Prioritize photos on Flickr

SM19 - Capacity Development - Financial Sector Stability: Tools to Strengthen Reforms in Emerging Markets and Developing Countries by International Monetary Fund

During the Capacity Development - Financial Sector Stability session at the 2019 IMF/World Bank Spring Meetings at IMF Headquarters April 10, 2019 in Washington, DC, Nico Valckx, Naoto Osawa, and Tumubweine Twinemanzi answe the questions : How can policymakers implement a strong reform agenda? Join us to learn how countries such as Uganda are using targeted tools like the Financial Sector Stability Review, so they can prioritize reforms and build a more resilient financial sector. IMF Photograph/Joshua Roberts

De Blasio Demands Prioritization of Most Critical NYCHA Repairs by Bill de Blasio

7.16.13 | After securing an accounting of the New York City Housing Authority’s repair backlog, Public Advocate Bill de Blasio released a report analyzing the nearly 370,000 outstanding repairs, and warned the agency against neglecting its most time-sensitive and health-threatening repairs in favor of more expedient ones.

Senegal | Prioritizing Investments in Health and Nutrition by Global Financing Facility

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Photo © Dominic Chavez/The Global Financing Facility

1398367442 by BlogHerAnnual

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LOS ANGELES, CALIFORNIA - MAY 20: (L-R) VP of Science & Technology at Pharmavite Dr. Susan Mitmesser and VP of Video at SHE Media Reshma Gopaldas speak onstage during the Women's Wellness Prioritized session at BlogHer 22 Health on May 20, 2022 in Los Angeles, California. (Photo by Kevin Winter/Getty Images for BlogHer)

(2025-) Truly Me #130 "Alaska" by A Thousand Splendid Dolls

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APPROXIMATE RELEASE DATE: 2025-

HEAD MOLD: "Jess"

***My doll is wearing the Truly Me Star Squad Outfit.

PERSONAL FUN FACT: Since I began collecting dolls again in 2011, I only have purchased two contemporary, non-character American Girls brand new. Ironically, they are both very similar to one another, which is a testament to how much I love the combo of hair color and face mold they both utilize. There were a lot of different reasons I never prioritized getting Truly Me dolls new. Firstly, I am definitely more inclined towards characters. They have names, collections, interests....all of this is greatly appealing and makes the doll feel like a celebrity of sorts. Secondly, the price of brand new American Girls is costly, even on sale. It's hard to pick a contemporary doll when there are just SO many options these days. When I was a kid, you basically had the same choice of doll in just a bunch of different colors. They all pretty much had the same medium length hair with super thick bangs, the "classic" head mold, and varying skin tones. As the years have gone on, American Girl has evolved...there is so much more variety. Funnily enough, my two new adult purchased girls look very similar in some ways. Both have black hair and the "Jess" mold.

I am a self professed American Girl addict. I can pretty much talk myself into wanting any of them on a given day. But so rarely do I latch onto the idea of a Truly Me girl for long. It was different with #130...as soon as she debuted, it was love at first sight. She was "Jess" with bangs and super long hair!!! I was tantalized and the "meet" outfit she was sold in was a banger. Her doppelganger, #111 aka Joynomi, joined the family in December 2023. That was just about two years before Miss Alaska. Part of her appeal was the same as #130's...she looked like a version of Jess! If you haven't guessed yet, Girl of the Year 2006 Jess McConnell is one of my personal favorites. It's safe to say I'm obsessed with the Jess. Something about her adorable chubby cheeks, narrow eyes, and happy expression always make my day. Joynomi and Alaska are both Jess, but goddess like Jess dolls. I thought of #130 as "Jess with bangs" for the first few months she was out. I mulled over in my brain how much I'd love to own her someday...what would I name her...what clothes would she look good in. By that point, the idea of getting a new Truly Me doll wasn't a foreign concept, because I'd purchased Joynomi two years before. However, I wrestled with the desire...did I really "need" her when she looked so similar to Joynomi?!!!

Despite the rationale that this girl was basically Joynomi with a different hairdo, I couldn't get her out of my head. I knew that within a couple years, American Girl would switch out the "meet" outfit she was sold in. I was obsessed with the Star Squad Outfit from the jump. So much so, I would have bought this by itself if it had been separately sold. I was also wary that they might retire #130 quickly. Joynomi hadn't been out long (her predecessor without the added facial details was out a while though). Perhaps this concern was just another excuse to get Alaska sooner than later...who knows. Anyways, I kept hoping she'd go on sale. Greedily, I'd always check to see if #130 was included whenever American Girl ran some kind of offer. They have a tendency to gate keep newly released items and 18 inch dolls when it comes to discounts. I was super surprised in October of 2025 when this doll DID qualify for a sale. Unfortunately, my cat, Oliver, had just passed away. We were left with a pretty expensive vet bill and no cat. Though we were fortunate enough to be able to pay the bill without dipping into savings, I couldn't justify buying a costly doll in that moment. I honestly resigned myself to the fact that I probably wouldn't get an American Girl order for Christmas that year...since all the prices had been recently raised (and what I most wanted, #130 and Summer's Waggy Pup Tales Outfit, were excluded from most offers).

