Real Institute. Ryerson’S English As an Additional Language Institute

Real Institute. Ryerson’s English as an Additional Language Institute REAL ENGLISH — FOUR-WEEK INTENSIVE PROGRAM REAL ENGLISH — FOUR-WEEK INTENSIVE PROGRAM INTERMEDIATE TO ADVANCED Come to Toronto The Real English – 4-Week Intensive CULTURAL AND SOCIAL EVENTS OPTIONAL — PRICES LISTED IN CANADIAN DOLLARS ARE SUBJECT TO CHANGE and immerse your- Program offers you a fully customized language learning experience focused Blue Jays Baseball Game $60 — $80 self in four weeks of on listening, speaking, reading and Canada’s Wonderland $70 — food included intensive English writing skills in English. Our instructors Casa Loma $40 language learning are leaders in the field of English Toronto Centre Island $30 — food included language acquisition who integrate complemented by Ripley’s Aquarium $30 technology and students’ lived Fort York $9 social and cultural experiences into the classroom. Royal Ontario Museum $15.50 experiences in The flexible, theme-based modular Art Gallery of Ontario $15.50 Canada’s most lively curriculum of the Real English – 4-Week and diverse city. Intensive Program was developed for Ryerson’s ground-breaking ESL EXCURSIONS AND OVERNIGHT TRIPS Foundation Program (RESLFP), a popular OPTIONAL — PRICES LISTED IN CANADIAN DOLLARS ARE SUBJECT TO CHANGE pathway for international students Niagara Falls $110 — Includes transportation, seeking admission to Ryerson University. lunch, boat cruise, and gratuities – day trip PROGRAM BENEFITS EXPERIENTIAL ACTIVITIES INCLUDED IN THE PROGRAM FEE INCLUDED IN THE PROGRAM FEE French Canada $259 — Ottawa, Montreal, and • 125 hours of learning experiences • The Power Plant, Contemporary Quebec City - 2 night trip over four weeks Art Gallery • Welcome package and orientation • InterAccess, New Media Gallery • Customized textbooks and classroom • Digital Media Zone, World’s #3 materials University-based Incubator PROGRAM FEE The Program Fee is determined by: • Experiential activities • Ryerson Image Centre, Photographic Typically, the Real English – • Number of students in class; classes • Airport pick-up and welcome dinner Gallery and Research Centre 4-Week Intensive Program costs are capped at 20, but a greater • Semi-private on-campus • Brickworks Environmental Centre, number of students reduces the cost between CAD$4,000–$5,000 accommodation or homestay Community Environmental Centre • Specific ESL/EAL module(s) requested (USD$3,100–$3,900). accommodation (upon request) • MaRS Discovery District, • Choice of food and/or accommodation • Comprehensive health and medical Entrepreneurial Ventures Site arrangements insurance through University Health • Optional Cultural Program(s) selected Insurance Plan (UHIP) • Three types of meal plans available (upon request) FOR MORE INFORMATION OR APPLICATION • End-of course BBQ FORMS, CONTACT [email protected] ryerson.ca/realinstitute.

