This will help them contextualise and query that data much better.
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These Actionmojis are supposed to contextualise your friends' placement on the maps.
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I think it's helpful to have a book contextualise a genre in its history.Definitely.
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The challenge is to make the computer contextualise the object, as well as see its alike-ness.
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"Museums necessarily re-contextualise the objects on display," says Michael Di Giovine, author of "The Heritage-scape", a book about heritage and tourism.
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Title cards, such as "Hollywood: 19 years left" and "Gwen Verdon: 14 years after her last Tony award", contextualise the scenes, which range across five decades.
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Overall, the BBC Trust report — which was titled Making Sense of Statistics— praised the broadcaster's "strong record" on reporting statistics, but said it could also do more to contextualise data and go "beyond the headlines" of press releases.
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He inserts a few new exchanges to contextualise his characters—including a bit about plastic surgery that is pertinent to its Los Angeles setting—but this will do little for viewers who have recently seen the version from 2013.
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In disco, you have people singing the same thing over and over again, "Move your body," it doesn't look great on a page, but it has a sense of emotional resonance and meaning when you contextualise it with the music.
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Cottrell's aim is for students to personalise and contextualise strategies, rather than taking advice wholesale.
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While the discovery solves the question of the lander's disposition, it also allows project scientists to properly contextualise the data it returned from the comet's surface.
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The Library also has an ambitious volunteer programme both in Glasgow and remotely to digitise, contextualise and curate the content of the recordings. There are also ongoing engagement projects with schools and higher education institutions.
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" (Tamás Tarján, literary historian, theater critic). He renews novel with the reg genre. His related works titled REN uniquely contextualise narratives, philosophical mosaics, speeches, dreams, lyrical and dramatic inserts, and more. "It was good to read REN.
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Retrospective reviews have regarded the game generally positively, and sought to contextualise Policenauts within Kojima's body of work, as heavily stylised and influenced by films.Parkin, Simon (September 17, 2009). "Policenauts". Eurogamer. Archived from the original on December 24, 2018. Retrieved September 8, 2020.
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Remakes contextualise a film so that they are in accordance with the target audience and its culture. These translations focus on values and ideology, so the linguistic aspect of the product is less of a priority. This mode of multimedia translation is mostly used for European films remade for American audiences.
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Haribhadra (8th century CE) was one of the leading proponents of anekāntavāda. He was the first classical author to write a doxography, a compendium of a variety of intellectual views. This attempted to contextualise Jain thoughts within the broad framework. It interacted with the many possible intellectual orientations available to Indian thinkers around the 8th century.
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In 2016 Nahum was invited to design a workshop and hypnosis based performance for the Insomnia exhibition at the Bonniers Konsthall in Stockholm. In 2017 he was commissioned by the Live Art Development Agency and Performance Magazine to perform Voyage: 1979. In this performance, Nahum responded to and re-contextualise the magazine for the 21st century through video and a hypnosis performance.
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The Institute collaborates with contemporary artists to contextualise that work. In the same year he was curator for netart on the 4th Werkleitz Binnale. Beginning in 2011 Heidersberger gave lectures at the Department of Media Studies and Musicology in Humboldt-University. In 2012, he curated and produced the concert of the Japanese composer Shinji Kanki, for the Alvar Aalto Festival in Wolfsburg.
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Rasmussen felt that Cochrane utilised a narrow account of the political, meaning that a range of feminist, post-colonial and post-humanist perspectives were ignored in the book. The second theme Garner identified was the divide between ideal and nonideal theory, which he understands as a way political theory may be used to contextualise animal ethics and further the debate.Garner 2012, p. 100.
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Topics may be newly emerging areas of research or dynamic aspects of more established fields. Organisers of each Interface Focus issue are strongly encouraged to contextualise the journal within their chosen subject. According to the Journal Citation Reports, the journal has a 2018 impact factor of 3.092. A special issue on bio-inspiration which commemorated 350 year of publishing at the Royal Society was published in 2015.
