Page 11234..1020..»

Archive for the ‘Bernard Shaw’ Category

Pod of the Planet Ep. 9: Not Everyone is Greta, and That’s OK – Pod of the Planet – State of the Planet

Posted: September 2, 2020 at 1:56 am


without comments

George Bernard Shaw, who once quipped that youth is wasted on the young, couldnt be more wrong when it comes to climate activism. The world young people build today is the world they will inherit tomorrow.

In this episode we talk about climate and sustainability education for young activists and educators. Cassie Xu, the director of the office of education and outreach at the Earth Institute, speaks with high school students Lily Liu from Brooklyn, New York (15:34) and Sophia Kianni from McLean, Virgina (28:00). They talk about their passion for climate change activism in their communities and their hopes for the future.

We also hear from Cassie about the K-12 education program and the upcoming pre-college programs that might interest high school students about how to bring more climate change activism efforts into their schools and communities. In fall 2020, one of the pre-college offerings is Let the Youth Lead, which is an experiential workshop that will invite current and future youth leaders to enhance their existing practices, enthusiasm, motivation, and knowledge to support and further their roles as change agents in local and global community efforts. Jon Lopez, the lead instructor for this workshop and a researcher at AC4 joined us in the podcast to talk about the workshop and his own experiences working with youth leaders all over the world (2:30). The one common thread, he says? Young people are not too happy with the older folks.

You can find Pod of the Planet wherever you listen to podcasts, onApple iTunes,Spotify,Soundcloud, andStitcher.

Please send feedback or questions to podoftheplanet@gmail.com.

Go here to read the rest:
Pod of the Planet Ep. 9: Not Everyone is Greta, and That's OK - Pod of the Planet - State of the Planet

Written by admin

September 2nd, 2020 at 1:56 am

Posted in Bernard Shaw

Opinion | Why writing is harder than you think – Livemint

Posted: at 1:56 am


without comments

Armed with an arsenal of big words and quotable quotes, I started carpet-bombing. Nobody was plain hungry in my essays, they were always ravenously hungry. George Bernard Shaw and Albert Einstein appeared regularly. And it worked. Teachers loved the writing, my grades improved and I scored the highest marks in English in the Mumbai Board. Buoyed by this validation, I told my parents I wanted to be a writer. In response, they invoked images of Khadi-clad, jhola-swinging people to scare my 16-year-old self. So we settled for commerce and then I opted to become a chartered accountant. I learnt a lot about numerical creativity but literary creativity, if any, was relegated to Notes to Accounts.

Once I took up investing as a profession, I was resigned to the fact that my writing dreams were buried, till I discovered some excellent investment writing by the likes of Warren Buffett and Howard Marks. My colleague Amay Hattangadi and I started writing an investor newsletter called Connecting The Dots and the then managing editor of Mint, Niranjan Rajadhyaksha, was kind enough to grant us op-ed space. But that wasnt writing" either. A typical column would have a hypothesis followed by arguments for and against it, weighing their relative merits and a conclusion. One could insert a couple of charts which spoke for themselves and they anchored your piece. It was left-brained and clinical but it wasnt writing".

When I green-lit creative writing as one of the activities to pursue during my year-long sabbatical, I thought it would be a breeze. A mutual friend introduced me to the US-based author Manjula Padmanabhan as a potential writing guru and although I have never met her in person, our wavelengths matched.

Just as hibernating sportspeople go through a training camp before tournaments, we decided to do three weeks of warm-ups and stretches before I plunged into short-story writing. Padmanabhan sent writing assignments that seemed cute but took half a day to complete. Imagine a conversation between two shadows that meet on a wall (500 words)" was one such.

As the camp progressed, I practised writing contemporary Indian adaptations of classic short stories. We started with O. Henrys The Gift Of The Magi and graduated to Somerset Maughams Rain. I started my version of Gift of Magi with Dilshad looked pensively out of the little window". Padmanabhan was brutal with it. When does a character not look pensively out of a window?" she asked. Lose the adverb and the adjective."

It was the time of the year when shop-owners appropriated the footpaths outside their shops for displaying their wares and irate pedestrians and honking cars jostled with each other on the narrow street," my story continued. Why the suspense?" asked Padmanabhan Just say what time of the year it was and let the reader imagine...and shorter sentences please."

Adapting Rain proved harder. Getting the five central characters right and transporting them to contemporary India was difficult for me. I faced two challenges: not to reduce the characters to a caricature and not let my bias as a writer creep in. Even after three days and 2,000 words, I couldnt finish my version of Rain.

Since boyhood, Ruskin Bond has been my favourite writer and thanks to him, I had this romantic notion that creativity abounds in the hills. I headed to the beautiful Taj hotel in Rishikesh for a month of writing, confident that plots and words would flow as freely as the Ganga. I can read 30 pages of fiction in an hour with a variability of 10%. I used a similar input-output approach to conclude that I could write 15,000 words in a month. I estimated that I could also continue my yoga practice and finish reading Ray Dalios Principles. Eventually, I eked out less than 8,000 words, managed to do a few sun salutations and didnt read a single page of Principles.

I realized that no matter how picturesque the setting, creativity cannot be summoned. I stared at the blinking cursor for hours before giving up and scrolling down the rabbit hole of Instagram. There were days when I could not manage even a tweets worth of writing. I had assumed that if you sit for 5 hours in front of a screen, you will produce 2,000 words like clockwork. It doesnt work like that. At least for me it didnt. When it comes to writing or any other creative pursuit, showing up is a necessary but not sufficient condition for output. I struggled to accept that for a while but eventually made peace with it.

