The old way to showcase your skills involved paper documents. Now you can use digital credentials that you can share on social media and by e-mail.
How do you demonstrate your expertise to potential employers or showcase your competencies whether you're a professional or a student? Do you use digital badges? Have you earned one lately? If not, you may want to start because they can help move your career forward.
The traditional way for those in the workforce to highlight their skills for potential employers is by showing them academic degrees, certifications, continuing professional education (CPE) certificates, or other paper documents. But digital badges are much more than paper certificates to hang on an office wall or mention in your résumé.
Digital badges are tokens that show your achievements. They look like icons or logos on a Web page, on social media such as LinkedIn, and elsewhere online. Professional groups, universities, and other credentialing organizations award them to signify accomplishments. They can validate that you completed a project, mastered a skill, took certain courses, or acquired specific professional experience.
By clicking on your digital badge, which has encoded metadata in the icon, a potential employer can get more information about it. For example, he or she can learn who issued the digital credential, when it was issued, what it certifies, and other important details.
Accounting students can use digital badges to showcase their academic achievements, build a professional network, and promote themselves as leaders.
The digital badges movement is still very new, and financial professionals are just beginning to use them. Endorsements have been the main way to show achievements.
LinkedIn has a feature called skill endorsements that's a forerunner to digital badges. You'll often see endorsement symbols in the skills section of someone's LinkedIn profile, and you or others can add an endorsement for any skill there. Anyone on LinkedIn can endorse a connection for proficiency in a variety of skills, such as auditing, forensic accounting, financial analysis, or finance. Endorsements from your contacts help validate the strengths you list in your profile. According to LinkedIn, accumulating a high number of endorsements for a skill adds credibility to your profile because it shows that your professional network recognizes you have that skill.
Endorsing others is a great way to recognize your colleagues for the skills you've seen them demonstrate and to maintain strong connections with the people in your network. After you endorse former colleagues, it may be easier to reach out to them in the future. Your endorsements also enhance the strength of their profiles, increasing the chance they will be discovered for opportunities related to their endorsed skills. As you can see, skill endorsements are a simple and effective way to build your professional brand and engage your professional network of LinkedIn contacts.
* Who endorses you matters! If all your endorsements for skills are made by junior-level management contacts or people outside your profession, that won't lend credibility to your profile.
* Seek endorsements by senior-level, highly experienced managers who know you and your work well.
* Hide endorsements you think are inappropriate.
* Seek endorsements for your most marketable and important skills.
* Do you want to move from one career area to another, say, from backroom accounting to a more strategic role? Then ask for endorsements for skills that are critical in your desired new role.
Digital badges are a step up from LinkedIn skill endorsements. Anyone can give you a skill endorsement, but a recognized credentialing organization issues a digital badge. That gives it much more credibility and prestige. And you can post a digital badge on LinkedIn using a procedure discussed in LinkedIn's Help section.
Digital badges are still evolving, but the most popular standard seems to be the Mozilla Open Badge Infrastructure (OBI) specification. Once a credentialing organization issues you a badge, you can store the badge in a "backpack," a portfolio-style server account that stores this badge and any others you earn from different credentialing organizations. Mozilla has its own backpack storage system, but so do other OBI-compliant providers. Mozilla Backpack users can choose to keep their awards private or display some or all of them on selected websites, social media tools, platforms, or networks.
* Employers in accounting and finance often complain about a skills gap. Find out what skills their job candidates lack most, and earn digital badges in these areas. It will help prove your worth to a potential employer.
* Earn digital badges that show skills important for accounting and finance best practices, such as advanced study in forensic accounting, auditing, internal controls, or compliance.
* Digital badges let you control your learning credentials, combining badges from both job and nonwork experience. They help you show a potential employer that you are well rounded and let you showcase additional abilities that are valuable at work—such as your persistence in training for and running a marathon or other difficult race.
IMA® (Institute of Management Accountants) is forging ahead in the movement to offer digital badges that help you realize career success. Previously, members received medallions for their accomplishments in the IMA Leadership Recognition Program, part of the IMA Leadership Academy (IMALA). Now they will receive digital badges. The five ascending levels of achievement (Pewter, Bronze, Silver, Gold, and Platinum) are based on amount of service, courses completed, and other criteria. For more details, see http://bit.ly/1EjJIT4.
Although IMA awards the individual digital badges, IMA partner ProExam Vault manages the online storage, display, and sharing of the badges (see www.proexamvault.com/issuers/ima). It also sends members an e-mail to claim any badge they've earned and explains how to set up and share the badge online. As with other digital badges, you can share them on social media and by e-mail.
In addition, the new IMA Accounting Honor Society (IAHS) offers a digital badge that students can share on social media and by e-mail. Current IAHS members should have received e-mails about how to set up their digital badge, and IAHS will periodically notify new members about the procedures. For more information about joining, visit www.iahs.org.
Jump aboard the digital badge bandwagon and give your career a boost!
I would like more information on how to get started.
Really like this idea as a visual tool to show accomplishments and connections to how they were achieved.
I personally think this is like a fairy tale. Let the company give the individual an actual badge that he can flaunt with friends and family which will mean a lot more than something in the cloud that nobody can see, touch and feel. this is bogus.


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HomeStudy Spanish OnlineLearn Latin Culture in SpanishLatin American BIOGRAPHY in SpanishFabrizio Aguilar
Fabrizio Aguilar
(Lima, January 12 of 1973) Is a film director and actor Peruvian.
Son of actress Atilia Boschetti. She studied Communications at the University of Lima and at the same performance at the Theatre Club Lima.
In the nineties participated in soap operas: Malice, Obsession and Sunflowers for Lucia.
His first film Paper dove written and directed by him, opened in 2003 and won awards at festivals in Bogota and New York.
In 2005 produced the film "A day without sex."
In September 2009 he released his second feature: Tarata. That same year he participated as a judge on the reality show The show of dreams and starred in the series Gome's successful.
Pietro Sibille
Rómulo Assereto
Susú Pecoraro
Hugo Rodríguez

