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React, Respect, Intersect was created by two professional artists and a team of youth artists as part of the Groundswell Community Mural Project’s flagship Summer Leadership Institute (SLI). SLI teams spend seven weeks during working with artists and community-based organizations, learning job skills and creating public art throughout New York City. This mural depicts a utopian environment where vehicular traffic, pedestrians of all ages and abilities, bicyclists, skateboarders, and animals respectfully share the street. It focuses not only on traffic and pedestrian safety education, but also site-specific themes and cultural diversity.
The safety education focus of this mural was informed by workshops lead by NYCDOT Safety Education. The artists and youth artists researched safety issues near the mural site which influenced their final design. Speed of vehicular traffic, high levels of carbon dioxide in the air, and the need for all modes of transportation to respectfully share the streets are just a few of the themes beautifully integrated in to this mural.
NYCDOT Urban Art Program, Special Project
React, Respect, Intersect by Yana Dimitrova and Adam Kidder
Presented with NYCDOT Safety Education and Groundswell Community Mural Project
East 5th Street in Kensington, Brooklyn
www.learntek.org/product/react-js-training/
Learntek is global online training provider on Big Data Analytics, Hadoop, Machine Learning, Deep Learning, IOT, AI, Cloud Technology, DEVOPS, Digital Marketing and other IT and Management courses. We are dedicated to designing, developing and implementing training programs for students, corporate employees and business professional.
React, Respect, Intersect was created by two professional artists and a team of youth artists as part of the Groundswell Community Mural Project’s flagship Summer Leadership Institute (SLI). SLI teams spend seven weeks during working with artists and community-based organizations, learning job skills and creating public art throughout New York City. This mural depicts a utopian environment where vehicular traffic, pedestrians of all ages and abilities, bicyclists, skateboarders, and animals respectfully share the street. It focuses not only on traffic and pedestrian safety education, but also site-specific themes and cultural diversity.
The safety education focus of this mural was informed by workshops lead by NYCDOT Safety Education. The artists and youth artists researched safety issues near the mural site which influenced their final design. Speed of vehicular traffic, high levels of carbon dioxide in the air, and the need for all modes of transportation to respectfully share the streets are just a few of the themes beautifully integrated in to this mural.
NYCDOT Urban Art Program, Special Project
React, Respect, Intersect by Yana Dimitrova and Adam Kidder
Presented with NYCDOT Safety Education and Groundswell Community Mural Project
East 5th Street in Kensington, Brooklyn
React, Respect, Intersect was created by two professional artists and a team of youth artists as part of the Groundswell Community Mural Project’s flagship Summer Leadership Institute (SLI). SLI teams spend seven weeks during working with artists and community-based organizations, learning job skills and creating public art throughout New York City. This mural depicts a utopian environment where vehicular traffic, pedestrians of all ages and abilities, bicyclists, skateboarders, and animals respectfully share the street. It focuses not only on traffic and pedestrian safety education, but also site-specific themes and cultural diversity.
The safety education focus of this mural was informed by workshops lead by NYCDOT Safety Education. The artists and youth artists researched safety issues near the mural site which influenced their final design. Speed of vehicular traffic, high levels of carbon dioxide in the air, and the need for all modes of transportation to respectfully share the streets are just a few of the themes beautifully integrated in to this mural.
NYCDOT Urban Art Program, Special Project
React, Respect, Intersect by Yana Dimitrova and Adam Kidder
Presented with NYCDOT Safety Education and Groundswell Community Mural Project
East 5th Street in Kensington, Brooklyn
React, Respect, Intersect was created by two professional artists and a team of youth artists as part of the Groundswell Community Mural Project’s flagship Summer Leadership Institute (SLI). SLI teams spend seven weeks during working with artists and community-based organizations, learning job skills and creating public art throughout New York City. This mural depicts a utopian environment where vehicular traffic, pedestrians of all ages and abilities, bicyclists, skateboarders, and animals respectfully share the street. It focuses not only on traffic and pedestrian safety education, but also site-specific themes and cultural diversity.
