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Understanding the mind through psychology
Image source: ipac5.wordpress.com/2010/10/29/more-happiness-bang-for-yo...
Wien am 14. Januar 2019, Außenministerin karin_kneissl und WKÖ Präsident Harald Mahrer unterzeichnen heute ein Memorandum of Understanding mit den Wirtschaftskammern der Länder Südosteuropas.Ziel ist die Stärkung regionaler Kooperation auf wirtschaftlicher Ebene, insb. im Bereich duale Berufsbildung.
Foto: Mahmoud
MACROECONOMICS
A better understanding of how the economy works in general is crucial for established businesses, start-ups and students of economics. This 3-panel (6-page) guide, jam-packed with up-to-date information, examines macroeconomics in great detail. Definitions and formulas are featured, and full-color tables and charts make the subject come alive! Macroeconomics
I identified this program is actual excellent for instructing how to listen to native speakers of American English. I talk Spanish and this program actually has aided me and my loved ones v.gd/IXXBe1
Understanding the Essence of Flowers - Exploring Pollen 12-14th
June, 2013, Helsinki
Photo: Tommi Taipale
AHF's Latino Outreach & Understanding Division (LOUD) hosted their 3rd annual SOMOS Gala to commemorate National Hispanic Heritage Month on Saturday October 21st at the iconic Fontainebleau Hotel in Miami Beach, Florida. The formal gala dinner and ceremony honored the contributions of both individuals, organizations, and Celebrity honoree Olga Tañon for their contribution to the advancement and well-being of Latino communities in the United States and Puerto Rico.
Ravi Velloor, Associate Editor, Straits Times, Singapore capture during the session: Understanding Asia’s New Balance of Power at the World Economic Forum on ASEAN 2018 in Ha Noi, Viet Nam, September 12, 2018
Copyright by World Economic Forum / Sikarin Thanachaiary
Carolina Patino
Loos Museum, based on analysis of the Muller House. Carolina's project is an elaborate game of observed and observing circulations, in which each person has to solve the puzzle of the house in order to access priviledged viewing spaces.
The Delegation of the European Union to the United States in cooperation with the Association of European Rail Industry (UNIFE) hosted a ceremony and reception celebrating the signature of a Memorandum of Understanding between UNIFE and the American Public Transportation Association (APTA) at the EU Delegation Headquarters on November 5, 2013 in Washington, D.C.
(Photo by www.MomentaCreative.com)
Understanding the generic definition of painting as a coloured drawing, digital painting in contrast to all form of traditional painting can be characterized in two singular aspects. The first one, taken from the model of indirect method, establishes a particular process of additive and subtractive relationships through the superimposition and interaction of multiple layers subject not only to the phenomena of reflected light, such is the case of traditional veil painting, but also projected light. On the other hand, the aleatoric nature of digital process involves by definition, the use of second generation image. This fusion of a pictorial work through a concept of indirect method and graphic work through the use of second generation images opens a new field of visual exploration where its versatility has predetermined in the last decades, a creative pool of exponential growth.
The images above illustrate a basic methodology of how to begin understanding the fundamentals of digital painting as an image building process. In its initial phase, the artist has created a series of mixed media drawings on polycarbonate film specially formulated to be receptive to a wide range of drawing materials such as: graphite, charcoal, prisma color, rubbing ink, India ink, Tusche ink, litho crayon and any form of pigment and vehicle which reacts to the hydroscopic qualities inherent to the granulation of the mentioned substrate.
The monochromatic images or original drawings on the top left have been divided in two genres. The first two columns are washes where depending on the viscosity of its vehicle, the pigment will reticulate in different patterns. From the old traditions of continuous tone lithography, Tusche ink (high density pigment ink) has been the trademark of many artists in how to achieve various forms of textures and tectonic qualities. The same way we can observe above, the difference between a lacquer thinner wash and turpentine wash with alcohol applications. In contrast, the right hand columns exemplify subtractive techniques with charcoal drawing and #1-#7calibrated litho crayon halftone drawing.
In the lower portion, we observe the same drawings which have been digitalized in quadtone modality where the artist assigns to each channel a specific chromatic and tonal value. Understanding the nature of digital work with millions of colours the possibilities are infinite. In order to schematize the process, the artist divides tonal scale in four areas, shadows or low tones, lower halftones, higher halftones and highlights. By curvature effect each tonal area of the image is assigned to a specific value. In this preliminary stage of digital colorations, the artist’s decisions are somehow predetermined by the additive and subtractive relationships which will take place later on.
