of her message? Fans wearing Cardinal T-Shirts who provoked the exchange of sign language.
Bologna or Bulåggna; pronounced [buˈləɲɲa] in the Bolognese dialect of Emiliano-Romagnolo language) is the capital city of Emilia-Romagna, in the Po Valley of Northern Italy. The city lies between the Po River and the Apennine Mountains, more specifically, between the Reno River and the Savena River. It is the seventh largest city in terms of population and it is the heart of a metropolitan area (officially recognized by the Italian government as a metropolitan city) of about 1,000,000 inhabitants. The urban sprawl of Bologna – Modena, whose metropolises are adjoining, is continuously expanding. Home to the oldest university in the world, University of Bologna, founded in 1088, Bologna hosts numerous students who enrich the social and cultural life of the city. Famous for its towers and lengthy porticoes, it has a well-preserved historical downtown (one of the largest in Italy) thanks to a careful restoration and conservation policy which began at the end of the 1970s, on the heels of serious damage done by the urban demolition at the end of the 19th century as well as that caused by wars. The city, the first settlements of which date back to at least one millennium before Christ, has always been an important urban center, first under the Etruscans (Velzna/Felsina) and the Celts (Bona), then under the Romans (Bononia), then again in the Middle Ages, as a free municipality (for one century it was the fifth largest European city based on population). An important cultural and artistic center, it is rarely recognized as such, as it does not possess a world renowned "masterpiece" that would attract tourists en masse; that having been said, its artistic importance and its importance in terms of landmarks can be contributed to homogenous mixture of monuments and architectural examples (medieval towers, antique buildings, churches, the layout of its historical center) as well as works of art which are the result of a first class architectural and artistic history. Bologna is also an important crossroads of the roads and trains of Northern Italy, where many important mechanical, electronic and nutritional industries have their headquarters. According to the most recent data gathered by the European Regional Economic Growth Index (E-REGI) of 2009, Bologna is the first Italian city and the 47th European city in terms of its economic growth rate.[2] It is home to prestigious cultural, economic and political institutions as well as one of the most impressive trade fair districts in Europe. In 2000 it was declared European capital of culture[3] and in 2006, a UNESCO “city of music”. The city of Bologna was selected to participate in the Universal Exposition of Shanghai 2010 together with 45 other cities from around the world.[4] Bologna is also one of the richest cities in Italy, often ranking as one of the top cities in terms of quality of life in the country: it was ranked 5th in 2006, and 12th in 2007, out of 103 Italian cities.[5] Bologna is a lively and cosmopolitan Italian college city, and it has spectacular history, art, cuisine, music and culture.
PRESIDIO OF MONTEREY, Calif. -- The U.S. Army Garrison, Presidio of Monterey, in conjunction with the Fort Ord Area Retiree Council and the Defense Language Institute Foreign Language Center, hosted its annual Retiree Appreciation Day at the General Stilwell Community Center, Ord Military Community, June 6.
Retiree Appreciation Days are held to provide retired service members and their families the latest information regarding changes to retirement benefits and to foster goodwill between the retired and active-duty communities. The program included talks on veterans’ issues, a congressional update on veterans’ benefits and entitlements and other issues impacting the national military retiree scene including Space-Available travel. Following the formal program, a free lunch was served by active-duty service member volunteers from the Defense Language Institute Foreign Language Center.
Official Presidio of Monterey Web site
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PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
âSpanish Language Dayâ commemoration event in room XX. Casilda Regueiro and the Lancy-Genève Orchestra. Geneva, Switzerland, October 13, 2016. UN Photo/Pierre Albouy
Red Cloud Indian School's Lakota Language Project takes the classroom to the badlands. Read about the trip and watch the video by Keloland Television here: www.keloland.com/newsdetail.cfm/red-cloud-students-find-l...
For media use or inquires please email: info@redcloudschool.org.
© 2015 Red Cloud Indian School, Inc.
www.AllAbouttheLightPhotography.com -------------------
------- FB Page: All About the Light Photography ----
Other than learning Spanish in school, a Spanish language software can be purchased either online or in computer stores so you can learn from home instead.
What types of Spanish language software should you download? Find out: www.learn-spanish-software.info/spanish-language-software...
Lacan famously said that the unconscious is structured like a language. I have not the foggiest what he meant but he may have meant the way in which, as demonstrated by Asch and Rosenberg, Westerners understand the world, and make evaluations based upon how language understands the world.
