DOCSLIB.ORG

CINEMUSESPACE Exploring People’S Experience, and Understanding Of, Everyday Space

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CINEMUSESPACE Exploring People’S Experience, and Understanding Of, Everyday Space CINEMUSESPACE Exploring people’s experience, and understanding of, everyday space Suzanne MacLeod, Ceri Jones and Jocelyn Dodd April 2020 1 CONTENTS 1. Introducing CineMuseSpace 3 2. Case Study 1: CineMuseSpace at CFCCA 4 3. CFCCA Findings 12 4. CFCCA Conclusions 34 5. Case Study 2: CineMuseSpace at Port Sunlight 37 6. Port Sunlight Findings 46 7. Port Sunlight Conclusions 63 8. Conclusions 60 Appendix 1: List of participants, CFCCA case study 63 Appendix 2: CineMuseSpace at CFCCA, visitor questions 67 and prompts Appendix 3: List of participants, Port Sunlight case study 68 Appendix 4: Port Sunlight, questions and prompts 69 Front cover: Timeline artwork made by CineMuseSpace based on the film Caché (Michael Haneke, 2005). 2 1 Introducing CineMuseSpace Project aims and ambitions prompt reflection on how this differs across cultures. Funded by the Arts and Humanities Research Council (AHRC) CineMuseSpace: A Cinematic Following an opening Workshop to this phase of Musée Imaginaire of Spatial Cultural Differences was the project and involving all partners (the led by François Penz, School of Architecture, Cambridge and Leicester teams as well as the University of Cambridge, Suzanne MacLeod, cultural organisations), two very different School of Museum Studies, University of approaches were developed towards public Leicester, and Andong Lu, Nanjing University. engagement:2 The project was framed by the premise that cinema can be ‘construed as a form of spatial 1. An installation as part of the Future Cities: ethnography’ in which films make visible ‘how Technopolis and Everyday Life exhibition at the we live, love, work and sleep in buildings’.1 Centre for Chinese Contemporary Art Through the creation of a database of cinematic (CFCCA) in Manchester; images from films representative of the Western ‘naturalism’ tradition (Europe, USA) and the 2. A creative and participatory process, drawing Eastern ‘analogism’ tradition (China, Japan), the on the concepts and themes of the research, aim of the project was to enable the cross- with the residents of Port Sunlight, to make a cultural study of everyday spaces and activities film about their everyday lives. (eating, sitting, bathing, cleaning), and explore the ways in which different cultural experiences Qualitative research, designed, carried out and in the East and West might impact on the way in analysed by researchers from the Research which we conceive of, inhabit, and design, Centre for Museums and Galleries (RCMG), everyday space. University of Leicester, was undertaken for each approach. The research captured the reflections and thoughts of visitors to the CFCCA and Engaging the public with CineMuseSpace participants in the project at Port Sunlight, including residents and representatives from the A key component of CineMuseSpace was a desire key stakeholders involved, National Museums to engage the public with the concepts and ideas Liverpool (NML) and Port Sunlight Village of the research; to get people thinking about our Trust (PSVT). The findings from this research everyday practices, how we use space, and to are set out in this report. 1 Taken from A Cinematic Home of the Everyday, Leaflet about 2 An exhibition was also organised in China at the Shanghai – the exhibition by University of Cambridge and Centre for Chinese NextMixing Gallery – March/April 2019. Contemporary Art. See Case Study 1 in this report. 3 2 CASE STUDY 1: Centre for Chinese Contemporary Art (CFCCA), Manchester CineMuseSpace at CFCCA CFCCA – a snapshot The Centre for Chinese Contemporary Art CineMuseSpace was developed as one element of (CFCCA) is a unique art gallery based in the exhibition, Future Cities: Technopolis and Manchester, which has the second largest Everyday Life (2 August - 19 October 2019), Chinese community in the UK.3 The gallery has shown at the Centre for Chinese Contemporary been working with emerging and established Art (CFCCA) in Manchester. In this exhibition, artists for over thirty years to provide a ‘space for visitors were invited to reflect on the way in conversation, debate and cross cultural exchange’ which our use of, interaction and relationship and explore ‘relevant global issues from different with, everyday space may evolve in the light of international perspectives.’4 With its beginnings changing technologies, physical geography of in a festival for the Chinese artistic community, cities, natural resources and domestic the Centre opened in 1989. It moved to its environments. A research study captured the current location – a RIBA award-winning former responses of visitors to the galleries – a 19th century market building