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The Autonomy Approach presents an important departure from the theoretical discussions which underpin the majority of work on learner autonomy. It introduces a practical perspective to self-directed language learning (teachable-learnable activities rooted in principles of learning), which draws on aspects of study skills and strategies as well as a variety of approaches, namely differentiated, individualised, self-directed, self-access and open-access learning.
With the autonomy approach, emphasis is placed on the support offered to learners within the classroom to help them effectively self-direct their own learning, beyond the classroom. The authors examine and explain the theory behind metacognitive knowledge and skills (the roots of successful learning-related endeavours), and support this with an extensive sequence of activities for the teacher and the learner to use – to help learners take the development of their language learning into their own hands. The activities in this book aim not to teach a language but rather, are focused on establishing within learners an awareness of the principle components involved in learning an additional language. These activities are meant to encourage learners (and teachers) to share, select and try out new ways of learning and to reflect on the effectiveness of what they have tried. Finally, the activities are suitable for developing a comprehensive self-directed language learning syllabus or for supplementing an existing course.
Men dressed in traditional clothing from Bolivia's eastern province play music in Santa Cruz, Bolivia, Friday, Dec. 14, 2007, in support of a hunger strike by people in favor of an "autonomy statute" for the eastern opposition stronghold of Santa Cruz. Local leaders say they'll seek a state referendum in coming months to approve it. (AP Photo/Dado Galdieri)
River Landscape with Ferry - 1649
Salomon van Ruysdael
Dutch, c. 1602 - 1670
Salomon van Ruysdael’s masterful River Landscape with Ferry has a visual force that reflects the sense of pride the Dutch felt at the time of the signing of the Treaty of Münster in 1648, which gave full autonomy to the Dutch Republic. After war of independence from Spanish rule that lasted eighty years, the Dutch set out to explore the myriad visual delights of the prosperous country that they could finally claim as their own. Many went east, along the Rhine River, to see historic cities such as Nijmegen and Rhenen that had played significant roles in the formation of the Republic. Ruysdael may have traveled along these same routes, but no drawings from his hand survive to document any such journey. The large crenulated castle in this painting is a fanciful construct, but it is reminiscent of fortresslike structures situated along the Rhine in the eastern region of the Netherlands.
Ruysdael painted River Landscape with Ferry in 1649 when the full scope of his artistic personality had come to maturity. The work is imposing in scale and visually compelling, both for its harmonious composition and for the rich variety of its pictorial elements. It has wonderful atmospheric qualities, subtle reflections in the water, and delightful figures crowded into the ferryboat. The large clump of trees centers the composition and provides a sturdy framework for the animals and humans activating the scene. Ruysdael also effectively used these trees to open the sense of space, for not only does the ferryboat pass before them, but wagons loaded with passengers also travel the track behind them.
With the outbreak of World War II in the Netherlands, art dealer Jacques Goudstikker fled Amsterdam with his wife and son in May 1940, but he died in an accident on board the ship carrying him and his family to safety. He left behind most of his gallery's stock of paintings, and the Goudstikker collection, including this work by Ruysdael, was confiscated by the Nazis and delivered to Reichsmarschall Hermann Göring later that year. The Allied forces recovered the painting at the end of the war, and it was returned to the State of the Netherlands in 1948. The painting was on view in the Rijksmuseum, Amsterdam, from 1960 until 2006, at which time the heirs of Jacques Goudstikker reclaimed the collection from the Dutch government and received the restituted paintings. The National Gallery of Art acquired River Landscape with Ferry when a number of Goudstikker paintings subsequently reentered the art market.
The Haarlem landscapist Salomon van Ruysdael, who was born in Naarden, was the youngest of four sons and one daughter born to Jacob Jansz de Gooyer, a Mennonite joiner from Blaricum. After his father’s death in 1616, Salomon and two of his brothers, Isaack and Jacob, changed the family name to Van Ruysdael after the country estate ‘Ruysdael’ (or Ruisschendaal) near Blaricum.[1] Salomon, along with his brother Isaack and his nephew Ruisdael, Jacob van,[2] established themselves as artists in Haarlem, while Pieter, the only brother to keep the De Gooyer name, settled in Alkmaar as a cloth merchant. Jacob Jacobsz continued his father’s cabinet-making business in Naarden. Salomon married Maycke Willemsdr Buyse sometime before 1627; the couple had four children, one of whom, Jacob Salomonsz (1629/1630–1681), also became a painter.
