View allAll Photos Tagged statement.
Statement by NATO Secretary General Jens Stoltenberg on NATO support to assist with the refugee and migrant crisis
48 Pontiac - Do a Google image search for "Pontiac hood ornaments" sometime ....... probably the most photogenic.
Wandering around the city centre on St Patrick’s day, you’ll meet many diverse fun fashion statements to say the least… classy greens, sassy golds and demure nods to patriotism as people roll out in their Sunday best, while others parade full-on costumes ranging from the adventurous to the really out there ! (And that’s not including the official parade!)
This Paddy’s Day, we’re celebrating street fashion on a day of eclectic Irish fashion!
The National Leprechaun Museum and the SCOOP foundation joined up to give everyone (Dubliners and visitors) the chance to show off their Paddy’s Day Finery to the whole world, and set up a picture-book-photo-booth for them to get snapped in!
Entrants got snapped by our photographers on our set and then posted online… winners will be voted on by a worldwide audience! (There’s a range of categories and spot prizes to be won!)
Let us know your favourite by tweeting about it #lookoftheirish!
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The National Leprechaun Museum opened its doors in March 2010. Since then it has welcomed in excess of 150k visitors through its doors to explore Irish folklore, mythology and storytelling through our unique interactive experience.
Rave reviews from the likes of Time magazine, the Guardian, the BBC, and even the cast of Jackass, highlight the uniquely enjoyable experience for adults and children alike, exploring the world of Irish folklore in a series of fun and interactive spaces led by our great storytellers.
OPEN EVERY DAY!
10.30 – 18.30 (Last entry at 17.45)
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The SCOOP (Support Children Out Of Poverty / Stop Corruption On Our Planet) is a young, innovative and hard working organisation working and creating out of Dublin City, Ireland.
They endeavour to raise funds through their own events and unique ideas, in order to build schools and opportunities for children and young people caught in the poverty trap in the some of the poorest and more corrupt parts of the world.
They also wish to create a different type of charity in Ireland; one that utilises young and talented people to keep creating new and positive methods to achieve their many goals and aspirations.
Watch this space!
Registered charity CHY 18767
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Photography by Martin Bures & Jennette Donnelly
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Larry Stauber, UU Congregation of the Palm Beaches in North Palm Beach, Fla., during the Statement of Conscience debate; behind him is Sybelle van Erven, Congregation of NW Tuscon, Ariz.
Photo/Nancy Pierce
PlenaryIII _LowRes_04
Rafael Mariano Grossi, IAEA Director General, delivers his opening statement at the Building for Science – Aiming for the Finish, a ReNuAl Side Event at the March 2021 Board of Governors meeting held at the Agency headquarters in Vienna, Austria. 2 March 2021
Photo Credit: Dean Calma / IAEA
Programme:
Welcome Remarks by Najat Mokhtar, IAEA Deputy Director General and Head of the Department of Nuclear Sciences and Applications
Opening Statement by Rafael Mariano Grossi, IAEA Director General
Remarks from the Co-Chairs of Friends of ReNuAl
HE Mr Rapulane Molekane, Resident Representative of South Africa to the IAEA
Global Impact of the NA Laboratories
Highlighting achievements and benefits of collaboration with the NA Laboratories in Seibersdorf
Introduction of the new ReNuAl2 Donor Display
Rafael Mariano Grossi, IAEA Director General
In Person Event Participants:
Rafael Mariano Grossi , IAEA Director General
Najat Mokhtar, IAEA Deputy Director General and Head of the Department of Nuclear Sciences and Applications
Karin Foistner, Counsellor, Permanent Mission of the Federal Republic of Germany
Jacek Bylica, IAEA Chief of Cabinet
Toshio Kaneko, Special Assistant to the Director General for Nuclear Energy, Nuclear Applications and Technical Cooperation
Edgard Perez Alvan, Senior Advisor to the Director General
Andy Garner, Laboratory Coordinator / Project Executive for Major Capital Projects in Seibersdorf, Department of Nuclear Applications
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1306 Government Street, Victoria, BC
Statement of Significance
Description of Historic Place
The Palace Cigar Store is a two-storey, brick commercial building located on the west side of Government Street within Victoria’s Old Town. The building features a prominent arcade of three round-headed windows, each springing from a pair of columns, across the upper storey. The ground floor has a retail storefront with a central recessed entrance.