The idea for the story which eventually became Khushroos Canteen did come to me in a bathtub. I let my imagination run wild and egged on by fragrant bathing salts, I had a six-part series ready in my head. I wrote a short sketch and shot a breathless mail to Padmanabhan, hoping for her to say that this was going to be better than Sacred Games. On the phone that evening, she said: Theres a lot of masala there but no meat. Where is the story?" I felt deflated and angry but took her advice. I reworked the story, including the point of view from which it was being narrated. If I may say so myself, it made the story smoother. Khushroos Canteen will probably be published as a multi-part series soon.

Writers are frequently told to Kill your darlings". You fall in love with a character, a sentence or just a phrase and force-fit it into the storyline. It does nothing to take the story forward. Most times it actually detracts. In the short story Nostalgia, I had one such darling. Food and sexWhat else does a man live for! And if there is a severe shortage in one department, the other has to compensate." It was a loose end but I had fallen in love with it and persisted till the fourth draft. I could see that it was unnecessary but didnt have the heart to chop it. Thats where an experienced mentor helps. Padmanabhan recognized it was a darling but never said it in as many words. She just kept asking, How are you going to close the loop on that one?" With a heavy heart, I edited it out. I had to eat two dollops of ice cream that night (you can read Nostalgia here).

In one of our sessions, Padmanabhan asked me whether I wanted to be writer. It sounded like a loaded question and I asked her what she meant. Being a writer," she said, is a life-long occupation. You observe all your experiences. Consciously." I wasnt sure I understood. But once I started writing, I realized that I was actually tapping into a reservoir of experiences I didnt even know I had recorded. They came back as I wrote about characters, places and situations. I dont know if it will become instinctive but I look forward to experiences now, knowing that even the bad ones could have an upshot; the germ of a story. Nobody had told me that is the first step to becoming a good writer. I wouldnt have wasted my afternoons underlining editorials.

Swanand Kelkar works in the asset management industry and is currently on a one-year sabbatical.

Subscribe to newsletters

* Enter a valid email

* Thank you for subscribing to our newsletter.

View original post here:
Opinion | Why writing is harder than you think - Livemint

Written by admin

September 2nd, 2020 at 1:56 am

Posted in Bernard Shaw

Stellar Lumens (XLM) Community Fund 2.0 to be a New and Improved Version – The Cryptocurrency Analytics

Posted: at 1:56 am


without comments

Open source makes it possible for the Stellar ecosystem and community to collaborate and build a truly decentralized network, thus innovating diverse solutions, which one will not be able to discover alone.

To fulfill the vision of greater financial inclusion for everyone, SDF understands that monetary support is crucial. Lumens are distributed by grants and funds to teams and projects independently to support developers in their projects.

They have completed five funding rounds and they have worked well and with each time, they are helping tweak and adjust the funding. The New and improved Stellar Community Fund 2.0.

Stellar tweeted: A while back, we launched the Stellar Community Fund so our community could help fund their favorite projects. Today, SCF will re-launch as Stellar Community Fund 2.0, designed to be better and fairer for our community and participants.

Sydney Ifergan, the crypto expert tweeted: Bernard Shaw said those who cannot change their mind cannot change anything. Stellar Development Foundation Knew Change is necessary and so, SCF 2.0.

SCF is undergoing a structural change, because they have learnt that the fund has not been fully optimized to fully benefit the community. They were also able to see that the voting process was straining the community and that there was susceptibility to bad actors. Therefore, several deserving projects were getting pushed out of the final rounds.

The current change is necessary to refine the already existing voting system. Two separate voting rounds caused voter fatigue and irregular participation from voters.

The awards had to be balanced between two developing categories in projects. This is to avoid overpaying one project and underpaying another project. It was necessary to be business ready and to develop smaller and experimental projects.

The new changes are bringing in a nomination panel and quadratic voting. Thus, the burden of participation in voting is reduced. They have built a test voting interface to demonstrate the concept. However, they have given an equation Cost to voter = (number of votes) as to be best demonstrating the concept. The more someone cares about the project, the more willingly they have to invest in voting for it.

SCF 2.0 now has funds to provide for different projects. In the past the participants generally fell in two buckets. One were those who were ready to build their business and those who were experimenting within the ecosystem. To better cater to those audiences, SCF will be split into two funds: a Seed Fund and a Lab Fund.

Good the SCF acknowledges the importance of the Lab Fund, which is that which leads to the process where someone gets ready to build their business.

Here is the original post:
Stellar Lumens (XLM) Community Fund 2.0 to be a New and Improved Version - The Cryptocurrency Analytics

Written by admin

September 2nd, 2020 at 1:56 am

Posted in Bernard Shaw

Television: C-SPAN offered some of the best convention coverage – The Delaware County Daily Times

Posted: at 1:56 am


without comments

The usual suspects ABC, CBS, CNN, Fox News Channel, MSNBC, and NBC were all ripe and ready to show the Republican National Convention.

Failing them, YouTube was in reserve.

Meandering between them for the Democrats pageant the week before and found too much interruption, too much commentary that was either biased or unnecessary given that I just heard the speaker and, pardon the heresy, could make up my own mind about what they said.

