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Tim Campbell, managing director, TruckWorld TV, led "Understanding the Global Commercial Vehicle Market and its Impact on Your Company," as part of NTEA's 2015 Executive Leadership Summit. Learn more about the Summit at www.ntea.com/executivesummit.
Side event at the fifth Global Meeting of the Mountain Partnership: “Understanding landscape and watershed management in mountains ”, 17.30-19.30, 12 December 2017, FAO HQ. During the side event, the new FAO publication “Watershed Management in Action” was launched.
The fifth Global Meeting of the Mountain Partnership – with its theme “Mountains under pressure: climate, hunger, migration” – was held at FAO headquarters in Rome, Italy, on 11-13 December 2017.
Photo credit must be given: ©FAO/Roberto Cenciarelli. Editorial use only. Copyright ©FAO
While financial inclusion and financial deepening can promote economic growth and contribute significantly to denting poverty and inequality that is rampant in the region, there are also concerns that it could aggravate systemic risk and financial instability. Various dimensions of financial inclusion will be explored in this day and a half research workshop hosted by the Institute for Emerging Market Studies (IEMS) at the Hong Kong University of Science and Technology and co-sponsored by Centre on Asia and Globalisation (CAG), at the Lee Kuan Yew School of Public Policy (LKYSPP), National University of Singapore (NUS).
More about the event at iems.ust.hk/events/event/understanding-financial-inclusio...
Understanding the Essence of Flowers - Exploring Pollen 12-14th
June, 2013, Helsinki
Photo: Tommi Taipale
I thought it would be worthwhile from time to time to use my comics to explain legal jargon to laypeople. Chances are, they won't realize that I don't understand what most of it means either.
Cape Town, South Africa. July 2012.
South Africa hosted the second global Understanding Risk (UR) Forum in Cape Town from July 2-6, 2012. The Forum convened more than 500 thought leaders and decision-makers from 86 countries to exchange knowledge and share best practice in disaster risk assessment.
Photo: World Bank
As you know, ThoughtForm is focused on design that responds to user needs. If a design doesn't work for the user, it probably doesn't work at all. How do you connect with your users? Here's a glimpse of ThoughtForm's approach.
Reminds me of the joke where the lecturer asks the student, if he can see the person under-standing the tree..
Understanding the Essence of Flowers - Exploring Pollen 12-14th
June, 2013, Helsinki
Photo: Tommi Taipale
John Biglin in a Single Scull - 1874
Artist: Thomas Eakins (American, 1844–1916)
In the 1870s, Thomas Eakins drew upon his firsthand knowledge of the popular sport of rowing and his scientific understanding of anatomy, motion, and reflections on water to create a series of rowing pictures. This one features John Biglin, the champion of single sculls, as he practices for a race. Like a figure carved in relief, Biglin displays powerful muscularity in the sculptural roundness of his arms and shoulders. Other details, including the light wear on the wooden thole pin that provides a fulcrum for the oar, are rendered with Eakins’s characteristic precision.
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Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
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artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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Understanding the Essence of Flowers - Exploring Pollen 12-14th
June, 2013, Helsinki
Photo: Tommi Taipale
Link to video portrait:
www.vimeo.com/rampleman/dawn-somewhere-over-the-rainbow
Performer bio:
Dawn is a multifaceted drag being from the depths of your wildest dreamscapes. Residing in Brooklyn, NY, her mission with any show is to provide a space for whimsy and creativity. Understanding the vision is not always the point, but making it unique, thought provoking and fun is. Whether it be glamour, creature, or surrealism the key characteristic of anything Dawn does is ethereal beauty.
Dumby in Season 16 (2024) of RuPaul's Drag Race.
More about these images:
This digital album contains images from my 2022-23 "Life is Drag" residency at The Cell in Chelsea, NYC. It includes video stills pulled from the 100+ video portraits created (performances documented), behind the scenes production shots taken during my 6 months at The Cell, and documentation of the two panels I produced and spoke with as a part of this residency -- at Symphony Space (in conjunction with the Municipal Art Society of New York), and at The Cell (in conjunction with Franklin Furnace and CADAF). More info below:
I create bodies of work that explore gender, artifice, and spectacle. Utilizing directorial, curatorial, and anthropological processes, I showcase exuberantly irrepressible personalities who revel in challenging clichés and taboos to rethink and reimagine the gender construct. A sampling of subjects include Girls Girls Girls - the world's first and only all-female Mötley Crüe tribute band, and Tazzie Colomb - the world's longest competing professional female bodybuilder and powerlifter. Since 2019, I have been working exclusively on "Life is Drag" - the largest living digital archive of drag in the United States.