The final image on the right hand side or B.A.T., abbreviation taken from the French expression: “bon-à-tirer” meaning: “right to print” is an example when all four drawings have been superimposed and interacted by layers. The multiple relationships of layer interaction which can be established in addition to the use of mask, filters and tonal modulation constitutes the true potential creativity inherent to the use of second generation images.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some Background:
During November 1981, Kawasaki was selected as the main contractor to design and manufacture a suitable trainer aircraft to meet the needs of Japan's MT-X program, having beaten out rival bids from Mitsubishi and Fuji. The MT-X program had been launched to procure a replacement for the aging Lockheed T-33 and Fuji T-1 jet trainer aircraft then in service in the Japan Air Self Defense Force (JASDF). Furthermore, there was also a desire for the prospective trainer aircraft to take over some of the syllabus that was being handled by the contemporary Mitsubishi T-2, a supersonic trainer variant of the Mitsubishi F-1 fighter aircraft. The initial program planned for a production run of 220 aircraft and an entry into service date of 1988.
The type had to demonstrate a range of transonic aerodynamic effects, as well as achieving a high level of maneuverability, a relatively low operating cost, and high reliability levels. Easy handling was also required so that trainees could convert from the piston-engine Fuji T-3 after accumulating only 70 flying hours. Furthermore, the economics for operating the type was to be comparable to the leading international competitors at that time.
The design had to incorporate other political desires as well. There was a great value placed upon powering the type with the first all-Japanese production turbofan engine, the Ishikawajima-Harima F3-IHI-30. Reportedly, the selection of a twin-engine configuration for the trainer was one of the easiest decisions taken, being made not just for engine power but from a high priority being placed upon safety. A robust, damage-tolerant, and long-lived structure was also specified for the trainer; to achieve this, it was decided to make limited use of composite materials in the form of carbon fiber and kevlar in areas such as the nose tip and elements of the rear wing, tail unit, and undercarriage. Extensive use of computer-aided design (CAD) and computer-aided manufacturing (CAM) techniques was also applied.
Out of these efforts emerged the T-4, a clean-sheet indigenously developed trainer aircraft. According to aerospace publication Flight International, it was considered plausible for the T-4 to have been a competitive product upon the global trainer aircraft market if it had been priced appropriately, but such export opportunities were denied by a long-standing Japanese policy that prevented any military export sales. As such, there was no realistic prospect of the type being sold to overseas customers and it was from the start developed with the understanding that the T-4 would be used only by the JASDF.
On 29 July 1985, the prototype for the type, designated as the XT-4, performed its maiden flight. On 28 June 1988, the first production T-4 conducted its first flight; deliveries to the JASDF began in September of that year. Manufacture of the T-4 was performed by a consortium consisting of Mitsubishi, Fuji, and Kawasaki, the latter providing leadership over the venture. Originally, an eight-year production run was planned for, but production was resumed in the late Nineties for a dedicated attack variant of the T-4, the Kawasaki A-2.
The A-2 had its roots in the Japanese FS-X program that eventually spawned the Mitsubishi F-2 multirole fighter, the result of lengthy and tedious negotiations between Japan and the USA that had started in 1984. The F-2 was derived from the General Dynamics F-16 Fighting Falcon, with a 60/40 split in manufacturing between Japan and the United States. The basis of the F-2's design was the F-16 “Agile Falcon”, an unsuccessful offer by General Dynamics to provide a low-cost alternative for the Advanced Tactical Fighter (ATF) competition that eventually yielded the USAF’s F-22.
F-2 production started in 1996 and the first aircraft entered service in 2000, even though production numbers remained low and in 2008 only the 76th of 98 planned production aircraft had entered service. The F-2 was to replace Japan’s first indigenous supersonic fighter aircraft, the F-1, and Japan’s aging F-4EJ fleet in the strike role. However, the F-2’s concept and the F-1 retirement left the JASDF with a tactical gap in the homeland defense: a sturdy and relatively light and economical strike aircraft that would primarily operate at low altitude and over home terrain, to support ground forces, fend off potential landing troops and attack naval targets relatively close to the coastline. Taking out small, moving ground targets with precision ammunition and engaging enemy helicopters and low-flying aircraft were also included into the aircraft’s requirements.