that incorporates predominantly young, educated and digitally elements of Chinese architecture within the aware demographic – through interviews, focus design – in 2003. With its ambition to be a groups, and opportunities provided in-gallery, to ‘future-facing’ organisation and host a answer the following, over-arching question: ‘challenging and innovative exhibition programme showcasing the very best of How does the project/intervention 5 generate insights, understandings and contemporary Chinese art,’ the CFCCA includes awareness of our everyday environments two (free to enter) gallery spaces, an artist-in- and the routines that shape our lives? residence project space, archive and library, education and events suite, and shop. Many rich and interesting themes emerged from visitor responses including: what shapes our personal relationships with everyday space; the role of the exhibition in highlighting cultural difference (and same-ness); the limitations of film in reflecting the ‘reality’ of our experiences with the everyday; and speculation around how these elements may evolve in the future. 3 Arts about Manchester, 2009, Chinese Arts Centre: Visitor / 4 ‘About Us’, http://cfcca.org.uk/what-we-do/about- Audience Research, report prepared for the Chinese Arts Centre:3 us/ [retrieved 05 10 2019] 5 Arts about Manchester, 2009: 3-4 4 Part of a vibrant cultural scene in the Northern known and may be challenging for first time Quarter visitors to access.11 As part of the up-and-coming Northern Quarter, Exhibition Future Cities: Technopolis & Everyday the CFCCA exists alongside a range of quirky and Life independent galleries, bars, cafes, and shops that Future Cities: Technopolis & Everyday Life was attracts a young and culturally diverse audience.6 shown from 2 August-19 October 2019, with Recognised nationally and internationally as a artworks by Chiawei Hsu, Lawrence Lek, Zheng ‘vibrant, inclusive and outward-looking city,’7 Mahler, and Liam Young. The exhibition over the past two decades Manchester has seen explored how evolving technologies have ‘unprecedented population growth’ particularly affected our interactions with the physical around the city centre and surrounding areas. The geography of cities, natural resources, and city is home to many diverse communities and domestic environments (Figures 1, 2 and 3). welcomes people ‘from across the world.’8 For the CineMuseSpace contribution, four films CFCCA visitors tend to be young, educated and were selected from the CineMuseSpace project: working in the creative industries Cinematic Timelines of the Everyday (2019), Garden Stroll: Illusive Realm (2018), Keep Cool – The The CFCCA is a relatively small gallery, visited by Augmented Hutong Reality Experiment (2019) and nearly 27,500 people in 2018-19. Because of its Cinematic Home of the Everyday (2019).12 The space Northern Quarter location it attracts a mainly was ‘creatively divided by stenciled lines on the young, educated audience; in 2018-19, 60 per cent floor to represent different rooms of a traditional of visitors were aged 16-34,9 and tended to be house’13 with a different film shown in each more ethnically diverse than the wider north-west ‘room’ of the ‘home’ (Figure 1). Robert, a region.10 A significant amount of visitors work in participant from the CFCCA visitor study focus the creative industries, arts education, are group, commented that experiencing the students or artists. Focus groups with new and exhibition was ‘almost [like being] in a home existing visitors have found that its appeal is space… like watching TV.’ linked to wanting to understand more about a politically and culturally important country, as well as experiencing Chinese art and culture, although contemporary Chinese art is less well- 6 ‘Northern Quarter,’ 10 Arts about Manchester, 2009: 233 visitor responses were https://www.academyofurbanism.org.uk/northern-quarter/ collected. [retrieved 31 10 2019] 11 The audience agency, 2013, Chinese Arts Centre Branding 7 Manchester City Council, (2019), State of the City Report Focus Groups: Results and Analysis, report prepared for the 2019, Chinese Arts Centre https://www.manchester.gov.uk/downloads/download/7121/state 12 Exhibition leaflet and description, Future Cities: Technopolis _of_the_city_report_2019_whole_document [retrieved 31 10 &Everyday Life, CFCCA 2019]:15 13 Lisa Habernik, (2019) ’Future Cities: Technopolis and Everyday 8 As above: 8 Life’ https://mancunion.com/2019/09/26/future-cities- 9 audience finder, 2019, Audience Report: ACE Survey report technopolis-everyday-life/ [retrieved 05 10 2019] 2019, Centre for Chinese Contemporary Art 2018-2019 data entry. 393 responses were collected from visitors. 5 Figure 1: Future Cities: Technopolis & Everyday Life at CFCCA. Capturing visitor responses to the Over September and October 2019, 30 exhibition interviews were carried out with 43 visitors, singly
