View allAll Photos Tagged practical_aspect
The Centre for Economic Policy Research (CEPR) and the European Central Bank (ECB) are hosting this joint conference The conference brings together academics and policy makers to discuss theoretical and practical aspects of central bank digital currencies (CBDCs). Relying on a combination of research presentations, keynote speeches and panel discussions, it aims to advance our understanding of the potential benefits and costs of CBDCs from a macroeconomic and policy perspective.
Photo: Bernd Roselieb for the ECB
Iraq officials trained in assessing oil contaminated sites from the ISIL conflict
•UN Environment conducts a five-day training workshop for 26 national experts from Iraq’s ministries of environment and oil.
•Workshop strengthens national capacity to assess and clean-up oil-contaminated sites from the conflict in Iraq.
•Joint team of trained staff to carry out field-survey of oil contaminated sites after which UN Environment will review survey findings and provide guidance on site prioritization process.
Baghdad, 27 September 2018 –In Iraq’s post-conflict period, characterized by extensive destruction of infrastructure and looting - from oil resources to archaeological artefacts - by Islamic State in Iraq and the Levant (ISIL), UN Environment conducted a five-day training workshop on oil-contaminated site assessment in Baghdad from 23-27 September 2018.
The workshop trained 26 national experts from the ministries of environment and oil on practical aspects of oil-contaminated site assessment, with a focus on sampling strategies and techniques. At the end of the event, a package comprising portable oil-contamination analysers and sampling tools, as well as personnel protective equipment was handed over to the Environment Ministry to support the assessment campaign.
“I cannot overstate the need to strengthen the capacity of our environmental experts in assessing contaminated sites and oil activities, and to develop pollution monitoring programmes which represents not only a threat to local communities, but whose impacts will also extend for generations to come’” said Dr. Jassim Humadi, Iraq’s Deputy Environment Minister.
“During the past few years, Iraq has undergone a transformative leap in its oil production driven by large investments. This poses a major capacity challenge for environmental staff to monitor and oversee the industry’s performance, assess the current situation and extrapolate future projections.”
As an immediate follow-up to the workshop, a preliminary field-based mapping survey of oil-contaminated sites in the four conflict-affected governorates (Nineveh, Salah El-Deen, Kirkuk and Diyala) will be conducted by a joint team from Iraq’s ministries of environment and oil in October-November 2018. The survey will aim to identify priority sites for cleanup that pose a serious risk to human health and the environment.
UN Environment is guiding this mapping campaign through the provision of assessment protocols and an initial inventory of around 60 oil-contaminated sites, including satellite image maps. UN Environment will also review the survey findings and provide guidance to the site prioritization process and conducting of detailed assessments.
“We commend UN Environment’s contaminated site assessment training programme, which is assisting environmental institutions in Iraq to fulfill their responsibility in achieving environmental security in accordance with the objectives of sustainable development to protect the environment and the public health of citizens,” added Dr. Jassim.
This is the second training course on contaminated site assessment which UN Environment has held in Baghdad this year to support Iraqi institutions address conflict pollution from the ISIL conflict. The training programme is generously supported by Norway’s Oil for Development Programme and conducted in collaboration with Spiez Laboratory of the Swiss Federal Office for Civil Protection and ALS Global Laboratory in the United Kingdom.
NOTES TO EDITORS
About UN Environment
UN Environment is the leading global voice on the environment. It provides leadership and encourages partnership in caring for the environment by inspiring, informing, and enabling nations and peoples to improve their quality of life without compromising that of future generations. UN Environment works with governments, the private sector, civil society and with other UN entities and international organizations across the world.
Photos by UNAMI PIO and UNEP
The Centre for Economic Policy Research (CEPR) and the European Central Bank (ECB) are hosting this joint conference The conference brings together academics and policy makers to discuss theoretical and practical aspects of central bank digital currencies (CBDCs). Relying on a combination of research presentations, keynote speeches and panel discussions, it aims to advance our understanding of the potential benefits and costs of CBDCs from a macroeconomic and policy perspective.
Photo: Bernd Roselieb for the ECB
The Centre for Economic Policy Research (CEPR) and the European Central Bank (ECB) are hosting this joint conference The conference brings together academics and policy makers to discuss theoretical and practical aspects of central bank digital currencies (CBDCs). Relying on a combination of research presentations, keynote speeches and panel discussions, it aims to advance our understanding of the potential benefits and costs of CBDCs from a macroeconomic and policy perspective.
Photo: Bernd Roselieb for the ECB
This is a shot I took a while ago during one of my Kali (Eskrima/Arnis) martial arts classes. During one of the stick drills, Ben performs a spinning backhand strike while Andy waits to block the strike.
Kali, also known as Eskrima or Arnis, is an ancient Filipino martial art that utilises empty-hand and weapon based techniques to stike, hold, throw and lock and opponent. It is one of the few martial arts we practice out our club, Karasac.
Our club concentrates on taking the best and most practical aspects from a variety of martial arts and combining them to form an effective self-defence system. As well as the excellent tuition and keeping you fit, it's a great, fun environment with a whole bunch of friendly people. Come and join the fun!
If you'd like to know more about the martial art or about our club, visit our homepage at www.karasackali.co.uk.
The Centre for Economic Policy Research (CEPR) and the European Central Bank (ECB) are hosting this joint conference The conference brings together academics and policy makers to discuss theoretical and practical aspects of central bank digital currencies (CBDCs). Relying on a combination of research presentations, keynote speeches and panel discussions, it aims to advance our understanding of the potential benefits and costs of CBDCs from a macroeconomic and policy perspective.
Photo: Bernd Roselieb for the ECB
UNSOM was pleased to have the opportunity to support Galmudug’s Ministry of Information, Culture and Tourism with a three-day capacity-building workshop for the media, which brought together 30 journalists from around the Federal Member State. The topics covered in the training included both theoretical and practical aspects to news coverage in Somalia, for both traditional and new media platforms.
Photo - Ministry of Information, Culture and Tourism, Galmudug State of Somalia.
”Practical Aspects of Internet Empowerment: Gender, Language & Civic Engagement”Moderated by David Isaksson Panelists: Chak Sopheap (Global Voices contributing author/Program Director at CCHR/OC), Ngeth Moses (Communication Officer of Community Legal Education Centre/blogger), Sorn Ramana (Global Voices’ Khmer Lingual Team/Project Coordinator on Freedom of Expression at CCHR/OC)
The Centre for Economic Policy Research (CEPR) and the European Central Bank (ECB) are hosting this joint conference The conference brings together academics and policy makers to discuss theoretical and practical aspects of central bank digital currencies (CBDCs). Relying on a combination of research presentations, keynote speeches and panel discussions, it aims to advance our understanding of the potential benefits and costs of CBDCs from a macroeconomic and policy perspective.
Photo: Bernd Roselieb for the ECB
Maker: Oscar Suck
Born: Austria
Active: Austria
Medium: heliogravure
Size: 3 3/4 in x 5 7/8 in
Location:
Object No. 2023-1109n
Shelf: PER-1890
Publication: Photographische Korrespondenz., Deutsche Gesellschaft für Photographie, v. 27, No 352-362, 1890
Other Collections:
Provenance:
Notes: Since the early 1850s the development of photography was documented and supported by magazines in France, England and Austria, the USA and Germany. None of these early magazines were as relevant as Photographische Correspondenz, particularly in German speaking regions. Founded in 1864, and edited by Ludwig Schrank as a periodical from practitioners for practitioners, with an emphasis on composition and the various genres of photography, including the practical aspects of photography as a fine art. Containing photogravures by Klic, Riffarth, Blechinger,Paulussen, Johannes Bayer, J Löwy, and Wilhelm Cronenberg, the content of the periodical surveyed photo-technical and photochemical innovations, provided guidance for professional photographers, and examined new fine print methods as well as scientific, economic and esthetic aspects of photography. High-quality prints dominated its pages, using established reproduction processes that were economically beneficial. The majority of these fine prints were provided by Vienna studios and J. Albert, C. Aubel, K. Klietsch, Ch. Reutlinger, and L. Rutherfurd. (Source: photogravure.com)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Horse Breeding course aims to give the student understanding of both the practical aspects of equine breeding with regard to management of the stallion, mares, breeding and their foals as well as the management of bloodlines and genetic selection.