Just because I wasn't planning on getting a new American Girl doll or stuff, didn't mean I wouldn't find something else I wanted. I ended up finding a steal on Girl of the Year 2003 Kailey, and a small lot of four pretty much complete My American Girl fashions on eBay. I was exceedingly happy with these unexpected acquisitions. American Girl relentlessly emailed my sister daily by the time November came around. It's part of their annual holiday sales tactic. I swear, sometimes we'd get more than one email a day. I'd always glance to see if there was some really good deal, but there never appeared to be. One day, I was enticed by the "Super Savers," which were heavily discounted, final sale items. Nanea's dog and accessory set were super cheap and I wanted them. But for the shipping price on just these two items, it wasn't worth only getting them. Then they ran a 20% off sale on Truly Me dolls. It wasn't actually a great deal when you consider the recent price increase on them. I was still resisting the urge to get #130....she wasn't cheap enough for me.

Something kept nagging at me though...telling me there was a way to save more money that I was missing. I remembered I had a $50 Visa Gift Card in my wallet. We'd had it for months...they can be annoying to use online since some websites see them as debit cards, not gift cards. This can limit how you use them, as you need to keep your order total less than the amount on the card (making sure to factor in sales tax). Even using them at self checkout in person can present the same problem, depending on the store. I tried using other Visa Gift Cards on the American Girl website, seeing if they'd be recognized as gift cards, not debit/credit cards. But it never worked. It occurred to me that perhaps I could use my Visa Gift Card to buy an American Girl e-gift card. I looked it up, and realized that American Girl does not charge tax or shipping on e-gift cards. Usually, when you buy a physical gift card in person, at least where I live, you are charged sales tax on it. Then you are charged sales tax again on whatever items you purchase with it. However, such was not the case with the AG e-gift card. I was able to convert the $50 into American Girl dollars!!! Between the sale, the gift card, and our measly $4 in rewards, we saved a substantial amount of money. I was able to get #130 after all, Nanea's items, and two Bitty Baby outfits (in order to qualify for free shipping)!!! I was so grateful, and also super ecstatic I'd found a way to use that gift card for something great.

We'd ordered the American Girl stuff a few days after Thanksgiving. It took a few days for the shipping label to even be printed. Fed Ex didn't end up delivering Miss Alaska until Sunday afternoon the next week. But I was glad that she hadn't gotten lost in the mail what with all the holiday orders backing it up. I chose her name because I wanted it to be Native American, like Joynomi's. I actually named one of my Bratz Formal Funk Nevra dolls Alaska too (since my childhood gal was named Nevada...my first duplicate is called Arizona...you get the idea). As soon as I thought of the name, it just fit her. And as soon as I freed her from the package, I was even more in love. How is that possible?!!! She's so much prettier in person, despite being a total knockout in stock images. She also looks very different than Joynomi. Their skin tones and lip colors aren't remotely the same. I'd be able to tell them apart even if their hair was identically styled. She also resembles Ivy, what with the bangs (Ivy was my first brand new American Girl doll as an adult collector...the first in ten years...clearly I love this head mold).

There are times I've waited years to get a doll. I've contemplated getting them, talked myself out of it, and it took me forever to pull the trigger. Other occasions are much more impulsive...like I see the doll at the flea market, or I stumble upon a really great eBay deal, or I fall in love with some newly released girl. There isn't always a rhyme or reason, and whether I wait an eternity, or I hardly wait at all, it doesn't change how much I love them. In fact, sometimes the dolls I get more impulsively, like Jess herself, I end up being even more obsessed with in the long run. But that isn't always the case...I wanted Kaya for several years as a kid, for instance, and she's always been one of my most special dolls. I admit, I didn't put a whole lot of consideration into Alaska. I mean, I knew I wanted to save money on her and that it would be tricky finding room for her. But life is too short to find a million reasons not to do something that you really want to do. Getting her sooner meant I'll be able to enjoy her for longer. And it does make her seem a little extra special knowing I didn't wait that long (as it is a rarity with me and new dolls directly from American Girl...more time usually does lapse). Clearly this doll really spoke to me, in the same way Girl of the Year Corinne did (but perhaps not with quite as much intensity).

11th meeting of the UN Broadband Commission for Digital Development, UNESCO headquarters, Paris. 26-27 February 2015 by ITU Pictures

ITU Secretary-General Houlin Zhao speaking to delegates at UNESCO’s Mobile Learning Week event on the need to prioritize ICTs in delivery of education.

Education Cannot Wait 2023 by Education Cannot Wait

Ms. Catherine Isaya, Refugee Teacher Advocate, speaking in the Prioritizing Support for Teachers and Teacher Well-Being at the ECW High-Level Financing Conference in Geneva, Switzerland, 17 February 2023. Copyright: ECW/Manuel Lopez

Deputy Administrator Coleman meets with Dr. Tedros Adhanom Ghebreyesus by USAID U.S. Agency for International Development

April 07, 2022— Deputy Administrator Isobel Coleman meets with World Health Organization (WHO) Director-General Dr. Tedros Adhanom Ghebreyesus to discuss global health emergencies in Ukraine and Afghanistan, WHO’s work in humanitarian emergencies, and the U.S. government’s prioritization of and USAID’s commitment to a zero-tolerance stance on sexual exploitation and abuse.