Load more

Recommended publications
  • No. 86 LAGOS- 3Rd November, 1965 ~ Vol. 52
    Extraordinary No. 86 LAGOS- 3rd November, 1965 ~ Vol. 52 CONTENTS ea Page Applications for Registration of Trade Marks we - .e .- .- .. 1756-95 Registration Renewed and Restored .. %. 1796 Unpaid Renewal Fees .. we . .. .. .- 1796-98 Trade Marks Removed from the Register through non-payment of Renewal Fees .. .. «L798 Cancellation on applications of the Proprietors _ .. .. ot .. - .. -. 1798 Applications amendedafter Advertisement .. oe . oe oe 1» ae «1798 Trade Marks altered under Section 41 .. .. .. o. .- .- ee fae -. 1799 cSrsections .- -. .- - oe. a . .- oe . -- 1799 ahs 1756 OFFICIAL GAZETTE EXTRAORDINARY No. 86, Vol. 52 Government Notice No. 2035 VICOLL Trade Marks Act (Chapter 199) 15036—Wood-glue and other goods included in APPLICATIONS FOR REGISTRATION OF the class. FARBWERKE HOECHST AKTIEN- ; TRADE MARKS GESELLSCHAFT, vormals Meister Lucius and Bruning, Frankfurt/Main; Manu- Pursuait to section 17 of the Trade Marks Act facturers/Merchants. notice is hereby given that applications have been - 11th July, 1963. received for registration of the following Trade Marks. Y person who has grounds of opposition to the registration of any of the marks advertised herein may within three months from the date hereof give notice to the Registrar of such opposition. Such notice must be in writing and in duplicate and set out grounds of opposition. NAFTIL 15078—Chemical products for industry and science. PECHINEY-PROGIL (S.A.) a French Com- pany duly organized and existing under Crass f the laws of France, No. 7, Rue Lamennais, Paris 8, France. MELONIA 28th January, 1964. 13883—-Industrial fragrance chemicals. ROCHE PRODUCTS LIMITED, 40 Broadwater Road, Welwyn Garden City, Hertfordshire, Crass 2 England ; Manufacturers and Merchants.
    [Show full text]
  • Article Review
    AN ANALYSIS OF UNILEVER THROUGH IVO ZANDER’S INNOVATION NETWORK TAXONOMY - BASED ON ARTICLE: HOW DO YOU MEAN ‘GLOBAL’? AN EMPIRICAL INVESTIGATION OF INNOVATION NETWORKS IN THE MULTINATIONAL CORPORATION By: Laura Cerri and Virpi Nieminen On April 18th, 2008 Solvay Business School – Université Libre de Bruxelles Course Assignment for R&D in Multinational Enterprises Professor Michele Cincera Table of Contents Introduction .......................................................................................................................... 3 Article Summary .................................................................................................................. 3 Methodology ................................................................................................................ 5 Results .......................................................................................................................... 7 Conclusion ................................................................................................................... 8 The case of Unilever ............................................................................................................ 9 History and Key Facts ...................................................................................................... 9 R&D Spending and Patents ............................................................................................. 9 Analysis of Unilever’s R&D according to Ivo Zander’s article .................................... 10 Introduction
    [Show full text]
  • CYCLE 1 South East
    e d i s y r t n u o c & t s a o c / m o c . l a r r i w t i s i v . w w w 3 k l a W - e l a d s n i b b i D WALK 3 Eastham & Bromborough CYCLE 1 South East A circular walk linking Eastham Country Park cutting was an old railway line, used to transport products to 12 Head straight on, up a flight of steep steps and across Starting and finishing at Eastham Country Park, 5 The cyclepath continues along Stadium Road for with Dibbinsdale Local Nature Reserve. and from Port Sunlight Soap Works and the river. the railway bridge. this cycle ride takes you to the unique village of PORT SUNLIGHT VILLAGE approximately 390 metres (0.25 mile) where opposite, 4 Continue along this track, under the A41. After the 13 Having either crossed the railway bridge from the Port Sunlight where you can enjoy a ride around Map you will see the path sweeps around to the right, away Start: Eastham Country Park or Bromborough Rake from the road and down a slope, before it turns back on cycleway runs parallel with the road for about 150 metres, woods or having arrived by train at Bromborough Rake the Village, taking in the architecture, museum Railway Station. take the exit to the left. The cycleway continues straight Railway Station, leave the railway station ticket office itself and under Stadium Road. Follow this Distance: 5.5 miles. 2 - 5 hours. on to Port Sunlight.