This is another shot I took a while ago during one of my Kali (Eskrima/Arnis) martial arts classes. During one of the stick drills, Eddie and Sinan perform a strike intended for each other's leading foot.
Please note, no toes were lost during the production of this photo.
Kali, also known as Eskrima or Arnis, is an ancient Filipino martial art that utilises empty-hand and weapon based techniques to stike, hold, throw and lock and opponent. It is one of the few martial arts we practice out our club, Karasac.
Our club concentrates on taking the best and most practical aspects from a variety of martial arts and combining them to form an effective self-defence system. As well as the excellent tuition and keeping you fit, it's a great, fun environment with a whole bunch of friendly people. Come and join the fun!
If you'd like to know more about the martial art or about our club, visit our homepage at www.karasackali.co.uk.
The Centre for Economic Policy Research (CEPR) and the European Central Bank (ECB) are hosting this joint conference The conference brings together academics and policy makers to discuss theoretical and practical aspects of central bank digital currencies (CBDCs). Relying on a combination of research presentations, keynote speeches and panel discussions, it aims to advance our understanding of the potential benefits and costs of CBDCs from a macroeconomic and policy perspective.
Photo: Bernd Roselieb for the ECB
Kiev, musée d'histoire militaire. Formation de médecine légale du CICR à la recherche et l'exhumation de restes humains.
Kiev, military history museum. ICRC forensics training on the search for and recovery of human remains.
The search for and recovery of mortal remains is the first step in the proper management of the dead, and requires great rigour and care. With this in mind, The ICRC delegation in Ukraine recently conducted a training in Kyiv with participants from different authorities, the police and civil military liaison teams involved in the search and recovery of civilian dead and military personnel missing in action.
The aim of the three-day workshop was to enable those taking part to gain more knowledge about both the technical and practical aspects of the exhumation of human remains. Also to ensure that human remains are handled with dignity and respect and that each piece of evidence is documented, so as to be able to provide answers to the families of the missing.
The training was one in a series of such ICRC workshops being planned in government-controlled areas during 2017, and was led by the ICRC’s regional forensics coordinator for Eurasia Maria Dolores Morcillo Mendez (photo 001) in cooperation with the ICRC’s forensic team in Ukraine.
The search for and recovery of mortal remains is the first step in the proper management of the dead, and requires great rigour and care. With this in mind, The ICRC delegation in Ukraine recently conducted a training in Kyiv with participants from different authorities, the police and civil military liaison teams involved in the search and recovery of civilian dead and military personnel missing in action.
The aim of the three-day workshop was to enable those taking part to gain more knowledge about both the technical and practical aspects of the exhumation of human remains. Also to ensure that human remains are handled with dignity and respect and that each piece of evidence is documented, so as to be able to provide answers to the families of the missing.
The training was one in a series of such ICRC workshops being planned in government-controlled areas during 2017, and was led by the ICRC’s regional forensics coordinator for Eurasia Maria Dolores Morcillo Mendez (photo 001) in cooperation with the ICRC’s forensic team in Ukraine.
Maker: Fernande
Born: Austria
Active: Austria
Medium: halftone
Size: 6 3/4 in x 4 9/16 in
Location:
Object No. 2023-1109e
Shelf: PER-1890
Publication: Photographische Korrespondenz., Deutsche Gesellschaft für Photographie, v. 27, No 352-362, 1890
Other Collections:
Provenance:
Notes: Since the early 1850s the development of photography was documented and supported by magazines in France, England and Austria, the USA and Germany. None of these early magazines were as relevant as Photographische Correspondenz, particularly in German speaking regions. Founded in 1864, and edited by Ludwig Schrank as a periodical from practitioners for practitioners, with an emphasis on composition and the various genres of photography, including the practical aspects of photography as a fine art. Containing photogravures by Klic, Riffarth, Blechinger,Paulussen, Johannes Bayer, J Löwy, and Wilhelm Cronenberg, the content of the periodical surveyed photo-technical and photochemical innovations, provided guidance for professional photographers, and examined new fine print methods as well as scientific, economic and esthetic aspects of photography. High-quality prints dominated its pages, using established reproduction processes that were economically beneficial. The majority of these fine prints were provided by Vienna studios and J. Albert, C. Aubel, K. Klietsch, Ch. Reutlinger, and L. Rutherfurd. (Source: photogravure.com)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
The Centre for Economic Policy Research (CEPR) and the European Central Bank (ECB) are hosting this joint conference The conference brings together academics and policy makers to discuss theoretical and practical aspects of central bank digital currencies (CBDCs). Relying on a combination of research presentations, keynote speeches and panel discussions, it aims to advance our understanding of the potential benefits and costs of CBDCs from a macroeconomic and policy perspective.
Photo: Bernd Roselieb for the ECB
A CARICOM Institution
CIMH - Caribbean Institute for Meteorology and Hydrology
CIMH, is based in Barbados.
CIMH was established in September 1999 by the amalgamation of the Caribbean Meteorological Institute (CMI) (1967); and Caribbean Operational Hydrological Institute (COHI) (1982).
Area of Focus: Weather; Training in Meteorology and Hydrology
Services:
The CIMH, originally the Caribbean Meteorological Institute, provides training for the region's weather observers and technicians, weather forecasters, specialists in hydrology, agro-meteorology and other related disciplines. The CIMH provides training to the Major in Meteorology in the Faculty of Pure & Applied Sciences Bachelor of Science degree, in cooperation with the University of the West Indies Cave Hill Campus. The CIMH also serves as the CMO's research and climate centre, as well as the regional instrument calibration and maintenance centre.
1 - Courses in Hydrology
- Hydrological Observers
This is a four week course designed to train hydrological observers;
- Hydrological Technicians, formerly General Technicians.
The duration of this course which commences in September annually is approximately eight months. The level of this course is similar to that of the WMO Mid-Level Technician meteorology course. The course focuses on aspects of operational hydrology. Minimum entry qualifications are four GCE (Ordinary Level) or CXC (General Proficiency - Grades I, II & III) Certificates, including English Language and Mathematics. Physics would be an asset.
This course is designed for personnel without any skills in hydrology;
- Diploma in Hydrology formerly, Higher Technicians.
This is an eighteen month course and is designed to allow personnel with several years’ experience to gain further knowledge in hydrology. The course introduces theoretical aspects of hydrology and expands on the practical aspects of hydrology. Minimum entry qualifications are similar to those for the Hydrological Technicians but students must also hold the Hydrological Technicians Certificate or have several years’ experience in the field of hydrology. Classes commence in January of alternate years.
2 - Courses in Meteorology
- Entry-Level Technician (Meteorological Assistants - Observers), formerly Class IV.
This is a four-month course which is followed by two months of on-the-job training at one of the main Meteorological Offices in the Region. Minimum entry requirements are four GCE (Ordinary Level) or CXC (General Proficiency - Grades I, II & III) Certificates, including English Language and Mathematics. Physics would be an asset. Classes usually commence in August annually.
- Mid-Level Technicians (Senior Meteorological Assistants), formerly Class III
This course lasts for approximately eight months with students specializing in Applications of Meteorology or Instrument Maintenance and Repair. Entry requirements are similar to an Entry-Level Technician, but students should also hold an Entry-Level Technician Certificate or have extensive experience in the field of Meteorology. Classes commence in September annually.
- Senior-Level Technicians (Forecasters), formerly Class II
This is an eighteen month course which is followed by three months on-the-job training at one of the main Meteorological Offices. The course provides students with the basic theoretical background in dynamic, physical, synoptic, tropical and aeronautical meteorology, while emphasizing the practical applications of this theory to weather analyses and forecasting, particularly in the tropics.
The minimum entry requirements are four GCE (Ordinary Level) or CXC (General Proficiency - Grades I, II & III) Certificates including English Language, Mathematics, and Physics. Candidates should also hold an Entry-Level Technician Certificate or have extensive experience in the field of Meteorology. Classes commence in January in alternate years.