redpajama_set_name: RedPajamaCommonCrawl


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Tag: Tracee Chimo
TV Review: The Undoing
Nicole Kidman and Hugh Grant may have been the headliners but the real star of The Undoing was Noma Dumezweni saying the word 'muck'
"People hire me to create muck"
Created by David E Kelley and directed by Susanne Bier for HBO Max, The Undoing was sold on its prestige merits but in the end, proved to be watchable hokum. And heaven knows in these times, that was what we kinda needed. Traditional scheduling of one episode a week heightened the buzz with some good old-fashioning theorising going on between episodes and if it didn't quite live up to expectations in the end, well we've only ourselves to blame.
Set up as a whodunnit in the higher echelons of Manhattan society, we followed Nicole Kidman's Grace and Hugh Grant's Jonathan as their gilded lives are torn asunder when he is arrested for the murder of Matilda De Angelis' Elena, who we soon find out is his lover. He couldn't have done it, could he? Over six episodes, an inordinate amount of red herrings and a titanic court battle, the result might not have that surprising but I found the journey highly entertaining. Continue reading "TV Review: The Undoing"
New TV shows for winter
As the clocks go back, the prestige TV shows come out, so I checked out the first episodes of The Undoing, Roadkill and The Sister to find not one but two Scandiqueens
"Sounds like we're digging in for a long answer"
With a company that includes Noma Dumezweni and the empress of jumpers Sofie Gråbøl, I was initially a little disappointed that neither appeared in the first episode of new HBO show The Undoing. But when your leads are Nicole Kidman and Hugh Grant, your writer is David E Kelley and your director is Susanne Bier, then there's little to complain about. Based on a Jean Hanff Korelitz novel and set in the dripping wealth of the Upper East Side, the tantalising promise of murder and adultery is skilfully woven across this opening episode and I'm definitely hooked. Continue reading "New TV shows for winter"
Posted on May 6, 2014 November 9, 2020
Winners of 2014 Lucille Lortel Awards
Outstanding Play
Bad Jews, Produced by Roundabout Theatre Company, Written by Joshua Harmon
Domesticated, Produced by Lincoln Center Theater, Written by Bruce Norris
The Night Alive, Produced by Atlantic Theater Company, Originally Produced by the Donmar Warehouse, Written by Conor McPherson
WINNER –The Open House, Produced by Signature Theatre, Written by Will Eno
Outstanding Musical
WINNER – Fun Home, Produced by The Public Theater, Music by Jeanine Tesori, Book and Lyrics by Lisa Kron Based on the Alison Bechdel book
Here Lies Love, Produced by The Public Theater Concept and Lyrics by David Byrne, Music by David Byrne and Fatboy Slim, Additional Music by Tom Gandy and J Pardo
Natasha, Pierre & The Great Comet of 1812, Produced by Howard & Janet Kagan, Paula Marie Black, John Logan, Lisa Matlin, Daveed Frazier, Tom Smedes, Vertical Ent./Roman Gambourg/Lev Gelfer Written by Dave Malloy
What's It All About? Bacharach Reimagined, Produced by New York Theatre Workshop, Music by Burt Bacharach, Lyrics by Hal David and Others Conceived by Kyle Riabko and David Lane Seltzer Continue reading "Winners of 2014 Lucille Lortel Awards"
Posted on April 6, 2014 November 10, 2020
Nominations for 2014 Lucille Lortel Awards
The Open House, Produced by Signature Theatre, Written by Will Eno
Fun Home, Produced by The Public Theater, Music by Jeanine Tesori, Book and Lyrics by Lisa Kron Based on the Alison Bechdel book
What's It All About? Bacharach Reimagined, Produced by New York Theatre Workshop, Music by Burt Bacharach, Lyrics by Hal David and Others Conceived by Kyle Riabko and David Lane Seltzer Continue reading "Nominations for 2014 Lucille Lortel Awards"
Posted on April 7, 2013 November 9, 2020
Nominations for 2012-2013 Outer Critics Circle Awards
John Gassner Playwriting Award
Ayad Akhtar, Disgraced
Paul Downs Colaizzo, Really Really
Joshua Harmon, Bad Jews
Samuel D. Hunter, The Whale
Aaron Posner, My Name Is Asher Lev
Outstanding Actor in a Musical
Bertie Carvel, Matilda the Musical
Santino Fontana, Rodgers & Hammerstein's Cinderella
Rob McClure, Chaplin: The Musical
Billy Porter, Kinky Boots
Matthew James Thomas, Pippin
Continue reading "Nominations for 2012-2013 Outer Critics Circle Awards"
The 2011 Clarence Derwent Awards
UK – Best male in a supporting role
William Gaunt as Worcester and Shallow in Henry IV, Part 1 and Henry IV, Part 2
UK – Best female in a supporting role
Sheridan Smith as Doris in Flare Path
US – Most promising Male
Santino Fontana – as Algernon in The Importance of Being Earnest
US – Most promising female
Tracee Chimo – as Regan in Bachelorette
In the Wake – Produced by The Public Theater; Written by Lisa Kron.
Other Desert Cities – Produced by Lincoln Center Theater; Written by Jon Robin Baitz.
Peter and the Starcatcher – Produced by New York Theatre Workshop; Written by Rick Elice, Based on the novel by Dave Barry and Ridley Pearson.
The Coward – Produced by Lincoln Center Theater/LCT3; Written by Nick Jones.
The Elaborate Entrance of Chad Deity – Produced by Second Stage Theatre; Written by Kristoffer Diaz
Bloody Bloody Andrew Jackson – Produced by The Public Theater and Center Theatre Group in association with Les Freres Corbusier; Music and Lyrics by Michael Friedman, Book by Alex Timbers.
In Transit – Produced by Primary Stages, the Baruch/Viertel/Routh/Frankel Group, Jane Bergere, Jodi Glucksman, Ken Greiner, Chip Meyrelles, Christina Papagjika, and Janet Rosen; Music, Lyrics and Book by Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan, Sara Wordsworth.
The Burnt Part Boys – Produced by Playwrights Horizons and Vineyard Theatre; Music by Chris Miller, Lyrics by Nathan Tysen, Book by Mariana Elder.
The Kid – Produced by The New Group; Music by Andy Monroe, Lyrics by Jack Lechner and Book by Michael Zam.
We the People: America Rocks! – Produced by Theatreworks USA; Book by Joe Iconis, Songs by Brad Alexander (Music) and Kevin Del Aguila (Lyrics), Eli Bolin (Music) and Sam Forman (Lyrics), Joe Iconis (Music and Lyrics), Tommy Newman (Music and Lyrics), Ryan Scott Oliver (Music and Lyrics), Adam Overett (Music and Lyrics), Mark Weiner (Music) and Erik Weiner and Jordan Allen-Dutton (Lyrics). Continue reading "Nominations for 2011 Lucille Lortel Awards"
Clybourne Park; Written by Bruce Norris; Produced by Playwrights Horizons
The Brother/Sister Plays; Written by Tarell Alvin McCraney; Produced by The Public Theater in association with McCarter Theatre
The Orphans' Home Cycle; Written by Horton Foote; Produced by Signature Theatre Company and Hartford Stage
The Temperamentals; Written by Jon Marans; Produced by Daryl Roth, Stacy Shane and Martian Entertainment
When The Rain Stops Falling; Written by Andrew Bovell; Produced by Lincoln Center Theater
Click, Clack, Moo; Book by Billy Aronson, Lyrics by Kevin Del Aguila, Music by Brad Alexander, Based on the book by Doreen Cronin with illustrations by Betsy Lewin; Produced by Theatreworks USA
Everyday Rapture;Written by Dick Scanlan and Sherie Rene Scott; Produced by Second Stage Theatre
The Scottsboro Boys; Book by David Thompson, Lyrics and Music by John Kander and Fred Ebb; Produced by Vineyard Theatre
The Toxic Avenger; Book and Lyrics by Joe DiPietro, Music and Lyrics by David Bryan, Based on Lloyd Kaufman's The Toxic Avenger; Produced by Jean Cheever and Tom Polum
Yank! A WWII Love Story; Music by Joseph Zellnik, Book and Lyrics by David Zellnik; Produced by The York Theatre Company, Maren Berthelsen/Pamela Koslow/Stuart Wilk, Matt Schicker, Hugh Hayes, Jim Kierstead and Sondra Healy/Shidan Majidi Continue reading "Nominations for 2010 Lucille Lortel Awards"


Observations: What Do We Do About School Violence?
The recent rash of school violence has everybody upset, and with good reason. Some have commented, in fact, that this type of violence is growing in frequency. When you have three of them in a week, it is easy to accept that assumption. However, I heard a little piece of an interview with an expert on domestic violence this morning (didn't hear the entire piece, and did not get her name) and she said that actually we are not seeing an increase in violence in schools.
Data show that from school year 99-00 through 05-06 there have been 212 violent deaths in the nations schools, ranging from a low of 16 in one year to a high of 49 in another. That averages about 30 a year. This year so far, 13 of our children have died violent deaths at school, and that includes the most recent tragedy in Nickel Mines, PA. A previous seven-year period averaged nearly 39 deaths per year, which indicates a significant decrease. Nevertheless, there are far too many instances of violent deaths in our schools.
There are various proposals to stem school violence running from posting armed guards in schools and arming school personnel to tighter gun control.
Clearly, something should be done, but what?
What at first blush seems like a sure-fire solution, gun control, isn't the answer for a couple of reasons, first and foremost because when our forefathers worked out the compromises on the Constitution way back in the 18th Century that inserted the first ten Amendments—the Bill of Rights—into the Constitution, they did so for very practical reasons. In those days nearly everyone owned and often carried guns. They used guns to hunt for food, and they used guns for protection. The colonists could not foresee how times would change, but they assumed that Americans should always have the right to keep and bear arms for their own defense, and they put special language in the Bill of Rights, the Second Amendment, to see that the right to keep and bear arms would forever be guaranteed.
The second reason is that the problem isn't guns; the problem is people who want to harm other people. The solution, then, is to stop people from wanting to harm others, and if that isn't possible, to find ways to stop the people trying to harm others before they can do it.
Gary Kleck is a Professor in the School of Criminology and Criminal Justice at Florida State University, and is a member of the American Civil Liberties Union, Amnesty International USA, Independent Action, Democrats 2000, and Common Cause, among other politically liberal organizations. He is a lifelong registered Democrat, as well as a contributor to liberal Democratic candidates. He is not now, nor has he ever been, a member of, or contributor to, the National Rifle Association, Handgun Control, Inc. nor any other advocacy organization, nor has he received funding for research from any such organization.
"The National Self-Defense Survey indicated that there were 2.5 million incidents of defensive gun use per year in the U.S. during the 1988-1993 period. To disarm noncriminals in the hope that this might indirectly help reduce access to guns among criminals is a very high-stakes gamble, and the risks will not be reduced by pretending that crime victims rarely use guns for self-defense.
I don't favor turning our schools into armed camps or fortresses. However, one way to dissuade some nut from walking into a school and holding a classroom of kids hostage at gun point and killing some of them is to have an environment where everyone knows that they will encounter armed individuals if they bring a weapon—any weapon—into a school with the intent to hurt or kill people. Most of these predators don't expect to leave the school alive after they have committed their mayhem, but they also don't expect to encounter resistance before they are able to do their evil deed, because they never have encountered armed resistance.
So, yes, let's put armed guards in our schools, or let's train and arm some or most school personnel. The knowledge that if you go down to the local middle school with the intent of killing people you probably won't get far beyond the front door before somebody stops you or takes you out might give these nuts reason to reconsider their plans.