    [Show full text]
  • 1972 Annual Report and Account
    UNILEVER Report and accounts UNILEVER N.V. Directors G. D. A. Klijnstra, chairman G. E. Graham E. G. Woodroofe, vice-chairman C. T. C. Heyning A. W. J. Caron, vice-chairman H. F. van den Hoven A. I. Anderson J. J. H. Nagel M. R. Angus M. Ormerod W. B. Blaisse D.A. Orr E. Brough E. Smit J. G. Collingwood A. W. P. Stenham R. H. Del Mar S. G. Sweetman J. P. Erbe The Viscount Trenchard J. M. Goudswaard K. H. Veldhuis Advisory directors H. S. A. Hartog R. Mueller J. H. van Roijen H. J. Witteveen Secretaries C. Zwagerman H. A. Holmes Auditors Price Waterhouse & Co. Cooper Brothers & Co. A special survey of part of Unilever’s Food and Drinks activities is issued as a supplement to this Report. Unilever Unilever comprises Unilever N.V., and manufacturers of timber the combined affairs of N.V. and Rotterdam (N.V.) and Unilever products, in diverse industrial Limited are more important to Limited, London (Limited) and ventures, and in the operation of shareholders than the separate their respective subsidiary an ocean fleet. Unilever also has affairs of either company. companies which operate in more interests in plantations. than seventy countries and are The Report and Accounts as usual mainly engaged in the manufacture N.V. and Limited have identical combine the results and operations and sale of a wide variety of goods Boards of Directors and are linked of N.V. and Limited. for household use. The principal by agreements, including an products are foods (including Equalisation Agreement which This is a translation of the original margarine, other fats and oils; requires dividends and other rights Dutch report.
    [Show full text]
  • The Formation of Unilever 16944-Unilever 20Pp A5:Layout 1 15/11/11 14:35 Page 2
    16944-Unilever 20pp A5:Layout 1 15/11/11 14:35 Page 1 The Formation of Unilever 16944-Unilever 20pp A5:Layout 1 15/11/11 14:35 Page 2 Unilever House, London, c1930 16944-Unilever 20pp A5:Layout 1 15/11/11 14:36 Page 03 In September 1929 an agreement was signed which created what The Economist described as "one of the biggest industrial amalgamations in European history". It provided for the merger in the following year of the Margarine Union and Lever Brothers Limited. The Margarine Union had been formed in 1927 by the Van den Bergh and Jurgens companies based in the Netherlands, and was later joined by a number of other Dutch and central European companies. Its main strength lay in Europe, especially Germany and the UK and its interests, whilst mostly in margarine and other edible fats, were also oil milling and animal feeds, retail companies and some soap production. Lever Brothers Limited was based in the UK but owned companies throughout the world, especially in Europe, the United States and the British Dominions. Its interests were in soap, toilet preparations, food (including some margarine), oil milling and animal feeds, plantations and African trading. One of the main reasons for the merger was competition for raw materials - animal and vegetable oils - used in both the manufacture of margarine and soap. However, the two businesses were very similar, so it made sense to merge as Unilever rather than continue to compete for the same raw materials and in the same markets. To understand how Unilever came into being you have to go back to the family companies that were instrumental in its formation.
