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Hierarchical Vigil by Metropolitan Hilarion and Bishop Nikolai of Manhattan in the presence of the Kursk-Root Icon The Vigil at St. John The Baptist Cathedral in Washington on September 10, 2021. Photo by Yuri Gripas
Hierarchical Vigil by Metropolitan Hilarion and Bishop Nikolai of Manhattan in the presence of the Kursk-Root Icon The Vigil at St. John The Baptist Cathedral in Washington on September 10, 2021. Photo by Yuri Gripas
Hierarchical Vigil by Metropolitan Hilarion and Bishop Nikolai of Manhattan in the presence of the Kursk-Root Icon The Vigil at St. John The Baptist Cathedral in Washington on September 10, 2021. Photo by Yuri Gripas
Hierarchical Vigil by Metropolitan Hilarion and Bishop Nikolai of Manhattan in the presence of the Kursk-Root Icon The Vigil at St. John The Baptist Cathedral in Washington on September 10, 2021. Photo by Yuri Gripas
Hierarchical Vigil by Metropolitan Hilarion and Bishop Nikolai of Manhattan in the presence of the Kursk-Root Icon The Vigil at St. John The Baptist Cathedral in Washington on September 10, 2021. Photo by Yuri Gripas
In the cemetery I visited were two grave markers, lying flat on the ground, side-by-side. A husband and wife. Placed at their feet, and perpendicular to their memorial stones, was the marker of a woman identified as "Aunt Martha Thompson." Her epitaph reads:
A servant who died April 22, 1925, aged about 80 years. She requested to lie in death with those whom in life she and her people had served so faithfully for generations.
Hierarchical Vigil by Metropolitan Hilarion and Bishop Nikolai of Manhattan in the presence of the Kursk-Root Icon The Vigil at St. John The Baptist Cathedral in Washington on September 10, 2021. Photo by Yuri Gripas
Hierarchical Vigil by Metropolitan Hilarion and Bishop Nikolai of Manhattan in the presence of the Kursk-Root Icon The Vigil at St. John The Baptist Cathedral in Washington on September 10, 2021. Photo by Yuri Gripas
The visual component of these vehicles create a hierarchical system of value and class; the more ornate and beautiful the truck is, the more valuable the goods they will be carrying. The tradition comes from the era of Raj in the olden days of real crafts and craftsmen. These vehicles take hordes of Pakistani craftsmen many months to complete. Extreme detail is paid to every aspect of these trucks, from the trucks artistic paint job to the finely hand-carved wooden doors. This elaborate style stems back to the old style of palace decor employed during the Mogul Empire.
OLYMPUS DIGITAL CAMERA
Hierarchical Vigil by Metropolitan Hilarion and Bishop Nikolai of Manhattan in the presence of the Kursk-Root Icon The Vigil at St. John The Baptist Cathedral in Washington on September 10, 2021. Photo by Yuri Gripas
The Bull Jumping Ceremony is conducted by several tribes in the Lower Omo Valley and is the most important ceremony in a tribal man's life.The ceremony is about hierarchy and membership in the tribe and typically involves a young man who undergoes a number of rituals before he leaps onto and runs rapidly over a series of cattle held by other men who have recently bull-jumped. Once the jumping is completed, the bull-jumper is a man in the eyes of the tribe.
An important part of the ceremony is a ritualistic whipping, which women actively seek out from certain men known as Mazha. The women collectively harass these men who then whip them once with a thin reed like stick before casting the stick away. The whipping causes bleeding and intense pain but the women look upon it as a sign of strength, loyalty and obligation to the bull-jumper. They become incensed through a series of dances and then demand to be whipped in a macho, masochistic display. One effect of this ritual whipping is to create a sense of debt between the young man and his “sisters”. If the future brings hardship to the women, they hope that he’ll remember them because of the pain they went through at his initiation. The resultant scars are worn as a badge of honor by many of the women. The whipping of the women was truly bizar. Women don't hace to participate but many do.