The safety education focus of this mural was informed by workshops lead by NYCDOT Safety Education. The artists and youth artists researched safety issues near the mural site which influenced their final design. Speed of vehicular traffic, high levels of carbon dioxide in the air, and the need for all modes of transportation to respectfully share the streets are just a few of the themes beautifully integrated in to this mural.
NYCDOT Urban Art Program, Special Project
React, Respect, Intersect by Yana Dimitrova and Adam Kidder
Presented with NYCDOT Safety Education and Groundswell Community Mural Project
East 5th Street in Kensington, Brooklyn
K-12 teachers participate in classroom experiments facilitated by the REACT program in the Macromolecular Science and Engineering department in the NCRC on North Campus of the University of Michigan in Ann Arbor, MI on June 22, 2018.
Members of the REACT Program are working with teachers from around the nation who teach K-12 STEM classes. This program is designed to show be an outreach for research education and activities for the pre-college classroom. It allows UM students and staff to demonstrate research being done at the University of Michigan as well as introduces inexpensive and impactful experiments and activities for students to enjoy. Topics lead by University of Michigan students included Materials Engineering, Environmental Sciences, Robotics, Electrical Engineering and Computer Science, Climate and Space Science, Genetics, Chemical Engineering, and Physics.
These teachers got a chance to do these activities as well as take home a classroom's worth of supplies for their students to partake in these educational opportunities.
Photo: Somya Bhagwagar/Michigan Engineering, Communications & Marketing
REact2021 Real Estate Conference | Miami, FL, October 8, 2021. To learn more about the FIU Hollo School of Real Estate please visit realestate.fiu.edu.
UFC Featherweight Champion Max "Blessed" Holloway reacts as a servicemember holds up the championship belt during a show for troops at Bagram Air Field, Afghanistan; the fifth stop on the annual Vice Chairman’s USO Tour, April 26, 2018. Comedian Jon Stewart, country music artist Craig Morgan, celebrity chef Robert Irvine, professional fighters Max “Blessed” Holloway and Paige VanZant, and NBA Legend Richard “Rip” Hamilton will join Gen. Selva on a tour across the world as they visit service members overseas to thank them for their service and sacrifice. (DoD Photo by U.S. Army Sgt. James K. McCann)
On the 3rd day of the eighth round match between Trinidad & Tobago Red Force and Windward Islands Volcanoes in the WICB Professional Cricket League Regional 4-Day Tournament on Sunday, March 8, 2015 at the National Cricket Centre.
Photo by WICB Media/Ashley Allen
A movie made out of 287 different shots. I used the new iPhone TimeLapse app to make this. I took a shot every 5 seconds (automated of course) and put them together into this movie at 30 frames per second. You can view what happened from 12:15 to 13:05 at our office.
FORT IRWIN, Calif. - U.S. Army Soldiers, assigned to 3rd Battalion, 29th Field Artillery Regiment, Alpha Battery, react to a simulated chemical agent attack during Decisive Action Rotation 15-02, November, 15, 2014. Decisive action rotations are geared toward an adaptive enemy in a complex environment. (U.S. Army photo by Spc. John B Martin, Operations Group, National Training Center)
Hohenfels, GERMANY - Soldiers from the Republic of Georgia’s 32nd Light Infantry Battalion establish security during a Situational Training Exercise Lane at Europe’s premiere training destination, the Joint Multinational Readiness Center at Hohenfels, Germany. Georgian soldiers were participating in a mission-rehearsal exercise for their upcoming deployment to Afghanistan. U.S. Marine advisors and enablers, who will deploy with the unit to combat, worked side by side with their counterparts during the exercise. (U.S. Army Europe photo by Spc. Joshua E. Leonard)
My can opener appears to react with indifference....