Again, Japan decided to go its own way and develop an indigenous solution, called the LA-X program, tailored to domestic needs. To save development time and money (and learning from previous projects that had taken much longer than expected to materialize), the existing Kawasaki T-4 airframe was chosen as development basis in 1993. What spoke for the T-4 was its sturdy, damage-tolerant structure, ease of maintenance and the existence of a complete infrastructure within the JASDF. The T-4’s production line at Kawasaki's plant in Gifu was also still fully available, and it was assumed that the first production aircraft would arrive at JASDF units from 1998 on.
To create a true attack aircraft from the two-seat trainer, considerable modifications had to be made. The most obvious and dramatic change was a completely new front section with an armored cockpit for just a single pilot and the integration of an internal gun. The nose was lowered and wedge-shaped to improve the pilot’s field of view, which also sat further forward now. This was further improved by unusually deep side windows that greatly enhanced the pilot's field of view downwards. To generate space for new/additional equipment in the nose tip (see below) the new twin wheel front landing gear now retracted backwards. The cockpit glazing consisted of flat, armored panels and gave the aircraft a rather brutish look, reminiscent of the Soviet Suchoj Su-25 “Frogfoot”. Additional composite armor material was integrated into the lower fuselage to protect the cockpit, the engines and other vital components placed between them. The odd new cockpit arrangement quickly earned the aircraft the nickname 'Sasori' (Scorpion Fish, which was never officially adopted but frequently used in public media and even in military circles.
Under the nose tip was a small turret with a laser rangefinder/target designator for precision ammunitions, Mk82 and M117 smart bombs outfitted with the indigenous GCS-1 IR seeker head could be deployed, too.
While the aircraft did not feature a search radar with a classic radome in the nose to keep the pilot's field if view free, an avionics pallet with a relatively simple J/AWG-12 radar could be mounted in the electronics bay behind the cockpit, and using one of the MFDs in the cockpit to show the radar's readings. However, under the nose and behind the small laser sensor turret, a flat doppler radar scanner was installed to enhance low-level operations and navigation. To make the optional J/AWG-12 operational, though, a small radome had to be carried in an external pod, normally on one of the stations under the air intakes. This gave the LA-X high operational flexibility and even a limited all-weather capability. The radar also enabled the aircraft deploy the indigenous Type 80 and Type 93 (also known as ASM-1 and -2, respectively) air-to-ground missiles, primarily against naval targets but also capable of engaging land targets.
In the lower hull, mounted into the right side of the landing gear well, a 25mm Oerlikon KBA autocannon was integrated, a potent weapon that was already in use by the JGSDF and mounted to some light armored vehicles. The Oerlikon KBA was a positively locked, gas-operated cannon with a rotating bolt head and a dual-belt selective feed system. The nominal rate of fire in burst mode was 600 rpm but it could be adjusted electronically and reduced from single shots through four-round bursts to a selectable automatic fire range between 175 to 300 rounds per minute. For the LA-X it was rigged to a new lightweight mount, which itself was fixed to a service pallet that could be lowered for easy field maintenance. Ammunition was carried in two containers that held up 150 rounds each and could be quickly exchanged, reducing turnaround time, too. Due to its firepower, its range of available ammunition types and an "Instant Ammunition Selection Device" (IASD), which allowed the gunner to easily switch between armor-piercing and high-explosive rounds from the two feeds, the KBA cannon could effectively engage a wide range of targets, including lightly armored vehicles, infantry, anti-tank positions, helicopters, combat aircraft and even ships.
Other visible differences from the T-4 were enlarged leading edge extensions at the wing roots that improved the aircraft’s low-speed handling, and small wing fences. Not visible were several reinforcements to fuselage, landing gear and the wings, so that the aircraft could better cope with the raised overall weight and the expected rigid maneuvers at low altitude while maintaining the T-4’s service life expectancy of 7.500 flying hours. The number of hardpoints was raised from five to nine – an additional pair of pylons was added to the wing tips for defensive air-to-air missiles like the AIM-9 Sidewinder or the indigenous AAM-3/Type 90 missile. Another pair of hardpoints was added underneath the air intakes, even though these could only hold light loads of up to 500 lb (227 kg) each and were primarily intended to carry external sensor pods like an LANTIRN system for all-weather capabilities or ECM pods. However, single Mk. 82 bombs or LAU-7 pods with unguided 70 mm rockets could be carried on them, too.