Copy Link

Recommended publications

1 HUGH MARTIN Ryerson University, Toronto BFA (Photography Studies)
HUGH MARTIN Curriculum Vitae EDUCATION 2002 Ryerson University, Toronto B.F.A. (Photography Studies), Honours SELECTED EXHIBITIONS 2002-2018 Toronto International Art Fair. Mira Godard Gallery, Toronto 2017 Hugh Martin: Studio Window. Mira Godard Gallery, Toronto 2016 From the Collection. Curated by Anna Jedrzejowski. Ryerson Image Centre, Toronto 2012 Hugh Martin: Silent Lake. Mira Godard Gallery, Toronto. 2010 Photographs. Mira Godard Gallery, Toronto 2007 Hugh Martin: The Great Forest. Mira Godard Gallery, Toronto 2007 Collected. Ryerson Gallery, Toronto 2007 About the Landscape. Mira Godard Gallery, Toronto 2004 Hugh Martin: New Photographs. Mira Godard Gallery, Toronto 2004 Views of Hamilton. Arts Hamilton Gallery, Hamilton 2004 Hugh Martin: Dutch Landscape. Arts Hamilton Gallery, Hamilton 2002 Summer Landscape. Mira Godard Gallery, Toronto 2000 Hugh Martin: Of the City. Ryerson Image Arts Gallery, Toronto 1999 The Photography Lesson. Harbourfront Centre, Toronto PUBLICATIONS & INTERVIEWS Mira Godard Gallery: Silent Lake. Exhibition Catalogue including essay: "Hugh Martin: Sanctuary" written by John K. Grande, 2012 PREFIX PHOTO #16: Walking & Consciousness, "Walls" Portfolio, Nov. '07, pp.20-27. The Walrus, "Hugh Martin: Young Romantic" Interview/Photos, Dec/Jan 2006, pp.110-11. Hammered Out #8 (Hamilton). Several photographs published in Winter/Spring 2006. Arts Beat (Hamilton), "Dutch Landscape" Artist's statement published, Nov. 2004 issue. Cable 14 (Hamilton). Interviewed for "Drawn & Quartered" exhibition, Sep. 2002. 1 GRANTS
[Show full text]
A Case Study of Daniel Libeskind's Roloff Beny Gallery
Ryerson University Digital Commons @ Ryerson Theses and dissertations 1-1-2012 Photographic Exhibition In The Anti-Cube Gallery : A Case Study Of Daniel Libeskind’s Roloff Beny Gallery Laura E. Hayward Ryerson University Follow this and additional works at: http://digitalcommons.ryerson.ca/dissertations Part of the Photography Commons Recommended Citation Hayward, Laura E., "Photographic Exhibition In The Anti-Cube Gallery : A Case Study Of Daniel Libeskind’s Roloff Beny Gallery" (2012). Theses and dissertations. Paper 1399. This Thesis is brought to you for free and open access by Digital Commons @ Ryerson. It has been accepted for inclusion in Theses and dissertations by an authorized administrator of Digital Commons @ Ryerson. For more information, please contact [email protected]. PHOTOGRAPHIC EXHIBITION IN THE ANTI-CUBE GALLERY: A CASE STUDY OF DANIEL LIBESKIND’S ROLOFF BENY GALLERY by Laura Elizabeth Hayward Bachelor of Arts, History in Art, Business, University of Victoria, 2010 A thesis presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Arts in the Program of Photographic Preservation and Collections Management Toronto, Ontario, Canada, 2012 © Laura Elizabeth Hayward 2012 I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this thesis by photocopying means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research.
[Show full text]
Famcam News Winter 2017
VOL. 2, ISSUE 2 FAMCAM NEWS WINTER 2017 Keeping in touch with The Family Camera Network Winter Update from PI, Thy Phu Happy Holidays! 2017 has been an incredibly productive year for The Family Camera Network. Through collecting activities we have collected over ten-thousand photographs and almost thirty interviews. We curated an original exhibition, presented at the Royal Ontario Museum and the Art Gallery of Mississauga, and we organized a major conference, which sought to reframe family photography. Additionally, through public talks, tours, and panels, we shared our research endeavors and our collection with the public. This newsletter offers a snapshot of a successful and enriching year and it highlights some things to look forward to in the New Year. Thank you everyone for all of your efforts and warm wishes this holiday season. Recent Events & Activities SSHRC Partnership Active Teams & Committees The Family Camera Development Grant Royal Ontario Museum (May 6 – Oct. 29) and Art Gallery of Mississauga (May 4 – Aug. 27) Steering Team Curated by Deepali Dewan (lead), Jennifer Orpana, Thy Phu, Julie Crooks & Sarah Bassnett, Co-Applicants Thy Phu (PI) with Silvia Forni & Sarah Parsons Thy Phu (PI) Sarah Bassnett The Family Camera explored the relationship between photography and the Sarah Bassnett Elspeth Brown Elspeth Brown Deepali Dewan idea of family, and it looked at family photographs as a cultural practice Deepali Dewan Sarah Parsons through the lens of migration. With nearly every photograph featured in this Sarah Parsons exhibition coming from a Canadian home, The Family Camera shed light on Collecting Team Collaborators Deepali Dewan (Lead) how family photos reflect and shape our sense of self, family, community, Nadine Attewell Nadine Attewell and nation.
