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M.E.M. (Master of Engineering Management) candidates lead a class presentation in Spanos Auditorium.
Dance World Cup 2010: dance presentations in NCK (Nowohuckie Centrum Kultury), Kraków-Nowa Huta, Poland
A set of images describing how VoIP OTT vendors monetize their service.
This drawing is about advertising - one of the most common ways to monetize OTT services.
Presentation of class gift, Commencement 2010 - May 15, 2010
(l-r) President Dennis Berkey, Matthew King '10, Chad Mondor '10, and Mary Schultz '10.
HE Mr Bahtijors Hasans, the Permanent Representative of the Republic of Latvia, presents his credentials to the Executive Secretary of the Preparatory Commission for the Comprehensive Nuclear-Test-Ban Treaty Organization, on 13 September 2013.
Presentations are a necessary element of business; in fact, there are over 30 million business presentations given on a daily basis. Still, presentations are considered one of the least productive areas of business and are universally avoided. Scott Schwertly’s book, How to be a Presentation God, aims to change that. Unsuccessful presenters often try too hard to entertain or get bogged down in data, but a half-hearted presentation is a waste of time for both the audience and the presenter. A presentation that does not move people, products, ideas, or values is not worth giving. Schwertly agrees with John F. Kennedy’s statement that “The only reason to give a speech is to change the world.”
Download the book summary:
The Taekwondo Presentation Team, performing a demonstration of high flying kicks and board breaking at the Singapore Youth Olympic Games.
Recognizing the absence of the female voice in American theatre, the DCPA Theatre Company established the Women's Voices Fund in 2005 to commission, develop and produce new plays by women. Now, 12 years later, the Fund has surpassed $1.3 million and enabled the Theatre Company to produce 28 plays by women, commission 16 female playwrights and hire 25 female directors at the Theatre Company. Furthermore, the Fund also has contributed to 11 world premiere plays by women. The Hattitude tradition grew out of the Theatre Company’s presentation of Regina Taylor’s "Crowns." Her musical play explored black history and identity, using an exquisite variety of hats to tell the shared history and rituals of African-American women, ranging in era from slavery to current fashion. For more information, go to www.denvercenter.org/support-us/women's-voices-fund. Photos by John Moore for the DCPA NewsCenter.
Reproduce & Revolt Artist Talk event, March 13, 2009 at el Centro Cultural de Mexico, located in Santa Ana, CA. Artist and activist, Favianna Rodriguez, taught the history of linoleum block printing as a tool for social change. The workshop was followed by a presentation by Favianna about her work and mission. Martin Backhauss documented the workshop and presentation and was traveling with the artist throughout the month of March.
75% of the England 50+ team who achieved second place. Left to right: Nick Archer, Rupert Copping and Keith Best [ - absent is Andy Roberton ]
The U.S. Fish & Wildlife Service sponsored the 2012 Federal Duck Stamp Art Contest September 28 and 29 in Ogden, Utah, at Weber State University. A panel of five judges was responsible for choosing the art work used to design the 2013-2014 Migratory Bird Hunting and Conservation Stamp.
For more info on the 2012 Duck Stamp Contest, please visit: 1.usa.gov/UysGuh
Photo Credit: Garry Tucker / USFWS
The second annual “Dinner for 8” event benefitting United Way of Greater St. Louis was held on Wednesday, October 22, at the Shrine of Our Lady of the Snows in Belleville, IL. More than 160 members of the Divine Nine Greek organization chapters attended the event, raising more than $43,000 for United Way. The Divine Nine is a collaborative organization of nine historically African American, international Greek lettered fraternities and sororities.
Fraternities and sororities present were: Alpha Kappa Alpha, Alpha Phi Alpha, Delta Sigma Theta, Iota Phi Theta, Kappa Alpha Psi, Omega Psi Phi, Phi Beta Sigma, Top Ladies of Distinction, and Zeta Phi Beta. Guests enjoyed a formal dinner along with the showing of the United Way campaign video and a presentation from Barb Cempura, the executive director of Big Brothers Big Sisters of Southwestern Illinois, a United Way partner agency.
Different degrees of free software.
This presentation explains and propagates the spirit of free content. It's a gift of mine to the community.
Reason to do this presentation was my application to study "society and economic communication" at the university of art, berlin.
Feedback is welcome.
Sources are available at netzpolitik.org/2006/presentation-free-content-for-a-free....
Thanks to Elizabeth Stark and Julian Finn for the translation!
Awards presentation in Monsanto Auditorium for best posters during Missouri Life Sciences Week 2016 Friday, April 22, 2016.
Disclaimer: This is not an image created by myself. I found it on the Internet. The inspiration for the story, however, is mine.
Clara’s Morning Routine – A Ritual of Power and Poise
The morning light filters through her curtains, casting soft golden hues across Clara’s bedroom. She stretches, feeling the smooth sheets against her skin, and exhales slowly. Today is important—her presentation on Mark Rothko. She wants to command attention, to be seen, to exude confidence and elegance.