The above shows a two dimensional model of personality from Rosenberg 1968, showing that some character traits are considered close to each other in four groupings (1 skilful, industrious, important, practical, trustworthy, honest, serious, decisive, scrupulous, 2 Fun, popular, sociable, warm, good natured, humorous, 3. frivolous, insignificant, untrustworthy, dishonest, not fun, 4. Irritable, Humourless, unpopular, cold, unsociable). These are groupings of the meanings of words, but Westerners tend to make evaluations based upon such groupings. Hence, as demonstrated by Asch (1946), if someone is described as being A.intelligent skilful industrious warm determined practical cautious, as opposed to B. intelligent skilful industrious cold determined practical cautious with only the central warm changed to cold - then they are far more likely to be judged to be good natured with the ratio of people judging them to be so dropping from 94% to 17%.
Doing this in Japan however, we find that people are far less likely to change their opinion based on the change of only one adjective. Peng and Nisbett (1999) analysed for instance evaluations of contradictory Yiddhish proverbs (which are common in both China and Japan) and found that Chinese are far more likely to positively evaluate contradictory proverbs. Peng and Nisbett, call this tendency of Asians not to require that evaluations conform to the dictionary dialectical thinking. In my own view it is rather more just that Chinese and Japanese are far less likely to be thinking in language (as demonstrated by Kim) and are probably imagining the situation. If you do imagine the situation then the platitudes that Westerners are fond of such as "cold people are not good natured" "Warm people are good natured" do not always play out. If you imagine people you know, you will find there are people who are cold in the presentation of their emotions, but who are also good natured in their acts.
Asch, S. E. (1946). Forming impressions of personality. The Journal of Abnormal and Social Psychology, 41(3), 258. Retrieved from psycnet.apa.org/journals/abn/41/3/258/
Heine, S. J. (2001). Self as cultural product: An examination of East Asian and North American selves. Journal of personality, 69(6), 881–905. Retrieved from onlinelibrary.wiley.com/doi/10.1111/1467-6494.696168/full
Peng, K., & Nisbett, R. E. (1999). Culture, dialectics, and reasoning about contradiction. American Psychologist, 54(9), 741. Retrieved from psycnet.apa.org/journals/amp/54/9/741/
Rosenberg, S., Nelson, C., & Vivekananthan, P. S. (1968). A multidimensional approach to the structure of personality impressions. Journal of personality and social psychology, 9(4), 283. Retrieved from psycnet.apa.org/journals/psp/9/4/283/
奥田秀字. (1997). 人をひきつける心: 対人魅力の社会心理学. 東京: サイエンス社.
PRESIDIO OF MONTEREY, Calif. - The 229th Military Intelligence Battalion celebrated the 237th birthday of the Army at the Monterey Hyatt on June 9. The theme for this year’s ball was ‘Army Linguist: Everywhere, Every Day, Every Language.'
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PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
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Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
PRESIDIO OF MONTEREY, California -- The 2018 Language Day celebration was held by the Defense Language Institute Foreign Language Center at the Presidio of Monterey, May 11. Language Day is open to the public and attended by schools across the nation to promote an understanding of diverse customs and cultures from around the world. Approximately 6,000 people attended this annual event featuring cultural displays, activities and international ethnic cuisine served by local vendors.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
PRESIDIO OF MONTEREY, California -- The 2018 Language Day celebration was held by the Defense Language Institute Foreign Language Center at the Presidio of Monterey, May 11. Language Day is open to the public and attended by schools across the nation to promote an understanding of diverse customs and cultures from around the world. Approximately 6,000 people attended this annual event featuring cultural displays, activities and international ethnic cuisine served by local vendors.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
Students in Middle School Grade 4 from both Manhattan and Queens visit Costa Rica on a Language Immersion trip
The Dongducheon Foreign Language High School invited U.S. Army Garrison
Casey Commander Lt. Col. Steven G. Finley, as a keynote speaker on May 14.
Finley spoke to 113 students and faculty members starting with a brief
biography and he explained why he had joined the U.S. Army. Students asked
questions about his career, family, hobbies, and the daily life of a
Soldier.
Throughout his speech, Finley charged the young Korean students to start
thinking about their future and establish a twenty-year plan, or "road map"
for their life.
Near the end of his speech Finley cheered, "readers are leaders" as way to
motivate the future leaders to develop positive and healthy habits.