View allAll Photos Tagged orchestration
Transwestern's Houston office orchestrated a series of events benefitting the Texas Children's Hospital this fall. For the first event, volunteers painted two benches to be donated to the hospital. The design options were posted in common areas for voting, and the two winning designs were painted.
Orchestrate the dispatch of resources and inventory logistics to ensure field-based IT services are delivered accurately, efficiently and at the least possible cost.
Thursday June 28: Learning from Private Equity, afternoon insight session by John Leahy, Doughty Hanson & Co
The traffic zebras were out asking people to write their promises to to the city on slips of paper and putting them up on a tree.
Transwestern's Houston office orchestrated a series of events benefitting the Texas Children's Hospital this fall. For the first event, volunteers painted two benches to be donated to the hospital. The design options were posted in common areas for voting, and the two winning designs were painted.
Copley was the genius of colonial portraiture, and this marital pair ranks among his finest achievements. He orchestrated these portraits to be read as one work of art by linking them through harmonious colors and poses. He depicts Boston merchant Isaac Smith at work, seated at a desk with attributes associated with masculinity and wealth. Mrs. Smith, seated in a Chippendale chair, holds a rare species of grapes, an allusion to her husband, who was a wine importer. A woman holding grapes was also a traditional artistic device used to suggest fertility. Mr. Smith may have commissioned these portraits at this time because Elizabeth, at the age of forty-three, was expecting a child. Death in childbirth occurred with some frequency, with the danger increasing with the mother's age. Happily, some months after the portrait was completed, Mrs. Smith was safely delivered of a daughter.
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
Annual celebration of all things pig orchestrated by Chef Jeremiah Bullfrog of the gastroPod on November 15, 2015.
twitter: @frodnesor
instagram: @frodnesor
Transwestern's Houston office orchestrated a series of events benefitting the Texas Children's Hospital this fall. For the first event, volunteers painted two benches to be donated to the hospital. The design options were posted in common areas for voting, and the two winning designs were painted.
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
MuCEM + Fort Saint-Jean, Marseille, France - 2013 -Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a free breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
This is a photo orchestrated by Elliot Stahl and myself. Elliot took the picture with a tripod on the balcony of the pit. I constructed the lights used to light up the room with a long exposure. This version of the image is the result of some photoshop work to peice together some of the brighter floor images with a clearer image of the forground (myself). I darkened some of the people on the floor to make them more visible and shifted the color balance a little to the yellow.
...again
Throughout history we see that God loves numbers! He’s an architect and engineer; He made the universe! He loves to show off, show His glory, and make us marvel! Many numbers have very significant, God ordained meanings & implications. Note: “3 dots, 3 dashes, 3 dots” is man’s international distress signal, SOS in Morse Code. I’m convinced God orchestrated this, not Mr. Morse! - 333 is surely God’s international distress signal; an urgent end-times SOS message! Think! WHAT IF!! What if GOD is really trying to get your attention! Even if you don't believe in God, WHAT IF!! I would hope, if it were me, I would somehow respond. But, CAUTION! Whatever you do, do not place your trust in the purveyors of ANGEL NUMBERS & such! Although it's essentially true that the 333 may indeed be delivered by an angel, it would be an extreme injustice & mistake to associate it with the various spiritualist and profit oriented sites that pop up when "meaning of 333" is Googled. See "Satan's # Games". Unfortunately, although certainly more accurate, it's a shame one has to add "biblical" to "meaning of 333" for this site to be ranked high on the list by Google. Don't know whether to blame Satan or praise Google! It represents God, the 3-in-1, Father, Son, & Holy Spirit. Jesus prayed 3 times in the Garden of Gethsemane before His arrest. He was placed on the cross at the 3rd hour of the day (9 a.m.) and died at the 9th hour (3 p.m.). There were 3 hours of darkness that covered the land while Jesus was on the cross. Three is also the number of resurrection. Christ arose after 3 days and 3 nights in the tomb.