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Rina Banerjee is an American artist and sculptor, born in Calcutta and raised in London and New York. Although she began her professional career as a polymer research chemist upon graduating from Case Western University in 1993, Banerjee received her M.F.A. from Yale in 1995 in painting and printmaking. Banerjee's work has been featured both nationally and internationally, from New York to Tokyo to Milan. Currently, Banerjee's retrospective "Make me a Summary of the World" is featured at the Pennsylvania Academy of Fine Art.
The Politic: How did you first become interested in art?
Rina Banerjee: I think my family always appreciated art and we had paintings on the wall. Both of my parents could paint and draw, so that was a very important early exposure to it sort of as lifestyle—a sort of literacy. It was important to be aware of the visual. I think South Asian culture can be very visual—people make things, they recycle things. They didn't have to wait for the recycling movement for that to happen and that's part of crafting things, and mending things, and not sort of throwing them away. I think that making—which was such a pleasure and also a necessity and a way of life—puts you in that frame of mind of making art.
I think later I switched from the sciences to art because of the sort of authorship that a single individual can have, whereas science is much more collaborative and you depend on… institutional backing to…create your research. In art, it is a much more independent enterprise, [and] I liked that.
How did you make the transition from chemist to an artist?
I think you are searching for who you are and what you want to do for the rest of your life [when you are] in those four years in undergraduate school. It does take you on a journey and it does take a while to be independent from all those voices, that [include pressures from] family members and parents and culture [about] what is acceptable, what is taboo, and what you are fearful of in the culture, the community that you grew up in, and the part of the US that you grew up in.
All those sort of things impact how you perceive yourself, and I think the four years you have to develop yourself from high school until the end of undergraduate school allows you to have a …view of who you are or who you might be. Towards the end of undergraduate school, I realized that I really needed art to be the way I lived and the way I thought.
Can you tell us about the coursework you took in college?
As an engineering student, you had to take a requirement of extracurricular subjects, and my subjects were anthropology and drawing. I took one class of drawing and two classes of anthropology and English was also required. I seemed to have loved all those other subjects rather than my science more. So I ended up asking myself, before I go to sleep or in the morning, what is it that I want to do? And it really wasn't science.
It begins to talk to you about who you are and what you see yourself doing for the rest of your life, which is a long time. I really didn't experience a lot of art in undergraduate school, but I remember leaving New York City, where I grew up, [to go to school] and feeling a loss, because we were so used to the arts and were surrounded by the culture of the New York City.
When I was in Cleveland studying for my engineering degree, there was one museum and weekends came and I saw myself going there to the museum. I went to the orchestra as well. I liked those things and I wanted them to be a really integral part of how I experienced life.
What challenges did you face in making the transition? How did you establish yourself in the artist community?
It was very hard because there is always a chorus of voices—including your family, people you don't know, people you do know—telling you: "You should do this, you should do that." And I think engineering instantly has that response from people: "That's great. That's safe. You'll get paid." It's a very middle-class approach to your life where [you ask yourself]: Will you get paid? Will you be able to survive?
At that juncture, it was very unusual to find women in engineering. I was probably one of the first one or two to enter into that specific type of engineering. It had its challenges to deal with dominantly-male teachers and deans. The whole academic system was saturated with men. So if you wanted to do the sciences, they would almost always say, "After you take your first few engineering courses, maybe you should consider nursing." That was really the attitude for women's education: that it was unnecessary education and that included both rich, the poor, and the middle class. What we all shared is that struggle for women to create a need for education. All those things were sort of new at the time.
When people heard that I wanted to go to art, they thought, "Oh, you just want to quit school and do nothing with your life" I think that's still a general attitude when people, especially women, go into art and I hear that from my students still now, from women students.
How has your background in engineering influenced your work?
It's very important in the arts to be aware of physics if you are making sculpture, chemistry if you are thinking about painting. It was really important to know about fabrics and sewing from my mom. I [learned] so much about textiles and what makes fabric stronger which I… from my mom. [This knowledge] was very essential… because she was practicing both engineering and chemistry in the kitchen. I didn't know that until I was an engineering student.
When I was an art student, I realized how valuable all the things I had learned from my mother were. I learned how to build things from my mom as well. She was very handy with tools and very self-sufficient.
We have this absurd idea that one thing is unconnected to another but everything we learn in life [is intertwined].
How have your roots in India and Calcutta in particular influenced your work?
Strangely…there is a lack of funding [for the arts in the United States] and a lack of understanding that it is so valuable. It was a kind of marvel to me that a country that is so poor [like India] has funding for artists. How did that happen to us in the US? We don't have funding from the government. There is a Ministry of Culture [in India] and there are artist residencies that have funding.
I don't really know why things are so different but I just think knowing a foreign place, any place, is very essential to understanding what can be in the place you live and to question things. Having knowledge of India allowed me to question the various things we take for granted, or have gotten used to. "If it's not broken, don't fix it," is not a good proverb for artists.
How did you create your own unique style of art?
That was a very important question I kept asking myself as I was developing: "Why is this my work?" I think you keep asking that and at some point you tire of asking that and you have to do a lot of work, and make a lot of work, and I think it comes to you before you know it. It is a subconscious kind of release of who you are.
Even in the morning, when you go to pick your clothes, you have to ask yourself: "Is this really me? Is this who I am now? Have I changed? Am I wearing this because everyone else is? Do I want to try something else?" I think the trying, and trying different things, allows you to find what sits well with you and it might be some kind of combination of things that has not been ever selected by anyone else. I think that happens to everyone naturally but we don't often push ourselves to go to the extreme [of asking ourselves these questions directly].
Are there any artists or pieces that have had a profound impact on you?
I think I didn't grow up so much thinking about other artists specifically as heroes or [thinking about other artists'] complete body of work. I really gravitated towards the making of stuff and how things are made. I think that's why I really had the opportunity to find what my specific voice was.
You have to remember even as I was a graduate student, not one female artist was offered as something to look at. I went through art history classes and [when it came to women artists, we studied] Mary Cassatt and that it was it. I think later on, by the time I reached just before graduate school, I really liked the work of the barrio artists and many of them Latino artists and African-American artists. By the time I was at Yale for [an M.F.A.] in painting, Eva Hesse was [taught.] I really loved her work and I really liked more physically-made things rather than [relief painting]. At the time [of that realization] I was in painting school, so that was a bit of a challenge. But those are not things that you can always control.
In your opinion, what has been your greatest success or achievement as an artist? What has been your greatest challenge?
I think sometimes your challenges seem by your own mind as your achievements. The hardest challenge is to communicate what my work is interested in, which is very different from saying what my work is about, which is very didactic. I realized that it is very important to see art-making as research, that you are searching for something and learning all the time.
For me, the achievement was being able to communicate both in spoken language and in the physical object or painting… That is always the final check on whether you have achieved something in any subject area. You become a participant and [the time when] you have been able to send your message about what you are thinking about—about what preoccupied your years of making art—and to find other people interested in the same things is a kind of magical moment. That's what I think is an achievement.
You work in multiple different media. How do you utilize each medium to portray the meaning of each individual work?
I chose mediums that make me curious about a longer history that we've had as human beings on the planet. Things that have lived before us are always curious to me. I don't know if I choose things because I mean one thing, but they become more valuable to me because they mean many things. There is such a deep investment in our culture (and that doesn't mean Indian culture, that means human culture) in a certain object. It could be a functional object, it could be a non-functional object, and they recur [and are used differently throughout] time.
An example is a seashell that is used as a spoon—it is just so amazing that we found use for so many things that are just laying around like a seashell. [Another example is] a gourd which has been used to bottle water. I think it is just amazing that people have survived… more than survived: [have] really been amazingly resourceful with the earth [in a way] that has both been productive and destructive.
Is there any way in which you see yourself as using your work to reflect current political and cultural themes in society today?
Well, there are things that I didn't imagine would become so pivotal in the way that we see our future on the planet. The communication that is available to us now globally was not really [available]—I came from a period of time when [we] were still mailing letters in these blue forms that limited how much you could say if you were mailing it to a foreign country—and so now, I think it's pretty amazing the level of communication we have access to. That's only the beginning.
Once you have the tools [of communication], you have to learn how to use those tools in a way that is productive and responsible, and I think we have yet to learn that. We are growing because of it… The tools come first and then we mature as a culture.
I am working on a public project and that's a big challenge—I have never done a public project before, something that will be out in nature. So there is a beautiful natural park called Calypso Park and it is close to Paris and I am trying to think about a sculpture for it. They welcomed me, invited me to do something. I wasn't able to start working on it until this year. I am really excited about that. It functions where animals [will be able to] find use out of it. That is something that I am going to be looking forward to.
I also have a couple of solos coming up. One will be in New York, which is nice, in the Armory for 2020. I am doing all the fabrication and building for that solo. Another show that is about to open is my retrospective as it travels to San Jose, California. That will open on May 16th, so I am looking forward to the retrospective traveling now from Philadelphia to the San Francisco Area.