The Davos Agenda by World Economic Forum

Prioritizing Workplace Mental Health

Punit Renjen, Global Chief Executive Officer, Deloitte, USA; International Business Council Garen K. Staglin, Chairman and Co-Founder, One Mind, USA

Miranda Wolpert, Head, Mental Health Priority Area, Wellcome Trust, United Kingdom

Moderated by Sir Philip Campbell, Editor-in-Chief, Springer Nature, United Kingdom

2017. Pesticides being stored adjacent to a contractor’s camp. Bulgan Province, Mongolia. by R6, State & Private Forestry, Forest Health Protection

Pesticides being stored adjacent to a contractor’s camp. Bulgan Province, Mongolia.

Photo and caption provided by forest entomologist Karen Ripley. In June, 2017, she made a rapid assessment of Mongolia’s forest health surveys, site prioritization, and pest control activities that protect its forests from native defoliating insects. This evaluation was sponsored by the United Nations’ Reducing Emissions from Deforestation and Degradation program.

Photo by: Karen Ripley

Date: June 10, 2017

For more about Forest Health Protection's International Activities see: www.fs.usda.gov/wps/portal/fsinternet/cs/main/!ut/p/z1/04...

Image provided by USDA Forest Service, Region 6, State and Private Forestry, Forest Health Protection: www.fs.usda.gov/main/r6/forest-grasslandhealth

FP - 7 by Musfirah Zainurin

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A closer look on my final piece painting in real life.

Description:

Component 2 Final Piece –

“Why?”

At first glance, it would look like two princesses in fancy dresses and jewellery, posing for a decent photograph. But at a closer look, this painting has a few deep meanings behind it, where the painting prioritizes three meanings symbolized by the gestures and stains of blood; the sad expression of their faces and their eyes, representing sadness and regret, their hands gripping tightly onto each other, representing hope and struggle, and the blood stains on Princess Anastasia of Russia’s dress and Empress Elisabeth of Bavaria’s corset, representing the history of their murders itself.

The title “Why?” summarizes the whole meaning of the painting, where the princesses, bound unknown to their fate, with a million questions on their minds only visible through their teary eyes and painfully sad expressions.

The strong grip of their hands together symbolizes their struggles as the princesses went through their depressing journeys of pressure and tears, leading to the blood stains on their corset and dress, showing the history of their murder, where Anastasia was executed with her family with her body parts dismembered, along with her family’s, showing the large amount of blood stains on her dress, while Empress Elisabeth was murdered with a direct stab to her heart by an Italian man who only had the reason of “doing the deed” or need to kill a royal family.

Another meaning, however is shown also from the grip of their hands; bond. They are both princesses, both ending in cruel fate and both showing regret as I had visualised them. Anastasia did not get to spend any more time with her sisters, mother or literally an older figure of a woman, while Empress Elisabeth never got to spend time with her children, whom some had lost their lives earlier than she had.

The feeling of regret brought tears to their eyes, for their fate, loss of time, and history led to a million questions starting with “why?” on their face expressions, supported by the strong grip of struggle, a bit of hope and bond. I have also concentrated on the details of this painting, including the jewellery, the crowns and the veil, showing themselves as indeed, the royal-blooded princesses from two different countries, sharing the same bond of fate.

The faint shades of golden yellow on their dresses also symbolises their shining figure as royalty, and I have chosen her coronation dress for Empress Elisabeth because all of her depressing journey to her end began right after the coronation and wedding day, and a court gown for Princess Anastasia, for which both symbolizes the purity and innocence of the two.

The dark black with faint golden background also represents engulfing darkness into their lives, even with only a little bit of happiness they had experienced, it had slowly faded along into the overall misty, uncomfortable dark aura that had surrounded and destroyed their lives.

Contemporary Istanbul art fair ice magazine Social Art and Its Contemporary Dynamics Is Istanbul a Laboratory documenta Kassel sculpture Guardians of Time by Manfred Kielnhofer by Manfred Kielnhofer

ice magazine

Contemporary Istanbul art fair 2013

Guardians of Time by Manfred Kielnhofer page 41-45

Toplumsal Sanat ve Güncel Dinamikleri

İstanbul bir Laboratuvar mı?

Hasan Bülent Kahraman

Social Art and

Its Contemporary Dynamics

Is Istanbul a Laboratory?

Hasan Bülent Kahraman

The transition from the twentieth to twenty-first century did not only

refer

to a temporal continuity and it wasn't happening by nature. Continuity

of time was going to bring us to the twenty-first century anyway. On the

other hand, the twenty-first century was also bringing us to the concept

of "millennium," which had an importance in Western metaphysics.

Since human relationships are based on transforming nature on a cultural

platform through intellectual effort, and humanity struggles to overcome

and restrain the nature on these levels, the twentieth century gives way to

the twenty-first century on the verge to a profound intellectual break.