Heritage Value
The Palace Cigar Store is symbolic of the development of Victoria’s Old Town during the city’s early twentieth century economic renewal. At the time, there was increasing demand for retail space downtown, which resulted in construction activity along Government Street as the main shopping district. This building was an investment property for Heinrich Siebenbaum (1859-1942) who was born in Schleswig-Holstein, Germany, and arrived in Canada in 1893. By 1899, he was the operator of the Palace Saloon in the adjacent Adelphi Building at the corner of Government and Yates Streets. 1306 Government Street was opened as the Palace Cigar Store, with offices above. Siebenbaum’s business was destroyed in 1915 in local attacks on German commercial properties after the sinking of the Lusitania in World War One.
The Palace Cigar Store is additionally significant as an example of the transition from the Late Victorian era to the Edwardian era at a time when architectural styles, as well as building technologies, were changing. It typifies the late persistence of the Romanesque Revival style, as shown in the round-arched window openings on the upper floor. The ground floor was originally a single arched opening, further emphasizing a Romanesque character, but was later modernized to a rectangular storefront in line with changing commercial tastes.
Source: City of Victoria Planning Department
Character-Defining Elements
Key elements that define the heritage character of the Palace Cigar Store include its:
- location on Government Street, part of a grouping of late-nineteenth and early-twentieth century historic masonry buildings in Victoria's Old Town
- continuous commercial use
- siting on the front and side property lines, with no setback
- commercial form, scale and massing, as expressed by its two-storey height, symmetrical rectangular plan and flat roof
- masonry construction, including pressed brick façade, common brick side and rear walls, and stone cornice
- Romanesque Revival style details, such as round-arched window heads, coupled columns with foliate cushion capitals, simply articulated archivolts, and corbelled brickwork
- fenestration, such as one-over-one double-hung wooden-sash windows with fixed semicircular transoms
- early storefront with central entry and plate glass display windows
- Canada's Historic Places
Statements und Podiumsdiskussion: "Neue Heimat – Neue Perspektiven: Aufstieg durch Migration"
v.l.n.r.: Dr. Michael Werz, Cem Özdemir, Tamar Jacoby, Howard Duncan
Foto: CC-BY-SA Stephan Röhl / www.boell.de
Model Ellen Hancock wears Corrugated and Chased Copper Cuffs along with 4" patinated Red and Turquoise Brass Earrings by San Francisco jewelry designer John S. Brana. www.johnsbrana.com
Photographer: Rachel Schwarz
May 29, 2010, 5:23 p.m. Ryan Logtenberg and Cassandra Chouinard are both making fashion statements in their Ottawa Race Weekend 5k event. Cassandra is wearing a bold leopard-pattern running skirt, while Ryan is air-wicking without a techincal-t.
(ASI Photos.)
Öl är hälsa, hälsa ofta. The Swedish word Hälsa means both Health and Greetings. Two teenagers driving an EPA-tractor and holding up the little traffic that it was with the top speed of 30 km/h. The kid driving the Volvo was having a conversation with a guy on a motorcycle. Either discussing the statement or the speed.
Statement by NATO Secretary General Jens Stoltenberg on NATO support to assist with the refugee and migrant crisis
Shame this place no longer exists. We tried to go back this year and were caught by site security before we even crossed the road to go near the asylum. Here's a shot from last year. We stayed in the single room shooting for around 30 minutes and started getting cocky. We carried on searching the hospital, avoiding security. We then went through a door and were literally left facing a security guard, we went to run but decided to hand ourselves in for the easy exit, after all fake names don't mean much.
Thesethose
2 LCD screens, 2 DVD Players, electronics circuits, electric motors, PVC pipes, electric blowers, plastic bags and other materials
2011
Artist Statement:
My work is an intersection of artistic and technological experimentation that takes form in different types of media. My formal interest in movement, materials, language and imagination is coupled with an intuitive way of inventing intricate systems that can lead to the production of drawings, animations, videos, digitally modified photographs and organic machines with traces of human/animal behavior.
My process consists of the appropriation of my everyday visual life images, such as antique teapots, clouds in the sky or anything I associate with conceivable language patterns. If the project leads to the construction of a machine, I capture images with a video camera, and create or record movements. During the editing process, I transform movements into gestures and give my voice to the objects, which in turn constructs an invented dialect.