There are many more illustrations of the #3s biblical significance. Jonah prophetically spent 3 days in the belly of a big fish. After the flood, new life started in 3 persons: Shem, Ham, & Jepheth. Israel was founded in the 3 persons of Abraham, Isaac, & Jacob. Three (3) of the most memorable Biblical edifices, Noah's Ark, Solomon's Temple, and The Millennial Temple, are 3 stories tall; and they all represent God's saving grace. 33 = After 3 years of ministry and raising 3 people from the dead, Jesus died at age 33. His death and resurrection fulfilled all the old testament promises concerning the Messiah. Thus, the number 33 is connected to promise, in particular, to Gods promise of salvation to humanity. “3 dots, 3 dashes, 3 dots”, as noted above, is man’s international distress signal, SOS in Morse Code. I’m convinced God orchestrated this, not Mr. Morse! - 333 is surely God’s international distress signal; an urgent end-times SOS (Save Our Souls) message! On Nov.29,1947, the 333rd day of the year, the United Nations voted for the establishment of a Jewish State. God gave His chosen people the homeland that He had promised to their forefathers!
Genesis 15:9, The LORD told Abraham, "Bring me a three-year-old heifer, a three-year-old female goat, a three-year-old ram, a turtledove, and a young pigeon." This has to do with the covenant God made with Abraham, promising the land of Israel to the Jews. Thus 333 just may be considered a COVENANT number!!! As seen above, the numbers 3, 33, or 333 just scream of Jesus &/or the Bible! No other, not Mohammad, Buddha, Satan, or any other religion can proclaim such a connection. And again, 333 is surely God’s International Distress Signal; an urgent end-times SOS message! good link below
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India 2014: Rise Up Against Corrupt Communal Corporate Game·plan! .
Wlth the 2014 Lok Sabha at the doorstep, the carefully orchestrated campaign for past few years to projectNarendra Modi as the next Prime Minister of the country has crossed all limits. PR managers and mediablrtzkrieg are trying to paint Modi, who presided over a horrific communal genocide in 2002, as the messiahof 'good governance' and '.
economic growth,' now far removed from any communal politics. W e are being told: Forget 2002,Forget the rapes, murders and fake encounters. Forget the state machinery's role in 2002, and Parade Modi model of 'growth','development' and 'good governance.' .
~;i:..
But Modi himsetf has brazenly affirmed time and again that contempt, hatred, and violence towards the minorities and.
denigration ofthe oppressed sections is embedded in his imagery, his metaphors, and his politics. His own speeches make .
l .
it very clear that Modi's communal plank isn'.
t a thing of the past-it's very much his recipe for power in the presentand nearfuture. We have already seen him refer to the victims of the Gujarat genocide as .
'puppies crushed under a car,' and his jeeringreference to the 'burqa' .
of secularism (rather than the word 'purdah' which is used by Hindus and Muslims alike)~.
Here is a sample of the calculated communal colour of Modi's RECENT speeches:.
At Khandwa 'in November 2013 he said, *La/ Bahadur Shastri used to talk of ·green revolution' but the UPA Government is.
encouraging .
pink revolution · by promoting meat exports. They are giving subsidy to set up slaughterhouses... cows and other.
animals are getting slaugl1tered... Export cotton and pay tax. export mutton and get subsidy" Thls is directly in line with theSangh's communal propaganda against 'cow slaughter,' demonising the minority communities by associating them with'slaughtering cows and other animals.' Farmers' .
groups demand subsidies for their products virthout pitting this against subsidiesfor meat producers, but Modi gives farmers' demands a communal twist..
At Agra in November 2013, he accused the UPA Government of "neglecting and doing injustice to 75 percent of the people and.
playing games for 25 percent of the people." .
And his latest call at an Assam rally (22 Feb) of accommodating Hindu migrants from Bangladesh in India while cftstinguishing.
those who are brought for 'vote bank'! .