During the transition to the twenty-first century, the most important issue

was the great criticism against the idea of modernity and the grand split

it undergoes. During the twentieth century, using different methods, all

nations agreed on the notion of modernization that was in some sense

developed as the homogenization of humanity and can be summarized

as installing Western metaphysics into 'outsider' societies but the result

was the same: a systematic formation that prioritizes and is led by the

government. This transformation would be based on two big pillars:

refusal of the past, along with the complete cultural baggage if necessary,

and the reconstruction of the subjects, the human beings towards the

guidance of the government.

This method, which can be described as the abolition of the subject,

made it natural for the great totalitarian regimes to appear. The twentieth

century means millions of people abolished by those regimes.

During the evolution towards the twenty-first century, the first

protestations were against the hegemony of the radical rationality

that had built this system. Because, post-Weber bureaucracy with a

government and organon was the concentration point of rationality. In

the end, the Cartesian radical rationality was the imprisonment of human

consciousness in the human consciousness itself. With this appreciation,

science as a tool to control nature had turned into a superior category

that left no space for the subjectivity of the individual.

The re-emergence of the subject, and its desire to bring forward the sum

of values hidden inside it is a problem of identity. Of course, politics of

memory and space can be added to that. The Proust-esque memory as

'remembering today' and the coincidences and spontaneities that makes

it work was replaced by a remembering policy that offered multiple

choices and multiple consciousnesses. A Bergsonian integrity of time

was no longer needed either.

Within this new appreciation, subjects were the individuals who would

build their own existence with their own willpower.

Such an assent did not only drive back the notion of state, but it also

brought forward the notion of publicum, the sense of community. This

innovation begins with the replacement of the notion of society with

societies. We can also call these communities. Once the communities

emerged, spatial politics changed firstly. The vertical depth of the space

that contained the homogeneous and uniform humans now was going

to be replaced with a horizontal span that meant varieties living together.

These varieties living together in a narrow area without conflicting but

"rubbing" to each other created the new forms of social space.

On the other hand the space the communities have been created is now

only topological, it's not a notion that directly belongs to the "ground."

The twenty-first century has unexpectedly found itself in an almost scary

virtuality with the innovations electronic media has created. The "crowd"

Plato heavily criticized in the context of "theatricality" in his last

dialogue

Nomo, is not only in the amphitheatre or agora anymore. It is everywhere.

Furthermore, what's produced now is not "common thoughts" anymore;

it is the "uncommon" thoughts.

What does art represent in this structure?

The answer is hidden in two points. First, this stadium is a matter

of democracy. A pluralist democracy that is based on varieties and

nourished by interaction is not a utopia but a reality for the twenty-first

century. Secondly, if we can talk about this kind of democracy, then the

relationship between art and community will also turn into another phase.

The new phase of the relationship between art and community makes

the visibility of art inevitable. As a form of production that is pluralist

and based on varieties, art is the reference point of this new sense

of community. This new sense of community cannot evolve naturally

by itself. It needs to important devices to align and direct. Intellectual

production and its alignments and directions are the constative powers of

artistic expression. The new democracy has to be inspired by democratic

theory and though on every step. Similarly the dynamic and constantly

changing texture of art is necessary for the formation of an astatic

democratic platform. This pursuit emerging within the new urban texture

is a matter in itself.

The new global capital is building new cities. This is a new urban texture

that allows the inner movement and liquidity of the capital. The most

important aspect of the new city is that it is gentrified. This is not a

choice

but a need in terms of the new capital, because the new city is also the

realization of a certain aesthetic visuality.

Performing gentrification through new artistic institutions is a wise

choice.

The income produced by new museums, art spaces and galleries is a

planned and systematic application. This means that art creates a new

policy of circulation on the grounds of the city. This art that meets the

expectations of upper classes still has its own critical, social identity.

More importantly, art should interrelate with large communities. That

kind of art will have the real critical power. That kind of art is a field

of

resistance itself. With this aspect, it is sure that the relationship

between

art and community will appear as opposition and resistance. A "real"

democracy is only real as long as it gives the opportunity to oppose

and resist. This is why the relationship between art and community is a

necessity and expectation today, more than ever.

Having the characteristics of a metropolis in any aspect, Istanbul

is an important laboratory in this sense. The capital it attracts, the

transformation it undergoes, and finally the artistic activity and

production

articulated to these turns Istanbul into a new focal point that needs to

be observed in a new way. It is sure that we are witnessing a phase that

the relations between capital and politics are turning into the relations

between capital and art. But the real question is, within the

gentrification

it undergoes, how much place Istanbul will give to artistic discourse. Will

this art form a platform of resistance in the social grounds that remains

from the transformation areas with a global architectural language; or

will those "new" areas actually open a door for the pluralist, variable,

provocative art?

A city, which has never been close to the language of social art in any

way, even today, is going to determine its character as much as it

answers these questions while it globalizes.

icemagazine.contemporaryistanbul.com/files/document/ice-1...

contemporaryistanbul.com

kundtundhandel.com

licht-*christoph*.at

kielnhofer.com

Toplumsal Sanat ve Güncel Dinamikleri

İstanbul bir Laboratuvar mı?