When I first received photographs and information about the gallery space I was going to occupy, what captured my attention was the three windows in it. Therefore, I decided to work with my own studio windows, located in Rio de Janeiro. I made animated videos of them “talking,” and planned to use them in the exhibition space. But it wasn’t until my arrival at the Mattress Factory that I invented the organism for Thesethose.
The animated videos are shown on LCDs connected to devices controlled by the animation’s movements on the screen. Light sensors attached to the screens perceive the images’ stimuli and make the body of the work react to them. The whole operation is analogical, which means that every little event is subject to possible imprecision and random malfunctions, leading to unpredictable reactions. That is one of the reasons I often refer to my pieces as organic machines.
The works are not interactive in a physical sense, so the viewer is disturbed by their indiscriminate behavior and can initially feel like an intruder in a world where things happen even if the viewer is not watching. By psychologically entering the piece, the viewer tries to decipher its irregular movements, in an attempt to make sense of its complexity and precariousness.
Bio: Mariana Manhães was born in Rio de Janeiro in 1977 where she is currently pursuing a Masters in Communication and Culture at the Federal University of Rio de Janeiro. Her work is an intersection of artistic and technological experimentation that takes form in different types of media. She invents intricate systems that can lead to the production of drawings, animations, videos, digitally modified photographs and organic machines that respond to each other, mimicking human or animal behavior. She has exhibited her work throughout South America and Europe. See her blog tracking her development and creation of her installation for the Mattress Factory:
One would think this is a message to the Executive Branch of the U.S. Government: separation of powers, congressional oversight, freedom from unreasonable search and seizure, right to a speedy and fair trial, role of the judiciary. But, no, it is instead a protest to the Tacoma City Council. Nevertheless, constitutions do matter. At least I hope so.
Net Zero Needs Nuclear Power, Shared Presentations Stage 3, an IAEA Statement Event at the United Nations Climate Change Conference UNCCC held at the Expo City Dubai, United Arab Emirates. Blue Zone, 1 December 2023
Photo Credit: Dean Calma / IAEA
MSfit Opens For People Living with multiple sclerosis
Opening statement on landing page:
A young man’s vision and the collaboration between WSSU’s Department of Physical Therapy and the Gateway YWCA have come together to form MSfit, a free fitness and wellness program offered to people living with MS.
Read more …..
It was the brainchild of WSSU alumni and former WSSU employee Brian Murrill, whose mother Patsy Murrill is living with multiple sclerosis. She was diagnosed in 1995. She is a teacher at North Hills Elementary School.
"It's been a challenging yet rewarding experience seeing this program come together. I originally came up with this concept in January of 2013 to honor my mother. My original goal was to create a program that would directly address the physical and emotional needs of people living with MS,” said Brian. He said since then his organization has developed key partnerships with the Gateway YWCA, National MS Society, and the WSSU Department of Physical Therapy.
Here is his view of the future for the program. “Today we have three main objectives: the first one is to provide the MS community with a free fitness and wellness program that is designed to improve the quality of life of our participants and their families. The second one is to take the results from our program and share them with physicians to better understand the role fitness and wellness plays in managing MS. The last one is to create an opportunity for graduate level PT students to get hands on experience working with our participants. MS is the most common disabling neurological disease of young adults in the U.S. It is our hope to grow this program and improve the overall quality of life of as many participants as we can. When you support MSfit, you are empowering people to move beyond their MS by giving them the knowledge, skills, tools and confidence to adopt healthy lifestyle behaviors, actively co-manage their disease and live their best lives through health and wellness," Brian said.
The MSFit clinic is a free clinic where screenings occur for multiple sclerosis patients, along with development of an exercise program, and education on the exercise protocol for the clients at the YWCA.
MSfit officially opened its doors to participants January 26th at the Gateway YWCA, in Winston-Salem, NC, from 1-5 p.m. Since MSfit announced the launch of the program in October, it has received an overwhelming response from potential participants.
Prior to beginning the program, participants are required to complete an initial fitness screening that will gauge their level of ability. The screenings were conducted by the Winston-Salem State University Department of Physical Therapy (PT).
Dr. Sara Migliarese, a physical therapy professor at WSSU, said, “The WSSU Department of Physical Therapy is excited about the partnership with MSfit. Our third-year students performed the fitness screenings and developed exercise programs for the clients with MS based on their abilities.”