- BSc. Meteorology, formerly Class I
This program is conducted in association with the University of the West Indies. Students in this program are fully registered at the University but receive instruction in meteorology from staff of the Institute. Entry qualifications are a minimum of five GCE (Ordinary Level) or CXC (General Proficiency - Grades I, II & III) passes which must include English Language and Mathematics, in which case the program may be completed in four years. If, however, the student holds at least two passes at the Advanced Level GCE in relevant science subjects, the program may be completed in three years.
The course is designed to train meteorologists whose duties include development and research.
- Operational Aeronautical Forecasters Course
This course is specifically designed for BSc. Meteorology graduates who have not completed the Senior-Level Technicians Course and who wish to become operational forecasters. It provides theoretical aeronautical and operational procedures with emphasis on the practical and operational applications of the theory to weather analysis and forecasting, particularly in the tropics.
The minimum entry requirement is a degree in Meteorology. However it is strongly recommended that students who wish to take this course undergo an attachment with a Meteorological Service prior to commencement of the course. This course is conducted entirely at the Caribbean Institute for Meteorology and Hydrology.
Classes commence in May, at the end of the university academic year, and continue to July. In addition it is necessary to undergo at least three months of in-service training which must be satisfactorily completed.
Objective (Primary Functions):
- Provide facilities for the training of various categories of meteorological and hydrological personnel (The training program is designed to ensure that meteorology and hydrology make their maximum contribution to the economic development of the region);
- Operate as a centre of research in meteorology and hydrology and associated sciences;
- Operate as contractors and consultants on various meteorological and hydrological projects;
- Maintain a service for the upkeep, repair, and calibration of meteorological instruments;
- Provide advice to participating governments on meteorological and hydrological matters;
- Collect, analyse, and publish meteorological and hydrological data.
Mandate:
The programs are designed to upgrade the skills of personnel working in the field of water resources at the operational level. The Institute also offers a number of short specialized courses and workshops aimed at upgrading the skills and expertise of experienced meteorologists and hydrologists.
Legal Instruments:
The CIMH is established under Article 21 of the Revised Treaty of Chaguaramas.
How to successfully enter the markets of the Alpe-Adriaregion?
-Mr. Marko Lotrič, Director of the company Lotrič Meroslovje d.o.o.
Practical aspects of looking for new business partners abroadand challenges of successful sales broad
-Mr. Bojan Železnik, Director of company KGL d.o.o.
Business in Slovenia: experiences & anecdotes
-Mr. Klaus Schuster, Management consultant& author Business in Slovenia
Services for potential and existing Slovenian exportersfor their successful operations abroad& Slovenia as an excellent location for business
-Mrs. Petra Ambrožič, SPIRIT Slovenia
Moderator: Mrs. Larisa Vodeb, Head of Projects at Chamber of Craft and Small Business of Slovenia.
Do you spend a lot of time during the design process wondering what users really need? Do you hate those endless meetings where you argue how the interface should work? Have you ever developed something that later had to be completely redesigned? Paper Prototyping can help. Written by a usability engineer with a long and successful paper prototyping history, this book is a practical, how-to guide that will prepare you to create and test paper prototypes of all kinds of user interfaces. You'll see how to simulate various kinds of interface elements and interactions. You'll learn about the practical aspects of paper prototyping, such as deciding when the technique is appropriate, scheduling the activities, and handling the skepticism of others in your organization. Numerous case studies and images throughout the book show you real world examples of paper prototyping at work. Learn how to use this powerful technique to develop products that are more useful, intuitive, efficient, and pleasing: Save time and money - solve key problems before implementation begins Get user feedback early - use it to focus the development process Communicate better - involve development team members from a variety of disciplines Be more creative - experiment with many ideas before committing to oneEnables designers to solve design problems before implementation begins Five case studies provide real world examples of paper prototyping at work Delves into the specifics of what types of projects paper prototyping is and isn't good for.
Reinforcement learning (RL) is a powerful learning paradigm of machine learning (ML). It is particularly suited to tackle control problems in large environments, can learn from experience without the need of a model of the dynamics, and can deal with delayed consequences.
Capturing your control problem as a meaningful Markov Decision Process (MDP) is not trivial. Additional challenges arise in the training in terms of stability and evaluation. Other practical aspects include reproducibility, efficiency, implementation, deployment in hardware, or choosing the most suitable algorithm for your problem.
RL applications in particle accelerators are very promising, but have been deployed in real machines only a handful of times. This workshop aims at lowering the barrier in applying RL and making it a more widely used tool.
Photos: Simon P. Haigermoser
Maker: H. Zehetmayer
Born: Austria
Active: Austria
Medium: collotype
Size: 4 1/4 in x 5 3/4 in
Location:
Object No. 2023-1109m
Shelf: PER-1890
Publication: Photographische Korrespondenz., Deutsche Gesellschaft für Photographie, v. 27, No 352-362, 1890
Other Collections:
Provenance:
Notes: Since the early 1850s the development of photography was documented and supported by magazines in France, England and Austria, the USA and Germany. None of these early magazines were as relevant as Photographische Correspondenz, particularly in German speaking regions. Founded in 1864, and edited by Ludwig Schrank as a periodical from practitioners for practitioners, with an emphasis on composition and the various genres of photography, including the practical aspects of photography as a fine art. Containing photogravures by Klic, Riffarth, Blechinger,Paulussen, Johannes Bayer, J Löwy, and Wilhelm Cronenberg, the content of the periodical surveyed photo-technical and photochemical innovations, provided guidance for professional photographers, and examined new fine print methods as well as scientific, economic and esthetic aspects of photography. High-quality prints dominated its pages, using established reproduction processes that were economically beneficial. The majority of these fine prints were provided by Vienna studios and J. Albert, C. Aubel, K. Klietsch, Ch. Reutlinger, and L. Rutherfurd. (Source: photogravure.com)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
UNSOM was pleased to have the opportunity to support Galmudug’s Ministry of Information, Culture and Tourism with a three-day capacity-building workshop for the media, which brought together 30 journalists from around the Federal Member State. The topics covered in the training included both theoretical and practical aspects to news coverage in Somalia, for both traditional and new media platforms.
Photo - Ministry of Information, Culture and Tourism, Galmudug State of Somalia.
Located at Montpelier, home of James Madison. The Temple's classic style also had a practical aspect, as it was built over an icehouse which would provide the family with ice throughout the year.
Information from Montpelier website.
RELATIONSHIPS CHALLENGES.
It is important to care for oneself because neglecting one's own well-being can lead to negative consequences, such as physical and emotional exhaustion, burnout, and a negative impact on relationships and overall quality of life. Self-care includes activities that promote physical, emotional, and mental well-being, such as exercise, eating well, getting enough sleep, managing stress, and having a social support system. When individuals take care of themselves, they are better able to handle the demands and pressures of life, and they are more able to support and care for others. Additionally, self-care can help to prevent or alleviate the development of mental health issues such as anxiety and depression. Therefore, individuals need to make self-care a priority in order to maintain overall well-being.
Brain injury can significantly impact relationships, causing couples physical, cognitive, and emotional challenges. Memory loss, difficulty with communication, physical changes, and emotional changes can all strain the relationship and make it difficult for the couple to connect. Caregiving responsibilities can also be overwhelming, leading to feelings of burnout or resentment. Counseling can provide support and guidance for both the injured person and their loved one to navigate these challenges and find ways to maintain their relationship and intimacy. It can also help the loved one understand the changes in their loved one, navigate practical aspects of caregiving and take care of their well-being. Overall, counseling is an important step in helping couples cope with the aftermath of a brain injury.
A counselor can help a couple navigate the challenges that arise after a brain injury by providing support, guidance, and practical strategies for coping. They can help the injured person and their loved one understand the changes that have occurred due to the brain injury, and provide them with tools for communicating and interacting with one another. Additionally, a counselor can provide guidance on navigating the practical aspects of caregiving, such as managing finances, coordinating medical appointments, and dealing with legal and insurance issues. They can also provide support and coping strategies for the loved one, who may face significant emotional and physical challenges due to their role as a caregiver. Furthermore, they can help the couple adapt to the new circumstances and find ways to maintain the relationship and intimacy despite the challenges caused by the brain injury.