    [Show full text]
  • Unilever Project Sunlight
    projectSunlig t PROJECT SUNLIGHT: INSPIRING SUSTAINABLE LIVING INTRODUCTION MAKING SUSTAINABLE LIVING UNDERSTOOD, EASY, DESIRABLE, REWARDING AND A HABIT In 2011 we published for the first time our own showing instead that it can in fact generate model for effective behaviour change called significant savings in household energy and Unilever’s Five Levers for Change1. It is based on food bills. CONTENTS what we have learned over the years devising As everyone knows, one way to reduce behaviour change programmes to change environmental impacts or improve health hygiene habits, working with brands such as and wellbeing on a mass scale is through Lifebuoy soap and Signal toothpaste. large numbers of people taking small actions FACING THE WORLD’S It also draws on decades of research and together which add up to make a big difference. CHALLENGES 3 insights by behaviour change experts inside and This idea and the phrase ‘small actions, big outside the company. We decided to share this difference’ have been part of our vision for practical tool because we believe its principles some years. can equally be applied to sustainable behaviour We also know that such is the connectivity PUBLIC ATTITUDES TO change and in the hope that, by making them between individuals which the internet and SUSTAINABILITY 5 available to a wider audience, this approach social networks provide, that for any activity could be used by others. to stand any chance of becoming a mass Since then we have tried out a number of movement of people, it has to be social approaches to inspiring sustainable living with by design.
    [Show full text]
  • Unilever Investor Event 2016 Unilever Investor Event 2016 Andrew Stephen Head of Investor Relations Welcome (Back) to Port Sunlight
    Unilever Investor Event 2016 Unilever Investor Event 2016 Andrew Stephen Head of Investor Relations Welcome (back) to Port Sunlight Port Sunlight - 2008 New York - 2009 Singapore – 2010 Istanbul - 2011 Paris - 2012 London - 2013 London - 2014 Manila & Singapore 2015 Port Sunlight - 2016 SAFE HARBOUR STATEMENT This announcement may contain forward-looking statements, including ‘forward-looking statements’ within the meaning of the United States Private Securities Litigation Reform Act of 1995. Words such as ‘will’, ‘aim’, ‘expects’, ‘anticipates’, ‘intends’, ‘looks’, ‘believes’, ‘vision’, or the negative of these terms and other similar expressions of future performance or results, and their negatives, are intended to identify such forward-looking statements. These forward-looking statements are based upon current expectations and assumptions regarding anticipated developments and other factors affecting the Unilever Group (the “Group”). They are not historical facts, nor are they guarantees of future performance. Because these forward-looking statements involve risks and uncertainties, there are important factors that could cause actual results to differ materially from those expressed or implied by these forward-looking statements. Among other risks and uncertainties, the material or principal factors which could cause actual results to differ materially are: Unilever’s global brands not meeting consumer preferences; Unilever’s ability to innovate and remain competitive; Unilever’s investment choices in its portfolio management; inability
    [Show full text]
  • 378 a Cinematic Soap Opera: Lever Brothers and the Use Of
    A Cinematic Soap Opera: Lever Brothers and the Use of Cinematography as a Promotional and Marketing Tool Jeannette Strickland, PhD student, Department of History, University of Liverpool, UK Unilever’s company historian claimed that radio and cinema advertising was not part of Lever Brothers/Unilever until the late 1930s (Wilson 1968). Despite the paucity of surviving archival sources it can be proved, however, that the company engaged with the new medium of cinematography from its earliest days. François-Henri Lavanchy-Clarke (1848-1922), who was coming towards the end of his life and reviewing his contribution to the development of cinematography as a marketing tool in Lever Brothers, proclaimed proudly to William Lever (1851-1925), the British soap manufacturer, “I procured you the first cinema”. This was in 1896, only months after the Lumière brothers perfected their techniques. Lever is renowned for his innovative approach to advertising and marketing and as a pioneer in creating brand identity, but what is not so well known is that he was one of the first businessmen to recognise the value of film as an advertising tool. It can even be claimed that a Lever Brothers’ product featured in the first ever example of product placement on film. Lavanchy-Clarke saw the promotional and marketing possibilities of cinematography from its very beginnings and persuaded Lever of its potential efficacy, utilising his connections with the Lumière brothers to source the equipment and make promotional films for Lever Brothers. Lavanchy-Clarke started with a spectacle at the International Exposition in Geneva in 1896, using a film of his own family washing clothes in a tub in their garden with boxes of Sunlight Soap placed prominently in the foreground.
