Reborn in the USA Mike Norris on Computacenter’S New Life As a Transatlantic Company 16
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Cuban Antifascism and the Spanish Civil War: Transnational Activism, Networks, and Solidarity in the 1930S
Cuban Antifascism and the Spanish Civil War: Transnational Activism, Networks, and Solidarity in the 1930s Ariel Mae Lambe Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Ariel Mae Lambe All rights reserved ABSTRACT Cuban Antifascism and the Spanish Civil War: Transnational Activism, Networks, and Solidarity in the 1930s Ariel Mae Lambe This dissertation shows that during the Spanish Civil War (1936–1939) diverse Cubans organized to support the Spanish Second Republic, overcoming differences to coalesce around a movement they defined as antifascism. Hundreds of Cuban volunteers—more than from any other Latin American country—traveled to Spain to fight for the Republic in both the International Brigades and the regular Republican forces, to provide medical care, and to serve in other support roles; children, women, and men back home worked together to raise substantial monetary and material aid for Spanish children during the war; and longstanding groups on the island including black associations, Freemasons, anarchists, and the Communist Party leveraged organizational and publishing resources to raise awareness, garner support, fund, and otherwise assist the cause. The dissertation studies Cuban antifascist individuals, campaigns, organizations, and networks operating transnationally to help the Spanish Republic, contextualizing these efforts in Cuba’s internal struggles of the 1930s. It argues that both transnational solidarity and domestic concerns defined Cuban antifascism. First, Cubans confronting crises of democracy at home and in Spain believed fascism threatened them directly. Citing examples in Ethiopia, China, Europe, and Latin America, Cuban antifascists—like many others—feared a worldwide menace posed by fascism’s spread. -
Robert Rauschenberg and James Rosenquist Graphics Rosenquist
RAUSCHENBERG PAST POP: ROBERT RAUSCHENBERG AND JAMES ROSENQUIST GRAPHICS ROSENQUIST KEAN UNIVERSITY !CKNOWLEDGEMENTS We would like to recognize the many individuals and institutions who generously provided assistance in this process. Bard Graduate Center: Olga Valle Tetkowski; Graebel Movers International Inc.: Jim Wilderotter; Kean University: Dr. Dawood Farahi, Holly Logue, John Maso, and Kenneth Kimble; The Montclair Art Museum: Gail Stavitsky and Erica Boyd; The Newark Museum: Amber Woods Germano, Olivia Arnone; O’Hara Gallery: Ruth O’Hara and Lauren Yen; Prudential Insurance Company of America: Carol Skuratofsky and Joseph Sabatino; the Estate of Robert Rauschenberg: Gina C. Guy and Thomas Buehler; James Rosenquist and Beverly Coe at the Rosenquist Studio; Universal Limited Art Editions: Bill Goldston and Marie Allen; The Whitney Museum of American Art: Donna DeSalvo, Barbie Spieler and Matt Heffernan; Visual Artists and Galleries Association (VAGA): Robert Panzer and Kimberly Tishler. Rich Russo for the photographs of prints in the Kean and Prudential collections. Special thanks to Barbara Burn for her remarkable editing ability and unique kindness. Without her diligence, this catalog would not have been possible. Copyright © 2009 by Kean University, Union, New Jersey Catalog essay, Past Pop: Robert Rauschenberg and James Rosenquist Graphics of the 1970s © 2009 Lewis Kachur All rights reserved. No part of this book may be reproduced in any form including electronic or mechanical means, photocopying, information storage and retrieval systems, except in the case of brief extracts for the purpose of critical articles and reviews, without permission in writing from Kean University. Art © James Rosenquist /Licensed by VAGA, New York, NY Art © Estate of Robert Rauschenberg/Licensed by VAGA, New York, NY U.L.A.E. -
Do the Europeans Still Believe in the EU? Analysis of Attitudes and Expectations of EU Public Opinions Over the Past Quarter Century