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Qatar: Despite reform promises, migrant workers still return home without wages or justice
New research by Amnesty International has revealed the plight of hundreds of migrant workers who are still waiting in vain for unpaid wages and compensation, despite Qatar's promises to improve workers' rights.
All work, no pay: The struggle of Qatar's migrant workers for justice highlights how hundreds of migrant workers employed by three construction and cleaning companies have given up on justice and returned home penniless since March 2018. This is despite the Qatari authorities having established new committees intended to rapidly resolve labour disputes, as part of reforms agreed ahead of the 2022 World Cup. Last year the committees received more than 6,000 complaints, most of which had not been resolved at the end of the year.
"Despite the significant promises of reform which Qatar has made ahead of the 2022 World Cup, it remains a playground for unscrupulous employers. Migrant workers often go to Qatar in the hope of giving their families a better life; instead many people return home penniless after spending months chasing their wages, with too little help from the systems that are supposed to protect them," said Amnesty International's Deputy Director of Global Issues, Stephen Cockburn.
Despite the significant promises of reform which Qatar has made ahead of the 2022 World Cup, it remains a playground for unscrupulous employers
Stephen Cockburn, Deputy Director of Global Issues at Amnesty International
The committees have been so inundated with complaints, and have so few judges, that workers are forced to wait months for their cases to be processed. Even when compensation is awarded it is often not paid, and Qatar has so far failed to launch the support fund it promised in October 2018.
"Migrant workers in Qatar too often face an impossible choice between long and often fruitless efforts to seek justice or returning to their families without the money needed to support them. We are urging the Qatari authorities to fully deliver what has been promised and end the shameful reality of labour exploitation," said Stephen Cockburn.
More than 2,000 unpaid for months
Since March 2018, Amnesty International has followed the search for justice of more than 2,000 people working for Hamton International, Hamad bin Khaled bin Hamad (HKH) and United Cleaning after the companies stopped paying their wages for several months, citing financial difficulties, before ceasing operations and ending their contracts. The companies were working on a range of construction projects and cleaning contracts.
At least 1,620 of these workers submitted complaints to the new Committees for the Settlement of Labour Disputes, which were introduced in March 2018 as part of a series of reforms Qatar has promised to make to improve workers' rights in partnership with the International Labour Organization. According to a US State Department report, the committees received more than 6,000 complaints in 2018.
While some of them were eventually given part of what they were owed by their employers in exchange for dropping their cases, most went home with nothing. None of the workers received compensation through the committee system.
The Qatari Ministry of Administrative Development, Labour and Social Affairs told Amnesty International that they had helped to negotiate many of these settlements and coordinate provision of food and generators to workers' camps.
Justice delayed
While Qatari law states that the committees are supposed to issue judgements on cases within six weeks of a complaint being made, Amnesty found that workers had to wait between three and eight months. In the meantime, they lived without income in labour camps lacking sufficient food and running water, facing impossible choices about whether to go home or fight on.
Bijoy from India waited three months before even getting a date for a hearing – by which time he had decided to return home because his father was sick and in hospital. Instead of trying to recover the more than 13,000 Qatari riyals [US$3,750] he was owed by Hamton International, Bijoy had no option but to accept just 1,000 riyals [US$275] and his ticket back to India. Hundreds of other Hamton workers faced the same choice.
"I begged the Chairman's brother to give me even 4,000 riyals [around US$1,100] He gave me 1,000 [around US$275] and my flight… I have to forget the money and go…I am forgetting this because I want to see my father," Bijoy told Amnesty International.
The fight for compensation
In addition to the prospect of a long, drawn-out complaints process, workers must also reconcile themselves to the fact that winning a case at the committee does not guarantee compensation will be paid.
Workers are often forced to lodge a new case at the civil courts to try to force employers to pay them the compensation they are entitled to. This in turn leads to further delays and more out-of-pocket expenses – often without success.
"Every session is the same, the judge told me to come back again and again. I spent my money on taxis going back and forth…I also had to request leave from my new job because I needed to go to court," said Roy, an HKH worker from the Philippines.
In October 2018, Qatar also announced it would introduce a Workers' Support and Insurance Fund' to provide compensation. Almost a year later it remains unfunded and unused, despite the urgent need.
The two million migrant workers that form the backbone of Qatar's economy have the right to be treated fairly at work, and to obtain justice when they are not
Stephen Cockburn, Amnesty International
One Kenyan employee of United Cleaning said:
"For five months I had to live with very little food and no salary. My family was really affected. Tears come to my eyes when I remember where we used to go to find food… in the bins.
"After two years and five months of working with United Cleaning without taking any vacation, the company owes me a lot of money which they refuse to pay me. If I get it I can go home to my wife and son."
Urgent need to end exploitation
Qatar hosts about two million migrant workers, but it does not meet international labour standards. Amnesty International has repeatedly called for Qatar to abolish the abusive kafalasystem, which ties workers to their employers for up to five years and prevents some groups of workers such as domestic workers from leaving the country without their employers' permission.
"The two million migrant workers that form the backbone of Qatar's economy have the right to be treated fairly at work, and to obtain justice when they are not," Stephen Cockburn said.
"If Qatar is serious about meeting its promises to improve workers' rights, it must provide more judges to ensure cases are heard rapidly, fully finance the compensation fund, and ensure companies that break the rules face justice."
Amnesty International wrote to all three companies to present its findings but received no response.
For more information about the conditions faced by migrant workers in Qatar see:
Reality Check: The state of migrant workers' rights with four years to go until the Qatar 2022 World Cup
Qatar: Amnesty responds to Gianni Infantino's latest comments
Qatar: FIFA fails to uphold importance of human rights and equality as players face threats of sanctioning
Qatar: Ongoing debate over migrant worker deaths exposes need for truth and compensation
FIFA misleading world on remedy for migrant workers


Ca' Rezzonico Tour Includes: Entrance tickets, services of your private, licensed local tour guide.
This private guided tour will take your through the Ca' Rezzonico, otherwise known as the Museum of 18th Century, set in one of the most beautiful palaces on the Grand Canal in Venice. The Rezzonicos were a family of rich merchants who became part of the new aristocracy. This palace, completed in 1756, became their lavish home in Venice. The palace has been the site of the Museum of the 18th Century since 1936. Here you can admire the splendors of that age, viewing masterpieces by Tiepolo, Guardi, Longhi, and Canaletto, as well as a collection of antique Venetian glass and the Rezzonico's original furniture. The collections aside, the palace itself is notable for its elegant staircases and intriguing rooms to include a Chinese-style salon, bridal chambers known as the Throne Room, and a beautiful ballroom.
You can extend this private tour of Ca' Rezzonico to visit a chemist's shop and incredible painting collection, donated to the Venice City Council, housed separately on the third floor. This collection deserves a visit of its own, particularly for those that have already visited Ca' Rezzonico.
Another option in the area is to visit the Museum of 17th Century Fashion and Costume in the Santa Croce district.