With a raised ordnance load of 3,000 kg (6,614 lb) and the changes to the airframe, the LA-X’s maximum TOW was raised from 7.500 kg (16,535 lb) to 10.000 kg (22.026 lb). This was compensated for through uprated Ishikawajima-Harima F3-400-I turbofan engines, a development of the T-4’s F3-IHI-30 engines. The F3-400-I featured an upgraded high-pressure turbine and an improved FADEC, which delivered 25% more thrust and could theoretically even be outfitted with an afterburner, even though this was not intended for the LA-X. Overall performance, except for the initial rate of climb, did not change much, though.
Despite its T-4 ancestry, the LA-X received a separate JASDF service designation and became the A-2.
The overall development lasted – notwithstanding the attempt to speed the process up – for almost ten years, though. The first serial production A-2s were delivered in late 2002 and gradually replaced the last operational Mitsubishi F-1 fighter bombers in JASDF service until 2006. A total of 64 machines were ordered and produced; the final batch of eight factory-new A-2s was delivered until 2008, and the machines were allocated to two wings, based in Southern and Northern Japan, the JASDF's 308th and 309th hikotai, respectively.
General characteristics:
Crew: 1
Length: 12,02 m (39 ft 4 1/2 in) hull only
12,95 m (42 ft 5 in) overall
Wingspan: 9.94 m (32 ft 7 in),
10,15 m (33 ft 3 in) with wing tip missile launch rails
Height: 4.75 m (15 ft 6 3/4 in)
Wing area: 22.00 m² (223.75 sq ft)
Aspect ratio: 4.7:1
Empty weight: 4.100 kg (9,030 lb)
Max takeoff weight: 10.000 kg (22,025 lb)
Fuel capacity: 2,241 L (493 imp gal; 592 US gal) internal fuel
Powerplant:
2× Ishikawajima-Harima F3-400-I turbofans, with 20,5 kN (4,610 lbf) thrust each
Performance:
Maximum speed: 1.102 km/h (684 mph, 599 kn) at sea level
Stall speed: 160 km/h (99 mph, 87 kn)
Range: 1,668 km (1,036 mi, 901 nmi) with two 450 L (99 imp gal; 120 US gal) drop tanks
Service ceiling: 15,240 m (50,000 ft)
Rate of climb: 70 m/s (13,760 ft/min)
Armament
1× internal 25mm Oerlikon KBA autocannon with a total of 300 rounds in two magazines
9× hardpoints (2 on wingtips, 4 underwing, 3 under the fuselage) with a total external ordnance
capacity of 3,000 kg (6,614 lb), including guided and unguided missiles and bombs, drop tanks,
ECM and sensor pods, practice bombs, or target towing equipment
The kit and its assembly:
In the past, I have converted a number of Kawasaki T-4s into fictional Saab Sk 90 trainers, even though these were primarily cosmetic and not structural mods. When I recently finished a Hungarian Sk 90 in a soviet-style sand/green livery, it struck me that the T-4’s outlines resemble those of the (bigger) Suchoj Su-25’s a lot. From this inspiration the idea of a single-seater attack variant of the T-4 for the JASDF, maybe as a simpler/modest replacement for the indigenous F-1 for 2000 onward, was born.
Adapting the two-seater to the attack role required a new cockpit section, and I went for a thorough conversion: instead of simply making it a single seater from OOB parts (like the Mitsubishi F-1 with a faired-over rear cockpit) I transplanted the front section from a Eurocopter PAH-1 Tiger, with its short nose, the whole front cockpit and the flat panel canopy. It turned out to be a little wider than the T-4 fuselage, but the area behind the new cockpit had to be sculpted with 2C putty, anyway, so I wrapped this filler section around the whole hull, smoothing out the transitional area. The result looks pretty brutal, though!
Due to the modified cockpit position the front landing gear well was modified (effectively reversed) and a sturdier front wheel strut with twin wheels was installed.