I was reinforced when I heard the pull quotes Lester Holt, Norah ODonnell, or, heaven forbid, George Stephanopoulos, chose. They were often the most bland and vapid.

If I had to give a prize, Id send it CBSs way. ODonnell is the most businesslike and fairest of the bunch, with Holt second, and the cable stations and ABC lagging behind.

To get the purity I wanted, I made the executive decision to skip the cable and network folks and watch RNCs show on C-SPAN.

That decision was a blessing. All I saw were the speakers and the set packages producers put together. Nothing was happening in the background, I didnt have to hope a station would finally focus on a speaker, I didnt have to endure people I disdain more than respect spoonfeeding me what I could glean without them, and had the chance to see and judge what the GOP put together as if I was in the room with the speakers.

Both parties did a good job with their conventions. Each set forth a tone and mood that put its campaign in perspective. Each used television judiciously, if differently, to create the image and message it wanted to convey.

The viewing public seemed more interesting in what the Democrats had to say. Once the tallies of people watching each station were made, the Dems drew about two million people more per night that the Republicans did. Interestingly, the great equalizer for the GOP was not President Trump, who spoke for more than an hour, but the First Lady, Melania Trump, who garnered an audience as big as the Democrats received.

As in the Emmys, and in peoples esteem these days, the cable news teams attracted more audience than the traditional networks did. Unsurprisingly, MSNBC topped the polls during the Democrats affair while Fox News Channel had the most viewers for the GOP fete.

I prefer to ponder the differences between the two parties approaches and what happened on camera as the conventions unfolded.

The most striking difference to me was how much the Democrats seemed like a political party while the Republicans concentrated on one person, Donald Trump, and his administration.

Something I mentioned last week was quite apparent as speakers headed towards microphones at Washingtons Constitution Hall, Fort McHenry, or the White House. The Democrats had their top guns of the last 30, or more, years on site while the Republicans stayed in present tense and had few, if any, of the leading lights one associates with that party.

Bill and Hillary Clinton, Barack and Michelle Obama, John Kerry, Bernie Sanders, Amy Klobuchar, Andrew Yang, Elizabeth Warren, and even Alexandria Ocasio-Cortez all spoke the Democrats audience, not to mention the nominees, Joe Biden and Kamala Harris, and Jill Biden. They spoke passionately and stressed a return to normality and stewardship while hinting at big policies to come, policies its interesting to note Joe Biden has not completely endorsed or signed off on.

George W. Bush, Jeb Bush, Ted Cruz, Mitt Romney, Marco Rubio, Paul Ryan, Jon Huntsman, and others who could be regarded as the GOP celebrities were conspicuously absent from the convention broadcasts. Some were not invited. Some chose not to come.

The question is whether they were missed.

Id say no. The Democrats gained firepower from the performances of the Obamas, Mrs. Clinton, and Mrs. Biden, but not having their cognates, except for Melania Trump, didnt seem odd or negative. The GOP stars were unneeded.

Some who filled in, such as the Trump children, their spouses, and partners, did not provide much. Except they all exuded a love for their father and an endorsement for the work he was doing.

Sure. What else would they say?

Then, again, sincerity lets say genuine sincerity - is not the hallmark of your average politician. All of them play an angle, even when they do it as elegantly as Michelle Obama and as eloquently as Barack Obama.

Yet while, the Democrats cast came out as passionate, committed, and on a mission to restore dignity and probity to the Oval Office, it was, ironically, the GOP speakers who exuded warmth and conveyed sincerity.

Forget the Trump children. They spoke well and had gorgeous clothes, but their touting their Dad was as consequential and unsurprising as it is when Nancy Pelosi criticizes him.

Thats when you see politics on naked display.

The part the GOP got right and did better than the Democrats was the testimonials and endorsements of the rank and file, the people who came before the camera and spoke about how the Trump Administration saved their job, realized the unfairness of a long prison sentence, cut red tape, and took action to handle matters and solve problems the speakers say others had neglected or put aide after lip service.

The impression was that the President and his team was strong in constituent services, that people who were disappointed by other, more traditional politicians, were heard and responded to by Donald Trump.

The message was amazing positive, and I wonder if it would have been as clear and noticeable if I had been watching a news network rather than C-SPAN.

Unadorned by commentary, and able to be viewed at all considering even Fox would not give air time to all the factory workers, mourning parents, ex-convicts, and people restored to jobs who came to speak on behalf of Mr. Trump.

Nothing offspring, bound to loyalty and praise by virtue of their relationship and the benefits they derive from it, could compare with the legions of folks, of all kinds and creeds, who came to tell how Donald Trump did for them what no one else seemed able to do.

An administration that is usually ridiculed and derided for being all fanfare, smoke, and mirrors, suddenly had substance. Concrete, admirable substance.

The GOP did a fine job in expression it was doing a job. Who cares if its recognized by mainstream media, people who regard the President as a punch line? These speakers had something new and unexpected to say and they provided sincerity and good fellow feeling beyond the hoopla and braggadocio that is part and parcel of any political event, in particular a convention.

If not for C-SPAN, I might have missed the human core of the GOPs convention message, one that made it seem effective, down-to-earth, and geared on work on behalf of the common man.

Im talking about an image, not historic or factual accuracy. At both conventions, at any political gathering, its best to take your feet off the floor lest your shoes get fouled with the crap being unloaded. I laughed when I heard GOP speakers talk about harnessing the coronavirus. I could spot a lie or two.