(Get off my foot!)
When it discovers that it no longer is needed in my kitchen....
(I said get off my foot!)
Because each and every can of soup in my pantry has a pull tab.
(I mean it! Get off my foot! NOW!)
Note: Since the soup was after all, rather "chunky" and therefore slow, this counter encounter with the can opener did not turn out well for the can and its contents. However I look forward to it happening again the same time tomorrow. (Yum!)
Austrian postcard by Iris Verlag, no. 6283. Photo: Metro-Goldwyn-Mayer. Lillian Roth in Madam Satan (Cecil B. DeMille, 1930).Collection: Geoffrey Donaldson Institute.
American singer and actress Lillian Roth was a Broadway star and Hollywood actress. Among the films she made with Paramount were The Love Parade (1929) with Maurice Chevalier, The Vagabond King (1930), Cecil B. DeMille's Madam Satan (1930), and the Marx Brothers second film, Animal Crackers (1930). She rebelled against the pressure of her domineering stage mother and reacted to the death of her fiancé by becoming an alcoholic. Her life story was told in the popular biopic I'll Cry Tomorrow (Daniel Mann, 1955) starring Susan Hayward.
Lillian Roth was born Lillian Rutstein in Boston, Massachusetts, in 1910. She was the daughter of Katie (née Silverman) and Arthur Rutstein. She had a younger sister, Anne, and the family was Jewish. She was given her first name in honour of singer Lillian Russell. Her daunting stage parents groomed Lillian and Anne for stardom at an early age. In 1916, when Lillian was five and Anne three, the family moved to New York City to be near the various casting offices. Her mother took her to Educational Pictures, a major film distribution company, where she became the company's trademark, symbolised by a living statue holding a lamp of knowledge. In her autobiographical book, 'I’ll Cry Tomorrow', she writes of being molested by the artist who was hired to create the logo. Lillian attended the Professional Children’s School with classmates Ruby Keeler and Milton Berle. In 1917, the six-year-old made her Broadway debut in The Inner Man, a production of the famous Shubert brothers, who are responsible for the establishment of Broadway as the hub of the theatre industry in the United States. Her film debut came as an extra in Pershing's Crusaders (1918), a semi-documentary on American troops in France in the First World War. She was rewarded with casting in another Shubert production called Shaving with the billing 'Broadway's Youngest Star.' Throughout her childhood, Roth’s father’s alcoholism resulted in his periodic lengthy separations from the family. As a result, her ambitious mother moulded her and her younger sister Anne into vaudeville headliners billed as 'Lillian Roth and Co.' or 'The Roth Kids'. A vaudeville tour on the Keith-Orpheum circuit, a chain of vaudeville and movie theatres, made both of the girls famous. Her theme song became 'When the Red, Red Robin (Comes Bob, Bob, Bobbin' Along)'. One of the most exciting moments for her came when she met U.S. President Woodrow Wilson. The President and Mrs Wilson attended their vaudeville act in Washington D.C. According to her autobiography, the enamoured president took Lillian and her sister for a ride around the block in his open touring car. She appeared in Artists and Models in 1923 but was soon transferred to the Chicago company of the show because New York legal authorities considered her too young to be in a 'risqué' show. She went on to make Revels with Frank Fay. During production for the show, she told management she was 19 years of age despite being only 13 at the time. In 1927, when Roth was 17, she made the first of three Earl Carroll Vanities. She enhanced her image as a wild party girl and flapper and she introduced the ribald song Drizzle, Drizzle, The Party's a Fizzle, O! What A Night to Love'. This was soon followed by a leading role in Midnight Frolics, a Florenz Ziegfeld production. Variety and New York City newspapers praised Roth’s singing voice and stage personality. Her next step was to go to Hollywood...