Although Salomon van Ruysdael’s training is unknown, his early paintings were influenced by Velde, Esaias van de, I, who worked in Haarlem from 1609 to 1618. Ruysdael joined the Saint Luke’s Guild in 1623, and not long thereafter produced his earliest dated painting, from 1626.[3] As early as 1628 he was already praised for his abilities as a landscapist by the Haarlem chronicler Samuel Ampzing.[4] In 1637 Hendrick Pietersz de Hont became his apprentice, and Cornelis Decker is mentioned as a pupil in 1646.[5] Ruysdael may also have been responsible for the training of his son and his nephew. He remained active in the guild throughout his career, serving as a vinder in 1647, a deken the following year, and a vinder again in 1669. Later in his life, he became involved with civic affairs, serving as district master on the Kleine Houtstraat from 1659 to 1666.
Aside from being a painter, Ruysdael was also involved with several other activities during his career. He dealt in blue dye for Haarlem’s bleacheries and was a member of the Guild of Cloth Merchants from 1658 to 1670. A document from 1657 also mentions him as being a participant in a tanning mill in Gorinchem. Furthermore, as Houbraken chronicles, Ruysdael even invented a process for creating imitation marble.[6] Such varied activities, in addition to his career as an artist, brought him considerable wealth; he owned several houses in Haarlem throughout his lifetime.
Like his father, Ruysdael was a Mennonite, and in 1669 he was listed among the members of the United Mennonite Church of Haarlem when he was living on the Kleine Houtrstraat.[7] His faith prohibited him from bearing arms, and as a result he had to pay an annual fee to be excused from his civic guard duty.
Although Ruysdael lived and worked in Haarlem throughout his life, his paintings, which depict views of various cities, including Alkmaar, Arnhem, Dordrecht, Leiden, Nijmegen, Rhenen, and Utrecht, suggest that he made several trips throughout the Netherlands. Along with Molijn, Pieter and Goyen, Jan van, Ruysdael became one of the leading landscape painters of his generation, ushering in the remarkable “tonal” landscapes that are the hallmark of early Dutch realism. He often depicted river views, in which light and atmosphere pervade the scene. His paintings of the 1640s helped lay the foundation for the “classical” period of Dutch landscape painting that followed, led by a generation of artists that included his nephew Jacob van Ruisdael, Hobbema, Meindert, and Cuyp, Aelbert. Aside from his river views and landscapes, Ruysdael also painted seascapes and still lifes. He died on November 3, 1670, and was buried in Haarlem’s Saint Bavo’s Church.
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For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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Portrait Lighting, Had a white backdrop with the light pointing at it, cool looking shot imo. (Maybe I've could of balanced out the right side of light but it's still cool)
Matthew Morris presents his talk entitled, "Identity and Autonomy: The Future of Autonomous Transportation."
Matthew Morris presents his talk entitled, "Identity and Autonomy: The Future of Autonomous Transportation."
181215-N-PO203-0274 HONOLULU, Hawaii (Dec. 15, 2018) Team Bumblebee from the National University of Singapore maneuvers through the course during the finals of the Office of Naval Research (ONR)-sponsored Maritime RobotX Challenge in Honolulu, Hawaii. Team Bumblebee, one five teams made up of competitors from the United States, Australia and Asia competing in the finals, finished in first place. Organized by RoboNation and Navatek, RobotX is designed to foster student interest in autonomous robotic systems operating in the maritime domain, with an emphasis on the science and engineering of cooperative autonomy. (U.S. Navy photo by John F. Williams/Released)
The Function of Automation & Autonomy in Unmanned Systems Panel:
Chad Hawthrone, Principal Investigator and Autonomy Researcher of Johns Hopkins University Applied Physics Laboratory
Frank Kelley, Deputy Assistant Secretary of the Navy for Unmanned Systems (DASN U/S) of the U.S. Navy
Jean Charles Ledé, Program Manager, Tactical Technology Office of the Defense Advanced Research Project Agency (DARPA)
Corey Schumacher, Lead Integration Engineer for Autonomy for Loyal Wingman (ALW) of the U.S. Air Force
Moderator: Chris Pehrson, Vice President, Strategic Development of General Atomics Aeronautical Systems, Inc.
The Function of Automation & Autonomy in Unmanned Systems Panel:
Chad Hawthrone, Principal Investigator and Autonomy Researcher of Johns Hopkins University Applied Physics Laboratory
Frank Kelley, Deputy Assistant Secretary of the Navy for Unmanned Systems (DASN U/S) of the U.S. Navy
Jean Charles Ledé, Program Manager, Tactical Technology Office of the Defense Advanced Research Project Agency (DARPA)
Corey Schumacher, Lead Integration Engineer for Autonomy for Loyal Wingman (ALW) of the U.S. Air Force
Moderator: Chris Pehrson, Vice President, Strategic Development of General Atomics Aeronautical Systems, Inc.