Hierarchical Vigil by Metropolitan Hilarion and Bishop Nikolai of Manhattan in the presence of the Kursk-Root Icon The Vigil at St. John The Baptist Cathedral in Washington on September 10, 2021. Photo by Yuri Gripas
The apple from a stone onyx is above natural apples, expressing thus a principle of hierarchy of structure
Hierarchy
Hierarchy of prisoners,
Who just are their own jailers,
Keep on suffering in vain,
To feed a system of pain.
Hiérarchie
Hiérarchie de prisonniers,
Qui sont leurs propres geôliers,
Subissent la souffrance en vain,
Nourrissant système malsain.
Copyright Photo © Jigmé Théaux www.jigme.fr
ZoomCharts at DevClub.lv: Developing a Javascript SDK
On January 15, 2015, ZoomCharts Co-Founder and CTO Viesturs Zariņš presented at DevClub.lv - a community of Latvian IT specialists that gather monthly and host free talks, presentations, and events to allow the local IT community to share knowledge, network, and communicate. Zariņš discussed the unique challenges faced in developing JavaScript SDK.
Here is a brief overview of his PowerPoint presentation on ZoomCharts, the world’s most interactive data visualization software that will support all your data presentation needs with incredible speed.
What is ZoomCharts?
What defines ZoomCharts advanced data visualization software? It is NOT another HTML5 charts library. It is:
- Interactive
- Fast
- Touch enabled
- Supports big data
A long time ago
DOS 6.2 allowed for:
- 320x240x8bpp
- Direct access to pixels on screen
- Assembler for performance
Today, the Web has finally caught up in the graphics department. Now, we have access to:
- Multiple browsers and rendering technologies
- Multiple resolutions
- Performance that varies by browser and device
Development setup:
- We write in JavaScript
- Commit to GitHub
- Build system in JavaScript
- Debug in Chrome
- Run automated tests
- Like WebStorm (and Vim)
Graphics:
Canvas (fast)
SVG (slow)
WebGL (>50%)
Interactive animations:
Zoom in and out of the graph, drag and drop data, all with your mouse or trackpad.
Graceful degradation:
High FPS (frames per second) lets you scale graphics with low image degradation.
Third party libraries:
- Raphael
- Hammer.js
- Leaflet
- Moment.js
Challenges:
- Responsive design: layouts can shift and look nice on desktop screens vs. not so nice on vertical, mobile screens
- Big screen resolutions: uses devicePixelRatio for sharp rendering, but no hardware acceleration beyond 2048x2048
- Safari compatibility: with 100% CPU, input events are blocked and browser locks up; strange code offers fixes
- HTML on canvas: DOM is slow; basic HTML markup must be parsed and rendered manually; text caching helps
Support:
- Process: TrialSupportBuy
- 1 day issue resolution
- #1 Tell me what I did wrong
- #2 Can you do…
Testing:
- Automated tests on every GIT push
Automatically:
- Compare images
- Record performance
- View errors in console
Interactive testing:
- Next step: record and playback
BrowserStack:
- Interactive mode
- Automated: Selenium API
Debugging:
Chrome Developer tools (F12)
- Debugging
- Profiling
- Timeline
Remote debugging available: developer.chrome.com/devtools/docs/remote-debugging
Future:
- More charts
- Extension API
- Memory allocation tracking
- WebGL
We are looking for statically-typed language:
- Error checking
- Performance
- Superior minification
- Easy to write and read
- Easy to call from JS
Building
Custom build script:
- Compile
- Minify
- Extract documentation
- Embed customer data
Check out ZoomCharts products:
Network Chart
Big network exploration
Explore linked data sets. Highlight relevant data with dynamic filters and visual styles. Incremental data loading. Exploration with focus nodes.
Time Chart
Time navigation and exploration tool
Browse activity logs, select time ranges. Multiple data series and value axes. Switch between time units.