Yet I was grateful to hear speakers excoriate the violence in American streets that are too often accepted under the rosier name of protest. Both parties were going for the support of the people. The Democrats reached for the soul. The Republicans, including a rambling President Trump, touched the heart. How? I dont know. But he did it.

Also, while the GOP lacked its stars of pre-Trump years, it displayed a few new stars, the most impressive being Sen. Tim Scott of South Carolina, who matched any Democrat in eloquence and substance. Former Ambassador to the United Nations and one-time governor of South Carolina, Nikki Haley, also made an impression, even when she declared America is not racist.

Another who scored big was Kentuckys Attorney General, David Cameron, who made a cogent case for the diversity within the Black population and why no vote of any group should be taken for granted.

As I said, both sides did well, but the Republicans had the advantage Shakespeare gave Marc Antony in Julius Caesar, the advantage of being the last to speak. Brutus has the crowd on his side, but all changes when Antony talks to them. Joe Biden, and the Democrats, had right to expect momentum from their convention. Yet, in the last week, with President Trump getting the last word, betting odds that were double digits apart now favor Mr. Biden by five points and are trending in Mr. Trumps favor. The gap between those predicted to vote for Mr. Biden and those for Mr. Trump has also narrowed considerably.

Conventions are done. The campaign is here. It will be interesting to see those polls veer one way or the other. Election Day is November 3. I predict the next two months will be fascinating.

Brian Cox has been in the news a lot lately.

Last years Emmy winner as Best Actor in a Drama for Succession is up for the same award this year, and could easily score a second consecutive win (as much as I would like to see the prize go to Jason Bateman for Ozark.

Cox also spoke recently about his bout with COVID-19.

Now the actor is joining with another major star, Marsha Mason, to help New Hopes Bucks County Playhouse and bring a delightful theater piece, Dear Liar, to TV audiences via streaming.

Dear Liar is a play by Jerome Kilty that uses the 40-year correspondence between the great mind of his age, George Bernard Shaw, and the lauded actress, Mrs. Patrick Campbell.

It streams tomorrow at 7 p.m. and can be accessed via http://www.bcptheater.org. Tickets are $35, which goes to the Playhouse, another of the arts venues getting creative to keep alive in this era when its doors are ordered to be shut.

Having Brian Cox and Marsha Mason anywhere is a pleasure beyond description. To have them in your living room, or on your wrist, is perfect.

Neal Zoren's television column appears every Monday.

See the original post here:
Television: C-SPAN offered some of the best convention coverage - The Delaware County Daily Times

Written by admin

September 2nd, 2020 at 1:56 am

Posted in Bernard Shaw

My Heart’s in the Highlands: Today is William Saroyan’s 112th birth anniversary – Public Radio of Armenia

Posted: at 1:56 am


without comments

August 31 is the birthday ofgreat American Armenian writer William Saroyan.

William Saroyan was born on August 31, 1908 inFresno, Californiato Armenak and Takoohi Saroyan,Armenianimmigrants from Bitlis,Ottoman Empire. His father came to New York in 1905 and started preaching in Armenian Apostolic Churches.

At the age of three, after his fathers death, Saroyan, along with his brother and sister, was placed in an orphanage inOakland, California. Five years later, the family reunited in Fresno.

Saroyan decided to become a writer after his mother showed him some of his fathers writings. A few of his early short articles were published inOverland Monthly. His first stories appeared in the 1930s.

The greatest happiness you can have is knowing that you do not necessarily require happiness. William Saroyan,My Hearts in the Highlands

Among these was The Broken Wheel, written under the name Sirak Goryan and published in the Armenian journalHairenikin 1933. Many of Saroyans stories were based on his childhood experiences among the Armenian-American fruit growers of theSan Joaquin Valleyor dealt with the rootlessness of the immigrant. The short story collectionMy Name is Aram(1940), an international bestseller, was about a young boy and the colorful characters of his immigrant family. It has been translated into many languages.

As a writer, Saroyan made his breakthrough inStorymagazine withThe Daring Young Man on the Flying Trapeze(1934), the title taken from the nineteenth centurysong of the same title. The protagonist is a young, starving writer who tries to survive in a Depression-ridden society.

It is simply in the nature of Armenian to study, to learn, to question, to speculate, to discover, to invent, to revise, to restore, to preserve, to make, and to give. William Saroyan

Saroyan published essays and memoirs, in which he depicted the people he had met on travels in the Soviet Union and Europe, such as the playwrightGeorge Bernard Shaw, the Finnish composerJean Sibelius, andCharlie Chaplin. In 1952, Saroyan publishedThe Bicycle Rider in Beverly Hills, the first of several volumes ofmemoirs.

Saroyan died in Fresno, ofcancerat age 71. Half of his ashes were buried in California and the remainder in Armenia atKomitas Pantheonnear film directorSergei Parajanov.

The Fresno home where the Pulitzer Prize-winning novelist and playwright lived out his final years opened to the public as an interactive museum in 2018.

On that occasion the Fresno City Council issued a proclamation declaring Friday August 31st, 2018 as William Saroyan Day in the City of Fresno.