The Modi Government has refused to abide by the Gujarat High Court verdict of February 2013 to implement minority.
scholarships in Gujarat. In its affidavit, the Gujarat Government has attacked the Sachar Committee, saying "The Sachar Committee.
I is neither constitutional nor statutory....The Committee's target was to help the Muslims only.".
.
t The style of Modi's campaign for the 'Statue of Unity ' (t he statue of Sardar Patel) is another example of his fascist political.
tl imagination. He asked people to join the campaign for 'one resolution, one goal, one direction, one voice and one determination'..
til In deed for Modi, it is not uunity tn diversity· but "unity in uniformity"! Modi made it very clear what this 'oneness' was all about:.
India has bee!'l a witness to such disciplined joint participation on religious occasions and joint cefebrations of an entire.
in neighbourhood when India wins a cricket match, he said. His slogan of .
.
'one emotion, one nation, one culture, one resolution,.
\1. one goal, one smile' smacks of a regimented and guided 'democracy', where any dissent or difference. and any protection for .
.
·e~ minonties wrll be viewed as 'antr national' and ruthlessly crushed. .
~I .
The recent Muzaffarnagar riots showed how the Sangh brigade in UP, under the leadership of Modi's right-hand man Amit.
Shah, carefully engineered a communal hate campaign and carnage to reap votes through communal polarisation. It was typical .
. , ,l' t.U '.
s Moditva bred in RSS school in action UP. The patriarchal institutions of Khap were mobilised and vicious rumour campaign was.
·S, engineered in the name of combating "love jihad" leading to the killing of scores of Muslims an d displacements of several.
.
thousands. .
) tl Clearly, BJP's model of imagining India is based on an ideology whic h is against our secular democratic constitution and.
',.. :JIJ .
div isive. Modi himself has claimed that he is a 'Hindu-Nationalist.' What about the rights of the minorities if the country is,1'c constituted on the idea of 'Hindu nationalism?' Can the struggle of the dalits and women against the history of oppressionlegitimised m practice and scriptures of'sanatana dharma.
t:" ', be a part o'f this nationhood? One example of the perverted vision .
I .I':.
of "Hindu Nationalism" is Modi'.
s own statement about the Dalits who are forced to perform manual scavenging, contained in.
.
pages 48-49 of Karmayog, a collection of Narendra Modi's speeches to lAS officials at various points, published by the Gujarat.
govt in 2007. ·1do not believe that they have been doing this job just to sustam their livelihood. Had this been so, they would not.
have continued with this type of job generation after generation·~ .
...At some point of time, somebody must have got the.
enlightenment that it is their (Valmikis') duty to work for the happiness of the entire society and the Gods; that they have to.
.
do thisjob bestowedupon them by Gods; andthat thisjob of cleaning up shouldcontinueas an Internal spiritual activity for.
. l centuries. This should have contmued generafJon after generation. It is tmposs1ble to believe that thelf ancestors did not have the.
choice of adopting any other work or business." (http'l/blogs.timesofindia.indiatimes com/true-lies/entry/modi-s-spiritual-potion-.
to~oo-karmayogrs). .
After the embarrassing exposure, Modi withdrew all the copies of the book, but he did not change his.
ideas. In 2009, addressing 9,000-odd safai karmacharis. (sanitation workers) he likened the safai karmacharis' job of cleanrng.
up others dirt' to that of a temple priest. He told them, "A pnest cleans a temple every day before prayers, you also clean the· cLty.
i' like a temple. You and the temple priest work alike"!!' And in 2013 Gujarat budget, allocated a sum of~ Rs 22 5 ..lakhs for giving.
~( training in Karmkand (rituals) to Safai Kamdars ! .
.
'JI .
This is the RSS model of "samajik samrasta" and clear an attempt to reverse the pioneering role of Babasaheb Dr. B.R..
I.