Brain injury can cause a wide range of physical, cognitive, and emotional symptoms that can create problems for couples.
Memory loss, difficulty with communication, physical changes, and emotional changes can all strain the relationship and make it difficult for the couple to connect.
Caregiving responsibilities can be overwhelming and lead to feelings of burnout or resentment.
Counseling can provide support and guidance for both the injured person and their loved one to navigate these challenges and find ways to maintain their relationship and intimacy.
Counseling can help the loved one understand the changes in their loved one and how to communicate best and interact with them.
It can also provide guidance on how to navigate the practical aspects of caregiving and help the loved one take care of their well-being.
Overall, counseling is essential in helping couples cope with the aftermath of a brain injury.
ABI RESOURCES Connecticut home-based supported living and CT community care.
ABI Resources works with multiple organizations, including DSS, DMHAS, WWP, CCC, CCCI, SWCAA, WCAAA, Allied, Yale, UConn, Gaylord, HFSC, and more to provide the best care for individuals.
Oberlin's Career Exploration and Development office celebrated the achievements of their Law & Justice Scholars in April while welcoming a new cohort into the program. The Law & Justice Scholars Program focuses on students understanding practical aspects of the law for those interested in careers focused on social justice policy and law.
Photo by Mike Crupi
Pike Properties views the range wall of a kitchen as a piece or artwork or the centerpiece of the space. Typically, there is no wall space to hang art in a kitchen, so the result is needing to use practical aspects of the space and turn them into art work. That is what you see here with the picture frame accent tile over the 48" range. This tile is by no means cheap, but when using such a small quantity is relatively affordable and makes a statement that is unlike anything else. The tile is Soho Studio Empress Helena, and it is truly artwork. In person, the small cubes sparkle and brass banding shines bright. It is a sight to see.
www.sohostudiocorp.com/empress-helena-asian-statuary-with...
Pike stuck with a simple range hood design so as to not distract from the backsplash masterpiece.
Main Backsplash Tile- Jeffrey Court Wall Street White 3x9
www.jeffreycourt.com/product/3x9-natural-stone-white-fiel...
Range- Jenn-Air 48" Pro-Style
m.fergusonshowrooms.com/product/jenn-air-JDRP548WP-pro-st...
James Rockwell '79, gave a presentation "Oil and Gas Pipeline Design, Construction and Operation," fon Thursday April 16th at Michigan Tech.
The presentation was based on Rockwell's 33-plus years in the oil and gas industry. It focuses on long-distance pipelines.
An overview of the engineering principles, issues, practical aspects and regulations applicable to the design, construction and operation of oil and gas pipeline systems was presented. The focus was on DOT specifications, standards and procedures for steel pipelines. Hydraulics, diameter and wall thickness sizing construction aspects were discussed.
Maker:
Born: Austria
Active: Austria
Medium: collotype
Size: 4 1/4 in x 6 1/4 in
Location:
Object No. 2023-1109q
Shelf: PER-1890
Publication: Photographische Korrespondenz., Deutsche Gesellschaft für Photographie, v. 27, No 352-362, 1890
Other Collections:
Provenance:
Notes: Since the early 1850s the development of photography was documented and supported by magazines in France, England and Austria, the USA and Germany. None of these early magazines were as relevant as Photographische Correspondenz, particularly in German speaking regions. Founded in 1864, and edited by Ludwig Schrank as a periodical from practitioners for practitioners, with an emphasis on composition and the various genres of photography, including the practical aspects of photography as a fine art. Containing photogravures by Klic, Riffarth, Blechinger,Paulussen, Johannes Bayer, J Löwy, and Wilhelm Cronenberg, the content of the periodical surveyed photo-technical and photochemical innovations, provided guidance for professional photographers, and examined new fine print methods as well as scientific, economic and esthetic aspects of photography. High-quality prints dominated its pages, using established reproduction processes that were economically beneficial. The majority of these fine prints were provided by Vienna studios and J. Albert, C. Aubel, K. Klietsch, Ch. Reutlinger, and L. Rutherfurd. (Source: photogravure.com)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
On 17-18 Octobre 2022, over 200 colleagues from the JRC, the European Commission’s science and knowledge department, met for the launch of their new scientific portfolios. During two half-days they discussed these new cross-functional work structures. As member of the JRC, I am proud to be part of the journey for the transformation of our ways of working, and honoured to have taken the visual notes of this event.
The first day was dedicated to the presentation of the different portfolios by the teams (the first 2 images). Colleagues spent the second day discussing the practical aspects of the portfolios in a large World Café exercise. The topics discussed were many and diverse, and interconnections between them even more numerous (the third image). As our Director-General, Stephen Quest, said in the conclusion, it’s a long journey to work in a more integrated way.
I also have a video on YouTube (youtu.be/53iBFqMgxLo) where I show the visual thinking process I used to produce the third image, the complex mindmap. #graphicrecording #visualthinking #graphicharvesting #sketchnotes #sketchingatwork #change #changemanagement #worldcafe #participatoryprocess
#300_Hour_Residential_Hatha_Yoga_Teacher_Training_Course in India registered with #Yoga_Alliance, #India .This is an #intensive_yoga course designed for yoga teachers Designated as – RYT 200.
One reason why you would want to do the #300_HourYoga_Teacher_Training is simply because you have
discovered one layer of yoga after your #200_hour_YTT and
would like to know what lies beneath the surface. Yoga is a science
that has unending #possibilities because the more you scratch the
more enlightenment you receive and you realize that it is you who
holds the key to living a #fulfilled_life.
The second and more practical aspect for you to take up this #course is that you will gain more #experience of #yoga so you can become a more experienced and #knowledgeable_yoga_teacher.
Read more: www.Divinespaceyoga.com
Mail us: divinespaceyog@gmail.com
Jean-Marc Nattier
Madame Le Fèvre de Caumartin as Hebe, 1753
West Building, Main Floor — Gallery 53
Shown from the knees up, a woman sitting next to an eagle has pale skin and rosy cheeks, and she faces and looks at us in this vertical portrait painting. The woman takes up most of the height of the composition and her right arm, on our left, rests on what looks like a puffy, sand-colored cloud. Her long, light blond hair is pulled back but one long tendril rests over her right shoulder, on our left. White and pale pink roses are tucked into a string of white pearls pinned into her hair across top of her head. The woman gazes at us with hazel eyes under light gray brows, and her long nose and closed, pale pink lips are set in a heart-shaped face. The low neckline of her ivory-white chemise wraps across her shoulders, and a small bouquet with a peach-colored rose and delicate white flowers is tucked into a bow at the front. The chemise has voluminous, elbow-length sleeves and is belted with a single strand of white pearls. Robin's egg-blue fabric is fastened with a gold pin on her right arm, to our left, and it falls in folds across her lap. Light reflecting off the fabric creates a sheen, suggesting it is silk or satin. Her right arm is bent to hold a pitcher over a small bowl in her other hand. The pitcher and bowl are both iridescent silver edged with gold. The body of the pitcher is decorated with people wearing robes, perhaps dancing. The eagle nestles near her left elbow, to our right. We see the upper half of its brown body and curved wing. Its narrow head and parted, hooked beak face our left in profile. The sky behind the woman transitions from a warm, golden yellow behind her to celestial blue along the top edge of the painting. Wispy bands of clouds rise to meet a larger smoke-gray cloud at the top that spreads out to frame her head. The painting is created with blended strokes, giving it a soft appearance, especially in the woman’s face and hands. The artist signed and dated the painting in the lower left corner, “Nattier pinxit. 1753.”