Pie Chart
Amazingly intuitive hierarchical data exploration
Get quick overview of your data and drill down when necessary. All in a single easy to use chart.
Facet Chart
Scrollable bar chart with drill-down
Compare values side by side and provide easy access to the long tail.
ZoomCharts
The world’s most interactive data visualization software
#zoomcharts #interactive #data #interactivedata #datavisualization #interactivedatavisualization #chart #graph #charts #graphs #Javascript #JavascriptSDK #DevClubIV #Latvia #PowerPoint #PowerPointpresentation #fast #bigdata
Hierarchical Vigil by Metropolitan Hilarion and Bishop Nikolai of Manhattan in the presence of the Kursk-Root Icon The Vigil at St. John The Baptist Cathedral in Washington on September 10, 2021. Photo by Yuri Gripas
Taxonomic Hierarchy
Kingdom: Animalia
Phylum: Arthropoda
Class: Arachnida
Order: Araneae
Suborder: Araneomorphae
Family: Araneidae
Genus: Araneus
Species: Araneus diadematus
Common Name (AASMore information icon)
Cross Orb-weaver
Other Common Names
European Garden Spider, Cross Spider, Diadem Spider, Crowned Orb-weaver, Garden Spider, Garden Cross Spider
The white cross marking is created by collections of guanine under the spider’s cuticle. Rarely, it may be lacking entirely.
Underside of abdomen with central black area framed by pale ‘L’-shaped brackets (but lots of other orbweavers have similar ventral markings, as well).
This species is one of the most well-known spiders in the whole world, and has been the subject of numerous scientific research papers.
It was elected as the “European Spider of the Year” in 2010.
In 1952, it was the star of a short film documentary called “Epeira Diadema” by Italian director Alberto Ancilotto. It was nominated for an Oscar in 1953.
Spider may “bounce” up and down in the middle of its web if it feels threatened.
Egg sacs roughly 20mm in diameter, made of fluffy yellowish-orange silk. Usually stuck in rolled up leaves, under eaves of buildings, within woodpiles, or other protected places, but not hung in the web itself. May contain 100-800 yellow eggs.
Location and Range
Araneus diadematus (Cross Orb-weaver) has been sighted in the following countries: Belgium, Canada, Denmark, Greece, Ireland, Spain, Turkey, United Kingdom, United States.
This is an excellent example of hierarchy of scale between the people kneeling and the very large figure in the center. You can also see drapery the hides the form of the body in all the figures, due to the lack of modeling. I would say this is from the Middle Ages because of the gold background, halos and lack of good use of modeling.
St Mary
Christ Church Cathedral (or more formally, The Cathedral of the Holy Trinity) is the cathedral of the United Dioceses of Dublin and Glendalough and the cathedral of the Ecclesiastical province of the United Provinces of Dublin and Cashel in the Church of Ireland.
It is situated in Dublin, Ireland and is the elder of the capital city's two mediæval cathedrals, the other being St. Patrick's Cathedral.
Christ Church is officially claimed as the seat (cathedra) of both the Church of Ireland and Roman Catholic archbishops of Dublin. In practice, it has been the cathedral of only the Church of Ireland's Archbishop of Dublin, since the English Reformation. Though nominally claimed as his cathedral, the Roman Catholic Archbishop of Dublin uses St Mary's in Malborough Street in Dublin, as his pro-cathedral (acting cathedral).
Christ Church Cathedral is located in the former heart of medieval Dublin, next to Wood Quay, at the end of Lord Edward Street. However a major dual carriage-way building scheme around it separated it from the original medieval street pattern which once surrounded it, with its original architectural context (at the centre of a maze of small buildings and streets) lost due to road-building and the demolition of the older residential quarter at Wood Quay. As a result the cathedral now appears dominant in isolation behind new civil offices along the quays, out of its original medieval context.