<r; Ambedkar against untouchability and the formulation of Indian constitution. If anything has to be termed anti-national, then thatis nothrng but BJP's perverted not1on of nationalism and reversal of struggle against castersm, communalism and gender-.
'1 .
violence. .
Modi's contempt for the facts of history -r:1o dollbt a result of his saffronised education in·the Sangh -.has been amply.
demonstrated many times, with him even getting Mohandas Karamchand Gandhi's name wrong and confusing freedom.
fighter Shyamaji Krishna Varma wilh Jan Sangh founder S!Jyama ·Prasad Mookherjee. .
.
P.T.O. .
.
The Misericordia Sexual Assault Response Team (SART) orchestrated a flash mob on campus on Wednesday, May 1, with the help of the cheerleading team and numerous dance groups, to bring awareness to the resources that are available on campus and in the local community for victims of sexual assault.
Transwestern's Houston office orchestrated a series of events benefitting the Texas Children's Hospital this fall. For the first event, volunteers painted two benches to be donated to the hospital. The design options were posted in common areas for voting, and the two winning designs were painted.
Transwestern's Houston office orchestrated a series of events benefitting the Texas Children's Hospital this fall. For the first event, volunteers painted two benches to be donated to the hospital. The design options were posted in common areas for voting, and the two winning designs were painted.
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
Jenna Seidel, Chief, Data Orchestration Services, National Security Agency, speaks to the crowd gathered in Club Meade during Thursday's Women's Equality Day Observance.
Transwestern's Houston office orchestrated a series of events benefitting the Texas Children's Hospital this fall. For the first event, volunteers painted two benches to be donated to the hospital. The design options were posted in common areas for voting, and the two winning designs were painted.
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
Graphic from 3/27/18. Commnetary below is from Feb. 22, 2019.
"Ten things I like and don't like, including the Warriors' genius
Andre Iguodala, still a genius
Iguodala is one of the greatest fast-break orchestrators in league history, and perhaps my favorite to watch. When he snares a rebound and begins Golden State's assault up the floor, he bounces -- literally -- with the impatience of a savant who sees an opportunity invisible even to his smartest teammates:
You can see his brain working.
If you're half-watching, it's easy to miss Iguodala's subtle genius. Just before midcourt, Iguodala motions for Curry, running the right wing, to slide up toward him. He turns his body that way, feigning a pass. But it's a ploy. Iguodala knows Curry's cut will draw Chasson Randle -- Washington's last line of defense -- up toward the 3-point arc, and reveal a layup for Alfonzo McKinnie.
After McKinnie scores, Iguodala does not acknowledge him. He points back at Curry, recognizing the cut.
Iguodala in full flight downloads the other nine guys on the floor almost in layers -- as ocean waves cascading around him. He has an uncanny sense for when a wave is about to crash over him, and whom it will leave open in its wake.
Lowe: Khris Middleton is a rare kind of second star
He's an All-Star now, but the Bucks will need an even better version of Middleton to reach their peak with Giannis.
Lowe: Who's on notice after this NBA trade deadline
Zach Lowe breaks down the teams and players on notice after a whirlwind trade deadline.
"He's as smart as any player I've ever been around," Steve Kerr tells ESPN.com. Iguodala looks rejuvenated (two clutch free throws missed last night against the Kings notwithstanding!). He's shooting 37 percent from deep, and can lock fools down when it matters.
As ever, the Warriors don't become the Warriors -- a blur you hear and feel as much as see -- until Iguodala ambles off the bench. After a slow start, the Death Lineup is plus-60 in just 137 minutes together -- equivalent to a mammoth plus-16.5 points per 100 possessions."
.
.
13.3.14 .
India 2014: Rise Up Against Corrupt Communal Corporate Gameplan! .