Jean-Marc Nattier was the son of an insignificant portraitist of the reign of Louis XIV, Marc Nattier (1642-1705), and his wife, the miniaturist Marie Courtois (1655-1703). Born in Paris on March 17, 1685, he was the godchild of the history painter Jean Jouvenet (1644-1717), who was to play a role in his early artistic training. Nattier's mother, a paralytic, had given birth to several children, including a son, Jean Baptiste (1677-1726). In their youth the lives and careers of the two brothers were closely entwined. They learned the practical aspects of painting in their father's studio and attended the drawing and theoretical classes of the Académie royale de peinture et de sculpture, of which Marc Nattier was a member. The two were awarded a yearly stipend from the royal arts administration, the Bâtiments du Roi, and were prize winners in the Académie's student competitions. Their painting styles were remarkably similar, and Jean-Baptiste called himself Nattier l'aîné, while Jean-Marc often signed his early works as Nattier le jeune.
In 1702 Marc Nattier obtained a license to reproduce as engravings the twenty-four paintings comprising the monumental Marie de Médicis cycle by Peter Paul Rubens (1577-1640) in the Palais du Luxembourg. This was an enormous undertaking in which he involved his two sons, who executed the drawings (Paris, Bibliothèque de l'Arsenal) from which the most prominent French engravers of the time--among them Gérard Audran (1640-1703), Gérard Edelinck (1640-1707), Bernard Picart (1673-1733), and Gaspard Duchange (1662-1757)--made their reproductive prints. In 1709, at Jouvenet's instigation, Jean-Marc was offered a scholarship to study in Rome, but he declined the honor in order to further a lucrative career as a portraitist.
Before his death, Marc Nattier had deeded the Luxembourg engraving project to his sons, and in 1710 the prints were issued under the title Galerie du Palais du Luxembourg. Jean-Baptiste's official career as a history painter was launched when he was made an associate member (agréé) of the Académie, and as his diploma piece he painted Joseph and Potiphar's Wife (St. Petersburg, State Hermitage Museum). Around 1712 Jean-Marc made an elaborate drawing (Phoenix Art Museum) after Hyacinthe Rigaud's (1659-1743) famous Portrait of Louis XIV in Coronation Robes (Paris, Musée du Louvre); the sheet was the basis of Pierre Drevet's (1663-1738) reproductive engraving, and for it Nattier received 500 livres and encouragement from the king himself.
Jean-Marc prospered under the Regency. In 1715 his ambitions led him to seek membership in the Académie as a painter of history subjects. For the painting that was to earn him his reception three years later, he was assigned the mythological subject of Apollo Presiding over the Arts of Painting and Sculpture, for which he ultimately substituted Perseus Petrifying Phineus with the Head of the Gorgon (Tours, Musée des Beaux-Arts). In 1717 he was invited to join Peter the Great (r. 1682-1725) in Holland, and while in The Hague he began a portrait of the czar's peasant-born second wife Catherine Alexeyevna (St. Petersburg, State Hermitage Museum) and executed a generic battle piece intended to commemorate Russia's victory over the troops of Charles XII of Sweden at either Lesnaya or Poltava (Moscow, Pushkin State Museum of Fine Arts). He then returned to Paris, where he painted from life a portrait of the czar wearing a suit of armor (Munich, Residenz Museum). The autocrat took serious umbrage at Nattier's refusal to settle in Russia as his court painter. In 1725, the artist sent his full-length military portrait of comte Maurice de Saxe (Dresden, Gemäldegalerie Alte Meister) to the Exposition de la Jeunesse.
Jean-Marc Nattier's practice as a court and society portraitist was firmly established by 1729, when he painted a likeness of Mademoiselle de Clermont (Chantilly, Musée Condé), the sister of the young Louis XV's prime minister, the duc de Bourbon. In this work, he combined portraiture with history painting, presenting his subject in the guise of a water nymph. For several decades his glamorous portraits of women made up as Greco-Roman deities and men outfitted as warriors or fabled heroes were all the rage. His mythological, allegorical, and fancy-dress portraits, set in luxurious interiors or serene landscapes, relied for their effect on sumptuous displays of fabrics and accessories. Moreover, while flattering his sitters, sometimes outrageously, he somehow managed to capture near-perfect likenesses. Such pictures were the staple products of his brush, and he was well within the tradition established by Pierre Mignard (1612-1695, cat. 72), Nicolas de Largillierre (1656-1746), and Jean Raoux (1677-1734). In contemporary minds, such idealized portraiture struck the same chords as the grandiloquent poetry of Voltaire (1694-1778) and the lush strains of the music of Jean Philippe Rameau (1683-1764). Because of their pseudo-mythological resonance, many of Nattier's works were treated as history pictures and replicated in engravings from which he derived income.
At this juncture the artist painted likenesses of two members of the house of Lorraine, Mademoiselle de Lambesc as Minerva and her brother, the comte de Brionne (Lille, Musée des Beaux-Arts, on deposit from the Musée du Louvre). A second portrait of Mademoiselle de Clermont depicting the sitter as a lady of the seraglio served by slaves (London, Wallace Collection) was an outstanding example of the eighteenth-century genre, the Turquerie. He also produced a full-length image of the duc de Richelieu wearing the elaborately decorated costume of a knight of the order of the Saint-Esprit (Lisbon, Museu Calouste Gulbenkian), a masterpiece of post-baroque French portraiture.
In 1734 the chevalier d'Orléans, grand prior of the order of Saint John of Jerusalem, engaged Nattier to complete the decoration of his painting gallery in the Palais du Temple, which Raoux had begun. There Nattier painted a series of six history pictures, the subjects of which have never been fully elucidated but are likely to have included several Muses (perhaps the Thalia and Terpsichore in the California Palace of the Legion of Honor, San Francisco, painted in 1739) and allegorical representations of Justice (Great Britain, private collection), Prudence (formerly collection of baron Maurice de Rothschild) and Fortitude (sale, New York, Christie's, November 2, 2000, no. 237), as well as a large, full-length portrait of his patron the grand prior as a military commander (location unknown).
Nattier became a regular exhibitor at the Salon from 1737 on. The publicity brought him a ceaseless flow of commissions from private and state sources. The famous Madame Geoffrin posed for him as a Sibyl (location unknown); and in contrast, her daughter, the marquise de la Ferté Imbault, is dressed for a masked ball (Tokyo, Fuji Museum). In 1740 the artist painted portraits of two daughters of the marquis de Nesles, both paramours of Louis XV (known from replicas in the Castle of Drottningholm and Versailles), whom he treated as personifications of Silence and Dawn. When shown at Versailles, these likenesses created such a stir that Queen Marie Leszczynska commissioned the artist to paint her daughter Madame Henriette reclining in a landscape and holding a crown of flowers, an attribute of the goddess Flora (Musée des Châteaux de Versailles et de Trianon). This was the first in a long series of portraits of the royal princesses, some done from life at the Abbaye de Fontevrault in Anjou, the works for which Nattier is perhaps best known (also in Versailles). Most of these paintings gave rise to autograph replicas and studio copies that were distributed to members of the royal family, other crowned heads, officers of the diplomatic corps, ministers, courtiers, and favorites of the Bourbon family.
Nattier exhibited seven works at the Salon of 1745, the year he painted a now-lost portrait of Louis XV (replica in St. Petersburg, State Hermitage Museum). In 1745 the artist was promoted to the rank of associate professor at the Académie. At the Salon that year, he showed a number of portraits, including the National Gallery of Art's Joseph Bonnier de la Mosson (1961.9.30). Nattier was soon called to the Château de Fontainebleau to paint the king's new mistress, the marquise de Pompadour, provocatively dressed as Diana, goddess of the hunt (Versailles). The following year he executed a knee-length portrait of Louis XV's son and heir, the Dauphin (replica in Musée de Dijon), clad in armor and standing before the field of the Battle of Fontenoy, a work that earned him the title of Painter in Ordinary to the King. In 1748, the artist sketched from life head studies of Louis XV's children--the twins Élisabeth, Duchess of Parma, and Henriette; Adélaïde; Victoire; and the dauphin, Louis Ferdinand--that were models for future portraits. When the opportunity arose, the fashionable Nattier was also capable of recording his sitters' features with a certain amount of psychological insight. No allegories were necessary to sustain his inspiration when he painted his sympathetic likeness of Marie Leszczynska (Versailles).