The rest of the hull as well as the wing surfaces were taken OOB. Bigger LERXs and small wing fences were sculpted from 0.5mm styrene sheet. Missile launch rails from an Italeri BAe Hawk were added and blended into the rounded original wing tips, too, as well as an additional pair of underwing pylons and hardpoints under the fuselage and the air intakes.
The ordnance, consisting of a pair of ASM-1 missiles as well as four IR-guided Mk. 82 bombs on twin racks and a pair of AAM-3 missiles on the wing tips came from a Hasegawa 1:72 JASDF weapon set. A small LANTIRN pod was scratched from a piece of sprue and mounted to one of the hardpoints under the air intakes.
Painting and markings:
Finding a suitable yet somewhat authentic livery for the A-2 was not easy. I initially favored a bronze green/dark earth “tiger stripe” livery with additional black contrast lines, similar to the JASDF AH-1s, but eventually rejected that because it would IMHO not work well on a fast aircraft that would also operate a lot over naval terrain.
After some search I settled on a rather fragmented (but quite attractive) “Lizard/Europe One” camouflage variant, carried by Japanese C-130s, consisting of FS 34092, 34102 and 36118, with uniform grey undersides. For the model I used Humbrol 149, 117 and 125, respectively. The enamel paints turned partyl out to be of dubious Chinese production (both green tones), so that the paint finish did not turn out as good as expected - too much paint ended up on the model to make the paint coats truly opaque. Later post-shading with slightly lighter tones, after a black ink washing, mended the issue a little, but unfortunately the overall paint quality is rather poor. Hrmpf. :-(
The cockpit tub was painted in anthracite (Revell 06), while the air intakes and the landing gear and its respective wells were painted in glossy white - very conservative. The Japanese Sidewinders and the ASM-1s became medium grey, while the IR-guided bombs received blue training bodies (instead of "hot" iron bombs in olive drab) as a nice color detail.
Decals/markings mostly came from the T-4's OOB sheet, and as a final step the model was sealed with matt acrylic varnish what somewhat improved the poor paint finish, too - but's still not what I expected to achieve.
Even though primarily onle the nose was changed this conversion made the stubby T-4 look like a very much different aircraft - and it inspires many associations, including Su-25 and Yak-130 elements, you can see a gekko and even a scorpion fish in it (what eventually earned it its nichname ;-)). While the paint finish is not as convincing as hoped for I think the overall impression of a JASDF attack aircraft is certainly there, the A-2 looks quite plausible (and ugly, too!).
How I wish I knew the Buddhist mythological stories.. Would help immensely in interpreting these astounding paintings that fill color and life to Ladakh's monasteries.
What is going on in this picture ? Help anyone ? C'mon, all you Ladakh regulars on flickr - help. :)
This event brought together a panel of three leading economists—Thomas Piketty, Kevin Murphy, and Steven Durlauf—to discuss the sources of the rise in inequality in advanced industrialized countries over the past 40 years, the problems it poses, and effective responses. Nobel laureate James Heckman moderated the panel and guided the discussion.
This event was cosponsored by the Becker Friedman Institute, the Harris School of Public Policy, the Human Capital and Economic Opportunity Global Working Group, and the Center for the Economics of Human Development.
- See more at: bfi.uchicago.edu/events/understanding-inequality-and-what...
136th Airlift Wing Airmen and their families took part in KUDOS, Kids Understanding Deployment Operations, a mock deployment event that helps children understand deployments and the 136AW mission, Naval Air Station Fort Worth Joint Reserve Base, Texas, Sept. 10, 2016. The event was sponsored by the Carswell Family Guardians.
My monument started with the intention of remembering the lives of the neurodivergent people across time -- in the past, the present, and the future. That brought in the symbolic shape (the sine-cosine wavy shape that represents 'seeing' the world differently when the 'light' reflects our eyes) in the first place.
However, the more I worked on the project, the more I felt that the "emphasis" on the shape and the word "neurodivergent or neurodiversity" might separate people into groups. At this point, I struggled to find my stance/ground between all the intertwined relationships and connections between propaganda, politics, arts, communication, education, slogans, instruction, and others -- in terms of "monument" or being monumental.