[Show full text]
Les Numéros En Bleu Renvoient Aux Cartes
210 Index Les numéros en bleu renvoient aux cartes. I13th Street Winery 173 Banques 195 The Upper Deck 64 Tranzac Club 129 37 Metcalfe Street 153 Barbara Barrett Lane 124 Velvet Underground 118 299 Queen Street West 73 Bars et boîtes de nuit Woody’s 78 314 Wellesley Street East 153 beerbistro 85 Bellwoods Brewery 117 Baseball 198 397 Carlton Street 152 Bier Markt Esplanade 99 Basketball 198 398 Wellesley Street East 153 Birreria Volo 122 Bata Shoe Museum 133 Black Bull Tavern 85 Beaches Easter Parade 199 Black Eagle 78 Beaches International Jazz Bovine Sex Club 117 Festival 200 A Boxcar Social 157 Accessoires 146 Beach, The 158, 159 Brassaii 85 Beauté 115 Activités culturelles 206 Cabana Pool Bar 60 Aéroports Canoe 85 Bellevue Square Park 106 A Billy Bishop Toronto City Castro’s Lounge 161 Berczy Park 96 Airport 189 C’est What? 99 Bickford Park 119 Toronto Pearson Clinton’s Tavern 129 Bière 196 International Airport 188 Crews 78 Aga Khan Museum 168 Bijoux 99, 144 Crocodile Rock 86 Billy Bishop Toronto City INDEX Alexandra Gates 133 dBar 146 Airport 189 Algonquin Island 62 Drake Hotel Lounge 117 Bird Kingdom 176 Alimentation 59, 84, 98, 108, El Convento Rico 122 Black Bull Tavern 74 115, 144, 155, 161 Elephant & Castle 86 Allan Gardens Free Times Cafe 122 Black Creek Pioneer Village 169 Conservatory 150 Hemingway’s 146 Alliance française de Lee’s Palace 129 Bloor Street 139, 141 Toronto 204 Library Bar 86 Blue Jays 198 Annesley Hall 136 Madison Avenue Pub 129 Bluffer’s Park 164 Annex, The 123, 125 Melody Bar 117 Brigantine Room 60 Antiquités 84, 98 Mill Street Brew Pub 99 Brock’s Monument 174 N’Awlins Jazz Bar & Grill 86 Architecture 47 Brookfield Place 70 Orbit Room 122 Argent 195 Brunswick House 124 Pauper’s Pub 129 Argus Corp.
[Show full text]
Stan Douglas Born 1960 in Vancouver
This document was updated February 25, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Stan Douglas Born 1960 in Vancouver. Lives and works in Vancouver. EDUCATION 1982 Emily Carr College of Art, Vancouver SOLO EXHIBITIONS 2020 Stan Douglas: Doppelgänger, David Zwirner, New York, concurrently on view at Victoria Miro, London 2019 Luanda-Kinshasa by Stan Douglas, Plug In Institute of Contemporary Art, Winnipeg, Canada Stan Douglas: Hors-champs, Western Front, Vancouver Stan Douglas: SPLICING BLOCK, Julia Stoschek Collection (JSC), Berlin [collection display] [catalogue] 2018 Stan Douglas: DCTs and Scenes from the Blackout, David Zwirner, New York Stan Douglas: Le Détroit, Musée d'Art Moderne Grand-Duc Jean (MUDAM), Luxembourg 2017 Stan Douglas, Victoria Miro, London Stan Douglas: Luanda-Kinshasa, Les Champs Libres, Rennes, France 2016 Stan Douglas: Photographs, David Zwirner, New York Stan Douglas: The Secret Agent, David Zwirner, New York Stan Douglas: The Secret Agent, Salzburger Kunstverein, Salzburg [catalogue] Stan Douglas: Luanda-Kinshasa, Pérez Art Museum Miami (PAMM) Stan Douglas: The Secret Agent, Victoria Miro, London Stan Douglas, Hasselblad Center, Gothenburg, Sweden [organized on occasion of the artist receiving the 2016 Hasselblad Foundation International Award in Photography] [catalogue] 2015 Stan Douglas: Interregnum, Museu Coleção Berardo, Lisbon [catalogue] Stan Douglas: Interregnum, Wiels Centre d’Art Contemporain, Brussels [catalogue] 2014 Stan Douglas:
[Show full text]
Photography: the Black Box of History Symposium, March 16-17, 2018
Photography: The Black Box of History Symposium, March 16-17, 2018 Organized by: Dr. Thierry Gervais, Associate Professor, Ryerson University and Head of Research, Ryerson Image Centre, Toronto Dr. Jason Hill, Assistant Professor, University of Delaware, Newark (DE) DESCRIPTION Developed by cyberneticists, the analytical concept of the black box is deployed “whenever a piece of machinery or a set of commands is too complex” (Ashby, 1956, 86). Photography is the black box par excellence, permitting image-makers and viewers alike to focus on inputs and outputs without regard to the machinery in between. Both the camera and the image, in their apparent simplicity, obscure complex technical and cultural operations. Scholars of society and media as varied as Bruno Latour and Vilém Flusser have observed this condition, the latter describing photography as “a super-black- box made up of black boxes” (Flusser, 1983, 71). This obscurity has made photography a difficult object to place at the centre of historical practice. Historians have tended to ignore the presence of the black box and simply place its inputs and