See original here:
My Heart's in the Highlands: Today is William Saroyan's 112th birth anniversary - Public Radio of Armenia

Written by admin

September 2nd, 2020 at 1:56 am

Posted in Bernard Shaw

Noted educator and architect William Bill McMinn passes away at 89 – The Architect’s Newspaper

Posted: at 1:56 am


without comments

William G. Bill McMinn, an architect and educator who served as dean of three architecture schools, died August 21 in Asheville, North Carolina, of complications from a stroke. He was 89.

In 1974, McMinn was named the founding dean of the School of Architecture at Mississippi State University (MSU), part of the College of Architecture, Art and Design, and stayed there until 1984. In 1997, he was named founding dean of the School of Architecture at Florida International University (FIU) now part of its College of Communication, Architecture + The Arts.

In between, from 1984 to 1996, he served as dean of the College of Architecture, Art and Planning (AAP) at Cornell University. While at Cornell, he founded the Cornell in Rome Program for students, taking advantage of the expertise of Professor Colin Rowe and others, and was instrumental in establishing an undergraduate program in the colleges Department of City and Regional Planning. He also helped raise funds to improve the colleges facilities and served on the board of the I. M. Pei-designed Herbert F. Johnson Museum on campus.

Bill McMinns contributions to the stature of the college cannot be overstated, write Meejin Yoon, Gale and Ira Drukier Dean of AAP, in an article posted on the schools website.

As a founder of the Cornell in Rome program, he enriched the lives of so many as the program has grown into a vital component of many architecture, art, and planning students education. He was a practitioner as well as an educator, and his influence will continue to be felt beyond scholarship to the underpinnings of the culture at AAP and well beyond.

According to the Cornell article by Patti Witten, McMinn was modest about his accomplishments as an educator, insisting that colleges cant really teach architecture. At best, he would say, we provide a place for students to discover it, Witten wrote.

Bill was the right person to start a program in Mississippi, said Robert V. M. Harrison, an early faculty member and founder of the schools advisory board, in an article on the MSU website.

He was a people person and brought in the right people. He had the knack to communicate with everyone. Architects,accreditation teams and legislators respected him. He got a full accreditation for the school at the earliest possible date, which is miraculous. A miracle worker.

As part of his effort to give the new Mississippi school a national presence and broaden the students perspective, former students and faculty members say that McMinn established a lecture series that brought big-name architects and critics to campus in the 1970s and 1980s, including Stanley Tigerman, Robert Venturi, Michael Graves, Rem Koolhaas, Charles Moore, and writers Ada Louise Huxtable and Paul Goldberger.

One story that has made the rounds for years is that McMinn was so eager to bring luminaries to campus that he would play one architect off the other, calling Michael Graves and telling him that Peter Eisenman was coming to campus and then calling Eisenman and telling him that Graves was coming.

McMinn was a strong supporter of architects who wanted to use their education to influence other fields, said alumnus Janet Marie Smith. She used her MSU degree to carve out an unconventional career in sports architecture, building or renovating stadiums including Oriole Park at Camden Yards in Baltimore, Fenway Park in Boston, and Dodger Stadium in Los Angeles.

After 12 winters in upstate New York, McMinn moved to Florida in 1996 to become director of FIUs program in architecture, then part of its School of Design.

A year later he was named founding dean of the FIU School of Architecture. Under his leadership, the school earned full accreditation from the National Architectural Accrediting Board, changing its status from a department to a school. McMinn initiated a competition that led to the construction of the Bernard Tschumi-designed Paul L. Cejas School of Architecture Building on the FIU Modesto Maidique campus.

According to FIU, the curriculum under McMinn incorporated pre-professional undergraduate programs in architecture and interior design, graduate programs in architecture, landscape architecture and environment and urban systems, and study-abroad programs. McMinn stepped down as dean in 2000 to return to teaching. He retired in 2004 and moved to North Carolina.

Born in Abilene, Texas, McMinn earned a Bachelor of Architecture degree in 1953 from Rice University and a Master of Architecture degree in 1954 from the University of TexasAustin. He began teaching in 1956 at Texas Tech University and then held teaching or department leadership positions at Clemson University, Auburn University, and Louisiana State University.

In 2006, he received the Topaz Medallion for Excellence in Architectural Education from the American Institute of Architects (AIA) and the Association of Collegiate Schools of Architecture (ACSA), the highest award for outstanding contribution to architectural education in the U.S.

A Fellow of the AIA and the American Academy in Rome, McMinn received the ACSAs Distinguished Professor Award in 1991 and the Educational Leadership Award in Architecture from the AIA Miami chapter.

According to the AIA, he helped establish a School of Design at King Fahd University in Saudi Arabia, was a U.S.-appointed consultant to the School of Architecture at the University of Jordan, and helped improve the curriculum at Mimar Sinan University in Istanbul.

Bill McMinn has, throughout his career, served as a strong bridge between practice and education. His vision has always been to provide a seamless transition between the two realms, said John McRae, then-dean of the University of Tennessee College of Architecture and Design, in nominating McMinn for the Topaz Medallion.

I have known dozens of deans, said FIU president Modesto Maidique in his nomination letter. Seldom have I found one with the passion, dedication and sophistication that Bill exhibited during his tenure.

In addition to his teaching career, McMinn practiced architecture professionally from 1968 to 1971 as director of design at Six Associates in Asheville, North Carolina. In 1980, he was appointed to the National Architectural Accreditation Board and was elected NAAB President in 1983. He chaired NAAB reviews of 24 architecture programs, including those at Princeton, Columbia, Harvard, and the University of California, Berkeley.