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imposed by the parent parties on the left student organtzg,tions is a big impediment in adopting common. principJed pos~ions on .
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pofitical issues and waging aunited student movement. .
DSF feels that in order to build a powerful and united student movement in India, the autonomy of the student movement has to be .
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restored. DSF has resolutely pursued its pol~ical autonomy when it formed an aUiance with 5 Left parties from different parts of the .
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country, as an equal partner and not as anybody's student front. This autonomy has helped the DSF in adopting forthrl;Jht political .
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positions and forging broad amances YtM different progressive, democratic and leftorganisations. .
In contrast, the SFIIeadership was forced to boycott the student convention held in Kolkata's Presidency University in May 2013 by the .
CPI(M) leadership, thus exposing both its lack of independent functioning as well as its deep-sectarianism. In JNU, SR's bankruptcy can be seen in its desperate attempts to personally target and vilify DSF activists -particularly the outgoing JNUSU President .
-while running away from all ideological-political debates. .
Accountability towards the JNU student community · .
Born in JNU, the DSF has been respectful towards the students' mandate of last year's JNUSU elections, which was to build struggles on student issues. The JNUSU President and ·other DSF representatives in the council have consistently and relentlessly struggled .
throughout their tenure to ensure that the JNUSU Charter of Demand was fulfille~. Issues like scholarships for Ph 0 students after 5 years; providing additional accommodation with mess facility for 150 students; extension of RGNF fellowships for VHJPH students; JNUSU representation in EOO and GSCASH representation in Security Advisory Committee have been clinched during the tenure of .
the outgoing JNOSU, in contrast to the previous JNUSU which was a zero achievement union·: All these achievements have resulted .
from struggles and are therefore collective achieven:tents of the student community. .
Genuine efforts were made to pursue two important demands of reducing viva-voce weightage in M.Phil entrance and securing .
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deprivation points for minority students. The JNU administration has stonewalled these demands. These deamnds have to be pursued .
through legal-political means in the days to come. .
The important demand for enhan~ntof MCM scholarships has been partially achieved with an increase of Rs 500 and arrears from .
January 2013. However, the JNUSU has correctly refused to accept this as a final settlement since Rs. 2000 is not adequate to meet .
the mess bill amount for the MCM schoiC!fship recipient~,_There was a gang-up ~tween the JNU administration and Congress led .
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central government to scuttie the year long struggle for enhancement ·o_f MCM sc!lfarships, with the NSUI coming out in the open to .
sabotage the JNUSU struggle. The JNUSU organise<j a 10 day hunger strike and successive university strikes and demonstrations to .
demand enhancement of-the MCM amount toRs. 3000. .
After the hunger strike was discontinued due to the failing health of the agitators, the JNUSU President and councilors from D?F .
.organised a mifitant protest at the Parliament to expose the anti-student character of the Congress government and submitt~ a .
.memorandum to the HRD Minister making it clear that Rs. 2000 MCM scholarship amount is not acceptable to the JNU student .
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community. The struggle for MCM enhancement beyond Rs. 2000 will have to resume after the JNUSU elections. .
In contrast to the honest and sincere role of DSF representatives in the JNUSUthe AI SA-which had a majority in the JNUSU Council .
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and convener ship in aD major schools-has failed to discard its sectarian politiCS. and empty rhetoric. The AISA representatives did ~ot .
take any constructive initiative to strengthen the JNUSU throughout the year. After calfing for an all-organisation meeting to conduct .
JNUSU eJections without consulting the JNUSU President. AISA launched a vicious attack on the JNUSU President for leading JNU students in a protest against the Congress-led government. So much for their radical politics. .
Future lies in struggles and movements DSF reiterates that the future of the progressive and democratic movement fies in united struggles, free from sectarian designs and tokenism. From the surge of the new Left in Latin America, to the Arab uprisings, to anti-austerity protests in Europe, to the recent ' mass protests in Turkey and Braza, masses across the wor1d are today on the move. They are demanding democracy, freedom, dignity .
·.and justice and shaking the foundations of the neoliberal and imperialist worfd order. This is the direction which the Left in India will have to take in order to make the vision for socialism in the 21st ~ntury a reality. DSF remains firmly committed to that vision and the .
struggles to achieve it. .
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Matthew Morris presents his talk entitled, "Identity and Autonomy: The Future of Autonomous Transportation."
Matthew Morris presents his talk entitled, "Identity and Autonomy: The Future of Autonomous Transportation."
Matthew Morris presents his talk entitled, "Identity and Autonomy: The Future of Autonomous Transportation."
Matthew Morris presents his talk entitled, "Identity and Autonomy: The Future of Autonomous Transportation."
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