With the 2014 Lok Sabha at the doorstep, the carefully orchestrated campaign for past few years to project Narendra Modi as the next Prime Minister of the count~y has crossed all limits. PR managers and media blitzkneg are trying to paint Modi, who presided over a horrific communal genocide in 2002, as the messiah .
of ·good governance' and 'economic growth,' now far removed from any communal politics. We are being told: Forget 2002, Forget the rapes, murders and fake encounters, Forget the state machinery's role in 2002, and Parade Modi model of 'growth', 'development' and 'good governance.' .
But Modi himself has brazenly affirmed time and again that contempt, hatred, and violence towards the minorities and denigration ofthe oppressed sections isembedded in his imagery, his metaphors, and his politics. His own speeches make it very clear that Modi's communal plank isn't a thing of the past-it's very much his recipe for power in the present and near future. We have already seen him refer to the victims of the Gujarat genocide as 'puppies crushed under a car,' and his jeering reference to the 'burqa' of secularism (rather than the word 'purdah' which is used by Hindus and Muslims alike)! .
Here is a sample of the calculated communal colour ofModi's RECENT speeches: At Khandwa in November 2013 he said, ·La/ Bahadur Shastri used to talk of 'green revolution' but the UPA Government is encouraging 'pink revolution' by promoting meat exports. They are giving subsidy to set up slaughterhouses ... cows and other animals are getting slaughtered ... Export cotton and pay tax. export mutton and get subsidy." This is directly in line with the Sangh's communal propaganda against 'cow slaughter,' demonising the minority communities by associating them with .
'slaughtering cows and other animals.' Farmers' groups demand subsidies for their products without pitting this against subsidies .
for meat producers, but Modi gives farmers' demands a communal twist .
At Agra in November 2013, he accused the UPA Government of "neglecting and doing injustice to 75 percent of the people and .
.
playing games for 25 percent of the people." .
.
And his latest call at an Assam rally (22 Feb) of accommodating Hindu migrants from Bangladesh in India while distinguishing .
those who are brought for 'vote bank'! .
The Modi Government has refused to abide by the Gujarat High Court verdict of February 2013 to implement minority .
.
scholarships in Gujarat. In its affidavit, the Gujarat Government has attacked the Sachar Committee, saying "The Sachar Committee .
.
is neither constitutional nor statutory. ... The Committee's target was to help the Muslims only." .
The style of Modi's campaign for the 'Statue of Unity' (the statue of Sardar Patel) is another exampJe of his fascist political .
imagination. He asked people to JOin the campa1gn for 'one resolution, one goal, one direction, one voice and one determination'. .
In deed for Modi, it is not "unity in diversity" but "unity in uniform1tyfi! Modi made it very clear what this 'oneness' was all about: .
India has been a witness to such disciplined joint participation on religious occasions and joint celebrations of an entire .
neighbourhood when India wins a cricket match, he sa1d. His slogan of 'one emotion, one nation, one culture, one resolution, .
one goal, one smile' smacks of a regimented and guided 'democracy', where any dissent or difference, and any protection for .
minorities will be viewed as 'anti national' and ruthlessly crushed. .
.
The recent Muzaffarnagar riots showed how the Sangh brigade in UP, under the leadership of Modi's right-hand man Amit .
Shah, carefully engmeered a communal hate campaign and carnage to reap votes through communal polarisation. It was typical .
ModJtva bred m RSS schoolm action UP. The patriarchal inst1tut1ons of Khap were mobilised and vicious rumour campaign was .
engineered in the name of combating "love jihad" leading to the killing of scores of Muslims and displacements of several .
thousands .
.