In January 1750, the dauphin commissioned Nattier to paint as overdoor decorations for his Grand Cabinet at Versailles portraits of his sisters disguised as the Four Elements (São Paulo, Museu de Arte Assis Chateaubriand), works that were exhibited at the Salon of 1751 along with a portrait of the dauphine Marie Josèphe de Saxe (Versailles). In 1752 the artist was made professor in the Académie.
By the mid-1750s Nattier's reputation was on the wane. His submissions to the Salon of 1755, which included the masterful portraits of Henriette playing the bass viol and the infant duc de Bourgogne (both in Versailles), elicited some vituperative commentary on the part of certain critics, who found his compositions pretentious and his coloring weak. In 1759 he was elected an associate member of the Royal Danish Academy of Fine Art, and as his reception piece he executed a replica of a portrait of his son-in-law, the painter Louis Tocqué (Copenhagen, Royal Museum of Fine Arts). That year he exhibited a magnificent portrait of Madame Adélaïde holding a musical score (Paris, Musée du Louvre) and a Vestal (Raleigh, North Carolina Museum of Art), which aroused the scathing hostility of Diderot. In 1761 the sight of Nattier's posthumous portrait of the Duchess of Parma (Versailles) at the Salon prompted Diderot to exclaim: "Does that man not have a friend who will tell him the truth?" The old and infirm artist found himself in such difficult financial straits that he was obliged to sell his art collection and the contents of his studio. Jean-Marc Nattier died on November 7, 1766, in his eighty-first year, and his remains were entombed the following day in his parish church of Saint-Eustache.
[Joseph Baillio, in French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue, Washington, D.C., 2009: 334-335.]
________________________________
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...
..
________________________________
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...
.
Arthur Clay, artist and curator of the exhibition, explains the concept behind "No need for real?" and the practical aspects for accessing it
Workshop W3. Sharing the Night Sky with Your Students
Nicole Gugliucci, Southern Illinois University Edwardsville STEM Center
Learn how to have an effective, fun, and safe star party with your students where they explore the night sky. A star party is an excellent tool for outreach and a good extension for any class that covers topics in astronomy. Even in an urban environment, the night sky may be more accessible than you think. Learn about how to share practical astronomy from astronomers and outreach professionals.
We'll go over ways to find local astronomers to help you put on your star party, tips for dealing with weather, and recommendations for equipment and activities to have for your students. Bring the night sky to your students and introduce them to the practical aspects of astronomy, as well as the wonder of the night sky. We'll discuss technologies and resources for finding your way around the night sky and sharing it with your students and tie the observing sessions into your classroom lessons. This workshop is free.
Photo by Dave Renneke
3 October 2024: Hybrid panel discussion "The UN Summit of the Future – Main takeaways and practical aspects to reinvigorate multilateralism", which took place in the Vienna International Centre.
Opening remarks by: Martin Nesirky, Director, United Nations Information Service (UNIS) Vienna
Panelists:
Markus Wainde Wane, UN Youth Delegate Austria
Rebecca Jovin, Chief, United Nations Office for Disarmament Affairs (UNODA) Vienna Office
Alexander Marschik, Ambassador, Permanent Representative of Austria to the United Nations, Co-chair of the Intergovernmental Negotiations on the United Nations Security Council (UNSC) Reform of the 78th Session of the UN General Assembly
Markus Woltran, Programme Officer, Office of the Director, UN Office for Outer Space Affairs (UNOOSA)
Moderation by: Loïc Simonet,
oiip
Photo credit: UNIS Vienna/ Jakob Skudlik
Maker: J.M. Eder (1855-1944)
Born: Austria
Active: Austria
Medium: periodical
Size: 6 5/16 in x 8 7/8 in
Location: Austria
Object No. 2023.1109
Shelf: PER-1890
Publication: Photographische Korrespondenz., Deutsche Gesellschaft für Photographie, v. 27, No 352-362, 1890
Other Collections:
Provenance: Antiquariat Carl Wegner
Rank: 200
Notes: Since the early 1850s the development of photography was documented and supported by magazines in France, England and Austria, the USA and Germany. None of these early magazines were as relevant as Photographische Correspondenz, particularly in German speaking regions. Founded in 1864, and edited by Ludwig Schrank as a periodical from practitioners for practitioners, with an emphasis on composition and the various genres of photography, including the practical aspects of photography as a fine art. Containing photogravures by Klic, Riffarth, Blechinger,Paulussen, Johannes Bayer, J Löwy, and Wilhelm Cronenberg, the content of the periodical surveyed photo-technical and photochemical innovations, provided guidance for professional photographers, and examined new fine print methods as well as scientific, economic and esthetic aspects of photography. High-quality prints dominated its pages, using established reproduction processes that were economically beneficial. The majority of these fine prints were provided by Vienna studios and J. Albert, C. Aubel, K. Klietsch, Ch. Reutlinger, and L. Rutherfurd. (Source: photogravure.com)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Excavations show that this location was the site of monastic life even before the cathedral was built. This location is the site of the old Chapter House of the Augustinian canons. The doorway set in the ruined wall is all that remains of it above ground. Its medieval tiled floor still lies one meter below ground.
Here the community met daily to deal with practical aspects of their lives. The prior who ruled over them gave instructions concerning the Rule, and dealt with matters of business and discipline. Work and worship duties were also assigned here. The life of the priory continued until 1540 when the monastery was dissolved.
The Chapter House, with other parts of the priory, was destroyed during the Commonwealth period of 1649-1660.
A spare towel keeps the saddle clean and dry. Secondary storage is an important practical aspect of outdoor cycle storage in a complex where your front door may be 5-10 minutes walk away.
Bicycle parking rack serves as storage for umbrellas/umbrella covers and saves parking spot for absent cyclist. In a large apartment complex without assigned bicycle parking ad-hoc methods become necessary to obtain and secure the most convenient (and dry) spots. Light but conspicuous alterations are just enough to keep other residents from stealing your space.
Key Timorese engineering graduates have already completed their training and can operate all practical aspects of the plant. Photo Credit: ZEESM/UNDP Anne Kennedy UNDP Timor-Leste 2017
Hélia Nacif, Ex-Secretary of Urbanism, presented on the legal and practical aspects of Public-Private Partnerships
2019 March 10-15
New York, USA
March 10
Trade union orientation session
Close to a hundred women trade unionists met today, Sunday 10 March, for the Trade Union Orientation Session. The session allowed experienced and new delegates to connect and share tips and strategies on lobbying and advocacy at the CSW63. Attending the United Nations Commission on the Status of Women (CSW) provides trade unionists with an opportunity to learn about international best practices for gender equality, share a worker’s perspective and influence international standards.
After an introduction and a brief explanation on some of the more practical aspects, delegates shared tasks and responsibilities to ensure that Women’s workers voices are going to be heard at #CSW63!!
#UNCSW63 #domesticworkers
Source: unioncsw.world-psi.org/
Jean-Marc Nattier - French, 1685 - 1766
Joseph Bonnier de la Mosson, 1745
West Building, Main Floor — Gallery 53
Jean-Marc Nattier was the son of an insignificant portraitist of the reign of Louis XIV, Marc Nattier (1642-1705), and his wife, the miniaturist Marie Courtois (1655-1703). Born in Paris on March 17, 1685, he was the godchild of the history painter Jean Jouvenet (1644-1717), who was to play a role in his early artistic training. Nattier's mother, a paralytic, had given birth to several children, including a son, Jean Baptiste (1677-1726). In their youth the lives and careers of the two brothers were closely entwined. They learned the practical aspects of painting in their father's studio and attended the drawing and theoretical classes of the Académie royale de peinture et de sculpture, of which Marc Nattier was a member. The two were awarded a yearly stipend from the royal arts administration, the Bâtiments du Roi, and were prize winners in the Académie's student competitions. Their painting styles were remarkably similar, and Jean-Baptiste called himself Nattier l'aîné, while Jean-Marc often signed his early works as Nattier le jeune.