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la danta denis jarvis.
structure 313 geoff gallice.
frieze detail geoff galice
recently discovered frieze geoff galice .
la danta geoff galice
stela 2 gregg willis
jaguar paw temple gregg willis
EL MIRADOR-Peten, Guatemala
El Mirador, a huge Pre Classic (1000 B.C.-250 A.D.) city, has been called by some "The Cradle of Maya Civilization". It was, in its time, the largest city in the Americas. It is still the largest known Maya site encompassing an area of 15 square miles/25 sq. kms. The pyramid of La Danta is, by volume, the largest structure in the Ancient World.
The ceremonial/civic center of the site encompasses 10 square miles/ 25 sq kms. The population of the city and its environs at its peak has been placed at around 100,000 inhabitants. There are a series of impressive sacbeob (raised white stone causeways) that run within the city and connect with outlying residential areas, and extend out to sites such as Nakbe (8 miles/13 kms), Wakna, and Tintal (12miles/20 kms).
El Mirador is located deep within the virgin rain forest of the Mirador Basin, which is in turn a parcel of the Maya Biosphere Reserve. The Mirador Basin contains the largest concentration of Pre Classic sites, including Nakbe, La Muralla, and Tintal, among dozens of others. The area borders on the Calakmul Biosphere Reserve in Mexico, with El Mirador being just 4miles/6.5 km from the frontier.
The investigations and discoveries at El Mirador have changed the understanding and history of the cultural and architectural importance of the Pre-Classic period. It now appears that all of the components of Maya society were in place nearly a millennia before the advent of the Classic period (250-900 A.D.).
Travel to the site by land is fraught with difficulties, and is recommended for only experienced hikers (or those in good physical shape) as there are no roads into the site. Tour arrangements can be made from the town of Flores by trail via Carmelita or, for those with a fat wallet, by helicopter. Flores is most easily reached by plane from Guatemala City, an island city in Lake Peten Itza. It can also be reached by car from Guatemala City north on Highway CA9 to Highway 13, or from Belize west on Highway 13. Modern Flores, ancient Tayasal, was the last independent Maya Kingdom to hold out against the Spanish onslaught which finally fell in 1697.
HOURS: By organized tour only
ENTRANCE FEE: Included in tour price
GUIDES: Can be obtained in Flores
SERVICES: None
ON-SITE MUSEUM: No
ACCOMMODATIONS: None
GPS: 17d 42' 55" N, 89d 58' 18" W
MISC: water, food and camping gear required
HISTORY AND EXPLORATION
The site appears to have been designed along astronomical lines. The earliest settlement dates from around 1000-900 B.C., and monumental architecture begins to appear around 600 B.C. El Mirador reached its peak between 400 B.C. and 200 A.D., developing an advanced concept of architectural design, and ruled over the entire Mirador Basin. At the end of this period however, El Mirador and the other Mirador Basin sites were inexplicably abandoned.
The site was reoccupied during the start of the Late Classic (600-900 A.D.). Structures on a much smaller scale were erected in and around the ceremonial center. During this time a beautiful, distinctive type of ceramic pottery was developed known as "Codex Style" in an area of the northwest portion of the site. El Mirador was abandoned for the last time around 900 A.D. Little has been reported on concerning its rulers.
El Mirador was not heard from again until 1926 and 1930 when aerial photographs revealed its existence. The first serious exploration was in 1962 by renowned researcher Ian Graham, who produced the first map of the site. Other explorations and excavations followed.
Dr. Richard Hansen from Idaho State University has been leading the current investigations. He made a spectacular find in 2009 uncovering an exquisite frieze depicting the Hero Twins swimming in the Underworld retrieving the head of their father, the Maize God. This frieze is dated to 300 B.C. and confirms continuity in mythological beliefs among the Maya as related in the sacred Popol Vuh recorded 1900 years later.
There are two main complexes that define El Mirador. Located in the core civic area, these complexes are of an architectural style known as "triadic pattern structures". They consist of large tiered platforms surmounted by three pyramids, with the largest in the center, and are located throughout the city.
The East Complex is comprised of several structural groups arranged around a central plaza. The largest and most important is the pyramidal La Danta Group which rises to a dizzying height of 232 feet/73 meters. This entire structure when considered as a whole is thought by some to be the largest structure in the Ancient World.
The base platform of this group measures a massive 980 feet/330 meters x 2000 feet/609 meters. It covers an area of 45 acres and reaches a height of 33 feet/10 meters.
It has been estimated that as many as 15 million man-days of labor were necessary to complete the construction of La Danta. It would take 12 men to carry each one thousand pound block. A mammoth undertaking!
The second tier of the pyramid covers an area of 4 acres and has a height of around 33 feet/10 meters as well. The third tier rises to a height of 86 feet/26 meters and forms the summit for the pyramid.
The summit contains three temples arranged in a triadic configuration. This architectural style was prevalent during the Pre-Classic period. It is thought to represent the 3 hearth stones of creation which in Maya mythology was located within the constellation of Orion.
The pyramid reaches a total height of 232 feet/73 meters and contains an astounding 2.8 million cubic meters of fill. This is some 200,000 cubic meters more fill than the Great Pyramid at Giza, making it the largest pyramid by volume in the world.
The West Complex is nearly as large. The main group is known as El Tigre Group and its pyramidal temple rises to a height of "only" 180 feet/55 meters. This complex is centered around a large plaza with the El Tigre Group on the west end; the Central Acropolis on the south side; the Cigarras group on the East; and the Leon Pyramid on the north side.
The El Tigre pyramid platform complex contains several structures. The platform measures 459 feet/140 meters x 442 feet/145 meters. Structure 34, Temple of the Jaguar Paw is located on south side of the base level of the platform. This structure measures 262 feet/80 meters in length and reaches a height of 48 feet/15 meters. A broad central stairway leads up to a summit containing a triadic configuration so prevalent within El Mirador. A secondary set of stairs flanked by deity masks on sloped panels leads up to the central temple. Within this temple an earlier structure has been discovered that has a beautiful mask with its original red painted surface. This structure has been dated to 600 B.C., contemporary with the Olmec, and has forced a new interpretation of this time period due to its unexpected sophistication.
The main pyramid is situated on the west side of the platform and rises up 5 levels to a height of about 131 feet/40 meters. The summit again is crowned with a triadic configuration. Recent discoveries have revealed skeletal remains with arrow points imbedded in their ribs, a sign that the beginning of the Classic period brought about an abrupt and violent end to El Mirador's early history.
The Central Acropolis is composed of numerous structures on interconnecting, raised platforms. Structure 313 is located in the southwest portion of the acropolis. It is a small truncated structure with a central stairway flanked by deity masks that leads to a small summit that at one time held a temple made of perishable materials.
A water catchment system has been identified within the Central Acropolis. A stunning discovery was made in 2009 of twin stucco friezes that run 26 feet/8 meters along the retaining walls of the system. It features the Hero Twins of Maya mythology, Hunahpu and Xbalanque, swimming in the Underworld retrieving the decapitated head of their father, Hun Hunahpu. The frieze recounts the story told in the Quiche book, "The Popol Vuh", thousands of years later and clearly shows the continuity of Maya religion and mythology.
Recent excavations have revealed a new frieze on a lower level containing a serpent head glyph related to the site, and identifying it as the Kan Kingdom polity. This emblem glyph was also used by the great kingdom of Calakmul centuries later.
The Monos Group is located just to the south of the Acropolis and is defined by a pyramidal temple that rises to a height of 157 feet/48 meters. The Cascabal Group is just to the north of the Leon Group.
There are many other smaller complexes and residential areas such as El Pedernal and La Muerta, that are located throughout the vast site.
bedrock carving gregg willis