The cathedral was founded probably sometime after 1028 when King Sitric Silkenbeard, the Hiberno-Norse king of Dublin made a pilgrimage to Rome. The first bishop of this new Dublin diocese was Dúnán or Donat, and the diocese was at that time a small island of land surrounded by the much larger Diocese of Glendalough, and was for a time answerable to Canterbury rather than to the Irish Church hierarchy. The church was built on the high ground overlooking the Viking settlement at Wood Quay.
The cathedral was originally staffed by secular clergy. The second Bishop of Dublin introduced the Benedictines. In 1163, Christ Church was converted to a Priory of the Regular Order of Arrosian Canons (Reformed Augustinian Rule) by the second Archbishop of Dublin, later Saint, Laurence O'Toole, who adhered to the rule himself; it was subsequently headed by an Augustinian Prior, who ranked as the second ecclesiastical figure of the diocese, and not a Dean, until re-establishment in 1541. This priory, the Priory of the Holy Trinity, became the wealthiest religious house in Ireland, holding over 10,000 acres (40 km2) of property in County Dublin alone, most notable of which were the three home farms held at Grangegorman, Glasnevin and Clonken or Clonkene, now known as Deansgrange.
Henry II attended the Christmas service at the cathedral in 1171. This was supposedly the first time Henry took Holy Communion since the murder of Thomas Beckett by Henry's knights in Canterbury.
in the 1180s, Strongbow and other Norman magnates helped to fund a complete rebuilding of Christ Church, initially a wooden building, in stone, comprising the construction of a choir, choir aisles and transepts, the crypt, and chapels to St. Edmund and St. Mary and St. Lô.
A chapel to St. Laurence O'Toole was added in the 13th century and much of the extant nave was built in the 1230s. Its design was inspired by the Architecture of the English western school of Gothic, and its wrought stones- of a Somersetshire oolite- were sculpted and laid by craftsmen from the same area.
By 1358, the nave of the cathedral was partly in use for secular purposes, and a "long quire" was added, extending the old choir area by around 10 metres.
In 1493, the Choir School was founded.
Queen Mary I of England, and later James I of England, increased Christ Church's endowment. Meanwhile, in 1551, divine service was sung for the first time in Ireland in English instead of Latin. In 1560, the Bible was first read in English.
The cathedral was extensively renovated and rebuilt from 1871 to 1878 by George Edmund Street, with the sponsorship of distiller Henry Roe of Mount Anville.
At the west end of the cathedral is a fully-integrated stone bridge, leading to the former Synod Hall. This Synod Hall, which incorporates the old St Michael's tower, was formerly used for hosting General Synods, and Diocesan Synods for Dublin, Glendalough and Kildare.
It is now home to the Dublinia exhibition about medieval Dublin.
Wat Phra That Doi Suthep is a Theravada Buddhist temple (wat) in Chiang Mai Province, Thailand. The temple is often referred to as "Doi Suthep" although this is actually the name of the mountain where it's located. It is a sacred site to many Thai people. The temple is 15 kilometres (9.3 mi) from the city of Chiang Mai and situated at an elevation of 1,073 meters. From the temple, impressive views of downtown Chiang Mai can be seen.