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Soundscapes and musical accents clarify visual content or re-contextualise it. Content can also be conveyed purely sonically without accompanying visual media. Especially in connection with large-scale video projection, sound is used to direct the viewer's attention. In all these application areas, sound scenography relates the different sonic components of an exhibition to one another in order to create a coherent overall soundscape.
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For Windschuttle, Breen and others can say things that sicken no one, because they contextualise it within a model of British invasion and Aboriginal resistance, whereas he is taken to task for being "pitiless" for making what he argues is the same point, "within a historical model of aboriginal accommodation to a comparatively nonviolent British settlement".Keith Windschuttle, "No Slander in Exposing Cultural Brutality", The Australian, 29 December 2003.
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He strove to contextualise this centre amongst other large oases in Oman by means of archaeological survey. In order to reach this goal, he studied the different contexts of key sites in Central Oman first hand as a pottery specialist. The poor preservation of such continuously occupied sites scared off most archaeologists. In his survey J. Schreiber tallied in and immediately around the old twin towns 1045 sites (2007: 124) ranging from the Hafit to Islamic periods.
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Art Monthly Australasia is a visual arts magazine published since 1987. The full-time editors have included Peter Townsend, Peter Timms, Philippa Kelly, Deborah Clark, Maurice O’Riordan and currently, since 2014, Michael Fitzgerald. The magazine is produced and supported by the Australian National University School of Art in Canberra since 1992 and is a non-profit charitable organisation. Articles in the magazine contextualise and extend critical discourse about art of the Asia-Pacific region as well as in Australia.
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In any case, social equity requires assurance to women's equal opportunity. Therefore, women's equality needs to be integrated as a cornerstone of any development and communication strategy. In addressing these limitations, Wong (2012) outlines four digital empowerment proposals that may make 'ICT climate change' interventions more gender-sensitive: (1) Contextualise gender mainstreaming: gender mainstreaming helps integrate gender analysis into ICT policies. It acknowledges that men and women perceive and receive information differently, and that this requires diverse approaches to adaptation.
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This is a small tower, immediately to the north of the Castle Street range and close to the street, of Modernist design. Its concrete framework is visibly expressed and it has red brick infills to contextualise it. A further extension was made with another free standing building to the north again, to house the library which was completed on 1 August 1976. It was called the Northcroft Library, after another generous donor and was designed by John Harrison (b. 1935).
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To cater for the needs of undergraduate UNSW students coming from educational rather than linguistic backgrounds, Suzanne Eggins converted her lecture notes into a textbook introducing systemic functional linguistics. The first edition closely followed Michael Halliday’s 'Introduction to Functional Grammar' (IFG) and was intended to contextualise it within social functional linguistic theory. Furthermore, it aimed to provide analysed examples of ‘real texts’, rather than the short clause-length examples that students encountered in Halliday's IFG. The book concentrated on clause-level grammar and grammar’s interface with social life through chapters on genre, register and cohesion.
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After the final report was published, the study became widely cited as evidence that sexual harassment contributes to women leaving science careers. Professional scientific societies publicly responded that, beyond making principal researchers responsible for reporting sexual harassment, institutional responses were additionally required. The SAFE13 study inspired women scientists in other fields to conduct similar surveys into sexual harassment. It also paved the way for larger institutional surveys on harassment by professional societies. The SAFE13 study is referenced in high- profile cases, to contextualise the institutional dynamics that enable harassment to continue over many years.
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But when it did at last extend the complex it placed a standard Education Department teaching block at right angles to the Home Science School, forming the southern flank of Anscombe's next intended quadrangle, but now in Modernist design. It had fascias of rusticated concrete blocks, made of bluestone aggregate mixed with coloured cement, to contextualise it. The first two floors were completed in 1961.Morrell, 1969 p.238 gives the completion date as does School of Home Science History 1911-1961 which also records that the Education Department granted a total of L63,620 for its construction, pp.18 & 19.