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Assignment Samples
Strategic Human Resource Management Case Nokia Assignment
In this part of the assignment we are analyzing Nooks in terms of their strategic approaches and try to answer following questions: What is the business they are in? Are they aware of their challenges? Which role do people play in their organization? Are they focusing on their strategy? First we outline main facts about the company, its history and the business it is operating in. Then we will analyze Nooks regarding their strategy and integration of the HARM as strategic partner in order to achieve their business goals.
Vision and Mission Connecting is about helping people to feel close to what matters. Wherever, whenever, Nooks believes in communicating, sharing, and in the awesome potential in connecting the 2 billion who do with the 4 billion who don"t. If we focus on people and use technology to help people feel close to what matters, then growth will follow. In a world where everyone can be connected, Nooks takes a very human approach to technology. Nooks is the market leader in one of the most intense competed branches nowadays – the mobile telecommunication branch.
How did it come to this? What is the story of Nooks? The history of Nooks goes back to 1865. That was when Freddie Ideates built a wood pulp mill on the banks of the Tamarisk rapids, in Southern Finland. In the ongoing decades Nooks expanded their production. Nooks built additional mills and also entered continuously new markets and increased product diversity. So there were founded in 1912 the Finnish Cable Works or 1960 the first electronics department. In 1962, it made its first electronic device in-house: a pulse analyzer designed for use in nuclear power plants.
The company"s involvement with telecommunications systems also began in the 60″s, and 1963 it started to develop audio telephones for the army and the emergency services. The electronics 3 department went on to sell mainframe computers and run a computer centre to cater for the company"s IT needs. Later Nooks also produced TV's (- by 1987 Nooks would be the third largest TV manufacturer in Europe), computers, radio telephones, data transfer equipment, radio links and analyzers, and digital telephone exchanges. Telecommunications expertise it developed from the asses onwards would become the core of its future work. 967 Nooks ABA, Finnish Rubber Works and Finnish Cable works merged to create Nooks Corporation. The newly formed Nooks Corporation was ideally positioned for a pioneering role in the early evolution of mobile communications. As European telecommunications markets were deregulated and mobile networks became global, Nooks led the way with some iconic products. With the launch of the Nordic Mobile Telephone (NET) service, which was the first international cellular network, a new era for mobile phones began in 1981. With this there took place a mobile explosion.
The mobile phone industry expanded rapidly. Nooks soon introduced the first car phones to the network and in 1982 Nooks"s first chital telephone switch goes into operation. 1991 the new mobile standard GSM open ups and Nooks"s equipment is used to make the world"s first GSM call. The probably most important strategic decision in its history was in 1992 to focus on its telecommunications business. Again it is Nooks"s equipment which enables the first satellite call in 1994. Nooks became the world"s biggest mobile phone manufacturer by 1998. That was driven by its early investments in GSM technology.
With this strategic change in 1992 Nooks could achieve a huge increase in sales to North America, South America and Asia. Before this change most of its exports went to Europe, Nordic countries and the Soviet Union. Between 1996 and 2001, Nooks"s turnover increased almost fivefold from RUE 6. 5 billion to RUE 31 billion. The next step in Nooks"s evolution is to merge Nooks"s networks business and the credentialed operations of Siemens into "Nooks Siemens Networks". 4 For future Nooks plans to stay on track to contribute to increased economic growth and quality of life.
Nooks is aware of future technology and requirements and sees it as a must to equip people with the needed devices. Nooks key data As already mentioned above, Nooks is with a world market share of approximately 36% world"s largest cell phone manufacturer. It is a multinational organization and its headquarter is based close to Helsinki, Finland. Manufacturing, R&D, and sales representation sites are located all over the world. Accounting for half of the market capitalization of Helsinki Stock Exchange Nooks is by far Finland"s biggest company.
Since then there happened a lot. The mobile phone branch is a very young branch. Nevertheless it is one of the most intense competed branches which had his high in the SIMMS auctions at the beginning of 21st century. Bids for NUTS licenses got so high that some of the biggest companies struggled to survive. 256 million cell phones were shipped all over the worldwide in the third quarter 2006. In 2005 it was of total 816. 6 million units. This is an increase of 21% from 2004. Increasing demand in emerging markets like China, India, ICE, boosted sales.
At the moment in the I-J there are more cell phones registered than people live there. Driven by the high pace of technological progress there are some global players who fight for every single market share. The big six mobile vendors – Nooks, Motorola, Samsung, LEG, Sony Ericson and Siemens increased their share as group during the year to control 79. 4 per cent of the market. Sony Ericson grows quickest at the moment, at 43% annually, but Nooks is still the branch leader with 89 million units sold. However in this market this can change very fast. "As competition continues to drive price pressure in the low-end, and a design and more on economies of scales, or very carefully cut-out niche markets," says Carolina Melanesia, principal analyst for mobile terminals research at Garner. Despite still other organizations try to enter the cell phone market. The latest example is Apple, which goes for market share with a brand new product within 2007. In such a rough sea it is necessary for every market participant to stay on track and to do homework regularly.
None can afford to oversleep new technology inventions or cultural (life style) changes. Summarizing it can be said that Nooks is a modern company but with also traditional roots, which is exposed to a very fast and technology driven environment. It is a multinational enterprise which is performing in a global context and has to struggle with all thinkable cultural, economical, technological and demographical challenges. Additionally, mobile phone branch is one of the most intense competed and fastest changing branches in the world.
In this environment Nooks as the world biggest mobile phone manufacturer is responsible for almost 59,000 employees and millions of customers. To achieve their goals (short term: to increase market value and returns; long term: to increase customer loyalty, brand awareness to remain as a market leader) Nooks has to put a lot of effort in their own organization"s structure/ system to stay competitive and flexible. This is essential to be successful in future in long term. How is Nooks confronting this difficult environment?
How does Nooks respond to these challenges? Which strategy concerning human resource does Nooks pursue to achieve their goals amid these threatening external factors? Ionians strategy Nooks follows a strong corporate culture and the management is committed to the companies values consisting of customer satisfaction, respect for the individual, achievement as well as continuous learning. Nooks management believes that each of their employees can contribute to success when they are supported in their specific skills.
Further, Nooks knows that they have to ensure quick development of competencies for future needs" and that they need 8 to create foresight about where the business is heading and to identify future competencies today'. Nooks"s strategy is to grow and remain competitive. This involves facing their changing environment by enhancing a positive learning attitude throughout their organization. Several Journal articles emphasize that Nooks is concerned about the future. Nooks responds to its challenges by developing a learning attitude. For Nooks only truly innovative ideas will enable Nooks to define the future development of their
Strategic Human Resource Management Case Nokia Assignment. (2021, Jan 04). Retrieved January 18, 2021, from https://anyassignment.com/samples/strategic-human-resource-management-case-nokia-7025/
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Residential Schools
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Sign up to take the first challenge!
New challenges launched each week.
Understanding UNDRIP
ACCEPT CHALLENGE
MY CHALLENGE
I challenge you to read the 46 Articles of the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP) and to take the UNDRIP quiz below to test your understanding. You can take the quiz as many times as you'd like and read the feedback provided on each question. We all need to learn these rights so that we can articulate them and protect them together.
If you'd prefer, here are some alternative versions of UNDRIP:
Adolescent-focused version of UNDRIP (PDF) created by UNICEF
UN Declaration on the Rights of Indigenous Peoples (Audio) - Cultural Survival (up to Article 25 only)
About This Challenge
What do you know about UNDRIP? Maybe you've heard of it, maybe you haven't. Whether you've read the 46 Articles of UNDRIP or not, I believe there's value in revisiting the Articles as often as you can. Take this chance to read UNDRIP in its entirety and really reflect on what this international instrument means. Are these rights being respected in Canada? What can you do to protect and advance them?
No matter who you are or how little influence you may think you have, you can make a difference to human rights in Canada. You can read and understand UNDRIP and find ways to support the Articles at school, at work, and even at home. To complete the challenge, read (or listen to) UNDRIP and take the quiz below to test your understanding. I encourage you to revisit the Articles and the quiz as often as you need to.
Why UNDRIP?
Reconciliation is a rights-based activity. This means that if Canada is going to come to any meaningful Reconciliation, we need to use UNDRIP as a framework to get there. UNDRIP is an international instrument adopted by the United Nations (UN) over a decade ago in September 2007. When it was adopted, UNDRIP was already decades in the making. In the 2007 UN vote, only 4 countries voted against adopting UNDRIP - those four countries were: Canada, USA, Australia and New Zealand.
Canada remained an "official objector" to UNDRIP until May 10, 2016. Canada was the last of the 4 original objector countries to adopt UNDRIP. In 2016, Minister Carolyn Bennett announced that Canada was officially dropping its status as a permanent objector of UNDRIP to become a full supporter of the Declaration. In her announcement, Minister Bennett announced Canada's intention "to adopt and implement the declaration in accordance with the Canadian constitution."
UNDRIP has not been fully implemented into Canada's laws and administrative frameworks yet, and many people in our country don't know what UNDRIP is or why it's important. UNDRIP is the framework for Reconciliation across all levels and sectors of our society. Everyone - not only governments and institutions - needs to understand and protect these rights. UNDRIP defines both collective and individual rights. For Indigenous Peoples, this means that we need to know our rights, we have to be able to articulate our rights, and most importantly, we have to be able to express when our rights are being infringed upon. For all of our non-Indigenous brothers and sisters out there: it's critical that we all work together to protect these rights. We won't be a Reconciled country - or even the fair and just country we strive to be - until UNDRIP is implemented and protected by us all.
So the task before us is relatively simple: Know these rights. Articulate them. Fight vigorously to protect them. I welcome you to start, or to continue, that learning journey here today.
ADDITIONAL LEARNING
MP Saganash responds to Prime Minister's statement on Indigenous rights
A Brief History of UNDRIP (video) - Joseph Burke
10th Anniversary video of UN Declaration on the Rights of Indigenous Peoples - United Nations Human Rights
Chief Wilton Littlechild speaks at UN on 60th anniversary of the Universal Declaration of Human Rights in 2008
Implementing UNDRIP is a Big Deal for Canada. Here's What You Need to Know. - James Wilt
Canada and UNDRIP: A Chronology Characterized by Confusion - Hayden King
Where does Canada sit 10 years after the UN Declaration on the Rights of Indigenous Peoples? - Brandi Morin
About Bill C-262: United Nations Declaration on the Rights of Indigenous Peoples Act - Parliament of Canada
Historical Overview and Resources on UNDRIP - UN Division for Social Policy and Development
UNDRIP FAQ's - United Nations
Understanding UNDRIP by Blaine Favel & Ken S. Coates
Understanding and Implementing UNDRIP: An Introductory Handbook - Indigenous Bar Association
UNDRIP Printable Poster - Native Women's Association of Canada
Join others who have
accepted this challenge.
Tell others about this challenge!
A challenge from:
Ry Moran
Ry Moran is the Director of the National Centre for Truth and Reconciliation. He came to the NCTR directly from the Truth and Reconciliation Commission of Canada (TRC). As the first Director of the NCTR, it is Ry's job to guide the creation of an enduring national treasure – a dynamic Indigenous archive built on integrity, trust and dignity. Ry is a proud member of the Métis Nation.
"I challenge you to read the 46 Articles of the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP) and to take our UNDRIP quiz to test your understanding. Know these rights, articulate them, fight vigorously to protect them. "
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Good article by Leslie Scrivener about how canning your own food is becoming a political act.
"It is more than simply putting up food from the harvest, or the back garden. Preserving is an ideology, a political act, a hands-on vote in support of local farmers and their produce. It is a way of withholding, even in small measures, from the vast corporatization of our food. And in its subtle and serene way, it is a link to the past."
She quotes Wayne Roberts of the Toronto Food Policy Council: "The whole concept of the ideal life in which we do no labour has been proven erroneous. We're not burning all of the calories we consume, and we are not a happier species. It's resulted in mass obesity and mass dissatisfaction and under-utilization of the hormones that flow when we are working.


On the eve of Christmas this year, the New York Times Square will erect the first environmentally friendly billboards that are powered by the wind and the sun.
According to the New York Times reported on the 15th, this green billboard will be erected on the White Avenue, production work will begin this month. The green billboard will come from 16 wind turbines and 64 solar panels. It is estimated to save $120,000 to $150,000 per month in electricity bills and reduce carbon emissions by 18 tons.
Billboards will be illuminated by floodlights instead of diodes, even if there is no wind or sunlight for 4 days, but will automatically dim if there is a lack of wind and sunlight for a long time. The environmentally friendly billboard is 38 meters wide, 14 meters high and weighs 16 tons. It is scheduled to be put into use on December 4.


The Westin Kaanapali Ocean Resort sits on 26 acres of beautiful Pacific Ocean vies and the neighboring islands of Lana'i and Moloka'i, this tropical island resort offers the ultimate in luxuries and relaxation. Spend your afternoon relaxing alongside one of the many lagoon style pools while the kids discover new worlds of culture, arts & crafts, and fun at The Westin Discovery Center and pirate ship pool. Get pampered at the enormous square-foot Spa Helani by Westin Heavenly Spa, dedicated to your sense of wellness. Get a quick work out in at one of the fully equipped Westin Workout facilities located on site. Dine at any one of the three restaurants on property or enjoy homemade gourmet options at either one of the fresh markets.
Beautifully designed studio, one-bedroom, and two-bedroom villas come standard with fully furnished kitchens, signature Heavenly Beds, Heavenly Baths with a separate oversized whirlpool bath and shower, in–room washer and dryer, and everything you need to fell at home away from home. Luxury details like Bose stereo equipment and flat-screen televisions only serve to heighten your experience.
The Westin Kaanapali Ocean Resort Villas offers a wide range of activities to keep you and the family occupied such as; ocean water sports , snorkeling, kayaking, and surfing, and is just minutes from the historic town of Lahaina, where owners can enjoy world-class restaurants, art galleries, and cultural activities. A complimentary shuttle offers easy access between the three Starwood properties and you can enter Lahaina day and night during your stay.