Wat Phra That Doi Suthep is a gorgeously planned Wat with a story to tell about Buddhism. Once the Naga lined steps are surmounted (the longest Naga balustrade in Thailand), the first site one sees is the White elephant statue commemorating the story behind the Wat placement. The closest entrance to the inner ring is to the left, on the North side of the complex. The immediate view is one of the chedi towering 79 feet (24 meters). This gold plated spire is very typical of Northern Thailand chedi with its heightened redented octagonal base, ringed spire, smooth spire, and the tiered chatra (umbrella) at the top. The structure is greatly influenced by Sukhothai art; however, the chatra isn't a Thai influence, but rather an aspect that came from two centuries of Burmese occupation. The tiered and angular shape of the chedi is found all around Thailand is an aspect of Buddhist architecture. The tiers represent the level of heavens that one must ascend in order to achieve Nirvana as well as the hierarchy associated with a monarchy. The angular shape and sloping appearance are more related to the feeling that Thai architects wished to relate. In Threvada Buddhism, the main focus is to rid oneself of unwholesomeness, and to do that there is a focus on peace, lightness, and floating. If the chedi was just its plain shapes of an octagon and triangle, it would appear dense and static. The redented look, near parabolic slope, and golden cover of the chedi creates a feeling of weightlessness of the structure
This same concept can be seen with the Wihans. The weightlessness for the wihans and the surround structures comes primarily from the roof aesthetic. The aesthetic that comes into play here is the toying of geometry and separating similar shapes. This particular wihan has a two tiered roof with the different sections being at different angels. The lower tier is at a flatter angle to replicate a stouter more tense look, while the next tier is at a quite steep angle that creates a more elevated and relaxed look. This separation is to represent the freedom from attachment which is the ultimate goal of Buddhism. The white stucco and incredibly ornate pediment greatly assist with this lightweight feel and separation, but the roof provides the most dynamic movement of the building due to its size and composure. The pediments are typically the most decorated parts of the building that express the grandeur and status of the temple. At each corner of the roof tiers there's a flat ornamental Naga and the large pointed pieces at the peak of the roof are called chofas.
The same Buddhist theme from the exterior also makes its way to the interior with many different factors. The first is that the walls and columns all slant inward to the center of the building. This is to help with the structural integrity of the building, but to also make the feeling of the room ascending. The interior is also greatly decorated with murals all over the walls. The murals are typically the story of Buddha's life and travels but also include Hindu aspects as well. The inside is of the building is typically quite dark because the main lighting comes from the narrow vertical windows and the fact that the murals and all of the indoor decoration are darker materials. The narrowness of the windows is for structural concerns, but to also help with the ascension feel because they are actually trapezoids that are wider at the base. The interiors at Wat Phra That Doi Suthep contains myriads of Buddha statues that come in all different styles and materials just like the outside courtyard.
The layout of the complex shows bi axial symmetry around the chedi with the main and small wihans slightly off the east-west cardinal plane. The cardinal directions are important to Buddhism and it is said that if there isn't a body of water around, like in this case, then the main wihan should face the rising sun. This explains why the main wihan is on the west side of the complex. Outside of the square courtyard the placement and design of the surroundings is due to the topography of the mountaintop. The viewing spot to see Chiang Mai is a propped cantilever with around a 15-foot drop over the edge. Even looking at the wooden wihan and the monk's residence further down the hill, they both exist on the north-south plane pointing towards the chedi. Everything on the site points inward towards the iconic chedi indicating its significance to the wat [Wikipedia.org]
At The National Gallery of Denmark's esteemed SMK Friday on 17.04 resonating with the large-scale exhibition 'What's happening' on art and activism form the 1960's and 70's we shared our vision on a Sensuous society. Future resonating with the past resonating with the moment.
Sensuous society – Beyond economic rationality
A L L T O M O R R O W S D R E A M S
The End is a New Beginning: In 2008 the financial world cracked, leaving a gap for the new - For the new paradigm to emerge. We regard the crack as a major opportunity.
The new paradigm: We wish to take this opportunity and support the transition into the new, by living and breeding in the cracks. From here we move.
The Sensuous Society: We will draw from the aesthetic dimension as a source of inspiration to inform the dawning world – We will call it: The Sensuous Society.
Why?
The Sensuous Society? As critical theory has pointed at the economic system has largely governed and dominated Western society since the industrialization, and rational thought has been roaming the tops of unnaturally constructed hierarchies of perception since the Enlightenment. Rational thought has been our dominating validating principle and economic premises such as efficiency, duty, and discipline have largely dominated everyday life in Western society. They have defined our institutions and offered themselves as primary modes of being and being together. However, the governance is not sustainable as the current ecological and economic crisis points at and it has lead to a fundamental de-enchantment of the life-world of modern (wo)man.
