View allAll Photos Tagged program
The U.S. Department of State and espnW Global Sports Mentoring Program kicked off the second year of the program with another class of 17 Emerging Leaders and their team of proud female Mentors working in corporations across the country: The Coca-Cola Company; ESPN; Equinox; Ladies Professional Golf Association (LPGA); the National Hockey League (NHL); NCAA; New Balance; New York Road Runners; Procter & Gamble; The PGA of America; Saatchi and Saatchi (2); U.S. Olympic Committee; United States Golf Association (USGA); Women's National Basketball Association (WNBA); and Women's Tennis Association (WTA).
In the fall of 2013, these women began a journey that would not only take them across the globe to the U.S., but would create an international network of Emerging Leaders that would truly become a sisterhood of support.
Their task throughout the three-week mentorship was to work with their mentor and team to create an Action Plan using their area of expertise and sports to help empower women and girls in their communities.
The program officially concluded in October with a special luncheon to celebrate all that they had experienced and learned and all that they hope to accomplish when they return home.
Learn more about the U.S. Department of State Empowering Women and Girls through Sports Initiative here: globalsportswomen.org
Del 17 de enero al 10 de marzo, 2019. Matadero Madrid.
Profundidad de campo es un nuevo programa destinado a la producción, la muestra y el estudio de la práctica audiovisual contemporánea. El primer ciclo de Profundidad de campo aborda el tema de la violencia y arranca con la muestra y el acercamiento a la obra de Meiro Koizumi.
Los trabajos de Meiro Koizumi (Gunma, Japón 1976) examinan un amplio rango de temas fundamentales en la configuración de la sociedad contemporánea, tales como las dinámicas de poder, el conflicto entre deber y deseo o los lÃmites entre el ámbito de lo público y de lo privado.
Mediante la elección de sus personajes, la elaboración meticulosa de los guiones y la puesta en escena, Koizumi recrea en sus obras situaciones de extrema tensión, en las que en muchas ocasiones conviven lo cómico y lo cruel. El espectador asiste incómodo a la manipulación a la que el artista somete a los personajes al provocar en ellos reacciones de alta carga emotiva. Con ellas revela la fragilidad de la psique humana cuando entran en conflicto los intereses individuales con los colectivos, y deja en evidencia las convenciones y prejuicios de la sociedad actual.
Tomando su paÃs natal como principal caso de estudio para abordar temas universales, varias de las obras de Koizumi pueden ser entendidas como un comentario sobre el modo en el que los traumas del pasado histórico afectan la construcción polÃtica de su momento presente y cómo, desde este presente, se va construyendo una historia nacional colectiva fundamentada en base a esos recuerdos y al dolor.
En su último trabajo y obra central de este programa, Campos de batalla [Battlelands], 2018, el foco de interés se traslada sin embargo a Estados Unidos, y más concretamente a siete veteranos de la guerra de Irán y Afganistán. En esta ocasión son ellos quienes relatan en primera persona sus experiencias dolorosas durante estos conflictos militares, mientras graban paisajes y escenas banales de su vida cotidiana.
Con el desplazamiento evidente que existe entre estas imágenes del presente y sus testimonios del pasado, Koizumi reflexiona sobre cómo los recuerdos traumáticos de la guerra permean de forma inevitable en el ámbito más cotidiano, Ãntimo y actual de estas personas. Mientras al mismo tiempo, y al ser ellos mismos los encargados de capturar esas imágenes con el movimiento de sus propios cuerpos, se insinúa el deseo de que la iconografÃa de esa guerra pasada, pudiera llegar a ser sustituida por la de los campos de batalla de su vida presente.
Los efectos de la guerra y la idea del conflicto, personificada en la figura del soldado, son los dos ejes temáticos que definen la selección de obras que aquà se presentan y dos de los temas principales que este artista ha abordado de forma crÃtica en otros de sus trabajos.
_
Meiro Koizumi nació en Gunma, Japón, en 1976. En la actualidad vive y trabaja en Yokohama, Japón. Ha estudiado en la International Christian University de Tokio (1996-1999), el Chelsea College of Art and Design de Londres (1999-2002) y la Rijksakademie van Beeldend Kunsten de Amsterdam (2005-2006). Entre sus exposiciones individuales destacan las celebradas en el Museo Universitario de Arte Contemporáneo de México (2015), el Museum of Modern Art de Nueva York (2013), el Art Space de SÃdney (2011) y el Mori Art Museum de Tokio (2009). Koizumi ha presentado su obra en las bienales de Shanghai (2018), Montreal (2016), la de Escultura de Shenzhen (2014), de Liverpool (2010) y la Trienal de Aichi (2010) y ha participado en otras muestras colectivas en Museo Nacional de Osaka (2018), la Tate Modern (2007 y 2013) y el Barbican Centre (2002) de Londres.
meirokoizumi.com
COMO PARTE DEL PROGRAMA "AHÓRRATE UNA LUZ", DICONSA DISTRIBUYE FOCOS AHORRADORES EN POBLACIONES DE HASTA 100 MIL HABITANTES
University of Pittsburgh Police Officers recently held a SAFE course for the ALPHA DELTA PI sorority.
