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A comparison of the full-color tonal family color wheel and the gray-scale version to illustrate the values of each color.
Value(s) for Money? Philanthropy as a Catalyst for Social Change (March 6-9, 2014)
Increasing social and environmental challenges, writ globally, are raising the stakes for philanthropy to find "solutions". The deeply complex nature of these challenges, however, defies easy fixes and requires more sophisticated and diffuse systems level approaches. Is the philanthropic sector ready, or capable of meeting critical systemic challenges? Probably not, as seen through the lens of Michael Edwards in a recent think piece entitled 'Beauty and the Beast: Can Money Ever Foster Social Transformation?'.
Innovative funding mechanisms that support social change - like crowd-funding, social impact bonds, payments for eco-system services and prize-backed challenges - have diversified the funding landscape and brought in new resources. The system, however, is arguably out of balance with too much focus placed on revenue-generation, and directing financial resources, through the market. At the same time, less funding is available for the deeper, less tangible drivers of social change - change that is driven by the beneficiaries themselves and is inherently more democratic. Money, while a seemingly essential tool in change processes, can be a "curse", reinforcing or exacerbating the very circumstances and power imbalances at the heart of systemic social challenges.
The objective of this program, in partnership with Hivos, is to shape a new narrative on funding for deep social change that can influence current and future funding trends and global policies.
a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.
The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]
Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that
the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]
In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as
a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]
The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]
Several bronze plaques commemorate elevator scenes from three major films:
In the Line of Fire,[14][15] September 1993, "Green Square" elevator
True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators
Forget Paris,[15] November 1994, "Yellow Diamond" elevator
It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.
In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).
The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]
Valued memory of working with Col Neman, LaShawn, Hamid, AJ, E L Craig, Will, and the assembled crew.
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Ace & True Value customers in Guilford, VT want Ace & True Value to keep their plates healthy and nutritious by not selling bee-killing pesticides.
I grew up in a family in which science and art were equally valued; my three siblings and I were given an early start in music and mathematics. However, by the time I was in high school I was routinely putting off my homework in favor of playing (or rewiring) an electric guitar. After studying art and music in college, I played in various bands and supported myself by doing carpentry, welding, and rigging for the Pasadena Playhouse. In recent years, I have focused on making art using the technical knowledge acquired on the job and on my own. Night classes in computer science and continued progress in electronics capability are leading to expanding possibilities for future pieces.
Part of the18th Annual Arroyo Arts Collective Discovery Tour on Sunday, November 21, 2010.
Value(s) for Money? Philanthropy as a Catalyst for Social Change (March 6-9, 2014)
Increasing social and environmental challenges, writ globally, are raising the stakes for philanthropy to find "solutions". The deeply complex nature of these challenges, however, defies easy fixes and requires more sophisticated and diffuse systems level approaches. Is the philanthropic sector ready, or capable of meeting critical systemic challenges? Probably not, as seen through the lens of Michael Edwards in a recent think piece entitled 'Beauty and the Beast: Can Money Ever Foster Social Transformation?'.
Innovative funding mechanisms that support social change - like crowd-funding, social impact bonds, payments for eco-system services and prize-backed challenges - have diversified the funding landscape and brought in new resources. The system, however, is arguably out of balance with too much focus placed on revenue-generation, and directing financial resources, through the market. At the same time, less funding is available for the deeper, less tangible drivers of social change - change that is driven by the beneficiaries themselves and is inherently more democratic. Money, while a seemingly essential tool in change processes, can be a "curse", reinforcing or exacerbating the very circumstances and power imbalances at the heart of systemic social challenges.
The objective of this program, in partnership with Hivos, is to shape a new narrative on funding for deep social change that can influence current and future funding trends and global policies.
The first stop of the one-day study tour: a dairy farm with processing unit. The Fuchs farm started with two cows ten years ago that number grow over 130, plus goats. The farm produces the fodder for its animals, and builds the marketing strategy of its milk and dairy products on direct distribution on short value chains.
©FAO/ Lea Plántek
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1) This image investigates the element of value. the inclusive detail of the building
2) The building as a whole
3) The dark stained-glass windows in the middle and the curved framing around it.
4) making the shot straighter
1) The element of art is value. It is reflected in the photo because the colour blue is reflected throughout the photo. The lightness of the blue drink matches with the darker blue tint of the background.
2) The most visually striking part of this photograph is the drink. The colour of the drink matches perfectly with the background. Not only that but the sharpness of the photo really brings out every little detail on the cup and the drink.
I took this photo because I noticed how the shadows and the warm evening light were projecting onto the log. If I could change anything, I would changed the area of focus to be closer to the lens.
1: The element this image is expressing is "Value." It is reflected to composition because it serves to create a mood and it leads the eye through the photograph.
2: The main subject matter of the photograph is positioned near value.
3: The steps that make this image successfully visually striking is because I really tried to make the saturation the blues look mixed and combined.
4: I could have tried to get more of the background.