By definition, neurodiversity is for everyone and 'is' every human and every cognition. By definition, neurodiversity draws on the spectrum of human cognition, including those with clinical diagnosis/labels, such as ADHD, Tourettes, ASD, and dyslexia, and those without clinical labels, celebrating the diversity of human cognition and brains. However, this understanding is not widespread yet in the world. The word 'neurodiversity,' in this contemporary era/time, seems to be used to "help" a group of people -- and when done legally and for paperwork, it is conducive, but in everyday lives, I am not sure. (It is kind of a similar discussion for the label dyslexia -- many people in the neurodiversity communities prefer to use words like 'holistic thinkers' and '3D thinkers' for everyday life (not legal/paperwork) when possible.)
Therefore, after experiencing the sense of unsatisfaction from where I was heading for the first half of the project, I decided to add the idea of 'the foundation of human existence' and 'widening focal points, rather than emphasizing the shape solely.' As a result of contemplation on three main ideas (1. breathing as anchoring, 2. the birth string on one arm, 3. monument in Greece), a vivid image of the performance came out with the essences from all of these three ideas without making things complicated and too much.
I see the performing part as part of, not the whole of, my monumental sculpture.
During the critic, I did not receive feedback from my classmates. I received questions from them. Expressing something about ontology or the foundation of human existence always brings in the sense of abstractness in art -- at least for me. So they asked questions about the meanings of each piece of my performance. The questions were about the 'objects' used in the performance rather than what I did during the performance. At that point, my subconscious or unconscious started to worry that maybe this was an indication that I did not consider who the audience members would be when planning the performance. I saw this performing -- extended -- self of the monument is between performance art and theater art; so, being away from theatrical art which carefully investigates the target audience and its intended impact on the audience, I did not really put my time in who the audience would be and their possible awareness level(?) of neurodiversity and human existence related thoughts.
Materiality and Moment. The in-between of these was what I was experimenting with by extending the life of my sculpture by adding the performing part.
What surprised me was my inner response after the performance. I started to feel awful. I think that my knowledge of that quite a lot of the students at this college does not know what neurodiversity is has been suppressed by my conscious self, but during and/or after the performance, I felt like I was facing this knowledge right in front of me. This brought up all the traumatic memories that I have silenced for my entire life regarding being dyslexic/neurodivergent. At this line of thought chain, I thought, "the word traumatic is so cliche these days." And my stronger/future-oriented self said that, as an artist working between performance art and sculpture, I should be able to channel these feelings in the process of art-making.
For this project, I channeled it during the performance, especially when anchoring in existence (between time-space) by breathing, but I do think that channeling all these "lived experiences" during the art-making processes will 1000000000000999999999222888333377744422% enhance my artworks and the artistic endeavors and processes.
(About two weeks ago, I was questioning "lived experience vs. art," and it is interesting this question and this writing come together just perfectly like this.)
Contextualizing this part in terms of my learning in the course, I think the sculpture-making process, for me, is weaving the threads of 'thinking through making -- embodied cognition' and 're-living experiences, blooming lived experience.' Seeing and touching the symbolic magenta shape (sine-cosine shape) visually has immensely helped me safely, effectively, and creatively arrive at recognizing lived experiences in the world and within myself.
Also, during the critic, Professor Lee shared her feedback that she would have added more visual cues/clues about the symbolic shape (sine-cosine shape) on my clothes or mask. When I first heard that during the critic, it enhanced my thought processes of the audience's eyes and the performance space. What if I came closer to them? What if I instructed them to sit more closely with one another so that the overall angles are not too spread out? What if?
I personally did not want to add more shapes (the symbolic shape), so I kept thinking about the dim lighting, the far distance between myself and the audience, and the audience seat.
Professor did share similar thoughts about one or two weeks ago, such as drawing the shape on the mask. However, I decided not to include that because I did not want to visually force the viewers to see the shape during the transient performance, which is about every human existence, rather than one "archetypal" neurodiverse individual. Also, I would display the sculpture after the performance, which the audience can come closer and see and observe.
For the performance aspect of my monument sculpture, I wanted to convey (in my own way, which people sometimes verbally described as abstract, depending on their viewpoints) the feeling of the very foundational image of existence as well as the feeling of 'being.' In this sense, the ontological justification of self-advocacy is the same for every single person, regardless of having a clinical label or diagnosis or being neurodivergent. Through this window of contemplation, I wanted to show the similar-ness between all existing humans while giving an indirect clue about the performer (neurodivergent individual) having their own way of experiencing its existence through space and time by "growing" the shape biologically and "breathing" the shape every day.