    [Show full text]
  • Unilever Annual Report and Accounts 2018 Consolidated Cash Flow Statement
    UNILEVER ANNUAL REPORT CONTENTS AND ACCOUNTS 2018 Strategic Report ............................................................................... 1 This document is made up of the Strategic Report, the Governance About us .................................................................................................... 1 Report, the Financial Statements and Notes, and Additional Chairman’s statement .............................................................................. 2 Information for US Listing Purposes. Board of Directors .................................................................................... 3 The Unilever Group consists of Unilever N.V. (NV) and Unilever PLC Chief Executive Officer’s review ............................................................... 4 (PLC) together with the companies they control. The terms “Unilever”, the “Group”, “we”, “our” and “us” refer to the Unilever Group. Unilever Leadership Executive (ULE) ...................................................... 5 Our performance ...................................................................................... 6 Our Strategic Report, pages 1 to 35, contains information about us, how we create value and how we run our business. It includes Financial performance .......................................................................... 6 our strategy, business model, market outlook and key performance Unilever Sustainable Living Plan .......................................................... 7 indicators, as well as our approach to sustainability
    [Show full text]
  • Paint Colours – Port Sunlight Houses
    PAINT COLOURS – PORT SUNLIGHT HOUSES Following is a schedule of the approved paint and finish colours for the house exteriors, outbuildings and yard gates of the houses in Port Sunlight Village. Exterior paint and finishes are included as protected features of the houses and are regulated through statutory protection. Address Plan Ref. Render/Pebbledash Doors Other Joinery Gutters/RWPs Notes Bath Street 1 and 1a 37 - Black - Black Upper level windows including opening casements within terracotta surrounds: White 3 – 33 40 - White Dormers: White Black Metal frames and Porch Brackets: casements in Black stone mullions: Natural Bebington Road 45 – 55 81 - 20 D 45 Dark Blue - 00 A 01 Pearl - /Black to rear 57 – 65 82 Natural 06 C 33 Light Dormer arch head: 00 A 01 Pearl - Salmon White 67 – 79 83 Natural 20 D 45 Dark Blue End porches: Black - 20 D 45 Dark Blue White Balusters Windows White 81 – 87 84 White panels 04 C 39 Cardinale Framing: Black Black - Sadolin Matt PORT SUNLIGHT VILLAGE TRUST, OFFICIAL PAINT AND FINISH SCHEDULE OCTOBER 2008 Address Plan Ref. Render/Pebbledash Doors Other Joinery Gutters/RWPs Notes 89 – 97 85 White panels Listed Building Black Sadolin Matt White - Consent App. to first floor window Approved - Black framing 99 – 109 123 - 04 C 39 Cardinale - All Black - Bolton Road 1 1 - 20 D 45 Dark Blue Rafter feet: 00 A 01 Pearl - 00 A 01 Pearl 5 – 7 2 - 20 D 45 Dark Blue Black Black - 9 – 13 3 - 20 D 45 Dark Blue Black rafter feet Black - 15 4 White 20 D 45 Dark Blue Barge Board, Black - bressumers and porch: Black 17 – 21 36 Natural/White to 20 D 45 Dark Blue Black Black Oak Beams/Fascia gable panels Boards – Aglaia Wood Glaze – Jacaranda 12 61 – 67 62 Natural 20 D 45 Dark Blue Porch brackets: 00 A 01 Pearl - 20 D 45 2 – 12 7 - 20 D 45 Dark Blue - 00 A 01 Pearl - 14 – 16 - 20 C 33 Light Blue Porch: 20 C 33 00 A 01 Pearl - 20 37 - Black - Black Upper level windows including opening casements within terracotta surrounds: Black PORT SUNLIGHT VILLAGE TRUST, OFFICIAL PAINT AND FINISH SCHEDULE, OCTOBER 2008 2 Address Plan Ref.