She steps into the bathroom, turns on the shower, and watches the steam rise. As the warm water cascades down her body, she closes her eyes, savoring the sensation. She reaches for her favorite scented body wash, a delicate mix of vanilla and amber, and lathers it across her skin in slow, deliberate motions.
Her hands glide down her legs, feeling the fine stubble. That won’t do. She retrieves her razor, carefully smoothing shaving cream over her legs and underarms. With each stroke, she relishes the silky perfection beneath her fingertips. Smooth skin against fine nylon—she imagines the sensation and smiles.
After rinsing, she applies a rich body lotion, massaging it into her skin. She enjoys how the moisture locks in, making her body feel supple and ready for the restrictive elegance of her attire. She catches a glimpse of herself in the mirror and tilts her head slightly, admiring her own curves, the softness soon to be encased in formality.
Hair – Sculpting Perfection
Her hair must be perfect—sleek, controlled, severe. She towel-dries it gently before applying a lightweight serum for shine. She runs her brush through the damp strands, smoothing them meticulously, making sure every strand obeys.
She sections her hair, working with a round brush and a blow dryer, pulling each piece straight and taut until it gleams under the bathroom light. She gathers her locks at the nape of her neck, twists them with precision, and pins them into a sleek, polished bun. The result is a sculpted, no-nonsense style that elongates her neck and enhances her bone structure. It makes her feel powerful—like a woman who commands a room with a single glance.
Makeup & Nails – The Art of Seduction and Control
Her foundation glides on like silk, evening out her complexion. She sets it with a light veil of powder, ensuring a flawless, matte finish. She takes her time contouring her cheekbones, emphasizing the angles that add to her intensity.
Her eyes—sharp, catlike. She lines them carefully with deep black liquid liner, dragging the brush outward into a perfect wing. With each stroke of mascara, her lashes lengthen, framing her gaze with dark intensity.
But the final stroke of power—her lips. She uncaps the red lipstick, watching the vibrant pigment catch the light. As she applies it, she feels the transformation. Red lips—bold, unshakable, seductive. She presses them together, locking in her confidence.
Finally, her nails. She shakes the bottle of bright red varnish and begins painting, each stroke precise, each finger transformed into a statement of control. As the glossy crimson polish dries, she flexes her fingers, admiring how they contrast with the monochrome precision of her suit.
Dressing – The Alluring Restriction of Power
She steps into her lingerie—black satin, luxurious, embracing her like a secret indulgence beneath the authority of her attire. The lace trim of her bra whispers against her skin as she adjusts the straps, ensuring a perfect fit. Her matching panties slide up, hugging her hips in a way that makes her feel both feminine and formidable.
Next, the stockings. She rolls them gently, feeling the delicate nylon between her fingers. She places her foot inside and slowly glides the sheer fabric up her leg, smoothing as she goes. The sensation is intoxicating—the contrast of silk against freshly shaved skin, the shine catching the light just so. She fastens them securely, loving the way they elongate and accentuate every movement.
Her crisp white button-up shirt follows, the fabric structured, cool against her skin. The collar sits stiffly, framing her neck with poise. She tucks it meticulously into her high-waisted pencil skirt, which she zips up slowly, feeling the firm embrace of the fabric contouring her curves. The tightness is deliberate—it forces her posture into perfection, making every step precise and deliberate.
The blazer completes it. She slides her arms into the tailored sleeves, pulls the lapels into place, and fastens the single button. The fitted silhouette, the sharp lines—it’s intoxicating. This outfit is her armor, her weapon, her masterpiece.
Finally, the last touch—her black patent leather stilettos. As she steps into them, she feels the shift. Taller. Poised. Each movement now accentuated by the click of her heels against the floor. She loves the way they make her legs look—long, elegant, powerful.
Final Thoughts – The Woman in the Mirror
She stands before the mirror, her gaze unwavering. She doesn’t just look good—she looks unstoppable. The polished hair, the red lips, the immaculate tailoring. She is precision, she is allure, she is control.
She runs her hands down her skirt, feeling the fabric stretch taut over her hips. Her fingers linger on the button of her blazer, pressing it slightly, ensuring it remains fastened, keeping her silhouette perfect.
A slow smile spreads across her lips. She feels the restraint of her outfit—not as a limitation, but as a source of power. The tightness of the skirt, the crispness of the shirt, the height of the heels—it all makes her feel composed, in control, untouchable. And underneath it all, the silky indulgence of her lingerie, a secret rebellion only she knows about.
She picks up her notes for the presentation, straightens her shoulders, and heads out the door. Today, she is not just presenting on Rothko. She is a masterpiece herself.
Clara’s Presentation – A Masterpiece in Motion
The classroom hums with low conversation as students settle into their seats, shuffling papers, adjusting their postures. The overhead lights cast a crisp glow, reflecting subtly off Clara’s polished black pumps as she steps forward. Each click of her heels on the smooth floor sends a ripple through the room, commanding attention before she even speaks.