Do the Europeans still believe in the EU? Analysis of attitudes and expectations of EU public opinions over the past quarter century Daniel DEBOMY Preface by António Vitorino Studies & 91 Research Study & Do the Europeans still believe in the EU? 91 Analysis of attitudes and expectations of EU Research public opinions over the past quarter century DANIEL DEBOMY Preface by António Vitorino Daniel DEBOMY Daniel Debomy is the founder and managing director of the opinion research institute OPTEM. For 25 years, together with his network of partners across Europe, he has carried out numerous qualitative studies on behalf of the European Commission and other organisations, aiming to understand the citizens’ perceptions, attitudes and expectations vis-a-vis the European Union and EU policies, in the 27 Member States and beyond. He also lectures on EU-related issues at several schools and universities. DO THE EUROPEANS STILL BELIEVE IN THE EU? Notre Europe Notre Europe is an independent think tank devoted to European integration. Under the guidance of Jacques Delors, who created Notre Europe in 1996, the association aims to “think a united Europe.” Our ambition is to contribute to the current public debate by producing analyses and pertinent policy proposals that strive for a closer union of the peoples of Europe. We are equally devoted to promoting the active engagement of citizens and civil society in the process of community construction and the creation of a European public space. In this vein, the staff of Notre Europe directs research projects; produces and disseminates analyses in the form of short notes, studies, and articles; and organises public debates and seminars. -
Outdoor Environments Benches, Bike Racks, Litter & Recycling, Lighting, Café and Railings
Outdoor Environments Benches, Bike racks, Litter & recycLing, Lighting, café and raiLings shaping life in public spaces outdoor environments Forms+Surfaces products bring inspiration to public spaces of all kinds and are designed to meet the needs of outdoor environments worldwide. By putting people at the center of our vision, and thoughtfully considering our designs and materials against the challenges they’re intended to address, we’ve built an integrated product line shaped by sophisticated designs, green materials and finishes, superior construction, and competitive pricing. You’ll find our products around the world in airports, train stations, city centers, parks, waterfronts, corporate campuses, hotels, healthcare facilities, shopping malls, stadiums, universities, restaurants and more. Select site furnishings are available for Forms+Surfaces is an FSC® Certified Supplier shipment within 7 days through our QuickShip (FSC C004453). All of our wood slat benches are made program – just look for the QuickShip logo. with FSC Pure wood. 1 | FORMS+SURFACES FORMS+SURFACES | 2 benches Forms+Surfaces benches are recognized worldwide for their distinctive designs and high-performance green materials and finishes. Rugged enough to face the challenges of real-world use, our benches are ideal for a wide variety of indoor and outdoor public spaces. 3 | FORMS+SURFACES FORMS+SURFACES | 4 Trio Bench Hudson Bench Camber Bench + Backed and backless benches in nominal 6 foot seat lengths + Backless benches standard in 6 foot and 8 foot lengths + Backed -
Clear Black Smoke Mohammed Qasim Ashfaq
CLEAR 1 BLACK 1 2 2 3 SMOKE 3 4 4 5 MOHAMMED 5 6 QASIM 6 7 7 8 ASHFAQ 8 9 9 10 10 11 11 12 12 13 13 14 14 15 15 16 16 17 17 18 18 19 19 20 20 21 21 22 22 23 23 24 24 25 25 26 26 27 27 28 28 CLEAR 1 BLACK 1 2 2 3 SMOKE 3 4 4 5 MOHAMMED 5 6 QASIM 6 7 7 8 ASHFAQ 8 9 9 10 10 11 11 12 12 13 13 14 14 15 15 16 16 17 First Edition 2017 17 18 18 19 Editor Shanay Jhaveri 19 20 Concept Shanay Jhaveri and Hannah Barry 20 21 Coordination Diana Córdoba Barrios 21 22 Photography Damian Griffiths 22 23 Studio photos Mohammed Qasim Ashfaq 23 24 ©The Isamu Noguchi Foundation and Garden Museum 24 25 / ARS, New York + DACS, London 25 26 Design Victoria Bridal 26 27 Typefaces Circular and Palatino Edited by 27 28 Printed by Ex Why Zed, Cambridge, United Kingdom Shanay Jhaveri 28 1 1 2 2 3 3 4 4 5 SCALING UP, TO SHIFT 5 5 6 Shanay Jhaveri 6 7 7 8 BLACK 9 8 9 Alexis Lowry 9 10 10 11 THINKING THROUGH PERFECT 13 11 12 WITH DONATIEN GRAU 12 13 13 14 MULTIPLE PERSPECTIVES: 33 14 15 ISAMU NOGUCHI AND THE JANTAR MANTAR 15 16 Devika Singh 16 17 17 18 POTENTIAL ART 39 18 19 Ben Eastham 19 20 20 21 PERFECTION 45 21 22 Charlie Clarke 22 23 23 24 SHIFT 51 24 25 Paul Hobson 25 26 26 27 27 28 28 SCALING UP, 1 TO SHIFT 2 3 4 SHANAY JHAVERI 5 6 7 8 9 Mohammed Qasim Ashfaq’s is a nascent practice, one that 10 is still revealing itself. -