In 1929, Lillian Roth signed a seven-year contract with Paramount Pictures. Her film career coincided with the beginning of the sound film. First, she appeared as Lulu in Ernst Lubitsch's musical comedy The Love Parade (Ernst Lubitsch, 1929) starring Maurice Chevalier and Jeanette MacDonald. Lubitsch's first sound film was a huge box-office hit. Then she played another supporting role in the Operetta The Vagabond King (Ludwig Berger, 1930) which was photographed entirely in two-colour Technicolor. The film told the story of the renegade French poet François Villon, played by Dennis King. The film was nominated for an Academy Award for Best Art Direction. Then followed the all-star revue Paramount on Parade (1930), directed by several directors including Edmund Goulding, Dorothy Arzner, and Ernst Lubitsch, and Honey (Wesley Ruggles, 1930) in which she introduced her signature song 'Sing, You Sinners'. A curiosity is the musical extravaganza Madam Satan (Cecil B. DeMille, 1930) with Reginald Denny and Kay Johnson. According to Wikipedia, it is "one of the oddest films DeMille made and certainly one of the oddest MGM made during its 'golden age'." Thematically, DeMille attempted to return to the boudoir comedy genre that had brought him success at the box office 10 years earlier. Roth also appeared in Sea Legs (Victor Heerman, 1930) with Jack Oakie, and in Animal Crackers (Victor Heerman, 1930) the second film of the Marx Brothers. In this comedy mayhem and zaniness ensue when a valuable painting goes missing during a party in honour of famed African explorer Captain Jeffrey T. Spaulding (Groucho Marx). It was a critical and commercial success. Things seemed to be running smoothly for her. Then the sudden death of her fiance David Lyons, who died of tuberculosis, drove Lillian into deep despair. She found liquor to be a calming sensation, which led in the following years to a full-scale addiction. She took over Ethel Merman's stage role in the film version of Take a Chance (Monte Brice, Laurence Schwab, 1933), singing 'Eadie Was a Lady'. After leaving Paramount, she had a supporting role at Warner Bros. in the women's prison film Ladies They Talk About (Howard Bretherton, William Keighley, 1933) with Barbara Stanwyck.
Lilian Roth headlined the Palace Theatre in New York City and performed in the Earl Carroll Vanities in 1928, 1931, and 1932. She continued to make strides as a singer in an era when so much was being set to music. By the end of the 1930s, her career was over and she disappeared from the theatre scene. Her private life was in scrambles decimated by alcoholism. She acknowledged that she had earned over one million dollars, and lost it all. Lillian with suicidal tendencies, became a common drunk which led to failed marriages. In 1945, she committed herself to a New York mental institution, but the treatment did not provide a permanent cure for her illness. Finally, her friends and Alcoholics Anonymous were her salvation. In the late 1940s, she reemerged as a singer again doing club work. A sober Lillian appeared across the country and then Australia and New Zealand. She returned to Hollywood with a successful booking at Ciro's. In 1953, she appeared on a special episode of the TV series This Is Your Life with Ralph Edwards. In response to her honesty in relating her story of alcoholism, she received more than 40,000 letters. This overwhelming response encouraged her to write her autobiography, which described openly and touchingly her struggle against alcoholism and mental illness. 'I'll Cry Tomorrow', written with author-collaborators Mike Connolly and Gerald Frank, was an instant sensation, selling more than 100,000 copies in a few months. A toned-down version of it was made into the hit film I'll Cry Tomorrow (Daniel Mann, 1955) with Susan Hayward, who was nominated for an Oscar and won the Best Actress award at the Cannes Film Festival. The book would sell worldwide more than seven million copies in twenty languages, and the film renewed the public interest in Roth. In 1958, Lillian Roth published a second book, 'Beyond My Worth'. Roth had managed to reinvent herself as a major concert and nightclub performer. She appeared at venues in Las Vegas and New York's Copacabana and was a popular attraction in Australia. In 1962, she was featured as