Our Adult Medicine Department provides comprehensive preventative care and disease management to patients over age 18. Our physicians and nurse practitioners provide a range of care from routine physicals to acute illnesses and can arrange for specialty care at the center or at any of Boston's top hospitals, if necessary. Our care teams teams include case managers, nurses, certified diabetes educators and a clinical pharmacist who provide personalized services to help every patient achieve and maintain long term wellness. Each patient's care is coordinated with other clinics at Whittier including Behavioral Health and Substance Abuse, Eye Care, Dental , OB/GYN, Dermatology and Orthopedics.
OB/GYN services are provided onsite by our own physicians and nurse practitioners as well as midwives from the Boston Medical Center and the Brigham and Women's Hospital where our babies are delivered. Having midwives from both hospitals helps with our care coordination for pregnant mothers.
Our Women's Post-Prison Release Program that provides health care and support for women who might otherwise end up homeless or re-offending because of lack of community-based support.
Offering violence prevention programs and programs designed to strengthen parenting skills.
Men's Health Clinic is open during hours that are convenient for men, and is staffed by male providers and support staff.
Whittier hosts an all day Men's Health Summit, which attracts 300 – 400 men during National Men's Health month in June.
We have specially designed programs to keep seniors active, engaged and healthy. Geriatric care services are coordinated by a specially trained Geriatric Case Manager and team members.


In our previous installment, we explored how unsafe DOT-111s, the Ford Pinto of rail cars, make up the vast majority of oil-filled tank cars now riding the rails in North America. With DOT-111s,there is no margin for error. A serious derailment will almost always lead to oil spills or explosions. But if they are so clearly dangerous, why are these tank cars still on the rails?
The reason, in short, is because the railroad and rail car industries have opposed new safety regulations. (The oil and ethanol industries have abetted their cause.) Citing supposedly onerous costs for retrofitting unsafe tank cars, as well as the related infrastructure to load and unload the products they carry, these companies have successfully argued against rules that would require them to make the upgrades that could prevent the explosions.
Behind many of the industry groups opposing hauling Bakken crude in only safe tank cars is a single figure: Warren Buffett.
Most people don't realize it, but the tank cars that carry crude oil are not owned by the railroads that run them and are only rarely owned by the shippers who use them. In fact, roughly 80 percent of all the tank cars registered in North America are owned by companies that lease the tank cars to shippers. (Several of the major lessors alsomanufacture or repair tank cars.) These lessors—the actual owners of the tank cars—are the ones ultimately responsible for the fact that that the vast majority of oil trains today are largely composed of older models so riddled with obvious flaws that federal safety investigators have for years urged the entire fleet be retrofitted.
Yet despite a blizzard of news reports about oil train explosions, the owners of the tank cars involved are rarely, if ever, mentioned in the press. It's a troubling omission, because these nearly invisible corporations are the ones who put the public at risk every day. Not only have they avoided pulling the hazardous DOT-111 tank cars out of service to retrofit them, but they have opposed and delayed meaningful federal regulation at every turn.
Buffett is also a major player in the railroad side of oil-by-rail. Berkshire Hathaway has full ownership of BNSF Railway Company, and BNSF is the biggest railroad player in the Bakken oil region, which currently supplies all the crude for Northwest oil-by-rail facilities. BNSF expects to have the capacity to ship as much as 1 million barrels of crude daily out of Montana and North Dakota. And BNSF isn't some side line business for Berkshire Hathaway; it's a major part of the firm, making up 13 percent of revenues in 2012.
Oil trains matter to Warren Buffett, and Warren Buffett matters to oil trains. Arguably, he is the single most important person in the world of oil-by-rail.
BNSF is no stranger to oil train explosions. In fact, an oil train blew up on a BNSF line a few miles outside Fargo, North Dakota, in December 2013. The Federal Railroad Administration subsequently revealed that since 2006 in the state of North Dakota alone BNSF had been cited by federal investigators for 13,141 defects where it was out of compliance with railroad safety standards, resulting in 721 official written safety violations.
Buffett and the rail industry are on record fighting against calls to recall and retrofit tank cars, though his role is sometimes cloaked by intermediaries. In the regulatory arena, Berkshire Hathaway interests are represented by active membership in an alphabet soup of trade associations and industry lobbying groups, including the American Association of Railroads (AAR), the Railway Supply Institute (RSI), and the North American Freight Car Association (NAFCA).
It doesn't take much scrutiny to see that oil trains get special treatment. After all, if a jet plane has a battery fire problem, regulators immediately pull it from service and will ground the entire fleet until the manufacturer makes modifications to reduce the risk of fire. If an auto regularlybursts into flame upon impact, the feds issue a recall and mandate retrofits for all the cars with the defect. Yet despite explosion after deadly explosion—and safety report after federal safety report—government regulators, at the urging of the industry groups that represent Buffett's holdings, have allowed unsafe DOT-111s tank cars to haul crude oil and ethanol.
After a deadly and high-profile ethanol train derailment in Cherry Valley, Illinois, the National Transportation Safety Board, the federal government's independent transportation accident investigation agency, recommended retrofitting all existing tanks cars to safer standards. In response, the American Association of Railroads, in which BNSF is a prominent member,recommended that the government not require tank car retrofits. The AAR claimed that retrofits might cost $1 billion or more, as compared to just $63 million (plus 1 fatality and 11 injuries) for costs related to hazardous materials accidents during the period 2004 to 2008, the years preceding the Cherry Valley explosion.
Even worse, Buffett's BNSF opposes even the mildest expressions of concern over oil-by-rail shipments. Beleaguered by bad press about oil train explosions, the firm recently announcedplans to purchase 5,000 new tank cars (though they declined to specify a timeline). Yet the firm's political activities give lie to their PR spin. Just two days earlier, BNSF had lobbied the Washington legislature to oppose a bill asking for basic disclosure about oil trains. A few weeks before that, BNSF had lobbied the state legislature in opposition to union-supported safety legislation to require at least two-person crews on oil and other freight trains, despite the fact that a horrifying and deadly explosion in Lac-Megantic ,Quebec on July 2013 that killed 47 people and burned much of the city's downtown to the ground had occurred on an oil train manned by only a single crew member.
After the Lac-Megantic oil train derailment, federal agencies opened up another round of "rule-making" concerning DOT-111 tank cars used for crude oil transport. After nearly twenty years of resisting the need to upgrade all tank cars carrying crude oil and ethanol, the North American Freight Car Association and the Railway Supply Institute, which represent Buffet's Union Tank Car Company (UTLX) and other tank car lessors, now supported in their comments retrofitting existing tank cars--but only over a period of ten years or more. Industry provided pages of details on the capacities of tank car manufacturing shops, parts suppliers, and other related operations that make it clear that there is no way—despite their acknowledgement of flaws in older DOT-111s—that new tank cars can be built, or old tank cars modified, quickly enough to transport the flood of Bakken crude safely.
Over the last few years, crude oil from the Bakken formation has driven a tsunami ofgrowth in the industry, with oil-by-rail volumes up 57 times above pre-2010 levels. If the industry had not spent years fighting against retrofitting existing tank cars—or had simply followed the NTSB's recommendations from the 1990s—oil-bearing DOT-111s would now be much safer. But today the unfortunate reality is that the older unsafe tank cars will still be used to transport crude oil for the foreseeable future—at least as long as the industry is committed to moving as much crude as possible out of the Bakken region as fast as possible.
During a recent CNBC appearance, Buffett acknowledged that, "…we have found in the last year or so that it's more dangerous to move certain types of crude, certainly, than we thought previously." And while he said that changes should be made to tank cars, left unanswered was the question: why is Buffett transporting any Bakken in unsafe tank cars knowing now what a risk this creates? There is nothing stopping Buffett and the tank car industry from decommissioning the outdated rail cars, running only new or retrofitted tank cars, and eliminating bottom outlet valves. Nothing except that it would put a crimp in profits.


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by Elizabeth Bishop
Download The Moose Study Guide
"The Moose" is a careful description of a bus journey through Nova Scotia. Its twenty-eight six-line stanzas employ an irregular pattern of slant rhyme which links two, sometimes four, end words in each stanza. Through most of the first half of the poem, the bus's journey is described in terms of the landscape that the bus traverses. The riders are scarcely mentioned at all. Instead, readers see the changing scenery. The bus moves from "narrow provinces/ of fish and bread and tea" past the Bay of Fundy, with its enormous tides, and then past the mud flats and the farmhouses and neat white churches. The battered old bus itself is not described until the fifth stanza. Stanzas six and seven picture the bus waiting for a passenger to say good-bye to the relatives he or she is leaving behind. Even the collie is noted here, and then the landscape reasserts itself in a description of flower gardens and little communities. In the thirteenth stanza, a woman enters the bus with some small fragments of conversation. At that point the bus is traveling by moonlight into the forest. The passengers fall asleep, and Bishop pictures them entering a world of dream filled with the comfortable voices of home and the details of daily life which, as the poet reminds her reader, also involves death. In the twenty-second stanza, the bus jolts to a stop, and the driver cuts the lights so that the passengers can look at a moose that has wandered into the road. Huge and homely and harmless, she sniffs at the bus while the passengers marvel and share a sudden sense of joy. Then the bus resumes its journey, leaving the moose on the dreamy moonlit road.
In Elizabeth Bishop's poem "The Moose," what is the significance of the moose itself?
One Art
Sestina
Geography III
The Bight
The Armadillo
At the Fishhouses