Hasan Bülent Kahraman

20. yüzyıldan 21. yüzyıla geçiş sadece zamansal bir sürekliliğe işaret

etmiyor ve bir doğallıkla gerçekleşmiyordu. Zamanın kendi sürekliliği doğal

olarak bizi 21. yüzyıla taşıyacaktı. Kaldı ki, 21. yüzyıl aynı zamanda Batı

metafiziğinde çok önemli bir yeri olan "bin yıl" kavramına da açılıyordu.

İnsan ilişkileri doğallığın kültürel bir platformda ve zihinsel çabalarla

dönüştürülmesine dayandığından ve bütün insanlık çabası o doğallığı bu

düzlemlerde aşmak, hatta dizginlemek olduğundan 20. yüzyıl yerini 21.

yüzyıla çok derin bir düşünsel kırılmanın eşiğinde bıraktı.

21. yüzyıla girilirken en önemli olgu modernite düşüncesinin aldığı

büyük eleştiri ve yaşadığı büyük parçalanmaydı. Bir manada insanlığı

homojenleştirme olarak geliştirilmiş ve Batı metafiziğinin "dışarıdaki"

toplumlara yerleştirilmesi olarak özetlenebilecek bu modernleşme

anlayışını, her ulus 20. yüzyıl boyunca belki farklı yöntemlerle kabul etti

ama sonuç aynıydı: devlet öncelikli ve devlet önderliğinde sistematik bir

dönüşüm. Bu dönüşüm iki büyük taşıyıcı üstüne oturacaktı: geçmişin,

gerekirse bütün kültürel bagajla birlikte reddi ve öznenin yani insan

tekinin

devletin güdümü doğrultusunda yeniden kurgulanması.

Öznenin ortadan kaldırılması olarak da adlandırılabilecek bu metot

büyük totaliter rejimlerin çıkmasını doğallaştırıyordu. 20. yüzyıl o

rejimler

tarafından ortadan kaldırılmış milyonlarca insan demektir.

21. yüzyıla evrilirken ilk itiraz bu sistematiği kuran radikal

rasyonalitenin

hegemonyasına yönelikti. Çünkü, Weber sonrasında devlet ve organon'u

olan bürokrasi rasyonalitenin temerküz noktasıydı. Descartesçı radikal

rasyonalite son kertede insan bilincinin, gene insan bilincine tutsak

edilmesiydi. Doğayı kontrol aracı olarak öne çıkan bilim bu anlayışta

bireyin öznelliğine yer bırakmayan bir üst kategoriye dönüşmüştü.

Öznenin yeniden ortaya çıkması ve kendisinde saklı olan değerler

bütününü öne almak istemesi bir kimlik problemidir. Buna elbette hafıza

ve mekan politikaları eklenebilir. "Bugünde hatırlamak" olan Proustgil

hafıza ve onun işlemesine olanak sağlayan tesadüfler, kendiliğindenlikler,

yeni anlayışta çok seçmeci ve çok bilinçli bir anımsama politikasıyla terk

ediliyordu. Artık Bergsoncu bir zaman bütünlüğüne de gerek yoktu.

Özne kendi varlığını kendi iradesiyle kuracak kişiydi yeni algı içinde.

Böyle bir kabul sadece devlet kavramının hızla geri itilmesine yol açmakla

kalmadı. Publicum yani toplumsallık (Türkçedeki yanlış çevirisiyle

'kamusallık') olgusunu da yeniden öne itti. Bu yenilenme daha önceki

anlayışta tek olan toplum/kamu kavramının yerini toplumlar kavramına

bırakmasıyla başlar. toplumlar dediğimiz şeye topluluklar (communities)

demek de mümkündür. Topluluklar bir kere ortaya çıktı mı ilk elde mekan

politikaları değişecekti. Mekanın homojen ve üniform insanı barındıran

dikey derinliği şimdi yerini farklılıkların bir arada bulunması anlamına

gelen

bir yatay genişliğe bırakacaktı. Dar bir alanda birbiriyle çatışmayan ama

birbiriyle "sürtünen", öylelikle de etkileşen farklılıkların bir arada

bulunması

toplumsal alanın yeni formlarını meydana getiriyor şimdi.

Buna mukabil toplumsalın oluştuğu mekan artık sadece topolojik,

doğrudan doğruya "yere"/zemine ait bir olgu değil. 21. yüzyıl hiç

beklemediği bir şekilde kendisini elektronik medyanın sağladığı

yeniliklerle

birlikte neredeyse ürküntü veren bir sanallık içinde buldu. Plato'nun

"tiyatrosallık" bağlamında, son diyaloğu Nomo'ide şiddetle eleştirdiği

"güruh" şimdi sadece amfitiyatroda veya agora'da değil. Her yerde.

Sadece tiyatroya gidenler arasında değil iletişim ve ortak düşünce

oluşturma yetisi. Her yerde. Üstelik üretilen artık "ortak düşünce" değil

"ortak olmayan" düşüncelerdir.