Elliott Gould's mother in the Broadway musical 'I Can Get It for You Wholesale, in which Barbra Streisand made her Broadway debut. Despite the acclaim for Streisand, producer David Merrick realised that Roth's name still sold tickets, and he elevated her to above-title star billing after the show's opening, with Gould, Streisand, and Sheree North listed below. Roth remained with the show for its full run of 301 performances and recorded the cast album for Columbia Records. She was also featured as Mrs. Brice in the national touring company of 'Funny Girl' in 1964, again getting top billing. Roth was married five times: to aviator William C. Scott, New York Judge Benjamin Shalleck, Eugene J. Weiner, Edward Goldman, and Thomas Burt McGuire. She divorced her first husband in 1932 after 13 months of marriage. Roth met her last husband, Thomas Burt McGuire, scion of Funk and Wagnalls Publishing Company at an Alcoholics Anonymous meeting (Roth joined Alcoholics Anonymous in 1946). The Catholic McGuire affected her in such a way both spiritually and emotionally that Roth converted to Catholicism in 1948. The two wed and McGuire managed Roth until September 1963, when she received a note from him stating that their marriage was finished. McGuire left Roth for another man and according to Roth, after withdrawing all funds from their joint bank account. Roth returned to Broadway in 1971 in the John Kander and Fred Ebb musical 70, Girls, 70, which had a short run. She played a pathologist in the horror film Alice, Sweet Alice/Communion (Alfred Sole, 1976), Brooke Shields' feature film debut. Her last film was Boardwalk (Stephen Verona, 1979), with Lee Strasberg, Ruth Gordon, and Janet Leigh. In 1980, Lillian Roth died from a stroke in New York City. She was 69. The inscription on her marker in Mount Pleasant Cemetery in Westchester County, New York reads: 'As bad as it was it was good.' At The American Vaudeville, Klaudia Kendall writes: "Roth was representative of the aesthetics of the tail-end of the Jazz age, with her vampire makeup, pale skin, and dark hair. As a performer, Roth blurred the lines between a comedienne and a serious actress and expanded her use of humour and hardships into her biography while simultaneously using her stardom as an outlet to help those affected by alcoholism and to spread awareness about the destructive nature of the substance had on her own life. Although Roth was subject to both physical and emotional hardship in her career as a vaudeville star, she has remained in the public’s memory as both an advocate for the previously unheard, a beauty, a star in her own right and a woman of mystery."
Sources: Klaudia Kendall (The American Vaudeville), Donald Greyfield (Find A Grave), Gary Brumburgh (IMDb), Bonnie Rothbart Stark (Jewish Women's Archive), Barron H. Lerner (The New York Times), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
This guy was made for a one-round russian contest. Unfortunately I couldn't take a part in the contest but I made some shots with my new boy.
BG and the title are from NFS Pro Street.
while I'm here... this and the rest of the react zine scans are (c) jeremy traub, ross freeman, andy kilgore and gunnars elmuts. nice job
You love the shirt. You know this.
This photo is licensed under a Creative Commons license. Please credit Rob Larsen with a link to Drunkenfist.com, if you use this photo anywhere. Thanks.
REact2021 Real Estate Conference | Miami, FL, October 8, 2021. To learn more about the FIU Hollo School of Real Estate please visit realestate.fiu.edu.
Preconceived notions can get in our way when what we’re expecting fails to materialize. It’s on us to overcome it when expectations don’t match reality... moneymakerphotography.com/just-reacting/
More corporate rubbish on the Novus Solutions van seen at Bangor University. The company has lots more nonsense on its website:
Mission Statement /
Our mission is to continually exceed expectations through quality, safely delivered by a professional, experienced well trained workforce.
Our Vision /
Our vision is to be recognised nationally as the contractor of choice for all building and maintenance needs, delivering bespoke client focused solutions together with unrivalled customer service and client satisfaction.
Perhaps a few more superlatives would not go amiss!