Following his retirement to North Carolina in 2004, McMinn continued to advise on architectural design competitions and projects. He served as the professional advisor for a national competition to design a Performing and Visual Arts Center in Hendersonville, North Carolina, a contest that drew 58 entries. In 2004, he helped select the dean of the architectural school at the University of South Florida in Tampa.

Of all his achievements, one that made him especially proud was the Cornell in Rome program and the creation of the Cornell Center in Palazzo Massimo alle Colonne, dedicated in 1997. In addition to Colin Rowe, early faculty members included architecture professor John Shaw and sculptor and fine arts professor Jack Squier. Roberto Einaudi was Cornell in Romes first director.

Bill was firmly convinced that Rome, this most ancient and complicated of cities, is the ideal laboratory for the disciplines of architecture, art, and planning, said Jeffrey Blanchard, the current academic director for Cornell in Rome, according to the AAP article. While Bills distinguished career as an educator unfolded in a number of institutions and was marked by many achievements and awards. I believe he always considered the creation of Cornells Rome program to be one of his most important and enduring accomplishments.

McMinn is survived by his wife of 64 years, Joan; his son Kevin, and his daughter Tracey.

Read more:
Noted educator and architect William Bill McMinn passes away at 89 - The Architect's Newspaper

Written by admin

September 2nd, 2020 at 1:56 am

Posted in Bernard Shaw

Kilkennys Butler Gallery breaks from castle basement home – The Irish Times

Posted: August 22, 2020 at 2:54 am


without comments

venue which has been in city since second world war reopens on the eastern banks of river Nore with exhibition from photographer Amelia Stein

A world in lockdown can be a dreary place. At such times, it is the duty of the arts to bring inspiration and good cheer to the people. So all hail Butler Gallery in Kilkenny City which, nearly 80 years after its initial hatching, is boldly reopening its doors in a shimmering new-but-ancient venue on the east side of Irelands medieval capital.

Opened to the public at the beginning of August, the new gallery is probably the biggest addition to rural Irelands cultural portfolio since the VISUAL Centre for Contemporary Art and the George Bernard Shaw Theatre opened in Carlow in 2009.

The origins of Butler Gallery are rooted in another global crisis. Its genesis was an exhibition of contemporary art and pottery held in Kilkenny in the early years of the second World War, aka the Emergency. The 1942 event was hosted by the newly formed Society for the Encouragement of Art in Kilkenny (SEAK) and centred on pottery by Peter Brennan and a collection of vigorous city and country watercolours by society co-founders George and Helen Pennefather. The critic RR Figgis was especially impressed by the masterly treatment and good colour sense of the Pennefathers interesting and experimental work.

The event generated such an enthusiastic response that in 1943 the Pennefathers offered their collection as a permanent exhibition. This coincided with the rebirth of SEAK as the Kilkenny Art Gallery Society (KAGS), with 49 members, each of whom contributed 10 shillings. The society stuttered uncertainly through the 1950s and seemed destined to fade away until 1963 when Susan (Peggy) Butler became its secretary.

Assisted by Stanley Mosse and his daughter-in-law, Susan Mosse, she set about a radical overhaul of the operation. Key to this was a close relationship with the Arts Council of Ireland, which has provided invaluable financial and moral support to the society ever since.

Peggy Butler, who was the first chair of Kilkenny Arts Week, had trained as a painter at the Regent Street Polytechnic in London but did not pursue a career as an artist. She was arts correspondent for the Kilkenny People for many years and an occasional art critic for The Irish Times. She also provided much encouragement to other artists. When she died in 1996, aged 91, her obituary in this newspaper described her as responsible more than any other person since the mid-century for the development and appreciation of the arts in Kilkenny. Her legacy is also to be found at Annaghmakerrig, her family home in Co Monaghan, which she persuaded her brother, the theatrical director Tyrone Guthrie, to gift to the nation as a workplace for creative artists, now the Tyrone Guthrie Centre.

In 1976, the KAGS collection found a permanent home in the subterranean kitchen wing of Kilkenny Castle. It was duly named Butler Gallery in honour of Peggy and her husband, the celebrated essayist Hubert Butler. The name was also a good fit for another reason. Kilkenny has been a Butler family stronghold since 1391 when James Butler, Earl of Ormonde, purchased the old Norman castle that was to be their power base for the next five centuries.

Butler Gallery remained in the basement of that very castle for 44 years. As an arts space, it was never anything less than atmospheric, drawing upwards of 50,000 visitors annually. Given its location directly beneath one of Irelands busiest tourist attractions, those who attended its pioneering exhibitions included plenty of accidental tourists alongside the purposefully striding art connoisseurs.

Anna OSullivan has been the director of Butler Gallery since 2005 and has 23 years of experience on New Yorks art scene, latterly at the Robert Miller Gallery, a contemporary art specialist in Manhattan. In the 15 years since her arrival in Kilkenny, she has curated a steady flow of innovative, well-received exhibitions and increased Butler Gallerys eclectic collection via gift and purchase, as well as semi-permanent loan.

No matter how big a castle is, its dungeons are always going to be claustrophobic. And indeed, there is something deeply invigorating about the manner in which Butler Gallery now finds itself sprawled upon the eastern banks of the river Nore.