Aesthetic Interventions: But its time has come. In opposition to the economic milestone stands the artistic or rather aesthetic. This mode is based on premises such as: phantasy, desire and not at least the sensuous experience of and engagement in the world. Artistic output is the quintessence of an ultimate aesthetic mode of being the world. The notion of a sensuous society reshapes the role of art and artistic practice. The exclusive autonomous art system is also a result of the dominance of the economic dimension. Within this autonomous zone the art genius is a celebrated figure, which is conceived as someone with a very special (transcending) intelligence. In a Sensuous Society however, we believe that this will be a more common intelligence - Simply, because we all have this creative potential within us, and if our outset and mode of being in the world is the sensuous, this potential will be released. The aesthetic mode of being and being together in the world is something we as humans always have and always will dive into. However, the current exclusiveness of this mode has created a collective longing in the Western world. Like an arm cut of we move forward in the ever-turning efficient wheels of society without noticing the blood floating from our armpits. We need to democratize the aesthetic mode of being to overcome the longing and suffering that its general absence outside the art system creates. The aesthetic dimension will serve as a key source of inspiration in the Sensuous Society. Step by step those engaged in the movement toward the Sensuous Society will make interventions into the societal institutions. They will move from the crack and engage. Ultimately these actions will however not be encapsulated spaces allowing a sensuous mode of being in the world, but will constitute the primary mode itself.
No utopia: Sensuous Society is no utopia. Sensuous society is a framework to explore the radical idea of the aesthetic dimension, the sensuous and the poetic as the highest values of society. What kind of society would that create?
How?
Performance Xperiments: We have no way of answering that question because we have not lived it. What we do have is the possibility to explore it through performance experiments. By putting our flesh to the idea. Embodying future visions to explore what it could be. While we explore we carve the path.
The school of a Sensuous society: The performance experiment Sisters Academy is one such experiment. In Sisters Academy we embody the school of a sensuous society. The Sisters and staff take over the leadership of the school and places the aesthetic dimension at the center of learning. What school would that create? When we change our educational system we change the lives of many.
Space changing: We transform space. We immerse. We become one. But two. But three. But many. A scent of times beyond time that will transcend your skin and tactilely touch you. Inspire you. Intervene you. Mirror you. Be you. Breath. Like bodies swallowed by the sea will move dissimilar from upright legs walking the ground beneath our feet. Instinctively this body will adjust to the fluidity of the water. Try to survive. Take in breath. When we change space we liberate new potential. Instinctual.
No utopia revisited: Sensuous Society is no utopia. There will most probably be winners and looser here as well. Who is going to lead – The most beautiful? The ones in touch with their senses? What will the trading system be? Something that allow you to be even more sensuous? Maybe when we are through a sensuous society we can begin to approach a more balanced state of being, that draw wisdom from all the previous states of society that draw and creates sustainable trading systems between all members of society. Maybe we can go there already? We can ask these questions through immersive and intervening performance art practices in everyday life contexts, as sites of experiments where we explore how to create a stage for the release of creative, expressive, poetic and sensuous energy as first steps toward a more balanced and engaging world. Everyone becomes co-makers toward the new.
We will do this
Movement: When you have a cause and create a vibration centered in a universe and manifested in events that inspire others, the world will move in an assured and desired direction.
Photo: diana lindhardt, The I of Sisters Academy
How to set up a self-hosted project management web app on Linux
If you would like to use this photo, be sure to place a proper attribution linking to xmodulo.com
Here you could see the hierarchy in musk ox tribe absolutely clear - they stand in column with the largest animals in front and youngest calves in the back.