In 1702 Marc Nattier obtained a license to reproduce as engravings the twenty-four paintings comprising the monumental Marie de Médicis cycle by Peter Paul Rubens (1577-1640) in the Palais du Luxembourg. This was an enormous undertaking in which he involved his two sons, who executed the drawings (Paris, Bibliothèque de l'Arsenal) from which the most prominent French engravers of the time--among them Gérard Audran (1640-1703), Gérard Edelinck (1640-1707), Bernard Picart (1673-1733), and Gaspard Duchange (1662-1757)--made their reproductive prints. In 1709, at Jouvenet's instigation, Jean-Marc was offered a scholarship to study in Rome, but he declined the honor in order to further a lucrative career as a portraitist.
Before his death, Marc Nattier had deeded the Luxembourg engraving project to his sons, and in 1710 the prints were issued under the title Galerie du Palais du Luxembourg. Jean-Baptiste's official career as a history painter was launched when he was made an associate member (agréé) of the Académie, and as his diploma piece he painted Joseph and Potiphar's Wife (St. Petersburg, State Hermitage Museum). Around 1712 Jean-Marc made an elaborate drawing (Phoenix Art Museum) after Hyacinthe Rigaud's (1659-1743) famous Portrait of Louis XIV in Coronation Robes (Paris, Musée du Louvre); the sheet was the basis of Pierre Drevet's (1663-1738) reproductive engraving, and for it Nattier received 500 livres and encouragement from the king himself.
Jean-Marc prospered under the Regency. In 1715 his ambitions led him to seek membership in the Académie as a painter of history subjects. For the painting that was to earn him his reception three years later, he was assigned the mythological subject of Apollo Presiding over the Arts of Painting and Sculpture, for which he ultimately substituted Perseus Petrifying Phineus with the Head of the Gorgon (Tours, Musée des Beaux-Arts). In 1717 he was invited to join Peter the Great (r. 1682-1725) in Holland, and while in The Hague he began a portrait of the czar's peasant-born second wife Catherine Alexeyevna (St. Petersburg, State Hermitage Museum) and executed a generic battle piece intended to commemorate Russia's victory over the troops of Charles XII of Sweden at either Lesnaya or Poltava (Moscow, Pushkin State Museum of Fine Arts). He then returned to Paris, where he painted from life a portrait of the czar wearing a suit of armor (Munich, Residenz Museum). The autocrat took serious umbrage at Nattier's refusal to settle in Russia as his court painter. In 1725, the artist sent his full-length military portrait of comte Maurice de Saxe (Dresden, Gemäldegalerie Alte Meister) to the Exposition de la Jeunesse.
Jean-Marc Nattier's practice as a court and society portraitist was firmly established by 1729, when he painted a likeness of Mademoiselle de Clermont (Chantilly, Musée Condé), the sister of the young Louis XV's prime minister, the duc de Bourbon. In this work, he combined portraiture with history painting, presenting his subject in the guise of a water nymph. For several decades his glamorous portraits of women made up as Greco-Roman deities and men outfitted as warriors or fabled heroes were all the rage. His mythological, allegorical, and fancy-dress portraits, set in luxurious interiors or serene landscapes, relied for their effect on sumptuous displays of fabrics and accessories. Moreover, while flattering his sitters, sometimes outrageously, he somehow managed to capture near-perfect likenesses. Such pictures were the staple products of his brush, and he was well within the tradition established by Pierre Mignard (1612-1695, cat. 72), Nicolas de Largillierre (1656-1746), and Jean Raoux (1677-1734). In contemporary minds, such idealized portraiture struck the same chords as the grandiloquent poetry of Voltaire (1694-1778) and the lush strains of the music of Jean Philippe Rameau (1683-1764). Because of their pseudo-mythological resonance, many of Nattier's works were treated as history pictures and replicated in engravings from which he derived income.
At this juncture the artist painted likenesses of two members of the house of Lorraine, Mademoiselle de Lambesc as Minerva and her brother, the comte de Brionne (Lille, Musée des Beaux-Arts, on deposit from the Musée du Louvre). A second portrait of Mademoiselle de Clermont depicting the sitter as a lady of the seraglio served by slaves (London, Wallace Collection) was an outstanding example of the eighteenth-century genre, the Turquerie. He also produced a full-length image of the duc de Richelieu wearing the elaborately decorated costume of a knight of the order of the Saint-Esprit (Lisbon, Museu Calouste Gulbenkian), a masterpiece of post-baroque French portraiture.
In 1734 the chevalier d'Orléans, grand prior of the order of Saint John of Jerusalem, engaged Nattier to complete the decoration of his painting gallery in the Palais du Temple, which Raoux had begun. There Nattier painted a series of six history pictures, the subjects of which have never been fully elucidated but are likely to have included several Muses (perhaps the Thalia and Terpsichore in the California Palace of the Legion of Honor, San Francisco, painted in 1739) and allegorical representations of Justice (Great Britain, private collection), Prudence (formerly collection of baron Maurice de Rothschild) and Fortitude (sale, New York, Christie's, November 2, 2000, no. 237), as well as a large, full-length portrait of his patron the grand prior as a military commander (location unknown).
Nattier became a regular exhibitor at the Salon from 1737 on. The publicity brought him a ceaseless flow of commissions from private and state sources. The famous Madame Geoffrin posed for him as a Sibyl (location unknown); and in contrast, her daughter, the marquise de la Ferté Imbault, is dressed for a masked ball (Tokyo, Fuji Museum). In 1740 the artist painted portraits of two daughters of the marquis de Nesles, both paramours of Louis XV (known from replicas in the Castle of Drottningholm and Versailles), whom he treated as personifications of Silence and Dawn. When shown at Versailles, these likenesses created such a stir that Queen Marie Leszczynska commissioned the artist to paint her daughter Madame Henriette reclining in a landscape and holding a crown of flowers, an attribute of the goddess Flora (Musée des Châteaux de Versailles et de Trianon). This was the first in a long series of portraits of the royal princesses, some done from life at the Abbaye de Fontevrault in Anjou, the works for which Nattier is perhaps best known (also in Versailles). Most of these paintings gave rise to autograph replicas and studio copies that were distributed to members of the royal family, other crowned heads, officers of the diplomatic corps, ministers, courtiers, and favorites of the Bourbon family.
Nattier exhibited seven works at the Salon of 1745, the year he painted a now-lost portrait of Louis XV (replica in St. Petersburg, State Hermitage Museum). In 1745 the artist was promoted to the rank of associate professor at the Académie. At the Salon that year, he showed a number of portraits, including the National Gallery of Art's Joseph Bonnier de la Mosson (1961.9.30). Nattier was soon called to the Château de Fontainebleau to paint the king's new mistress, the marquise de Pompadour, provocatively dressed as Diana, goddess of the hunt (Versailles). The following year he executed a knee-length portrait of Louis XV's son and heir, the Dauphin (replica in Musée de Dijon), clad in armor and standing before the field of the Battle of Fontenoy, a work that earned him the title of Painter in Ordinary to the King. In 1748, the artist sketched from life head studies of Louis XV's children--the twins Élisabeth, Duchess of Parma, and Henriette; Adélaïde; Victoire; and the dauphin, Louis Ferdinand--that were models for future portraits. When the opportunity arose, the fashionable Nattier was also capable of recording his sitters' features with a certain amount of psychological insight. No allegories were necessary to sustain his inspiration when he painted his sympathetic likeness of Marie Leszczynska (Versailles).
In January 1750, the dauphin commissioned Nattier to paint as overdoor decorations for his Grand Cabinet at Versailles portraits of his sisters disguised as the Four Elements (São Paulo, Museu de Arte Assis Chateaubriand), works that were exhibited at the Salon of 1751 along with a portrait of the dauphine Marie Josèphe de Saxe (Versailles). In 1752 the artist was made professor in the Académie.