The Mississippi Museum of Art and Tougaloo College Art and Civil Rights Initiative | 2017–2020
The Mississippi Museum of Art and Tougaloo College Art and Civil Rights Initiative | 2017–2020 The Mississippi Museum of Art and Tougaloo College Art and Civil Rights Initiative | 2017–2020 edited by Dr. Redell Hearn Mississippi Museum of Art Jackson in partnership with Tougaloo College Art Collections Turry M. Flucker, Director Tougaloo made possible by the Henry Luce Foundation The Art and Civil Rights Initiative is a partnership between the Mississippi Museum of Art and Tougaloo College, supported by the Henry Luce Foundation. The Mississippi Museum of Art and its programs are sponsored in part by the city of Jackson and Visit Jackson. Support is also provided in part by funding from the Mississippi Arts Commission, a state agency, and by the National Endowment for the Arts, a federal agency. Tougaloo College is a private, coeducational, historically black four-year liberal arts, church related, but not church-controlled institution. Copyright © 2020 Mississippi Museum of Art 380 South Lamar Street, Jackson, MS 39201 / www.msmuseumart.org and Tougaloo College 500 County Line Rd, Tougaloo, MS 39174 / https://www.tougaloo.edu/ All rights reserved. No part of this publication may be reproduced or transmitted in any form without written permission from the publisher. Artwork dimensions are given in inches; height precedes width precedes depth. MMA collection numbers 1966.001, 1966.018, 1972.006, and 2005.029 photographed by Gil Ford Photography; 2005.029 photographed by Roland L. Freeman. All other photography of artwork from MMA and Tougaloo collections is by Mark Geil. Creative director for the exhibitions A Tale of Two Collections and The Prize is Latrice Lawson. -
Days & Hours for Social Distance Walking Visitor Guidelines Lynden
53 22 D 4 21 8 48 9 38 NORTH 41 3 C 33 34 E 32 46 47 24 45 26 28 14 52 37 12 25 11 19 7 36 20 10 35 2 PARKING 40 39 50 6 5 51 15 17 27 1 44 13 30 18 G 29 16 43 23 PARKING F GARDEN 31 EXIT ENTRANCE BROWN DEER ROAD Lynden Sculpture Garden Visitor Guidelines NO CLIMBING ON SCULPTURE 2145 W. Brown Deer Rd. Do not climb on the sculptures. They are works of art, just as you would find in an indoor art Milwaukee, WI 53217 museum, and are subject to the same issues of deterioration – and they endure the vagaries of our harsh climate. Many of the works have already spent nearly half a century outdoors 414-446-8794 and are quite fragile. Please be gentle with our art. LAKES & POND There is no wading, swimming or fishing allowed in the lakes or pond. Please do not throw For virtual tours of the anything into these bodies of water. VEGETATION & WILDLIFE sculpture collection and Please do not pick our flowers, fruits, or grasses, or climb the trees. We want every visitor to be able to enjoy the same views you have experienced. Protect our wildlife: do not feed, temporary installations, chase or touch fish, ducks, geese, frogs, turtles or other wildlife. visit: lynden.tours WEATHER All visitors must come inside immediately if there is any sign of lightning. PETS Pets are not allowed in the Lynden Sculpture Garden except on designated dog days. -
Drapo Vodou: Sacred Standards of Haitian Vodou