    [Show full text]
  • St John Plessington Catholic College a Specialist Humanities and Technology College 19 Mar 07 19 ▪ Newsletter
    St John Plessington Catholic College a Specialist Humanities and Technology College 19 Mar 19 07 ▪ Newsletter Issue 57 Issue Theme for the Week SJP take Manhattan The Good Shepherd Sunday 4 th March saw eleven Leisure and Tourism students and two staff set off from Manchester Jesus was a leader who had many followers – at Airport for the International Students’ Convention in least 5,000, according to the account in which he New York City. The Convention included rolling fed that many people. He led them with seminars and a coach tour of all five boroughs, compassion and by example. He taught people giving us all a great insight into the management of what to do, then lived it. He cared for the sick, he the tourist industry, the main attractions and the spent time with those who needed it, he fed the impact of the events of 11 September. The guides hungry and in the end he put everyone before him. and speakers were all very knowledgeable, Jesus referred to himself as the Good Shepherd – providing us with an excellent educational the kind of leader who puts the needs of those in experience. his care before him. Lord, There are times in our lives when we have to lead other people. We pray that we will do this justly and with love. Amen Chapel Noticeboard Monday 12.00 – G-Factor (Lower School) Students’ Comment Board Tuesday 8.15 – Morning Prayer Statue of Liberty – “An awesome lady” 12.50 – Justice and Peace Group Empire State Building – “Night time’s prettiest sight” (Upper School) Times Square – “Unbelievable colours” 3.30 – 4.15 – music
    [Show full text]
  • Unilever Plc Trademarks
    Unilever Plc Trademarks Matching '"Unilever Plc"' by Owner. IPMonitorTrademarks www.ipmonitor.com.au Contents Alerts 3 "Unilever Plc" 3 Terms and Conditions 26 General 26 Disclaimer of warranty and limitation of liability 26 Copyright 26 Arbitration 26 www.ipmonitor.com.au Alerts "Unilever Plc" More than 500 results matching '"Unilever Plc"' by Owner. Number Mark Owner 1033524 S FACTOR Unilever PLC, 1033905 Unilever PLC 310519 TEASE Unilever Plc Port Sunlight Wirral, Merseyside England UNITED KINGDOM 384402 DIMENSION Unilever Plc Port Sunlight Wirral Merseyside England UNITED KINGDOM 384405 SUMABLESS Unilever Plc Port Sunlight Wirral Merseyside England UNITED KINGDOM 384406 SUMABLESS Unilever Plc Port Sunlight Wirral Merseyside England UNITED KINGDOM 384407 SUMABLESS Unilever Plc Port Sunlight Wirral Merseyside England UNITED KINGDOM 1036117 DENIM Unilever PLC 969950 OLA Unilever PLC 619223 ALPHA NUTRIUM Unilever Plc 619224 ALPHA NUTRIUM Unilever Plc 1004193 PINK POWER Unilever PLC 1022372 SUMMER CARE Unilever PLC 1022689 SILK DRY Unilever PLC 981884 COOL MOISTURE Unilever PLC 898089 FLORA PRO ACTIV Unilever Plc 1005370 LUX CITRUS SORBET Unilever PLC 225296 TORRENT Unilever Plc Port Sunlight Wirral Merseyside England UNITED KINGDOM 225355 ELIDANCE Unilever Plc Port Sunlight Wirral Merseyside England UNITED KINGDOM 1022553 SUNSILK SUMMER CARE Unilever PLC 1040721 INTENSIVE CARE Unilever PLC 1025761 Unilever PLC 1008365 ACTIVRESPONSE Unilever PLC www.ipmonitor.com.au 3 of 26 Number Mark Owner 621561 Unilever Plc 656693 CARTE D'OR Unilever
    [Show full text]