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Photo Credit: Liana Minassian
National Endowment for the Humanities Grant Workshop
Ann R. Meyer, Ph.D., Senior Program Officer, Division of Research Programs
March 29, 2010 School of Nursing Executive Boardroom
You can find more details here, on our website: www.as.miami.edu/humanities/programs/workshops
Members of the 2017 DOD Wounded Warrior Games Family Program join the athletes' family members during a dinner reception. (U.S. Navy photo by Mass Communication Specialist 2nd Class Colin Sheridan)
Presented by Friends of the High Line, the Trains on Film Series glamorously plays off the history of the High Line, which once carried freight trains delivering dairy, meat, produce, and other goods into the warehouses and factories on Manhattan’s West Side.
The series includes the debut of the new short film, All Aboard!, as well as revival screenings of Some Like It Hot and Strangers on a Train.
This High Line Program is free and open to visitors of all ages. No RSVP required. For more information about the Trains on Film Series, visit www.thehighline.org.
These photographs were taken by Claudio Papapietro on Friday, September 16, 2011.
The Trains on Film Series is generously supported by UNIQLO as part of a two-year partnership that supports the ongoing maintenance and operations of the High Line.
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.
FIU Business Mentor Program Kick-Off 2018
Miami, Florida | November 1, 2018
To learn more about the FIU College of Business please visit: business.fiu.edu
A large part of CIA’s role is to coordinate
a large number of events each year
promoting the professional development
of its membership. Each program is supported with a web resource.
UWO Graphic arts students present their final self directed projects for critique in the art department in the Arts and Communications building. Tuesday, December 11, 2018.
The Office of Cocurricular Program sponsored an on-campus Mardi Gras event, which featured a second-line parade across campus, a king cake tasting contest, live music, food and more.
Photos by Kyle Encar
Taken February 12, 2015
From left, William Kuchenbuch, an undergraduate student in literature, science and the arts, and Pranav Venugopal, an undergraduate student in biomedical engineering, both students in the Entrepreneurs Leadership Program listen as a team from First Solar gives a guest lecture at the University of Michigan’s Center for Entrepreneurship on Tuesday, March 21, 2023.
The team from First Solar gave a presentation on Entrepreneurship Without Borders. Team members were UM alumni Darin Green, Nick Strevel, and Joep Pijpers.
Photo: Brenda Ahearn/University of Michigan, College of Engineering, Communications and Marketing
2018 SURF program fellows. Photo should only be used in connection with Scripps Oceanography's SURF Program.
Interactive application.
Made for video LOOP festival of video art in Barcelona.
The whole application is controled by the user. A flying "hero" navegates through buildings previously created typing words on a keyboard.
Made with OpenFrameWorks
Collabaration with Jens Andersson
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.
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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.