On May, 2023, Argonne opened its doors to thousands, showcasing its wide-ranging research to people of all ages with interactive games, hands-on science activities, and tours of one-of-a-kind research facilities.
This photo was taken during a tour of the Learning Center inside the Educational Programs Department at Argonne.
The Open House offered visitors nearly 100 inspiring activities and tours spanning four science themes: Creating the Tools of Science, Improving Public and Personal Health, Saving the Planet, and Understanding the Universe.
To find out more, visit this article - Thousands celebrate Argonne’s transformational science at Open House »
Also, visit our Open House hub page - Open House highlights »
The Pan American Health Organization (PAHO) and Special Olympics today signed a memorandum of understanding aimed at increasing access to quality health care for people with intellectual disabilities.
Under the agreement, the organizations will collaborate to train health workers, educate policymakers, create partnerships, disseminate information, and mobilize some 365,000 athletes and partners in the Special Olympics movement in Latin America.
PAHO/WHO Director Dr. Carissa F. Etienne said “By making health care more inclusive for people with intellectual disabilities in the Americas, this collaboration with Special Olympics will reduce inequalities in health systems throughout the region. To achieve universal health coverage, PAHO must collaborate with health authorities, specialized agencies, academic institutions, the private sector, and civil society organizations to provide better health care for people with these disabilities.”
Special Olympics Chairman of the Board Timothy P. Shriver, PhD, said “The structural barriers, stigma, and outright discrimination people with intellectual disabilities ID face to access health care services is unacceptable. Collaborating with PAHO/WHO will break down barriers to health care for the most marginalized people in the Americas. This collaboration between PAHO/WHO and Special Olympics will make health truly inclusive for people with ID, and will bring this historically marginalized population into health systems designed to serve them.”
The memorandum of understanding signed by Dr. Shriver and Dr. Etienne sets objectives that focus on strengthening health systems to serve all people with ID, including athletes competing at Special Olympics events, and includes a specific objective to promote the participation and empowerment of people with ID to become self-advocates and leaders in this regional movement. This partnership will directly support PAHO’s Action Plan on Disabilities and Rehabilitation, which aims to improve access to health services for people with disabilities.
More than one billion people in the world live with some form of disability, according to the World Health Organization’s (WHO) 2011 World Report on Disability. Some 30 countries of the Americas have ratified the United Nations Convention on the Rights of Persons with Disabilities, which affirms that all persons with all types of disabilities must enjoy all human rights and fundamental freedoms.
However, people with ID still face enormous stigma, discrimination, and exclusion, and they are often an invisible population whose worth is unknown to governments, influencers, and society at large. Despite severe need and higher health risks, people with ID are often denied basic health care and services and are frequently among the most vulnerable populations in any country.
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Fire watch refers to manually monitoring property that is at risk of experiencing fire incidents. The fire watch guard is required to ensure that should such an event occur, all the interested parties and relevant authorities are notified. Fire watch is closely controlled by Chapter 15 of the National Fire Protection Association regulations. Here is more on the specific requirements stipulated for property owners and fire watch services alike.
1. Monitoring of Automatic Systems
One of the most important fire watch requirements revolves around ensuring that property is secured with automated monitoring systems. This includes things like smoke detectors, fire alarms, and automatic fire extinguishing sprinklers.
As a property owner, manager or even renter, you have to regularly inspect these to ensure that they are in good condition. The number of times or regularity with which you have the inspections performed is determined by jurisdictional legislation. However, the more often you have them checked the better.
2. Active Watch if Systems Are Down for More Than 4 Hours
According to the National Fire Protection Association, a manual fire watch should be instituted if automated watch systems are determined to have failed for more than 4 hours. This could be anything from failed alarms to clogged piping in the sprinkler system.
As you plan to have the systems back up and running, you are required to have acting fire watching round the clock. This ensures that should anything happen while the repairs are being done, a fire will not catch residents unaware.
3. Continuous Patrol and Inspection for Signs of Fire
Another one of the most serious fire watch requirements is that those involved in the fire watch must run continuous patrols. It could be that you get a group together to do it or you decided to go the professional route and hire a fire watch company.