The new incarnation is in Evans Home, a historic alms house on Johns Quay, which was acquired for this purpose 12 years ago. The epic saga of this building commenced in the 13th century when it formed part of an extensive Augustinian priory, founded by the famous knight William Marshal. The priory was known as the Lantern of Ireland on account of the number and size of its stained-glass windows.

The priory was suppressed during Henry VIIIs Reformation. It doubled as a hospital for Oliver Cromwells forces when he captured the city in 1650. Following the defeat of the Jacobites in the 1690s, the priory was rebuilt as an infantry barracks. And so it remained for most of the Georgian age until 1818 when Joseph Evans converted it into an alms house. It was specifically designed to provide accommodation and sustenance to servants, 12 men and 12 women, who had lost their jobs in the economic depression that followed the end of the Napoleonic Wars. In the last century, part of the building was used as a book repository by the neighbouring Carnegie Library.

The military provenance of Evans Home is reflected in Butler Gallerys inaugural exhibition, namely The Bloods, Amelia Steins photographic study of the men and women of the Defence Forces from nearby James Stephens Barracks in Kilkenny. Taking place in the double-height gallery, this will be followed by a collaboration with Kilkenny-based Cartoon Saloon entitled Wolfwalkers: The Exhibition, based on the upcoming feature from the four-time Oscar nominated studio.

The main H-shaped alms house is home to the permanent collection, as well as an important bequest from the estate of Callan artist Tony OMalley, which was donated by his wife artist Jane OMalley. The gallery also includes a gift from the estate of Sen and Rosemarie Mulcahy.

Blessed with beautifully proportioned rooms, the alms house overlooks a walled garden that has been reconceived as a sequence of spaces, gardens and passages, including further galleries, a caf, a sculpture garden, a sensory garden and an ingenious geometric ramp that serves as a seating space for outdoor performances.

The conversion was carried out by McCullough Mulvin Architects who have created a space with varying qualities of light and finish, giving a strong sense of freshness that serves the best interests of the art within and without.

As an arts space, the diminutive gallery at Kilkenny Castle always punched above its weight. However, the vitality that was inevitably enclosed within its underground seams is now at ease to roam in a space 10 times the size of the castle cellars.

Although it may no longer have such a readymade congregation as it did at its former stronghold, the new venue will provide its own magnetism and draw visitors across the usefully placed Lady Desart Bridge (pedestrian and cyclists only) to this dynamic cultural hub by Johns Quay, opening up yet another chapter in the history of this versatile city.

This space also fulfils the dream that has fired so many of Kilkennys creative souls since 1943 and it will assuredly be integral for the generations of artists to come as we inch towards the middle decades of the 21st century.

butlergallery.ie

Read more from the original source:
Kilkennys Butler Gallery breaks from castle basement home - The Irish Times

Written by admin

August 22nd, 2020 at 2:54 am

Posted in Bernard Shaw

Why Mwalimu Bukenyas students have kept the faith – Daily Nation

Posted: at 2:54 am


without comments

Mwalimu Austin Bukenya stoked my literary instincts last week with his response to an article I wrote in the Daily Nations recently launched Higher Education magazine.

I was pleasantly surprised when he picked on the article as illustration of a good read and he went on to illustrate what makes any piece of writing qualify for that description.

The article was about Kenyatta Universitys Prof Stephen Runo who had won British Royal Africa Society Prize through research on the innovative way of killing the deadly weed, striga. According to Mwalimu Bukenya, among other things, the article was refreshing as it celebrated research, an area generally shunned by the general public, and the media too.

But confessions first. Mwalimu Bukenya, as those close to him fondly refer to him, was my literature lecturer during my undergraduate studies at Kenyatta University in the late 1980s.

He was an all-rounder literary scholar, enchanting us with poetry and taking us through East African prose to European theatre. His favourites, among others, were French dramatist popularly known as Moliere, but whose real name was Jean-Baptiste Poquelin, George Bernard Shaw and of course Shakespeare.

Mwalimu Bukenyas fascination with various genres from Caribbean and particularly the revolutionaries such as V.S. Naipaul, Edward Kamau Brathwaite, George Lamming, was breath-taking. His course on literary stylistics was a fascinating journey for upcoming writers.

Over the years, a number of us, his former students, have kept constant touch with Mwalimu especially through literary events. The latest interaction was late last year, before coronavirus struck.

One of our classmates, Simon Sossion, who went into publishing, hosted us during the 10th anniversary celebration of his publishing firm, Spotlight, at Sarit Centre, Nairobi. Classmates in attendance were Dr Evans Mugarizi, a literature lecturer at Moi University and Muthuri Nyamu, former KBC Deputy Managing Director and currently, media consultant. It was a reunion of sorts, full of classroom nostalgia.

In class, Mwalimu Bukenya had a way with words and that he has consistently demonstrated in his weekly column in these pages. His distinctive charge was that writing must be simple, easy and flowing.

Not surprisingly, he was at it last week when he made reference to my article and another by Dr Tom Odhiambo of the University Nairobi. Dr Odhiambos article was a book review of editor Saida Yahya-Othmans Nyerere: The Making of a Philosopher.

I was humbled by Mwalimu Bukenyas appreciation of our write-ups. It was a thumbs up from venerable Mwalimu. He used our stories to pronounce himself on the art of good writing.