Clearly, BJP's model of imagining India is based on an ideology w hich is against our secular democratic constitution and divisive. Modt himself has claimed that he is a 'Hindu-Nationalist' What about the rights of the minorities if the country is constituted on the 1dea of 'Hmdu nationalism?' Can the struggle of the dallts and women against the history of oppression legitimised m practice and scriptures of 'sanatana dharma', be a part of this nationhood? One example of the perverted vision of "Hindu Nationalism" is Modi's own statement about the Dalits who are forced to perform manual scavenging, contained in pages 48-49 of Karmayog, a collection of Narendra Modi's speeches to lAS officials at vanous points, published by the Gujarat govt in 2007· "I do not believe that they have been doing this JOb just to sustain their livelihood. Had this been so. they would not have continued with this type ofJOb generation after genera/Jon . At some point of time, somebody must have got the enlightenment that it is their (Va/mikis') duty to work for the happiness of the entire society and the Gods; that they have to do this job bestowed upon them by Gods; and that this job ofcleaning up should continue as an internal spiritualactivity for centuries. Th1s should have continued generat1on after generat1on. It IS 1mposs1ble to believe that thelf ancestors did not have the choice of adoptmg any other work or busmess." (http 1/blogsJimesofindia.mdiatimes com/true-lies/entry/modi-s-splritual-potion-to-woo-karmayogis) After the embarrassing exposure, Modi withdrew all the copies of the book, but he did not change his ideas. In 2009, addressmg 9,000-odd safa1 karmachans. (sanitation workers) he likened the safai karmachans' job of cleaning up others d1rt' to that of a temple priest. He told them, "A priest cleans a temple every day before prayers, you also clean the city like a temple. You and the temple priest work alike"! 11 And in 2013 Gujarat budget, allocated a sum of Rs 22.5 lakhs for giving trainmg in Karmkand (rituals} to Safa1 Kamdars 1 .
This is the RSS model of "samajik samrasta" and clear an attempt to reverse the pioneering role of Babasaheb Dr. B.R. Am bedkar against untouchability and the formulation ofIndian constitution. If anything has to be termed anti-nattonal, then that is nothing but BJP's. perverted notion of nationalism and reversal of struggle against casteism, communalism and gender-violence .
Modi's contempt for the facts of history -no doubt a result of his saffronised education in the Sangh -has been amply demonstrated many times, wtfh h1m even gettmg Mohandas Karamchand Gandhi's name wrong and confusing freedom fighter Shyamaji Krishna Varma w11h Jan Sangh founder Shyama Prasad Mookherjee. .
P.T.O. .
.
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
Transwestern's Houston office orchestrated a series of events benefitting the Texas Children's Hospital this fall. For the first event, volunteers painted two benches to be donated to the hospital. The design options were posted in common areas for voting, and the two winning designs were painted.
31st October 2017 at Barbican, London EC2.
Country: Brazil. Style: MPB / Afro-Brazilian Music / Opera.
Lineup: Gilberto Gil (v/g), Aldo Brizzi (conductor/orchestrations), Nova Ópera de Lisboa, Núcleo de Ópera da Bahia, Cortejo Afro, bass guitar player.
This concert saw Gilberto Gil collaborating with the bloco Cortejo Afro to present the music styles of Bahia and with Aldo Brizzi and others to perform excerpts from two Operas. These were Scott Joplin's "Treemonisha" (completed in 1910 but first performed in 1972 long after his death) and Brazzi and Gil's "Negro Amor" (previews of a work still to be completed based on Rogério Duarte's Portuguese translation of Jayadeva's "Gita Govinda" written in the 12th century). I photographed Gil with Caetano Veloso at the same venue last year, see: www.flickr.com/photos/kmlivemusic/albums/72157667940088396/.
In this photo: Vanda Otero, Graça Reis, Carlos Eduardo Santos, Josehr Santos.
More information: gilbertogil.com.br/, www.facebook.com/gilbertogiloficial/, www.aldobrizzi.net/, www.facebook.com/Nova-%C3%93pera-de-Lisboa-772377349476877/. nopbahia.wixsite.com/nop-ba, www.cortejoafro.com.br/.