outputs at the centre of their descriptions of the world, an approach that has led – if not compelled – them to undertake “the most magical tricks, [to] build descriptions of the world that, ultimately, are based not in presumed knowledge but in ignorance” (Glanville, 2007, 189). How might historians begin to reckon with photography’s black box? First, we must open these boxes, and call their contents to testify. Opening the black boxes that are photographs makes them testify to the image-making activities that produced them: activities that structure the lives of various countries and communities, in artistic circles and in family settings, in professional and amateur environments.
[Show full text]
Social Enterprise Models in Canada—Ontario
Brouard, McMurtry, & Vieta (2015) Vol. 6, No 1 Spring / Printemps, 2015 pp. 63 – 82 Canadian Journal of Nonprofit and Social Economy Research Revue canadienne de recherche sur les OBSL et l’économie sociale Social Enterprise Models in Canada—Ontario Francois Brouard Carleton University J.J. McMurtry York University Marcelo Vieta University of Toronto ABSTRACT The objective of this article is to examine social enterprises in Ontario, Canada, as part of the “Social Enterprises Models in Canada” research of the International Comparative Social Enterprise Models (ICSEM) Project. The report presents an analysis of the historical, contextual, and conceptual understanding of social enterprises in Ontario. Five cases studies illustrate social enterprise models, and the article then presents the main institutions in Ontario related to social enterprises, describing legal framework, public policies, university institutions, networks, spaces, and funding agencies and programs. RÉSUMÉ Dans le cadre du projet Modèles d’entreprises sociales au Canada de l’International Comparative Social Enterprise Models (ICSEM), l’objectif du présent article est d’examiner les entreprises sociales en Ontario, Canada. Le rapport présente une analyse historique, contextuelle et conceptuelle pour comprendre les entreprises sociales en Ontario. Cinq études de cas illustrent les modèles d’entreprises sociales. Les principales institutions liées aux entreprises sociales en Ontario, tel que le cadre législatif, les politiques publiques, les établissements universitaires, les réseaux, les espaces, les organismes de financement et les programmes, sont décrites. KEYWORDS / MOTS CLÉS : Ontario; Social enterprises; Models / Ontario; Entreprises sociales; Modèles To be notified about new ANSERJ articles, subscribe here / Afin d'être avisé des nouveaux articles 63 dans ANSERJ, s’inscrire ici .
[Show full text]
Ryerson Image Centre Celebrates Worldpride 2014 with Photography Exhibitions That Address Queer Identity
Ryerson Image Centre celebrates WorldPride 2014 with photography exhibitions that address queer identity What it Means to be Seen: Photography and Queer Visibility Zanele Muholi: Faces and Phases Toronto, January 20, 2014 -- The Ryerson Image Centre (RIC), in celebration of WorldPride 2014 Toronto, explores queer identity this summer with What it Means to be Seen: Photography and Queer Visibility. Generously presented by TD Bank Group, the exhibition addresses the importance of visibility, long tied to the campaign for greater acceptance and understanding of the LGBTQ community. “We are pleased to present this exhibition alongside other cultural affiliates of WorldPride 2014 Toronto,” says Paul Roth, Director of the Ryerson Image Centre. “Photography has played a critical role in representing queer life, both privately and publicly, whether made from within, or by outsiders. The RIC is perfectly situated to host a critical inquiry into the medium and its historic relationship with LGBTQ identity. What it Means To Be Seen represents a rare opportunity for audiences to see photographs that are hidden from view or suppressed, and still little understood.” Guest curated by the Art Gallery of Ontario’s Associate Curator of Photography Sophie Hackett, this exhibition examines public representation of queer people through photography, mass media, and activist publications. Visibility has undeniably increased over the last four decades, as have LGBT rights; and photography has played a key role in this. Drawing from Ryerson University’s Black Star Collection and from prominent institutional holdings worldwide, the exhibition brings focus to the ways in which photographs—press images and snapshots, in particular—have helped to coalesce a sense of common experience and connection within gay communities.
