View allAll Photos Tagged Understanding
While financial inclusion and financial deepening can promote economic growth and contribute significantly to denting poverty and inequality that is rampant in the region, there are also concerns that it could aggravate systemic risk and financial instability. Various dimensions of financial inclusion will be explored in this day and a half research workshop hosted by the Institute for Emerging Market Studies (IEMS) at the Hong Kong University of Science and Technology and co-sponsored by Centre on Asia and Globalisation (CAG), at the Lee Kuan Yew School of Public Policy (LKYSPP), National University of Singapore (NUS).
More about the event at iems.ust.hk/events/event/understanding-financial-inclusio...
Assistant for Understanding Data Through Reasoning Extraction and sYnthesis or AUDREY. Artificial intelligence supporting paramedic decision making. This trial was held in Belleville, Ontarion from June 25 to 27, 2019.
While financial inclusion and financial deepening can promote economic growth and contribute significantly to denting poverty and inequality that is rampant in the region, there are also concerns that it could aggravate systemic risk and financial instability. Various dimensions of financial inclusion will be explored in this day and a half research workshop hosted by the Institute for Emerging Market Studies (IEMS) at the Hong Kong University of Science and Technology and co-sponsored by Centre on Asia and Globalisation (CAG), at the Lee Kuan Yew School of Public Policy (LKYSPP), National University of Singapore (NUS).
More about the event at iems.ust.hk/events/event/understanding-financial-inclusio...
Photo shows D.Psych student Lidija Balaz with Dr Mitchell Byrne. The two have presented at the Aspect’s Autism in Education Conference.
Photo shows D.Psych student Lidija Balaz with Dr Mitchell Byrne. The two have presented at the Aspect’s Autism in Education Conference.
Understanding the Essence of Flowers - Exploring Pollen 12-14th
June, 2013, Helsinki
Photo: Tommi Taipale
Side event at the fifth Global Meeting of the Mountain Partnership: “Understanding landscape and watershed management in mountains ”, 17.30-19.30, 12 December 2017, FAO HQ. During the side event, the new FAO publication “Watershed Management in Action” was launched.
The fifth Global Meeting of the Mountain Partnership – with its theme “Mountains under pressure: climate, hunger, migration” – was held at FAO headquarters in Rome, Italy, on 11-13 December 2017.
Photo credit must be given: ©FAO/Roberto Cenciarelli. Editorial use only. Copyright ©FAO
Cape Town, South Africa. July 2012.
South Africa hosted the second global Understanding Risk (UR) Forum in Cape Town from July 2-6, 2012. The Forum convened more than 500 thought leaders and decision-makers from 86 countries to exchange knowledge and share best practice in disaster risk assessment.
Photo: World Bank
Taking a workshop on understanding poverty for work..........very interesting......I am getting a better understanding of the behaviors of the children I work with.........the book is.......a framework for Understanding Poverty by Ruby K. Payne, Ph.D........good reading!!
John Biglin in a Single Scull - 1874
Artist: Thomas Eakins (American, 1844–1916)
In the 1870s, Thomas Eakins drew upon his firsthand knowledge of the popular sport of rowing and his scientific understanding of anatomy, motion, and reflections on water to create a series of rowing pictures. This one features John Biglin, the champion of single sculls, as he practices for a race. Like a figure carved in relief, Biglin displays powerful muscularity in the sculptural roundness of his arms and shoulders. Other details, including the light wear on the wooden thole pin that provides a fulcrum for the oar, are rendered with Eakins’s characteristic precision.
--------------------------------
Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
.
artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
_______________________________________
Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
.
It’s the elevation of marital selfishness, a totally evil atrocity, and an extremely serious sin against God. Your adultery will scar your kids for life, much more than the rocky road to divorce, that may eventually break them.
A lifelong laborious action, adultery insults and disowns...
propheticmeaning.com/index.php/2017/11/12/understanding-t...