Are you looking to have an irresistibly attractive personality? Do you want people look up to you and be drawn by your magnetic personality? It is not difficult to do that. Here are some quick tips to help you develop a personality that is not only attractive but alluring and interesting!
1- Be a listener: Don't talk about yourself but be a good listener. Accept that you are not always right and show maturity. This is essential and allows the other person to be open up and express. Most people love to talk about their own experiences and are all about "I". This in turn bores the other people. But if you listen to people without interrupting, it shows that you respect them and are interested in their view points. This in turn helps you gain their respect quickly.
2- Be positive and optimistic: Nobody likes a cribber, grouchy or negative personality. People are attracted to those with a vibrant smile, positive outlook and optimistic disposition. Do not mention your own distress but bring out your positive aspects and share that. Optimists remind people that there is hope and better chances to come by, which attracts people to their happy personality.
3- Stay grounded and humble: Of course, you don't appreciate snobs. Well, no one does. Stay humble and grounded even if you have achieved considerable success. People appreciate your success yet respect your humility and that is an attractive trait to have.
4- Be flexible: Don't be prejudiced, obstinate about thrusting your own views, instead have an open mind, accept new ideas and opinions. It is not always about you and your view points. Go with the flow, experience new things, don't look back and regret fun things that you did. Consider them as learning experiences. People will love you for your adventurous spirit!
5- Keep smiling: There is nothing more attractive than a friendly, happy smile. A sign of happiness, joy and gaiety, smiling is infectious. It helps you make friends quickly while people find your charismatic personality more attractive. And it radiates a confident personality, ready to bring about good cheer and happiness all around.
These are the ways you can have a magnetic and attractive persona without going to great lengths to make an impression. As they say, first impression is the last impression, so stay happy and be confident.


The first episode of Cabrini Madness Season 2 premiered today. EL Da' Sheon and I are the producers. If you know of any film competitions we can enter, let us know. I think we've built a very creative series here.


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Thomas Clarkson Academy
Open again today!
Open As Usual!
The Academy Day
Results & Data
SEN & Inclusion
Transition into Year 7
Parents' evening
TCA PE website
CEIAG (Careers)
After School/Session 6 Activities
Mental Health Lead
The TCA Reporter
Student Progression
Click here to view our online open evening information page for Year 5/6 families.
Year 7 September 2021 Admissions
You can apply for a secondary school place for September 2021 from September 10th 2020. The deadline for applications is 5pm on Saturday 31st October 2020.
To apply for a place in Year 7 in 2021, parents/carers will need to apply through the Cambridgeshire County Council admissions process (families living outside of Cambridgeshire need to apply via their own local authority). All parents/carers are required to complete the Local Authority Common Preference Form in accordance with the established timelines. Further details, application forms and information on applying for a secondary school place can be found on the Cambridgeshire County Council website.
Queries should be directed to Cambridgeshire County Council's Admissions Team on 01223 699200 or 01223 699662.
If once you have received notification from the local authority, your child has been unsuccessful in obtaining a place at the Thomas Clarkson Academy, you are entitled to appeal that decision. If you wish to appeal, please visit our appeal section for more information.
See TCA's Admission Policy for 2021/22 at the bottom of this page.
Timetable for September 2021 admissions
Closing dates for applications: 5pm, Saturday 31st October 2020
Offers made:
Cambridgeshire County Council:
Monday 1st March 2021 (via Citizen Portal)
Norfolk County Council:
Monday 1st March 2021 (via School Admissions. Paper applications: offers sent out by post on March 1st)
Thomas Clarkson Academy will consider all applications for places. If the Academy receives more applications than it has spaces and after the students with statements of Special Educational Needs where the Thomas Clarkson Academy is named on the statement have been admitted, the oversubscription criteria will be applied. Please refer to the Brooke Weston Trust Admissions Policy for further information.
Admissions information regarding students with an Education Health and Care Plan can be requested from the Academy.
Phase transfer
To enable parents, children and the receiving school to plan well in advance of transfer from primary to secondary phase, secondary school placement must be discussed as part of the Year 5 Annual Review. We recommend individual visits and contact with the SENDCo as part of this process. Parents will receive a letter from Cambridgeshire START team in late September/ early October, seeking details of their school preference or representations. Parents should return their preference to Cambridgeshire START team by the end of October/early November. Consultation then follows with the school and the Local Authority has to make the final decision about placement, informing parents by mid February. Parents are given their right of appeal at this stage, if they are not in agreement with the decision.
Confirmation of dates can be sort from Cambridgeshire START Team on 01480 372600 or emailing start@cambridgeshire.gov.uk.
Where the Academy receives more applications for places than there are places available, your child's name will be added to the waiting list. Your child will remain on this list until either a place becomes available, or until 31 December 2021, whichever is sooner. The waiting list will be maintained by the Thomas Clarkson Academy and it will be open to any parent to ask for his or her child's name to be placed on the waiting list, following an unsuccessful application.
Where places become vacant they will be allocated to children on the waiting list in accordance with the oversubscription criteria (see Admissions Policy).
If your child has been unsuccessful in obtaining a place at Thomas Clarkson for Year 7 entry, September 2021, you are entitled to appeal that decision. If you wish to appeal, please go to www.cambridgeshire.gov.uk/admissions selecting School Admission Appeals.
Please refer to the Appeals timetable on the Cambridgeshire County Council admissions website for more information around the statutory timeframes for appeals.
Parents will have the right of appeal to an Independent Appeal Panel if they are dissatisfied with an admission decision of the Thomas Clarkson Academy. The Appeal Panel will be independent of the Academy. The arrangements for Appeals will be in line with the Code of Practice on School Admission Appeals published by the Department for Education (DfE) as it applies to Foundation and Voluntary Aided schools. The determination of the appeal panel will be made in accordance with the Code of Practice on School Admission Appeals and is binding on all parties. The Academy will prepare guidance for parents about how the appeals process will work and will provide parents with a named contact who can answer any enquiries parents may have about the process.
Read more on the appeals procedure.
In-year admissions are dealt with by Cambridgeshire County Council, regardless of what county you are living in.
If you are applying for a place at the Academy from another secondary school or because you've recently entered the country, you will need to follow the guidance on in-year admissions issued by the county council. Click here for more details.
Support with admissions
If you need any help with Year 7 admissions or in-year admissions, please contact our Student Mobility Manager, Keri Britton on admissions@thomasclarksonacademy.org or 01945 585237.
Please visit the Sixth Form section of our website.
TCA Admissions Policy 2021-22 pdf Document
Appeals ProcedureAppeals Procedure
Transition into Year 7Transition into Year 7
© 2021 Thomas Clarkson Academy


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HP goes back to school with convertibles, Chromebook
June 30, 2015 JarvisComputerschromebook, education, HP, laptop
School may just be ending but it's never too early to prepare for the next academic year, especially when it comes to purchasing a new laptop. To make things easier, or perhaps even more difficult, HP is announcing its own batch of PCs designed with students and teachers in mind. Or maybe "re-labeled" might be a better term, as the HP Spectre Pro x360 G1, the HP Pro x360 310 G2, and the HP Chromebook 11 G4 are practically minor updates or even rehashes of existing HP products.
The HP Pro x360 310 G2, for example, is an education version of the HP Pavilion x360 that was announced just last April. This 11.6-inch convertible is designed for students, or so says HP. It has the same four modes found in any HP convertible: notebook for regular usage, tablet for mobility, stand for presentations, and tent for interaction. The durable mechanical hinges ensure that it would survive the usual rough handling of students.
In terms of specs, the HP Pro x360 G2 runs on either an Intel Celeron N3050 or Intel Pentium N3700 Braswell chip. The resolution is 1366×768 HD. Supported RAM is up to 8 GB, while various storage configurations are available, including up to 256 GB of SSD or 500 GB HDD. The convertible is about 0.9 inches thick and weighs 3.3 lbs. Expected retail price starts at $449.
The HP Spectre Pro x360 G1, on the other hand, is supposedly more ideal for teachers because of its slim profile. And it has a price tag to match, since it's practically the same HP Spectre x360 we saw earlier this year. That means a 13.3-inch Full HD screen, choice on an Intel Core i5 or i7, up to 8 GB of memory and anything between 128 and 512 GB of SSD storage. It's 0.63-inch profile does make it seem more portable and classier than what you might be willing to spend for a student laptop. Of course, it supports the same four modes as any HP convertible.
The HP Chromebook 11 G4, as the name implies, is an update tolast year's model. This one carries within it an Intel Celeron N2840 and up to 4 GB of RAM. The 1366×768 resolution display measures 11.6 inches. Storage is unsurprisingly a measly 16 GB. Since this is a Chromebook, focus is, of course, on the cloud and Google's Drive storage. It is also the most affordable of the bunch, with a price tag starting at $219.
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Microsoft blocks Windows 10 for Surface Book 2 – and trust us, you don't want to install it
HP Envy 13 (2019 – Intel Core i5-8265U/i7-8565U, Nvidia GeForce MX250) Review
Honor MagicBook Pro teaser highlights full-screen display and improved performance
Gaming laptops in the Philippines with GTX 1660Ti


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Collection layout

## 使用方法

导入CLYBaseLyout.h头文件即可。

使用方法和UICollectionView设置布局一样

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## 四种UICollection布局轻松切换,更多UICollection布局敬请期待。