Böyle bir yapı içinde sanat ne ifade eder?

Sorunun cevabı iki noktada gizli. Birincisi, bu stadium demokrasiyle

ilgili bir meseledir. Çoğulcu, farklılıklara dayalı, karşılıklı

etkileşimlerden

beslenen bir demokrasi 21. yüzyılın ütopyası değil realitesidir. İkincisi,

eğer böyle bir demokratik durumdan söz açılabiliyorsa, o takdirde, sanat-

toplumsallık ilişkisi de yeni bir evreye geçecektir.

Sanat-toplumsallık ilişkisinin yeni evresi sanatın görünürlüğünü

kaçınılmazlaştırıyor. Kendisi çoğulcu, kendi içinde farklılığa dayalı bir

üretim olan sanat, bu özellikleriyle, yeni toplumsallığın nirengi

noktasıdır.

Yeni toplumsallık kendi kendine, doğal bir şekilde gelişemez. İki önemli

hiza ve istikamet aracına ihtiyaç duyar. Zihinsel üretim ve ona bağlı

düzeltmeler, yol göstermelerle sanatsal ifadenin saptayıcı gücü. Yani, yeni

demokrasi her aşamada demokratik kuram ve düşünceden bazı esinler

almak zorundadır. Aynı şekilde sanatın dinamik ve sürekli değişen dokusu

statik olmayan bir demokratik platformun oluşması bakımından zaruridir.

Böyle bir arayışın yeni kentsel doku içinde can bulması başlı başına bir

konu olacaktır.

Yeni ve küresel sermaye yeni kentler inşa ediyor. Sermayenin iç hareketini

sağlayacak, akışkanlığını sürekli kılacak bir yeni kentsel dokudur bu.

Yeni kentin en önemli özelliği mutenalaşmasıdır. Bu bir tercih değil yeni

sermaye bakımından ihtiyaçtır. Çünkü, yeni kent aynı zamanda belli bir

estetik görselliğin realizasyonudur.

Mutenalaşmanın yeni sanatsal kurumlar üstünden yapılması akıllıca bir

iştir. Yeni müzelerin, yeni sanat kurumlarının, galerilerin meydana

getirdiği

alanların ürettiği rant planlı ve sistematik bir uygulamadır. Bu sanatın

kentsel zeminde yeni bir dolaşım politikası yaratmasına tekabül ediyor.

Daha üst sınıfların ve daha güçlü sermaye kesiminin beklentilerine yanıt

veren bu sanat her şeye rağmen kendisine ait bir eleştirel, toplumsal

kimliğe sahiptir.

Ama ondan daha önemlisi sanatın geniş toplumsallıklarla ilişki kurmasıdır.

Asıl eleştirel güç o sanattın elinde olacaktır. Bu özelliği taşıyan sanatın

kendisi bir direniş alanıdır. Böylesi bir özelliğiyle sanat ve toplumsallık

ilişkisinin muhalefet ve direniş olarak belireceği muhakkak. "Gerçek" bir

demokrasi de muhalefet ve direniş olanağı sağladığı ölçüde hakikattir.

Bu bakımdan sanatın toplumsallıkla/kamusallıkla ilişkisi bugün her

zamankinden daha ziyade bir ihtiyaç, bir zaruret ve bir beklentidir.

Yeni metropol özelliklerini her bakımdan taşıyan İstanbul bu açıdan

önemli bir laboratuvar bugün. Bir yandan çektiği sermaye, diğer yandan

yaşadığı dönüşüm, nihayet bunlarla eklemlenmiş sanatsal etkinlik ve

üretim İstanbul'u ayrı bir gözle bakılması gereken bir odağa dönüştürüyor.

Sermaye siyaset ilişkilerinin şimdi sermaye-sanat ilişkilerine dönüştüğü

bir evreye tanıklık ettiğimiz muhakkak. Ama asıl soru yaşadığı soylulaşma

içinde İstanbul'un kentsel mekan olarak ne ölçüde sanatsal söyleme

yer vereceğidir. Küresel bir mimarlık dilinin öne çıktığı büyük dönüşüm

alanlarından arta kalan toplumsal zeminde mi bu sanat bir direniş

platformu oluşturacaktır; yoksa bizatihi o "yeni" mekanlar da çoğulcu,

değişken, tahrik eden bir sanata kapı aralayacak mıdır?

Hiçbir biçimde, bugün dahi, toplumsal sanat diline ve gerçeğine yakın

durmamış, onu tanımamış bir kent, küreselleşirken bu soruları cevapladığı

oranda karakterini tayin edecektir.

1 february 2018 by EAF-Nansen Programme

Kick-off and release!

After a short 'cheat-survey' between Cape Town and Durban, the official start of the 2018 research expeditions with Dr. Fridtjof Nansen was marked with a grand reception in Durban, South Africa. The event took place onboard Dr Fridtjof Nansen on the 26th of January, and discussed the current situation of local and international fisheries, and the importance of multi-disciplinary research and cross-boundary partnerships in addressing pressing challenges such as marine pollution and climate change.