MuCEM + Fort Saint-Jean, Marseille, France - 2013 -Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a free breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
DARRYL MAXIMILIAN ROBINSON appeared on a Windy City Theatre stage for the first time in 17 years when he assumed the marvelous dual roles of MR. WILLIAM CARTWRIGHT, THE CHAIRMAN OF THE MUSIC HALL ROYALE and The Honorable MAYOR THOMAS SAPSEA in skilled Director ROBERT-ERIC WEST'S exciting new 2018 SAINT SEBASTIAN PLAYERS OF CHICAGO revival of amazing Composer / Lyricist, Book Author / Orchestrator RUPERT HOLMES' multiple TONY AWARD-WINNING SOLVE-IT-YOURSELF MUSICAL WHODUNIT "THE MYSTERY OF EDWIN DROOD" ( based on the final and unfinished novel by 19th-century English literary master CHARLES DICKENS ) which was presented Oct. 26th through Nov. 18th of 2018 in the lovely and intimate Black Box Theatre of ST. BONAVENTURE CHURCH, 1625 West Diversey, Chicago, IL. 60614. Of his work in the show, the theatre critic of the Nov. 10, 2018 review of ART GETS OUT wrote: "But the real ringer is Darryl Maximilian Robinson, as the Chairman of The Music Hall Royale. It's a huge part that demands not just talent, but also charm during his frequent interactions with the audience in a show that looks for a joke at every turn and has no respect for the fourth wall". In addition to being critically-praised, Darryl Maximilian Robinson's performance in the dual roles of Mr. William Cartwright, Your Chairman of The Music Hall Royale, and The Mayor Thomas Sapsea of Cloisterham, England has been documented by Wikipedia, and in November of 2019: The Year of Chicago Theatre, he has captured a 2019 CHICAGO BROADWAYWORLD.COM REGIONAL THEATRE AWARD NOMINATION for BEST PERFORMER IN A MUSICAL OR REVUE ( RESIDENT NON-EQUITY ) for his work in Rupert Holmes' musical masterpiece! In addition, THE 2018 SAINT SEBASTIAN PLAYERS OF CHICAGO REVIVAL OF RUPERT HOLMES' "THE MYSTERY OF EDWIN DROOD" HAS RECEIVED A GRAND TOTAL OF SEVEN 2019 CHICAGO BROADWAYWORLD.COM REGIONAL THEATRE AWARD NOMINATIONS Including Best Performer In A Musical or Revue ( Resident Non-Equity ) for SARAH MYERS for her fine portrayal of the dual roles of Edwin Drood and Miss Alice Nutting; Best Direction of A Musical or Revue ( Resident Non-Equity ) for ROBERT-ERIC WEST for his sterling staging; Best Choreography ( Resident Non-Equity ) for TAMARA DREW for her highly effective dances; Best Costume Design ( Resident Non-Equity ) for SANDRA LEANDER for her grand stage attire; Best Set Design ( Resident Non-Equity ) for EMIL ZBELLA for his handsome period decor; and BEST ENSEMBLE OF A MUSICAL ( RESIDENT NON-EQUITY ) FOR THE ENTIRE CAST! Those in The Theatre who love musical theatre performance in The Windy City that would like to honor and support Mr. Robinson and his fellow nominees for their work in Rupert Holmes' brilliant but seldom performed musical classic may CAST THEIR VOTES FOR "DROOD" BY VISITING: www.broadwayworld.com/chicago/liveupdateregion.cfm?btype=... or www.broadwayworld.com/chicago/voteregion.cfm . Your Support of The Tradition of Non-Equity Professional Theatre In Chicago Would Be Greatly Appreciated!
patch.com/illinois/chicago/calendar/event/20191231/713099...
artgetsout.com/tag/the-mystery-of-edwin-drood/
www.goldstar.com/purchases/11665042/attendance#attendance...
"Ennio Morricone", "Composer", "Musician", "orchestrator", "conductor"," trumpet player",acrylic on canvas, by Fin Collins, part of The Film Icons Collection www.filmiconsgallery.com
Annual celebration of all things pig orchestrated by Chef Jeremiah Bullfrog of the gastroPod on November 15, 2015.
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