“Under the supervision of DPT faculty, the students will educate each client on safe and effective exercise using the YWCA facilities, classes, and equipment. This service-learning opportunity will benefit the students, as well as the clients, and the WSSU PT Club is already involved in early fundraising activities to help support the MSfit Foundation and cover the cost of the YWCA memberships for the MS clients. WSSU is committed to the success and sustainability of this community service,” Migliarese continued.
As a part of their coursework, the WSSU Department of PT will return to the Gateway YWCA once a month to reevaluate participants and document their successes.
Statement distributed by BSU affirming that the Administration violated student rights
Title: Statement distributed by BSU
Date: 1969-03-01
Original Collection: RG 102 Student Affairs
Restrictions: Permission to use must be obtained from the OSU Archives.
RG102_09090120_miltondispute1969_bsustatement.tif
Making begins with an imprint: an encounter between body, material, tool, force, resistance and time. Clay records pressure, hesitation, collapse and endurance. Russell Moreton’s ceramics make these material relations visible.
My practice begins with making as a form of thinking. Working primarily with clay and ceramic processes, I develop sculptural forms through an iterative dialogue between material resistance, bodily action, spatial perception, and conceptual speculation. I am interested in the point at which ceramic craft exceeds the category of the object and begins to operate architecturally: as a structure, a spatial apparatus, a surface, a threshold, or a proposition for inhabitation.
My ceramic works are often constructed through slabs, perforations, drilled apertures, grids, diagrammatic lines, and heavily worked surfaces. These processes produce forms that appear simultaneously structural and unstable—architectural bodies marked by weathering, abrasion, paint, and accumulated gesture. The surfaces become records of material encounter: intensified sites where the distinction between construction and erosion, control and excess, form and deformation begins to dissolve.
Clay offers a particular meditation on material endurance. Fired, fractured, altered, and reassembled, it carries an inherent tension between vulnerability and survival. I am interested in this condition of the ceramic body as something that persists through transformation. The work emerges through a process of continual adjustment in which making becomes a form of perceptual monitoring: a material conversation in which existing matter is repeatedly combined, altered, and reorganised into new configurations.
This approach extends into a broader site-based and transdisciplinary practice concerned with the production of spatial knowledge. I construct environments, installations, and sculptural assemblages that bring craft into dialogue with architecture, theory, drawing, social space, and the everyday rituals of inhabitation. These works function as spatial apparatuses: provisional structures through which bodies, materials, ideas, and environments encounter one another.
My research is informed by diffractive and processual modes of thinking. Rather than treating theory as an external framework applied to practice, I understand ideas as becoming materially active through the processes of making, inhabiting, observing, and responding. The studio therefore operates less as a retreat than as an expanded field of relations—an environment that is continuously opened onto the world.
I am interested in creating situations in which craft, art, architecture, and theory can coexist without resolving into a single disciplinary position. Through situated making, speculative learning, and iterative research, I develop compositions and environments that explore inhabiting, embodying, fictioning, and folding as spatial and material operations.
Statement by H.E. Ambassador Jaime Victor Badillo Ledda, Permanent Representative of the Republic of the Philippines to the OPCW at the 22nd Session of the Conference of States Parties to the Chemical Weapons Convention.
The Conference is held at the World Forum, The Hague, the Netherlands, from 27 November to 1 December 2017.
Talk about kicking it up a notch, the Krustallos headboard features embedded Swarovski crystals for that ultra-luxurious and glamorous look and feel. Shown here in Modena Ash with polished metal legs, the frame and headboard of this bed can be customized with hundreds of fabrics and crystals on headboard and base by special order through our showrooms. cantoni.com/blog/2015/07/statement-headboards/
#Cash #Flow #Statement #Preparation is must to do kind of thing as far as #business is concerned. Some people take it as a liability while, for many other it is just like doing the anatomy of their #business.
Forensic psychology personal statement sample that will give you the help you need. For more samples, visit this site now! www.personalstatementpsychology.com/the-niceties-of-foren...
High Level Policy Statements.
Ms Xiangjun Yao, Director of FAO Liaison Office with the United Nations in Geneva Food and Agriculture Organisation of the United Nations (FAO).
©ITU/I.Wood
4102 West 16th Avenue, Vancouver, BC.
Statement of Significance
Description of Historic Place:
Queen Elizabeth Elementary School is a complex of buildings comprised of: a one two-storey English vernacular building from 1940; two one-storey Modern buildings from 1957; one one-storey building from 1964; open asphalt playing areas; a formal driveway; and mature planting beds. It is in the residential neighbourhood of Point Grey, and is adjacent to a large, open playing field and Pacific Spirit Regional Park.