On the guest list were a number of prominent guests including Senzeni Zokwana, the South African Minister of Agriculture, Fisheries and Forestry, and Trine Skymoen, the Norwegian Ambassador to South Africa. The visitors were given a guided tour of the technologically advanced research vessel.

The most important guests who were welcomed onboard Dr. Fridtjof Nansen that day however, were probably five young Leatherback turtles (Caretta caretta). The turtles were found stranded 18 months ago and have since been in recovery with the uShaka Sea World's conservation team. They were now declared sufficiently rehabilitated to be released back into the ocean, and as the research expedition's first planned transect line was in an area deemed suitable for release, the turtles were left in the care of the onboard scientific team.

After 15 hours of overnight steaming the release point was finally reached. With both scientists and crew present to cheer them on, the turtles were lowered one by one into the sea in a basket from the trawl deck. Free and back in their natural environment, they immediately dived down and disappeared into the blue. Having completed the days most important task of giving five little turtles another chance at life, we're now hard at work collecting equally important multi-disciplinary data to better understand the biodiversity and oceanic conditions in the environment in which these five wonderful creatures will continue living their life.

Haddy Racks Prioritizes Child Visitation in “My Lil Man” Visual (@HaddyRacks) by 24K Mixtapes

via Tumblr ift.tt/2kC9S5M

The Davos Agenda by World Economic Forum

Prioritizing Workplace Mental Health

Punit Renjen, Global Chief Executive Officer, Deloitte, USA; International Business Council Garen K. Staglin, Chairman and Co-Founder, One Mind, USA

Miranda Wolpert, Head, Mental Health Priority Area, Wellcome Trust, United Kingdom

Moderated by Sir Philip Campbell, Editor-in-Chief, Springer Nature, United Kingdom

step forward #takeonestepatatime #moveforward #prioritize #handmadeinspain #slacklondon #chelseaboots #black #bordeaux (139,-€ only from 239,-€; sizes 37.5, 39.5, 40 & 41) #bonnemaison #france #kneehigh #lifestyle #fashionstyle #fashionblogger #fashionist by schuhbar berlin

FDD_6440 by FDD

2

August 20, 2019 - Washington, DC, USA: Foundation for Defense of Democracies (FDD), Ruthless Prioritization: The Army’s Realization of the National Defense Strategy – A Conversation with Acting Secretary Ryan D. McCarthy, Photo by Daniel Ackerman / © FDD

A View from the Top: Leaders Prioritizing People, Policy, and Potential by Milken Institute

1

Chip Bergh

President and CEO, Levi Strauss & Co.

210205-F-GK203-236 by Hanscom Air Force Base

Officials from the 66 MDS continue to vaccinate personnel deemed eligible by the Department of Defense prioritization schema while vaccine supplies last.

The Face of the Republican Party: When asked about Trump cabinet members named in the Epstein files, Press Secretary Karoline Leavitt dodged the question and touted the Dow surpassing 50,000. by outtacontext

2 2

Authoritarian leaders can’t implement their control plans without assistance from others. The same rule applies to Donald Trump and his MAGA movement. His most public-facing “helper” in his effort to bypass our Constitution is his press secretary, Karoline Leavitt. She promotes Trump’s agenda and spreads his lies to the media every week. Leavitt is his most valuable tool.

What motivates someone to conspire to overthrow a 250-year-old democracy? For some, like Trump, who grew up in a household where personal ambitions were prioritized over the common good, everything centers around him, and he has no hesitation in stating so. I’m not qualified to psychoanalyze him. But it doesn’t take a psychiatrist to see that power and control are his main rewards. For others like Steve Bannon and the Heritage Foundation’s president and author of the controversial Project 2025, Kevin Roberts, it’s about remaking this country to combat threats they see from what they call the “radical left.” Then there’s Stephen Miller, who believes empathy is a weakness. He’s simply evil. Each person involved in this game uses others to achieve their aims, and all of them share many of the same traits.

So, what drives Karoline Leavitt to spread Trump’s lies? First, let’s examine the role of the press secretary across different administrations. Their job is to promote the president’s narrative, and that narrative often takes precedence over accuracy. It’s about putting a positive spin on publicly available facts and protecting the president from political damage. Most importantly, it’s about discrediting any criticism. In Trump’s world, criticism isn’t seen as a factual challenge; instead, it’s viewed as an attack from the President’s enemies. Loyalty is crucial.

By repeating Trump’s talking points verbatim and treating them as moral mandates, Leavitt shows her loyalty. She doesn’t think she’s lying. Her personal style favors populist nationalism, anti-establishment views, and a confrontational stance toward the mainstream media. In her first briefing as Press Secretary, she said, “We know for a fact there have been lies that have been pushed by many legacy media outlets in this country about this president, about his family, and we will not accept that. We will call you out when we feel that your reporting is wrong or there is misinformation about this White House. I will hold myself to the truth, and I expect everyone in this room to do the same.” As we’ve learned over the past decade, MAGA’s truth is a matter of personal opinion.