She places her notes on the podium with a controlled, deliberate movement, her red nails a striking contrast against the stark white paper. Lifting her chin, she scans the room—taking them in before allowing them to take her in. The stiff collar of her pristine white shirt sits high against her neck, buttoned to the very top, its crispness a constant presence against her skin. The fabric is taut, structured, smoothing over her torso beneath her fitted black blazer.
She begins.
“Mark Rothko was not just a painter. He was an architect of emotion.”
Her voice is smooth, measured, poised—like the lines of her blazer hugging her frame. She gestures subtly, the crisp sleeve of her jacket shifting slightly, the single button pulling just enough to remind her of the firm embrace of her clothing. She enjoys the way the tightness of her pencil skirt limits her movements, forcing her to be deliberate in every step, every shift of her weight. And always, the high, restrictive collar presses gently against her throat, a perfect emblem of control.
“His color fields are not mere shapes on canvas. They are vast, endless spaces—windows into the human condition.”
She turns to the projected image behind her: No. 61 (Rust and Blue). The deep, layered hues seem to breathe on the screen, pulsating softly like the rhythm of her own controlled breaths. Her lips part slightly, and she feels the presence of her red lipstick—sensuous, bold, mirroring the intensity of Rothko’s work.
“These colors don’t sit still. They envelop, they seduce, they consume. Rothko believed art should not simply be seen but experienced—felt deep within you, as if the canvas were pulling you inside.”
She walks toward the screen, her stockings whispering against her skirt as she moves. The sheen of her nylon-covered legs catches the light, and she imagines herself as one of Rothko’s paintings—layered, complex, powerful in stillness yet captivating in motion.
Stopping at the center of the room, she turns slightly, the structured blazer shaping her every movement with precision. She enjoys the restriction, the way it keeps her posture impeccable. Her heels keep her spine straight, elongating her form like one of Rothko’s towering compositions. Her crisp white shirt, perfectly tucked, remains unyielding against her body, a reminder of her own self-discipline. She lifts her chin ever so slightly, her tightly fastened collar holding her in place like the frame of a masterpiece.
She gestures again, her manicured fingers tracing the air.
“Rothko’s paintings are not decorative. They are demanding. He once said, ‘Silence is so accurate.’ Look too quickly, and you see only color. But pause—let the silence settle over you—and the color reveals something else.”
Her voice lowers slightly, drawing them in. She can feel the tension in the room shift, the way their eyes follow her, the way they hang on her words. She is both the speaker and the art. The formality of her attire—the high, tightly buttoned collar, the sharp shoulders, the impossibly fitted skirt—makes her feel even more like a work of deliberate construction.
“He wanted us to stand before his work and feel small. To be swallowed. To lose ourselves.”
She steps closer to the front row, her heels precise, her presence magnetic. The taut fabric of her skirt resists as she moves, and she relishes the sensation—it heightens her awareness, keeps her utterly composed. The stiff collar at her throat reinforces her control, a constant presence as she tilts her head in thought. Her lips curve into the faintest smile.
“And yet, in that vastness, we find ourselves. Rothko does not give us a subject. He gives us a space—an emotional abyss in which we confront something raw and unknown.”
She lets the words linger. Silence. Control.
A slow breath in, a measured pause.
“That is why his paintings are timeless. Because they are not just seen. They are worn, embodied, felt—like a second skin, molding to us, shaping us, revealing what lies beneath.”
She lets the final words settle, watching as her audience absorbs them. She stands tall, encased in her dark, elegant armor, her red lips a vivid contrast against the crisp whiteness of her shirt—like a Rothko painting brought to life. The high, unyielding collar still presses firmly against her neck, a physical reminder of the control she wields, the poise she maintains.
And then, a single nod. A knowing smile.
“Thank you.”
The room exhales, the applause rising. Clara does not move immediately. She savors the moment, the feeling of complete control, the way her clothes hold her firmly, keeping her poised and composed. She has not just delivered a presentation. She has performed an artwork.
With the final, deliberate click of her heels, she turns and walks back to her seat, feeling utterly powerful, utterly seen.
HE Ms Dubravka Šimonović, the Permanent Representative of the Republic of Croatia, presents her credentials to HE Mr Tibor Tóth, Executive Secretary of the Preparatory Commission for the Comprehensive Nuclear-Test-Ban Treaty Organization, in Vienna on 24 April 2013.
CLAY NATIONAL GUARD CENTER, Marietta, Ga., January 7, 2018 - Flowers are presented to incoming Command Sergeant Major Shawn D. Lewis’s wife, Christy, during a change of responsibility ceremony. The yellow roses are symbolic of gratitude for the sacrifice families make.
(Georgia Army National Guard photo by Sgt. Amy King/ Released)