Whatever the case, the National Fire Protection Association requires that the patrols be maintained until the other systems are completely repaired. The aim is to look for any warning signs of fire whether it is smoke, smoldering materials, or straight up fire.
This requirement is particularly important to implement on what the association refers to as hot sites. These are properties that, either due to their location or nature of activities performed there, are at higher risk of suffering fire incidents. Factories are the best example here. With these, the continuous patrol of every square foot of the property is paramount.
4. Must Remain in Effect Until Automatic Systems are Restored
Finally, the National Fire Protection Association requires that the patrols be maintained until all the automated systems are fully restored. It doesn’t matter whether it takes hours or weeks to do this. Once proper authorities have done their inspection of the systems and certified them as functional, you are free to call off the constant watch if you wish to.
Conclusion
After all is said and done, fire watchers are a real investment to any property. It doesn’t matter whether you are running a hot site at risk of fire or your automated systems happened to have failed. It is important to understand and comply with the regulations and fire watch requirements according to the National Fire Protection Association. This helps you stay on the right side of the law while also protecting your investment and saving lives.
20 May 2021, Rome, Italy - Virtual Signing ceremony of the Memorandum of Understanding (MoU) between FAO and Apimondia. FAO Director-General QU Dongyu; Jeff Pettis, Apimondia.
Photo credit must be given: ©FAO. Editorial use only. Copyright ©FAO.
Participants / The Dream Rocket Project Project
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★What IS THE INTERNATIONAL FIBER COLLABORATIVE?
As the leading voice for collaborative public art projects around the world, the International Fiber Collaborative is dedicated to promoting understanding and appreciation of contemporary art & craft through educational experiences. We are committed to developing vital education programs that elevate, expand, modernize and enhance the image of collaboration and education today.
★WHAT IS THE DREAM ROCKET PROJECT?
The Dream Rocket Team is collecting nearly 8,000 artworks from participants around the globe. The artwork will be assembled together to create a massive cover in which will wrap a 37 story Saturn V Moon Rocket at the U.S. Space & Rocket Center in Huntsville, Alabama. We will also be displaying submitted artwork in dozens of national venues prior to the wrapping of the Saturn V. Additionally, we are posting images of submitted artwork & their stories on our Website, Flickr, and Facebook.The Dream Rocket project uses the Saturn V Moon Rocket as a symbolism of universal values of the human spirit. Optimism, hope,
caring for our natural resources, scientific exploration, and harnessing technological advancements for a better quality of life while safeguarding our communities, are all common desires across national and international boundaries. Participants are able to express and learn about these values through this creative collaboration. With the completion of each artwork, participants are asked to write an essay explaining their artwork, and the dream theme in which they chose.
★How can I Participate & Have my Artwork Displayed?
The Dream Rocket project would like to challenge you to ‘Dare to Dream’. To dream about your future and the future of our world through dream themes such as health, community, conservation, science, technology, space, peace, and so on. We would like you to use your selected Dream Theme to express, explore, and create your vision on your section of the wrap. We hope that you are able to express and learn through this creative collaboration. With the completion of each artwork, you are asked to write a brief essay explaining your artwork, and the dream theme in which you chose.
“The Saturn V is the ideal icon to represent a big dream. This rocket was designed and built as a collaboration of nearly half-a-million people and allowed our human species to venture beyond our world and stand on ANOTHER - SURELY one of the biggest dreams of all time. ENABLING THE DREAMS of young people to touch this mighty rocket sends a powerful message in conjunction with creating an educational curriculum to engage students to embrace the power of learning through many important subjects”
-Neil deGrasse Tyson, Director of the Hayden Planetarium, New York
★I VALUE THE ARTS!!!!
The International Fiber Collaborative is able to share the power of a collaboration and art, thanks to the support of generous individual donors. We welcome any amount of donations and remember the International Fiber Collaborative is exempt under Section 501(c)(3) of the Internal Revenue Code, making this gift tax deductible.
Donate Today at: www.thedreamrocket.com/support-the-dream-rocket
See our Online Flickr Photo Album at: www.flickr.com/photos/thedreamrocket/
★★★SIGN UP AT WWW.THEDREAMROCKET.COM
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