UC Santa Barbara UC Santa Barbara Previously Published Works Title Drapo Vodou: Sacred Standards of Haitian Vodou Permalink https://escholarship.org/uc/item/5mc5w4g2 Journal Flag Research Quarterly, 2(3-4) Author Platoff, Anne M. Publication Date 2015-08-01 Peer reviewed eScholarship.org Powered by the California Digital Library University of California FLAG RESEARCH QUARTERLY REVUE TRIMESTRIELLE DE RECHERCHE EN VEXILLOLOGIE AUGUST / AOÛT 2015 No. 7 ARTICLE A research publication of the North American Vexillological Association / Une publication de recherche de Drapo Vodou: Sacred l‘Association nord-américaine de vexillologie Standards of Haitian Vodou By ANNE M. PLATOFF* Introduction The field of vexillology is, by nature, a multidisciplinary one. It is difficult to understand the significance of an individual flag or group of flags without exam- ining the context within which those objects were created and are used. This paper will present a case study of a multidisciplinary investigation of one type of flags. Haitian Vodou flags (drapo Vodou) are little known to vexillologists, but have been studied by scholars in the fields of art, anthropology, African-American studies, and other disciplines. An investigation of prior scholarship from these areas demon- strates that this category of flags is not only significantly different than the flags usually examined by vexillologists, but they also have much to teach us about the study of flags as a multidisciplinary exercise. There are several books that are focused on Vodou flags. Patrick Arthur Polk, a prolific researcher on the topic, has produced a colorful and informative book titled Haitian Vodou Flags (1999). In his book, Polk summarizes information compiled in the preparation of his Ph.D. -
Creative Flow
Using marine debris, painted silk, Creative Flow and paper, artist Pam Longobardi, Linda Gass, and Lauren Rosenthal Three Activist Artists advocate for greater consciousness by Sally Hansell of our fragile water systems. owerful new work by three activist artists addresses one of the nation’s most critical issues—the steady degradation of our precious water supply. Pam Lon- gobardi uses plastic trash collected on beaches to Pmake provocative art that points to the devastating dangers of plastic in our environment. Linda Gass creates vibrant paint- ed-silk quilt works depicting specific ecological hazards in San Francisco Bay. Lauren Rosenthal turns watershed data into cut- paper sculptures to demonstrate the interconnectedness of riv- ers and earthly organisms. Through their chosen media, these diverse artists advocate for a heightened global ecological con- sciousness. In 2006, Pam Longobardi launched an ongoing project called Drifters after encountering mounds of consumer waste on the beach at South Point, the southernmost tip of the Hawaiian Islands. The project includes photography, sculp- ture, public art, and installations made from the debris that washes up on shores around the world. The Atlanta artist creates “driftwebs” from abandoned drift nets, the miles-long fishing nets that wreak havoc on sea life, killing fish, mammals, turtles, and birds. She cuts and ties pieces of the nets to make installations resembling spider webs. Her intent is not only to draw attention to the dan- gerous plastic nets, but more importantly, to use their woven colorful forms as a dual metaphor for the predatory, destruc- tive behavior of humankind and the interconnectedness of the web of life. -
Ceramics Monthly Apr04 Cei04
editor Sherman Hall associate editor Tim Frederich assistant editor Renee Fairchild design Paula John production manager John Wilson production specialist David Houghton advertising manager Steve Hecker advertising assistant Debbie Plummer circulation manager Cleo Eddie publisher Marcus Bailey editorial, advertising and circulation offices 735 Ceramic Place Westerville, Ohio 43081 USA telephone editorial: (614) 895-4213 advertising: (614) 794-5809 classifieds: (614) 895-4212 customer service: (614) 794-5890 fax (614) 891-8960 e-mail [email protected] [email protected] [email protected] [email protected] website www.ceramicsmonthly.org Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The Ameri can Ceramic Society. subscription rates: One year $32, two years $60, three years $86. Add $25 per year for subscriptions outside North America. In Canada, add GST (registration number R123994618). change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation De partment, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available on request. Send manuscripts and visual sup port (slides, transparencies, photographs, drawings, etc.) to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081. We also accept unillustrated texts e-mailed to [email protected] or faxed to (614) 891-8960. indexing: An index of each year's feature articles appears in the December issue. -