REact2021 Real Estate Conference | Miami, FL, October 8, 2021. To learn more about the FIU Hollo School of Real Estate please visit realestate.fiu.edu.
target react and nero (buffed twice, once by the meter on the side that they just installed over his tag and then by the sprite advertisement.)
This photo is licensed under a Creative Commons license. Please credit Rob Larsen with a link to Drunkenfist.com, if you use this photo anywhere. Thanks.
Various Artists, Activists and Scholars
Wednesday 6 - Friday 8 November, 9:30am - 5:30pm
Various Locations
Across Dundee
This year, the NEoN Digital Arts Festival is very pleased to organise an expanded 3-day symposium entitled, Re@ct: Social Change Art Technology. NEoN Re@ct will involve over 30 international speakers over three days addressing a diversity of issues and practices engaging activist digital art.
Many artists involved in digital arts have historically been prompted to react and respond to local, national, global, social and political crises (i.e. around issues of environmentalism, gender equality, exploitation, colonialism, militarism, emancipation). Re@ct will be a platform to critically examine the relevance and impact of past and present practices, theories and strategies – to engage an uncertain future through an exploration of the creative potential of digital art.
The Re@ct symposium will be a unique, open and freely accessible event. REGISTER HERE
Download Symposium Schedule
Download Speaker Abstracts
Re@ct will shift between four venues in Dundee over the three days of the symposium:
Day 1, Wednesday 6 November – V&A Dundee
Day 2, Thursday 7 November – morning West Church/afternoon Chamber East
Day 3, Friday 8 November – Steps Theatre
Keynote Speakers
Dr. Maria Chatzichristodoulou, London South Bank University
Steve Lambert, Co-Director, Center for Artistic Activism, NYC USA
Amanda McDonald Crowley, Independent Curator, Cultural worker, and Educator, NYC USA
Professor Sean Cubitt, Goldsmiths University of London
Marisa Morán Jahn, MIT and The New School, USA
Mahwish Chishty, University of Massachusetts, Amherst, USA
Speakers
Mercedes Vicente, Adam Lockhart, Tony Dowmunt, Alicja Pawluczuk, Francesca Franco, BD Owens, Jon Blackwood, Fernando Martín Velazco, Pip Thorton, Laura Leuzzi, Joanna Walsh, Virginia Crisp, Diana Georgiou, Giulia Casalini, Janna Ahrndt, Ray LC, Fruzsina Pittner, Lulamile Mohapi, Violeta Vojvodic Balaz, Dennis Delgado, Martin Zellinger, Conor McGarrigle, Tom Keene, Johanna Hoffman and Andy Best.
Re@ct Symposium Co-Chairs
Professor Joseph DeLappe, Abertay University
Dr. Laura Leuzzi, DJCAD, University of Dundee
Professor Sarah Cook, University of Glasgow
Generously funded by: RSE (The Royal Society of Edinburgh), Abertay University, DJCAD University of Dundee, NEoN (North East of North) and Creative Scotland.
Kim Clijsters of Belgium reacts in jubilation after winning against Caroline Wozniacki of Denmark in singles final of day six of the WTA Championships at the Khalifa Tennis Complex on October 31, 2010 in Doha Qatar.
Photo © by ROMMELBANGIT
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reactable
- Exhibition PLAY ADMONT - Admont Library 2010 - curated by Christine Peters und Michael Braunsteiner -
reactable is an electronic musical instrument with a revolutionary interface that turns music into a tangible and visual experience. Several people can play the instrument simultaneously by moving different acrylic objects on its surface, turning them and combining them with each other. While the instrument is being played, these objects light up and the synthesized music becomes visible on the surface. The state-of-the-art technology combined with a simple and intuitive design enables the user to experiment with sound, change its structure, control its parameters and be creative in a very natural and direct way.
REact2021 Real Estate Conference | Miami, FL, October 8, 2021. To learn more about the FIU Hollo School of Real Estate please visit realestate.fiu.edu.