Heritage Value:
Queen Elizabeth Elementary School is important for its cultural and aesthetic significance, particularly for the contrasting building styles of the 1940 building and of its post-war additions that responded differently to the pedagogy of their times.
Built over a period of 25 years, the school is culturally important as the embodiment of changes in educational values. The 1940 building represents the then-new philosophy that schools should be child-centered and functional – it was considered to be the first of its type built in the province, unique for its English cottage-type design and its full-size gymnasium, auditorium and dressing room facilities. The 1957 and 1964 additions reflect a more systematized, practical, scientific, and more democratic approach to education and reflect the intention to provide clean and efficient spaces that embodied the ideals of social mobility and equality. It is indicative of the significant change in cultural attitudes between the early 1940s and the 1950s that, while the official opening of the 1940 building was presided over by then Premier T.D. Pattullo, the official opening of the 1957 buildings was presided over by the city health officer.
The school site’s cultural significance also lies in its representation of how, after 1940, the Vancouver School Board architects accepted the Modernist cause and its potential for standardizing school designs. Compared to the 1940 building that is from an earlier stylistic era, the 1957 and 1964 Modern buildings signify the chance to begin anew, partly by rejecting stylistic historicism and ornamental symbolism. It is this obvious difference in design outlook that offers present day observers such a valuable commentary on the history of school design over the pre- and post-World War Two era.
Other important cultural values of this school are the combined memories and experiences of past students and teachers, the continued use of this site as a school complex from 1940 to the current day, and the continued use of its name: 'Queen Elizabeth Elementary School'.
Aesthetically, Queen Elizabeth Elementary School is important for its juxtaposition of two design idioms, and for highlighting how little the Modernist building makes reference to the original outstanding school building, conveying the cultural predisposition at that time to leave the old world behind. The school contributes significantly to the streetscape and to the neighbourhood as it is on a rise in the land and overlooks both a large open sports field and Pacific Spirit Regional Park to the south and west.
Source: City of Vancouver Heritage Planning Department
Character-Defining Elements:
The character-defining elements of Queen Elizabeth Elementary School include:
Siting, Context and Landscape
- The orientation of the 1940 building to the 1957 and 1964 buildings
- The relationship of all of the buildings to their site and to 16th Avenue and Camosun Street
- The relationship of all of the buildings to the large open playing field to the west
- Continued use as a school
Architectural Qualities
- Contrasting design idioms between 1940 building and later post-World War II additions
Architectural elements of the 1940 building:
- Informal, picturesque assemblage of wings
- Brick facing at base of walls, wood, and stucco, all in an essentially domestic idiom
- The two front entrances differentiated from rest of building through their twinning, and their flanking of the formal vehicular roundabout and pedestrian entry paths
- Polygonal forms and turret-like roofs of front entrances
- Window and door designs
- Reverse board-and-batten cladding
- Faux half-timbering
Architectural elements of the 1957 and 1964 buildings:
- Simple shed roof construction
- Bank of wood windows with alternating top and bottom opening lites
- Use of reverse board-and-batten siding which is a simple rendering of a detail found on the 1940 structure at its front entrances
- Typical covered play area with glulam/steel post structure
Landscape elements
- Covered play area of the 1957 structure
Check out my latest post on VENUSTAS about statement necklaces!
venustasblog.weebly.com/1/post/2013/08/statement-necklace...
Artist statement:
“…Wrapping can connote gifts, death, preservation, and eros,
but it almost always implies value….”
— David Bourdon,
from “Packaging: Revelation Through Concealment,”
Christo (Harry N. Abrams, Inc., 2000)
The intention of those who ban a book is to hide it from the rest of us, but instead they are wrapping the book up like a present and putting it on a pedestal for us to take notice. In a way, they are honoring the book—implying that it is worthy of being banned.
I have wrapped the words of this copy of The Handmaid’s Tale by machine stitching through each line of text, sewing the pages of each signature together, and rebinding it in an unreadable way. This is my way of both honoring and calling attention to it—bundling it up like a gift that I hope is to be unwrapped and read for many years to come.
All Rights Reserved - California Exhibition Resources Alliance