[Show full text]
Program in Culture and Technology, University of Toronto
The Fifteenth Annual Convention of the Media Ecology Association June 19 – 22, 2014 Ryerson University Toronto, Canada Creativity and the Creative Industries in Global Perspective !"#$%"&'"()*+,-.++ •! /0)+1&'2343)+"5+6)&)(78+$)97&2:'+ •! /0)+;73)(0"4')+<79=8-+1&'2343)+ •! 6=&>?"+@()''+ •! 1&3)88):3+A3*B+ •! C&=D)('=3-+"5+/"("&3"+@()''+ •! E=887&"D7+C&=D)('=3-+ ! 1 | Page CALL FOR PAPERS for “Making Sense” through Time-Binding Sponsored by the Institute of General Semantics Co-Sponsored by the New York Society for General Semantics Media Ecology Association Friends of the Institute of Noetic Sciences October 24-26, 2014 Princeton Club 15 West 43 Street New York, New York Featuring the 62nd Annual Alfred Korzybski Memorial Lecture to be delivered by Jack El-Hai The General-Semantics Psychiatrist and the Nazi Send papers, proposals, and inquiries by August 31, 2014 to [email protected] or contact Martin H. Levinson, President of the Institute of General Semantics c/o Institute of General Semantics, 72-11 Austin Street #233 Forest Hills, New York 11375 212.729.7973 (voice) / 718.793.2527 (fax) 2 | Page THE 15th ANNUAL CONVENTION OF THE MEDIA ECOLOGY ASSOCIATION CONFRONTING TECHNOPOLY: CREATIVITY AND THE CREATIVE INDUSTRIES IN GLOBAL PERSPECTIVE RYERSON UNIVERSITY JUNE 19-22, 2014 SPECIAL THANKS TO: Gerd Hauck, Dean, Faculty of Communication and Design, Ryerson Donald J. Gillies, Professor Emeritus, School of Image Arts, Ryerson The Canadian Communication Association ACKNOWLEDGEMENTS: Thom Gencarelli, Sheena Hyndman, Paul Soukup, Ainsley Moore, Corey Anton, Valerie Peterson, Lance Strate, Natasha Flora, Alex Kuskis, Julie Frahar, Mark Lipton, Barbara Boraks, Ed Tywoniak, Karen Lollar, Philip Savage, Marilyn and Sheldon Richmond, Bob Logan, Dominique Sheffel-Dunand, John Oswald, Shirley Lewchuk, Barry Liss, Brett Lunceford, Arthur W.
[Show full text]
The Role for Philanthropy in Promoting Urban Sustainability
Sustainable Cities The Role for Philanthropy in Promoting Urban Sustainability Ray Tomalty, Ph.D. Smart Cities Research Services May 2013 Page 1 of 1 Tracy Kett From: "Brad Cundiff" <[email protected]> To: "Tracy Kett" <[email protected]> Sent: Wednesday, May 08, 2013 2:08 PM Subject: Fwd: Urban Sustainability - Bullitt Foundation logo -------- Original Message -------- Subject:Urban Sustainability - Bullitt Foundation logo Date:Tue, 7 May 2013 14:28:25 -0400 From:Pegi Dover <[email protected]> To:'Brad Cundiff' <[email protected]> Acknowledgements From: Steven Whitney [mailto:[email protected]] Sent: May-01-13 4:20 PM To: Pegi Dover CEGN thanks and salutes the funders whichSubject: have Re: generously Seeking logos forsupported Urban Sustainability the brief development of this brief. They are: Hi Pegi. Here it is. Steven Whitney | Program Officer | The Bullitt Foundation | 1501 E. Madison, Suite 600, Seattle, WA 98122 | 206-343-0807 | www.bullitt.org | Twitter @bullittsteve Anonymous Funder 5/8/2013 Foreword The Canadian Environmental Grantmakers’ Network (CEGN) is a member- ship group of 60 funders for sustainability – private, community, public and corporate foundations, and government and corporate funding programs – from Canada and the United States. Our mission is to strengthen the impact of philanthropy in support of an environmentally sound and sustainable future for Canadians. We do this by facilitating collaboration and by generating and sharing knowledge. We also give public voice to the shared aspirations of our members and provide skill-building opportunities designed to help ensure that our members keep pace with a rapidly changing world. And we work with key partners and not-for-profit organizations that provide an essential function to Canadian communities through public engagement and policy development and implementation When CEGN was formally incorporated in 2001, the majority of our members focused their funding on the conservation of Canada’s wilderness and wildlife.