So here's how it works:
> Turning the aperture ring raises the "Diaphragm Bar" behind the lens. At f/2.8 it's completely below the lens opening, and at f/22 it's just below the lens centerline.
> When the mirror rises, it drags this panel up with it; the odd shaped hole in the middle is the shutter opening. The mirror/shutter rises just as fast as its spring can whack it, and returns at the same speed as soon as it reaches the top.
> At f/2.8, the shutter is open for the entire distance of travel shown in green above - it takes about 1/60 second to cover this distance. But at f/22, with the DIaphragm Bar up where the purple line indicates, the shutter doesn't open until it reaches that line, and it closes as soon as it passes that line on the way down. The entire movement takes the same time as before, but the open time is only the time that it takes to travel the distance shown by the purple arrows. Assuming that the speed at f/2.8 was 1/60, this works out to about 1/500 second.
> The aperture at f/22 (and at all other settings except for f/2.8) is in the shape of a triangle with its point at the top - the top 2 sides are the edges of the "roof" part of the shutter opening, and the bottom side is provided by the Diaphragm bar.
It's actually just a little more complicated than this. In the above description, the f/22 opening is not centered on the same axis as the f/2.8 opening, and in fact if the Diaphragm Bar actually went as high as the purple line it would block off the center of the lens. So, in addition to all of the above, at the smaller apertures, the mirror/shutter is actually stopping its upward travel earlier than it does at full aperture. How does it do this? In the view of the Diaphragm Bar at www.flickr.com/photos/rick_oleson/53225547915/in/dateposted/, there is a second, gold colored bar that's coupled to the Diaphragm Bar, with a bent-up tab at its tip. As the Diaphragm Bar rises, this gold bar comes down - the tab at the end is the stop that the mirror strikes against to stop its upward travel. The two bars are coupled together so that the mirror's stopping position produces a centered triangular aperture opening at all settings. Dang.
Whoever did this will probably never be famous - but he was good.
This is my final project for my Photoshop class. This is one of my first composites. Tell me what you think.
Austin Community College District celebrates the Elgin Campus Grand Opening Phase II on Wednesday, February 6, 2018. The newly opened facilities will host the ACC Veterinary Technology and Sustainable Agriculture programs.
Teaching program in La Serena Chile: William Zeller is our latest volunteer in Chile, he is doing a 4 week program at one of our primary schools. He also is taking Spanish Lessons (4 hours a day), great work William, for what our local coordinator has told us the students will miss you once the program is over.
I was browsing Ebay and i found this 1998 Botcon program up for auction so i threw a bid and grabbed some history 3.50$ shipped.
via ift.tt/1v8qNuZ TV Episodes Online
Click for More TV Episodes Onlineat ift.tt/12siVlD episodes-online/
AFGE headquarters celebrated Hispanic Heritage Month with a cultural program featuring a guest speaker from the CARECEN-Central American Resource Center and performances by a local poet and Salsa dancers.
During a Native American history-themed sleepover at the National Archives in Washington, DC, 101 kids and their grown-ups spent the night enjoying history-related activities, learning from special guests actor Martin Sensmeier, Jim Thorpe historians Bob Wheeler and Flo Ridlon, and Native American storyteller Perry Ground. After sleeping over night in the Rotunda, participants enjoyed a pancake breakfast made by the Archivist of the United States, David S. Ferriero, on October 14, 2018.
Copyright 2014 Hilde Heyvaert.
All rights reserved.
No unauthorized use, reproduction or distribution without prior permission.
YB Law Choo Kiang memeriksa tekanan darah oleh petugas sukarela dari HALUAN
Program Masyarakat Madani di Perkampungan Batu Uban dirasmikan oleh Timbalan Ketua Menteri 1, YB Mohamad Fairus Khairuddin dan ADUN Batu Uban, YB Raveentharan
lets hear it for learning c! (this is my first program with c ever, i've done java for two years at the u but finally we're switching to something practical).
26 Nov 2022 . SecretarÃa de Cultura . "DÃa de las personas sordas" Programa de Inclusión del Museo Cabañas.
Comissão Mista da Medida Provisória nº 685, de 2015 que institui o programa de redução de litÃgios tributários realiza audiência pública interativa para debater a matéria. Entre os convidados estão representantes da Receita Federal do Brasil, do Sindicato da Indústria de Produtos Farmacêuticos no Estado de São Paulo e do Grupo FarmaBrasil.
Mesa (E/D):
coordenador-geral de promoção da concorrência do Ministério da Fazenda, Marcelo de Matos Ramos;
coordenador do Comitê Tributário da Associação dos Atacadistas Distribuidores do Estado de Minas Gerais, Pauliran Gomes e Silva;
subsecretário de fiscalização da Receita Federal, Iágaro Jung Martins;
presidente da CMMPV 685/2015, deputado federal Gabriel Guimarães (PT-MG);
ex-secretário da Receita Federal do Brasil, Everardo Maciel;
presidente-executivo do Sindicato da Indústria de Produtos Farmacêuticos no Estado de São Paulo (Sindusfarma), Nelson Mussolini;
diretor da Associação Brasileira de Direito Tributário, Valter de Souza Lobato
Foto: Waldemir Barreto/Agência Senado