His pitch was that a good read is identified by the twin catchphrase of facility and felicity. He went on to explain facility to mean fluency and ease of reading while felicity is about elegance.

Mwalimu always insisted on short and simple sentences and had aversion for verbosity and pomposity. He had a sneaky way of putting his view on simplicity, charging that; a long sentence is the rope with which you hang your neck. Not that long sentences are bad. But one has to be careful when using them because often times, many writers end up confusing syntactic rules and confusing readers. Another addition to good writing, he would say, was colour, perhaps, humour, but only in proper context. Those have stood out as the true North for his charges.

Those of us who went on to pursue higher degrees and make a career out of writing, editing and publishing stuck to Mwalimu Bukenyas edict. We are reminded of the works of Chinua Achebe, who though makes use of his vernacular, Igbo, and pidgin, in his English texts, is easily accessible because of simplicity and ease with which he weaves his narratives.

The reason Mwalimu Bukenyas verdict was fascinating was that he is no placatory reader. He is a seasoned literary critique; plain and forthright. He tells it as it, tearing any piece of work from the morpheme to syntax, paragraph to the full text.

Another trait we learnt from him is the art of reading. He always insisted that any literary scholar has to read at least one novel, a play and two poems every week. Reading is the salt of the soul, nourishing the mind and opening vistas to new knowledge. The advice has never failed.

Mwalimu Bukenya has reason to walk with his head high up because his students have kept the faith.

[emailprotected]

View original post here:
Why Mwalimu Bukenyas students have kept the faith - Daily Nation

Written by admin

August 22nd, 2020 at 2:54 am

Posted in Bernard Shaw

A List of Books, Plays and Films to Illuminate Your Understanding of the Suffragist Movement – Sarasota

Posted: at 2:54 am


without comments

Suffragist Reading List

Courtesy of BookStore1 Sarasota and Georgia Court

The Womans Hour: The Great Fight to Win the Vote, by Elaine Weiss

Why They Marched: Untold Stories of the Women Who Fought for the Right to Vote, by Susan Ware

Alice Paul: Claiming Power, by J.D. Zahniser and Amelia R. Fry

Princess of the Hither Isles: A Black Suffragists Story from the Jim Crow South, by Adele Logan Alexander

Votes for Women: A Portrait of Persistence, edited by Kate Clarke LeMay

Sisters: The Lives of Americas Suffragists, by Jean H. Baker

The Book of Gutsy Women, by Hillary Rodham Clinton and Chelsea Clinton

The Women of the 116th Congress, forward by Roxanne Gay

Bold & Brave: Ten Heroes Who Won Women the Right to Vote, by Kirsten Gillibrand

Around America to Win the Vote: Two Suffragists, a Kitten, and 10,000 Miles, by Mara Rockliff, Illustrated by Hadley Hooper

Press Cuttings by George Bernard Shaw, 1909

Miss Ida B. Wells by Endesha Ida Mae Holland, 1992

Her Naked Skin by Rebecca Lenkiewicz, 2008

The Sound of Breaking Glass by Sally Sheringham, 2009

19: The Musical, by Jennifer Schwed and Doug Bradsha, 2017

A Militant Suffragette: 1913

Not for Ourselves Alone: The Story of Elizabeth Cady Stanton & Susan B. Anthony, 1999

Iron Jawed Angels, 2004

Suffragette, 2015

The Divine Order, 2017

Go here to read the rest:
A List of Books, Plays and Films to Illuminate Your Understanding of the Suffragist Movement - Sarasota

Written by admin

August 22nd, 2020 at 2:54 am

Posted in Bernard Shaw

Did you know about our sister magazine Ireland of the Welcomes? – IrishCentral

Posted: at 2:54 am


without comments

Beloved by generations of readers, our sister publication Ireland of the Welcomes is the largest and longest-running Irish interest magazine in the world. This glossy magazine is available by subscription, six times a year.

Produced in Dublin, Ireland of the Welcomes is an award-winning magazine that showcases the best of Ireland's history, scenery, culture, and traditions to the world at large.

Each issue features lavishly-illustrated articles on Irish beauty spots, regular features on Irelands extraordinary millennia-spanning history, remarkable literary talent and history, music and dance traditions, as well as folklore, festivals, events, and so much more.

Ireland of the Welcomes content also appears online on IrishCentral, right here. The long-standing passionate Ireland of the Welcomes community also have a vibrant presence on Facebook also.

Each issue of Ireland of the Welcomes is a beautiful Irish mosaic of people, places, and cultural treasures. Ireland of the Welcomes has become a valued friend to many people with Irish ancestry and to legions of fans who are fascinated by the true spirit of Ireland.

Ireland of the Welcomes celebrates and brings to live that true spirit of the Emerald Isle.

The September / October issue of Ireland of the Welcomes is hot off the presses. Here's what the latest jam-packed issue has instore for subscribers.

- Cover story

The legacy of George Bernard Shaw and the impact his life had on The National Gallery of Ireland

- Ryan's Daughter

When Hollywood came to Ireland

- Cycle of Life

Exploring the Wild Atlantic Way

- Staycations

The best hotel deals in Ireland

- Photo Essay

Ireland in autumn

- Books

The latest releases fromIrish authors

Originally posted here:
Did you know about our sister magazine Ireland of the Welcomes? - IrishCentral

Written by admin

August 22nd, 2020 at 2:54 am

Posted in Bernard Shaw


Page 11234..1020..»