[Show full text]
Attendee Listing
Code Conduct of Art Curators Conference Attendee Listing Association of Art Museum Curators & AAMC Foundation #AAMCOnline A Carin Adams, Curator of Art, Oakland Museum of California Laura Addison, Curator of North American & European Folk Art, Museum of International Folk Art Elisabeth Agro, The Nancy M. McNeil Curator of American Modern and Contemporary Crafts and Decorative Arts, Philadelphia Museum of Art Tahnee Ahtoneharjo-Growingthunder, Curator, Museum Director, Tribal Liaison, Curating Indigeneity Project, Kiowa Tribal Museum, Oklahoma History Center; Moderator & Organizer: Curating Indigeneity: Identity, Presence & Narratives Laura Albans, Assistant Curator of European Painting and Sculpture, The Baltimore Museum of Art Katherine Alcauskas, Chief Curator, Chazen Museum of Art, University of Wisconsin-Madison Maya Allison, Executive Director and Chief Curator, NYU Abu Dhabi Art Gallery Heather Anderson, Curator, Carleton University Art Gallery Lisa Anderson-Zhu, Associate Curator, The Walters Art Museum Leslie Anne Anderson, Director of Collections, Exhibitions, and Programs, National Nordic Museum; Conference Benefit Committee, AAMC & AAMC Foundation Katherine Anne Paul, The Virginia and William M. Spencer III Curator of Asian Art, Birmingham Museum of Art Denene Anne-Marguerite De Quintal, Assistant Curator for Native American Art, Detroit Institute of Arts Rocio Aranda-Alvarado, Program Officer, Ford Foundation; Moderator & Organizer: Latinx Art is American Art Kathleen Ash-Milby, Curator of Native American Art, Portland Art Museum Sharon Matt Atkins, Director of Exhibitions & Strategic Initiatives, Brooklyn Museum; Board of Trustees, Membership Committee, AAMC & AAMC Foundation Elissa Auther, Deputy Director/Chief Curator, Museum of Arts and Design Renée van der Avoird, Assistant Curator, Canadian Art, Art Gallery of Ontario Ellen Avril, Chief Curator and Curator of Asian Art, Herbert F.
[Show full text]
Image Arts 2013-2014
SCHOOL of IMAGE ARTS 2013-2014 STUDENT HANDBOOK SCHOOL OF IMAGE ARTS STUDENT HANDBOOK 2013-2014 © Ryerson University The School of Image Arts Film, Photography, New Media 122 Bond Street Toronto ON M5B 2K3 mailing address: School of Image Arts Ryerson University 350 Victoria Street, Toronto, Ontario Canada, M5B 2K3 tel: 416.979.5167 fax: 416.979.5139 web address: www.imagearts.ryerson.ca ryerson web address: www.ryerson.ca If you have any suggestions or comments for future editions of this hand- book, please put them in writing to: Daniel Garcia Administrative Assistant School of Image Arts, IMA207 [email protected] T ABLE OF C ON T EN T S CHA I R ’ S WELCOME ...........................................5 GETT I NG S TARTED resources ..............................................7 registration ............................................8 GENERAL I NFORMAT I ON correspondence........................................11 administrative services ..................................11 ACADEM I C MATTER S time management ......................................13 problems & concerns ...................................16 MONEY MATTER S expenses..............................................18 awards & scholarships...................................20 EQU I PMENT & FAC I L I T I E S access ................................................24 inventory .............................................25 TAK I NG PRECAUT I ON S safety & security . .31 general precautions .....................................33 insurance .............................................36
[Show full text]