Drag is a poetic synthesis of painting, sculpture, sound and performance. It is also an amalgam of self-discovery, transformation, permission, actualization, revolution, utopia, community, catharsis, and ultimately - radical self-expression. Drag is ART - and life IS drag. And "Life is Drag" has become my (Rachel Rampleman) life's work. I am a one-person production team - handling all research, curation, communication, lighting, shooting, editing, interviewing, archive building, residency outreach, and more. With "Life is Drag", I document the most innovative and singular performers - selected from a wide range of locations, backgrounds, cultures, and ages - who are currently exploding onto the national drag scene. This ever-evolving archive includes documentation of performances and interviews, and over the course of the last several years I have created 350+ video portraits, showcasing 200+ LGBTQIA performers - collaborating with them in my studio, as well as during residencies in New York City, Pittsburgh, Cincinnati, and New England (so far).
These documented performances and interviews are added to my online archive at lifeisdrag.com, as well as projected or featured as site-specific multi-channel installations at “brick and mortar” venues ranging from spaces like Wave Pool, a non-profit gallery in my hometown of Cincinnati, to the Carnegie Museum of Art in Pittsburgh. I have also produced live events and hosted panel discussions in partnership with organizations such as Symphony Space, Franklin Furnace, and The Municipal Art Society of New York -- about the importance of documenting this important but ephemeral art form, as well as about the current drag bans in the United States and New York’s radical resistance to these worsening restrictions.
Please consider supporting this project, and thank you for checking it out!
Project website:
My artist website:
Supporting institutions:
The Cell
Images:
www.flickr.com/photos/megalomediac/albums/72157718509246159/
Symphony Space & Municipal Art Society of New York
www.symphonyspace.org/programs/life-is-drag
Images:
www.flickr.com/photos/megalomediac/albums/72177720309589466
Franklin Furnace & CADAF
www.franklinfurnace.org/about-us/
Images:
www.flickr.com/photos/megalomediac/albums/72177720310312123
Wave Pool
www.wavepoolgallery.org/exhibitions-archive#/life-is-drag
Images:
www.flickr.com/photos/megalomediac/albums/72177720299700834
Bunker Projects & Bloomfield Garden Club
www.flickr.com/photos/megalomediac/albums/72157719733828390/
3S Artspace
Images:
www.flickr.com/photos/megalomediac/albums/72157714709930241/
Understanding Intersections
Acrylic, oil pastel and pencil on wood; Unique; Size: 61 x 61cm; 2009
Price ($): 900 (+ Shipping)
For purchase or more information please email: sales@blindangle.co.uk
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Price comparison platforms are set up to provide the best prices on financial goods, but they do not necessarily have the amount of content or the quality of customer service you might expect. Value is just as critical as cost, so concentrate on having value for money – not the cheapest prices – when you purchase financial goods. Low-cost insurance plans, for example, are difficult to provide incentives such as a new vehicle in the event of a crash. You might enjoy advantages like this in a tight position, even though they cost more.
So, if you’re looking to compare prices online, you should head on to GoBazzar, a renowned price comparison website in Dubai, wherein you can compare all types of high-quality products.
The ACU Respect residential school took place from 18-21 December 2017 at Heriot-Watt University Malaysia.
Building on the ACU's Respect campaign, the residential school brought together 30 student leaders from over 20 Commonwealth countries, to help them develop tools to promote and support respect and understanding in their institutions and beyond.
Read more here: www.acu.ac.uk/events/residential-school-2017/
Cape Town, South Africa. July 2012.
South Africa hosted the second global Understanding Risk (UR) Forum in Cape Town from July 2-6, 2012. The Forum convened more than 500 thought leaders and decision-makers from 86 countries to exchange knowledge and share best practice in disaster risk assessment.
Photo: World Bank
en.godfootsteps.org/testimonies/God-s-salvation.html
In Your Experience, How Much Practical Understanding Do You Have of God’s Salvation?