1 U.S. Latino Patriots: from the American Revolution to Afghanistan
U.S. Latino Patriots: From the American Revolution to Afghanistan, An Overview By Refugio I. Rochin and Lionel Fernandez Background The mission of the Smithsonian Center for Latino Initiatives is to disseminate and advance understanding and knowledge of the contributions of Latinas and Latinos to the culture, society, history, arts, and sciences of the United States (U.S.). Since its inaugural opening on August 10, 1998, the Center has taken an active role in developing knowledge of the accomplishments of Latinas/os, “Latino Patriots” and their role in U.S. military history. Under the direction of Refugio I. Rochin, research has been conducted, data collected, and text prepared at the Smithsonian Institution by Lionel Fernandez, a volunteer at the Center for Latino Initiatives. Jose Alonzo Oliveros, a former fellow at the Center under the auspices of the Congressional Hispanic Caucus Institute (FY 2000), initially prepared the groundwork for this project. This research has explored the feasibility of developing an exhibition at the Smithsonian to document the contributions of Hispanic Americans in military conflicts since the American Revolution where the U.S. has played an active role. This history dates back to the colonial era with the onset of the American Revolution and spans more than 200 years to include contemporary military conflicts. The Smithsonian’s collections include more than 140 million objects and archival materials. These include military memorabilia of U.S. war periods. The Smithsonian’s National Museum of American History is the primary repository of materials that involve the participation of Latinas/os in U.S. military engagements. -
Misco Successful on Four Lots of Technology Products 2 Framework Submitted By: White Label Media (UK) Ltd
Misco Successful on Four Lots of Technology Products 2 Framework Submitted by: White Label Media (UK) Ltd. Tuesday, 22 November 2016 Public sector technology solutions specialist to deliver hardware, software and catalogue solutions to government bodies around the UK November 22nd – Misco (http://www.misco.co.uk/), a leading supplier of Public Sector Technology Solutions, has won a place on four Lots of the new Crown Commercial Service (“CCS”) Technology Products 2 framework (“TP2”). TP2 is a second iteration that replaces the government’s original Technology Products (RM1054) framework which is due to expire in November. Recognition as a TP2 technology products supplier means that those within the public sector (http://www.misco.co.uk/solutions/workspace) will benefit from Misco’s expert advice when it comes to purchasing commodity technology goods and services. The agreement is available to all UK public sector bodies including government and the wider public sector, social housing organisations, voluntary and community sector bodies, education and the NHS. Split into six categories, Misco was successful on all Lots bid for. These are: Lot 1 – Hardware: For the provision of vendor neutral hardware, the scope also covers end user computing and infrastructure. Lot 2 – Software: For the specialist supply of a full range of commercial and Open Source commodity off-the-shelf software, software licenses and associated commoditised software services. Lot 3 – Hardware and Software: For the provision of combined hardware and software requirements - intended to be used when procuring a solution. Lot 6 – Catalogue: Misco will supply a wide range of commoditised technology hardware and software products through the CCS dynamic online catalogue.