See also: www.ludgerphilips.org/en/gallery/images-of-synthesis/
30 September 2013, A 5, pencils and photo work
The Wisdom Teachings speak of Agastya or Master Jupiter as the oldest member of the Spiritual Hierarchy. Since time immemorial, he has been a great sage on the earth and his deeds have been described in the Puranas. In South India, he is also called Agathiyar and worshipped as a Siddha having his abode in the Nilagiris or Blue Mountains. He is closely linked to the energies of Sirius and on the zodiacal level he presides over the sign Aquarius.
The creation of this picture was a paradox for me: I pondered upon it for few weeks. There was the initial impulse for the image of Agastya but I thought it must be something else – and no thoughts came. I felt frustrated but finally followed the original impulse to do the picture with a photo of a statue of Agastya. For the background, I took a photo of the mountain in the Nilagiris which is said to be the location of the ashram of Agastya. Then I integrated a photo of Sirius. Using the computer and pencils, I worked on the colours and details of the expression. When the picture was ready I was thrilled about its radiance.
en.wikipedia.org/wiki/Adhocracy
Robert H. Waterman, Jr. defined adhocracy as "any form of organization that cuts across normal bureaucratic lines to capture opportunities, solve problems, and get results".[2] For Henry Mintzberg, an adhocracy is a complex and dynamic organizational form.[3] It is different from bureaucracy; like Toffler, Mintzberg considers bureaucracy a thing of the past, and adhocracy one of the future.[1] When done well, adhocracy can be very good at problem solving and innovations[1] and thrives in a changing environment[3]. It requires sophisticated and often automated technical systems to develop and thrive.[1]
Characteristics of an adhocracy:
* highly organic structure[3]
* little formalization of behavior[3][1]
* job specialization based on formal training[4]
* a tendency to group the specialists in functional units for housekeeping purposes but to deploy them in small, market-based project teams to do their work[3]
* a reliance on liaison devices to encourage mutual adjustment, the key coordinating mechanism, within and between these teams[3][5]
* low standardization of procedures, because they stifle innovation[1]
* roles not clearly defined[1]
* selective decentralization[1]
* work organization rests on specialized teams[1]
* power-shifts to specialized teams
* horizontal job specialization[5]
* high cost of communication[5] (Dramatically reduced in the Networked Age)
* culture based on democratic and non-bureaucratic work [5]
All members of an organization have the authority within their areas of specialization and in coordination with other members to make decisions and to take actions affecting the future of the organization. There is an absence of hierarchy.
Examples of adhocracies include construction projects in which various independent specialized entities are assembled and coordinated at various phases to perform their tasks and move on upon completion. Another example of an adhocracy is the Federal Emergency Management Administration FEMA that oversees the coordination of local, state and federal as well as non-profit organizations in any given national emergency. Specific military operations can also be characterized as following the adhocracy model in form and function.
Alvin Toffler noted in his book Future Shock that adhocracies will get more common and are likely to replace bureaucracy. He also wrote that they will most often come in form of a temporary structure, formed to resolve a given problem and dissolved afterwards. An example are cross-department task forces.
Downsides of adhocracies can include "half-baked actions", personnel problems stemming from organization's temporary nature, extremism in suggested or undertaken actions, and threats to democracy and legality rising from adhocracy's often low-key profile.[5] To address those problems, researches in adhocracy suggest a model merging adhocracy and bureaucracy, the bureau-adhocracy.[5]
The timber wolf is a sociable animal who lives in a pack of a high hierarchy. Only the dominant male and his female, who form a loyal couple, can reproduce. The wolves hunt in packs, following an actual strategy. They spot their prey (usually a weak, young or old, or sick animal), circle it and then attack. These wolves used to be found all over North America, however with excessive hunting and the destruction of their habitat, their population was reduced in Canada. Nonetheless, the wolf is present in the entire province of Quebec except for the extreme south.
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© Jim Cumming - If you're interested in using this image, please email me at Jimdarby8@yahoo.ca Please do not use without permission