Since I was small, I had always had a strong desire to be better than others. No matter what group of people I was in, I always sought to be the best. While I was still at school, though I had an average mind and my grades weren’t outstanding, I studied very hard so that I wouldn’t fall behind the other students. Teachers praised me for my desire to make progress, and relatives also praised me for being such a diligent student and taking my studies so seriously. I would often feel proud of myself for receiving their praise and getting favorable comments from them, and I considered myself top of my age group. After I’d accepted God’s work in the last days, I came to understand some truths by reading God’s words and living the church life, and I saw that, no matter what disposition God expresses, whether it be mercy, lovingkindness or righteous judgment and chastisement, they are all God’s true love for man. My heart was moved and inspired by God’s love, and I felt that the only right path in life was to believe in God and seek to be perfected by God. I therefore made a resolution to pursue the truth in earnest, to give up everything and expend myself for God to repay His love. But because my deeply-rooted corrupt disposition and satanic nature had not yet been resolved, I still sought to distinguish myself and to make others look highly upon me when performing my duties. I remember one time when I was given the choice of two duties, and without any hesitation whatsoever I chose the duty that I thought would cause others to look highly upon me. Once I’d started this duty, a sense of superiority arose in my heart, so much so that I looked down on other brothers and sisters, thinking that they were only doing common duties, whereas I was performing an important duty, and that I was a person of talent in God’s family.
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God’s words say: “God pays a price—a painstaking price—for every individual, and they each have His will. God has expectations for everyone, and He entrusts them all with His hope. He freely pays the painstaking price for those people of His own will, and He willingly gives His life and truth to every individual. So God is gratified if anyone is able to understand this aim of His. If you can accept and obey the things He does, and if you can receive all from God, He then feels that the painstaking price has not been paid in vain. This means that, if you have lived up to the care and thought God has invested in you, you have reaped the rewards in every environment, and haven’t disappointed God’s hopes in you, and if what God does on you has had the expected effect and has reached the expected objective, then God’s heart is satisfied” (“To Attain the Truth, You Must Learn From the People, Matters, and Things Around You” in Records of Christ’s Talks). God’s words allowed me to feel His love and warmth, and allowed me to perceive that every tiny thing God did for me contains God’s care, thought and painstaking effort, just as God’s words say: “… how important God’s love is to man. But what is even more crucial is man’s appreciation and comprehension of God’s love” (“God’s Work, God’s Disposition, and God Himself I” in The Word Appears in the Flesh). I recalled how I always used to have a sense of superiority when performing my duties in the church at home, and in that kind of environment, my vain heart derived satisfaction and I suffered nothing at all—how then could I have realized the harm reputation and status were causing me? Only God knew what vital weaknesses I still had that had not yet been resolved, and God knew what environment to orchestrate for me in which He could better save me. God treated me like an ignorant child who doesn’t know what it is to be hungry. When parents prepare a bowl of nutritious food that is best for the child and they bring it to him, then even if the child doesn’t want to eat it or cries and screams because he doesn’t like the taste, the parents will patiently use all kinds of methods and apply all their wisdom to get the child to eat it, so that he grows up healthy and strong. This was how God was supplying and nurturing me now, and yet I was like that ignorant child, harboring so many misunderstandings and so much blame toward God, so much so that there were many times when I wanted to rid myself of God’s sovereignty and arrangements and flee from these situations. But God had not made a fuss about my transgressions, but instead had used His words to enlighten and guide me, had worked to save me and had delivered me onto the right path in life. While God worked in this way, I truly felt how real God’s salvation of me was, and how sincere God’s heart was. In order to get me to understand the truth and so that He could change my corrupt disposition, God maneuvered so many people, matters and things and arranged so many situations in my service. Some I let slip by, some I stubbornly rejected, and there were so many times when I misunderstood God or rebelled against Him, and there were so many times when I cried and wailed before God. That I can today have this knowledge and be transformed is the result of God judging, chastising, trying and refining me time and time again. In order for the truth to be wrought within me and in order to change my corrupt disposition, God expended such great painstaking effort on me—God’s love is so real. From now on, no matter what situations God arranges for me, or what duties He arranges for me to do, I will always accept them and obey. I will use my heart to experience, savor and feel God’s love, so that I can know God even more, become someone who obeys God, worships God and loves God, and live out a life of value and meaning.
Thanks for your listening. All the glory be to Almighty God!
Image Source: The Church of Almighty God
Terms of Use: en.godfootsteps.org/disclaimer.html
Peter Darche and I came up with a concept to track the medicine you have taken: basically installing a tablet in an off-the-shelf medicine cabinet running a custom app. This is a low entry way to make a "smart" medicine cabinet.
This Video will break down the difference between rapid PCR and rapid antigen tests and help you understand when each is best to be used. Watch
Video: youtu.be/cqDvD8bSHnI
The ACU Respect residential school took place from 18-21 December 2017 at Heriot-Watt University Malaysia.
Building on the ACU's Respect campaign, the residential school brought together 30 student leaders from over 20 Commonwealth countries, to help them develop tools to promote and support respect and understanding in their institutions and beyond.
Read more here: www.acu.ac.uk/events/residential-school-2017/