By the mid-1750s Nattier's reputation was on the wane. His submissions to the Salon of 1755, which included the masterful portraits of Henriette playing the bass viol and the infant duc de Bourgogne (both in Versailles), elicited some vituperative commentary on the part of certain critics, who found his compositions pretentious and his coloring weak. In 1759 he was elected an associate member of the Royal Danish Academy of Fine Art, and as his reception piece he executed a replica of a portrait of his son-in-law, the painter Louis Tocqué (Copenhagen, Royal Museum of Fine Arts). That year he exhibited a magnificent portrait of Madame Adélaïde holding a musical score (Paris, Musée du Louvre) and a Vestal (Raleigh, North Carolina Museum of Art), which aroused the scathing hostility of Diderot. In 1761 the sight of Nattier's posthumous portrait of the Duchess of Parma (Versailles) at the Salon prompted Diderot to exclaim: "Does that man not have a friend who will tell him the truth?" The old and infirm artist found himself in such difficult financial straits that he was obliged to sell his art collection and the contents of his studio. Jean-Marc Nattier died on November 7, 1766, in his eighty-first year, and his remains were entombed the following day in his parish church of Saint-Eustache.
[Joseph Baillio, in French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue, Washington, D.C., 2009: 334-335.]
________________________________
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...
..
________________________________
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...
.
Excavations show that this location was the site of monastic life even before the cathedral was built. This location is the site of the old Chapter House of the Augustinian canons. The doorway set in the ruined wall is all that remains of it above ground. Its medieval tiled floor still lies one meter below ground.
Here the community met daily to deal with practical aspects of their lives. The prior who ruled over them gave instructions concerning the Rule, and dealt with matters of business and discipline. Work and worship duties were also assigned here. The life of the priory continued until 1540 when the monastery was dissolved.
The Chapter House, with other parts of the priory, was destroyed during the Commonwealth period of 1649-1660.
-from plaque
When considering roofing options, a cost-benefit analysis is essential to understanding the long-term advantages of metal roofing. While the initial investment may be higher than traditional materials, metal roofs' compelling benefits warrant closer examination. From exceptional durability and longevity to energy efficiency and reduced maintenance costs, metal roofing offers significant value that can translate into substantial savings over time.
This analysis highlights the financial implications and emphasizes how metal roofing can enhance a home or building's overall performance and aesthetics. Property owners can make informed decisions that align with their budget and long-term goals by delving into the financial and practical aspects of metal roofing.
Initial Investment vs. Long-Term Savings
When considering a roofing solution, homeowners often weigh the initial investment against the potential long-term savings. Metal roofing presents a unique opportunity, as impressive energy savings can offset its upfront costs. Thanks to its reflective properties, metal roofing can significantly reduce cooling costs in warmer climates, helping to keep indoor spaces comfortable without relying heavily on air conditioning.
The integral airspaces in metal roofing systems can enhance insulation, allowing buildings to maintain desired temperatures year-round. These energy-efficient features contribute to substantial savings on energy bills, ultimately making metal roofing a cost-effective choice that pays dividends throughout its lifespan.
Investing in metal roofing safeguards a property and promotes sustainability and economic benefits for homeowners while delivering reliable performance.
Reduced Maintenance and Repair Costs
When considering the durability of metal roofing, it's essential to understand how regular maintenance can significantly reduce maintenance and repair costs over time. By investing in routine inspections, homeowners can catch potential issues early, preventing costly repairs and extending the overall roof lifespan.
Well-maintained roofs tend to withstand the elements better and save homeowners from the financial burden of extensive damage. Additionally, maintaining cleanliness and promptly addressing minor problems can significantly minimize future costs related to roofing repairs.
By prioritizing maintenance and inspections, metal roof owners can ensure their roofs remain in excellent condition, leading to long-term savings and peace of mind.
Energy Efficiency and Cost Savings
Metal roofing is known for its durability and significant contributions to energy efficiency and cost savings. Thanks to their reflective properties, metal roofs effectively deflect sunlight, keeping homes cooler and reducing the need for air conditioning. This can lead to a remarkable reduction in cooling costs, with studies indicating that homeowners may experience energy savings ranging from 7% to 15% and, in some cases, up to 25% annually.
Additionally, metal roofs are highly compatible with solar panels, allowing homeowners to leverage further energy savings and maximize their investment in renewable energy. Building owners can enjoy a blend of strength, style, and substantial financial benefits over time by choosing metal roofing.
Learn more about the durability of metal roofs and the roofing services we offer: skyroofingconstructiontx.com/durability/
TESOL has multiple benefits – it prepares the aspiring teachers to be able to connect to actual classroom teaching. TESOL is all about the techniques of teaching the skill based tasks related to listening, reading, speaking and writing. The course itself is a comprehensive compilation of techniques and strategies that are required in day to day teaching process. The course covers the lesson plans and uses techniques that are applicable at all levels of language learning and for all ages-young learners to adults. Beyond the language teaching techniques TESOL explores into the classroom management tactics and how to deal with issues related to student management. The students may be adults as well as young learners.
The course also provides an overview of grammar and phonology that are important for any teacher in an ESL Classroom. The grammar games take the boredom out of the grammar classes and bring in fun in language learning. Phonology helps in focusing the areas where pronunciation needs rectification. These are a must in any language trainers’ repertoire.
The practical aspect includes in-class teaching practice that helps a trainee teacher to incorporate the skills in actual classroom. It is an invaluable experience that gives the trainee an exposure to the real world of teaching.
TESOL opens up a whole new world of opportunities – one can be a teacher, coach, trainer and mentor. It can take you places across the globe and gives an opportunity to change lives.
UNSOM was pleased to have the opportunity to support Galmudug’s Ministry of Information, Culture and Tourism with a three-day capacity-building workshop for the media, which brought together 30 journalists from around the Federal Member State. The topics covered in the training included both theoretical and practical aspects to news coverage in Somalia, for both traditional and new media platforms.
Photo - Ministry of Information, Culture and Tourism, Galmudug State of Somalia.
Exhibition of the artist Giulia Romolo curated by the students of the Summer Academy ☀️ Course in Art Curating and Design Management.
The exhibition attempts to conceive the inherent coexisting of violence and softness. In isolation, each piece of Romolo’s has a melancholic essence which invites the viewer to contemplate. Romolo intends to showcase natural duality, the varying forces which clashed in the creation of the cosmos. Her works are balancing between natural serenity and the loss of human senses.
Summer Academy students learnt how to conceive and realise an art exhibition using the tools of Design Thinking.
The Exhibition BROKEN COSMOGONY was curated by the students in 5 days after studying the artist's portfolio and after meetings with her to fully understand her vision.
The workshop provides a different way of approaching curatorial work, and is entirely dedicated to the conception and realisation of an art exhibition, without neglecting the practical aspects, such as the setting up of the spaces and the promotional communication of the event.
Students practised with the typical tools of the design process; they learnt how to manage and lead a team in a brainstorming challenge, how to organise and harmonise all the phases of an art exhibition project, up to the final presentation with specific pitch exercises and the vernissage of the exhibition.
The workshop also saw the involvement of RUFA Partner NATIVA, who explored the concept of sustainability applied to the art world.
How to successfully enter the markets of the Alpe-Adriaregion?
-Mr. Marko Lotrič, Director of the company Lotrič Meroslovje d.o.o.
Practical aspects of looking for new business partners abroadand challenges of successful sales broad
-Mr. Bojan Železnik, Director of company KGL d.o.o.
Business in Slovenia: experiences & anecdotes
-Mr. Klaus Schuster, Management consultant& author Business in Slovenia
Services for potential and existing Slovenian exportersfor their successful operations abroad& Slovenia as an excellent location for business
-Mrs. Petra Ambrožič, SPIRIT Slovenia
Moderator: Mrs. Larisa Vodeb, Head of Projects at Chamber of Craft and Small Business of Slovenia.
The Sustainable Offsite Construction project equips students with crucial project management skills while immersing them in modern digital construction technologies. It also underscores the critical importance of scheduling, teamwork, financial control, health and safety, and the practical aspects of engineering theory.
Recent data privacy developments stress the need for enterprises that are subject to preservation, disclosure, or discovery obligations, to find practical approaches to reduce risk and cost of global data privacy and cross-border discovery challenges.
In this practical webinar, Ken Rashbaum, specialist on cross-border information governance will discuss practical aspects of privacy and data protection issues in (international) e-Discovery. Prof. Johannes Scholtes will show how technology can help mitigate legal risks.