From left to right:
Judith Hermanson, PADF Deputy Executive Director and Chief Operating Officer
Albert R. Ramdin, OAS Assistant Secretary General
Andrés González Díaz, Ambassador, Permanent Representative of Colombia to the OAS
Date: January 30, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Cape Town, South Africa. July 2012.
South Africa hosted the second global Understanding Risk (UR) Forum in Cape Town from July 2-6, 2012. The Forum convened more than 500 thought leaders and decision-makers from 86 countries to exchange knowledge and share best practice in disaster risk assessment.
Photo: World Bank
www.realinstitutoelcano.org/wps/portal/web/rielcano_es/ac...
Madrid, 2 de julio de 2015. Conferencia pública con expertos internacionales sobre Rusia, el régimen de Vladimir Putin y los retos socioeconómicos del país. Organización: CIDOB, Real Instituto Elcano y Fiedrich Ebert Stiftung, con la colaboración de Europe for Citizens.
Share on:
It’s that time of the month again. You know the drill: Cravings. Aches and pains. Mood swings. Laziness. And your favorite jeans just won’t button—again. You know they fit last week. Yes, it is possible and totally normal to put on a few extra pounds this time of...
-------------------------------------------
★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
The ACU Respect residential school took place from 18-21 December 2017 at Heriot-Watt University Malaysia.
Building on the ACU's Respect campaign, the residential school brought together 30 student leaders from over 20 Commonwealth countries, to help them develop tools to promote and support respect and understanding in their institutions and beyond.
Read more here: www.acu.ac.uk/events/residential-school-2017/
The ACU Respect residential school took place from 18-21 December 2017 at Heriot-Watt University Malaysia.
Building on the ACU's Respect campaign, the residential school brought together 30 student leaders from over 20 Commonwealth countries, to help them develop tools to promote and support respect and understanding in their institutions and beyond.
Read more here: www.acu.ac.uk/events/residential-school-2017/
Understanding the academic and social needs of English Language Learners was the topic of a break-out session at the 2018 Diversity in Education conference.
Better data is becoming available on economic activity within countries, often much exceeding the available information of economic activity across countries. This creates new research opportunities for testing economic theory, analyzing market structures and the sources of market segmentation, and making predictions of how economic shocks propagate across space. The aim of this conference is to bring together researchers from urban economics, industrial organization, health economics, and international trade to study production and trade within and across countries.
While financial inclusion and financial deepening can promote economic growth and contribute significantly to denting poverty and inequality that is rampant in the region, there are also concerns that it could aggravate systemic risk and financial instability. Various dimensions of financial inclusion will be explored in this day and a half research workshop hosted by the Institute for Emerging Market Studies (IEMS) at the Hong Kong University of Science and Technology and co-sponsored by Centre on Asia and Globalisation (CAG), at the Lee Kuan Yew School of Public Policy (LKYSPP), National University of Singapore (NUS).
More about the event at iems.ust.hk/events/event/understanding-financial-inclusio...
Japan is what we would call a "high-context culture" in many, if not all,
ways. This sort of character design would, in my opinion, symbolize
something childish if it were in the United States. If it were used to
make a fence, for example, that fence would enclose a place such as a
kindergarten or a park. In this photo one can easily see why context is
extremely important to life in Japan where, in this example, the cute, pink
bunny does not indicate a place to play in, but rather blocks pedestrians
from entering a construction site.
The rock cycle is a simplified explanation of the how rocks form and is a good beginning in helping to teach children about the earth's mineral resources.
Story :
Value in box : $100.00
Other : She doesn't have her original clothes.
I don't sell my dolls. Thank you for your understanding !!!
Don't repost without my permission ☠
All rights reserved ©
4:20 pm - 5:10 pm
Greenwald Pavilion
Evelyn Farkas, Kori Schake, Thomas Wright
Moderator: Jeffrey Goldberg
Property of the Aspen Institute / Photo Credit: Riccardo Savi