When Trump told Bloomberg Reporter Catherine Lucey to be “quiet, quiet, piggy” after she asked him about the Epstein files, Leavitt stood at her podium and declared matter-of-factly, "Look, the president is very frank & honest with everyone in this room," she said. "You've all seen it yourselves. You've all experienced it yourselves. And I think it's one of the many reasons the American people reelected this president, because of his frankness." Only someone who truly believes in Donald Trump’s mission could make a statement like that.

This is why Karoline Leavitt is Donald Trump’s most beloved cheerleader.

Feel free to pass this poster on. It's free to download here (click on the down arrow just to the lower right of the image). Each has a special Creative Commons copyright that allows you to share these images as long as there is attribution, no derivatives, and you do not use these for commercial purposes.

See the rest of the images from the Chamomile Tea Party! Digital high-resolution downloads are free here (click the down arrow on the lower right side of the image). Other options are available. And join our Facebook group.

Follow the history of our country's political intransigence from 2010 to 2020 through a eight-part exhibit of these posters on Google Arts & Culture.

[INFOGRAPHIC] The anatomy of a landing page by TCS TECHNews

If you knew that a good landing page could increase conversions by up to 300%, you’d stop directing people to the homepage and drive them towards targeted content. This infographic will help you to put together the perfect landing page – from tips on message prioritization to CTAs – that’ll foste...

telcellservice.com/infographic-anatomy-landing-page/

Starmap ~ Intersun by -- Prokhor Zakharov -

3

A map of habitable systems in Intersun.

To see the system in detail, drag mouse over it, and select link in note.

Star systems without notes are Work in Progress. If you want it prioritized, tell me.

UPDATED.

A View from the Top: Leaders Prioritizing People, Policy, and Potential by Milken Institute

Sara Eisen

News Anchor, CNBC

Chip Bergh

President and CEO, Levi Strauss & Co.

by E.B. Photography❤

2 12

*THIS IS JUST TODAY'S PLACEHOLDER! I really need to prioritize, schools starting soon, and I find myself glued to Flickr after I upload something. SO I'm going to tone it down a little, but I'm still doing my 365, don't worry.

I recycled this: I had it in my stream when I first joined Flickr, but deleted it because it was really ugly and saturated and sharpened HAHAHA -_- so I re-edited it and reuploaded it.

Oh yeah. This might be deleted soon, especially if nobody likes it hahaha :P

My Public Lands Roadtrip: A Day in the Life of an NMAC Rep John Glenn by Bureau of Land Management

Did you know?

The National Multi Agency Coordination Group (NMAC), through intergovernmental coordination, provides national wildland fire operations direction, prioritization, allocation and oversight.

NMAC Roles/ Responsibilities include:

-Establishes national priorities among the Geographic Areas (GAs).

-Directs, allocates or reallocates resources among or between GAs to meet national priorities.

-Attempts to anticipate and identify future national fire management resource requirements.

-Provides oversight of general business practices between NMAC and the Geographic Multi-Agency Coordination (GMAC) groups.

-Distributes and archives NMAC decisions, direction and best management practices.

-Provides an NMAC member as the media spokesperson assisting NIFC External Affairs for issues of national importance (as requested).

-Serves as liaison to a specified GAs including: Rocky Mountain, California, Great Basin, Northern Rockies, Northwest and Alaska, Southern Area.

A View from the Top: Leaders Prioritizing People, Policy, and Potential by Milken Institute

Sara Eisen

News Anchor, CNBC

Climate Action Validation Workshop by Alliance of Bioversity International and CIAT

CSAIP Validation Workshop - Follows the inception and prioritization workshops held in May 2022 to prioritize 8 investment areas cutting across the fisheries, aquaculture and blue economy, livestock, crop, and cooperative sectors. The main objective of the validation workshop was to present the methodology, results, review and validate the findings to inform the final report. November 22nd, 2022.

Please credit accordingly and leave a comment when you use a CIAT photo.

For more info: alliance-comms@cgiar.org

A View from the Top: Leaders Prioritizing People, Policy, and Potential by Milken Institute

Sara Eisen

News Anchor, CNBC

"The key is not to prioritize what's on your schedule, but to schedule your priorities." -Steven Covey by Royan Kamyar

via Instagram ift.tt/1WZ2v5p

Villagers crowdfund for clean water by UNDP Eurasia

Slobozia Mare, Moldova

Ecaterina Chiciuc, 60, has been carrying water to her house from a well in her neighbourhood since she got married at 20.

In Slobozia Mare, residents and migrants abroad gradually joined forces to form a Home Town Association, now an officially registered NGO. Over 200,000 people from 5 cities and 18 villages in Moldova have benefited from the Migration and Local Development project, implemented by UNDP in Moldova with funding from the Swiss Agency for Development and Cooperation. The project aims to improve local infrastructure and living conditions. It brings together residents and migrants of villages to prioritize the main issues facing their communities, and helps connect them to municipalities and international donors to help them solve the issues. Nearly US$800,000 has been invested so far. Out of this amount, approximately $118,000 represent crowdfunding efforts by Moldovan migrants living abroad. Another $214,000 were provided by local authorities and $460,000 by the Swiss Agency for Development and Cooperation.

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