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On the east and west walls there were large figures of the king seated on his throne in front of tables of offerings, filled by a series of servants advancing from the north wall. Framing the doorway on the north wall were images of the arrival of people with offerings, especially scenes of butchers. The south wall was dominated by a false door, with a procession of gods. This decoration is similar to that of the north chapels of other pyramid complexes, known only from small traces; the complete decoration of Pepi II's north chapel allows Egyptologists to contextualise those traces.
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História do Futuro stresses the concept of ‘neutralisation' i.e. the Brazilian government's attempts to disempower indigenous and impoverished communities via oppression and/or assimilation. As the film's title suggests, the film makes use of colonial motifs to contextualise this process, as well as juxtaposing the promised benefits of the two mega events extolled by the Brazilian authorities (most often in the form of posters), with the reality of poverty, violence and assimilation revealed by the citizens themselves. The film also explores the role of Brazil's indigenous population in maintaining the natural environment, and the possible consequences for the Amazon if their culture were to die out.
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In an appeal to the SCA, Harms JA deemed it necessary to make several points about the role of expert evidence in matters concerning interpretation: # The integration (or parol evidence) rule was frequently being ignored by practitioners and seldom enforced by trial courts. # Interpretation is a matter of law, not of fact, and accordingly interpretation is a matter for the court, not for witnesses. # The rules about the admissibility of evidence on interpretation do not depend on the nature of the document, whether statute, contract or patent. # To the extent that outside evidence is admissible to contextualise the document in order to establish its "factual matrix" or purpose, or for the purposes of identification, it has to be used as conservatively as possible.
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Smith was named by the College Art Association as the 2010 winner of the Frank Jewett Mather Award for distinction in art criticism. The announcement reads: > Terry Smith is that rare art and social historian able to write criticism at > once alert to the forces that contextualise art and sensitive to the > elements and qualities that inhere to the works of art themselves. His most > recent book, What Is Contemporary Art? (Chicago: University of Chicago > Press, 2009), contains a series of interrelated essays that unpack a vast > range of topics and issues and take the reader on a theoretical tour through > some of the world's most influential art museums, laying bare their > conflicted missions and studying the heightening distinction, and dispute, > between modern and contemporary art.
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Steiner's struggle to define his Jewish identity, especially as that was inflected by the shock of the Holocaust, and his relation to the Zionist project, were given extensive expression in a letter he wrote to Mahatma Gandhi in 1946. The occasion was provided by the publication, in the London Jewish Chronicle, of an abridgement of Gandhi's final remarks on the question of Jewish relations with the Arabs of Palestine, which had been printed in his English-language journal Harijan on 21 July 1946. What complicated Steiner's reply was the fact that, in the meantime, the Irgun had blown up the King David Hotel in Jerusalem, and in carrying Gandhi's remarks on 26 July, the Jewish Chronicle took note of the incident to contextualise Gandhi's position on non-violence. Gandhi had taken Jews to be a European people.
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The play starts out in its bilingual form with an introduction given by Trevor Jamieson in which he establishes his troubled brother Jangala as the touchstone of his narrative. The following show sets out to contextualise his story within the larger family story which in turn is framed by the political history of their home-country, the Spinifex nation of the South Australian desert which encompasses the British nuclear testing site of Maralinga. Before jumping into the narrative which spans 60 years of dislocation and emotional trauma, the cast (an Indigenous choir, members of the Jamieson family and a group of non-Indigenous, Australian actors from mixed ethnic backgrounds) teaches the children's song ‘Head, Shoulder, Knees and Toes’ in Pitjantjatjara to the audience. The song resurfaces throughout the performance in different languages and contexts to signal and remind of a common humanity all people on earth share.
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A data steward ensures that each assigned data element: # Has clear and unambiguous data element definition # Does not conflict with other data elements in the metadata registry (removes duplicates, overlap etc.) # Has clear enumerated value definitions if it is of type Code # Is still being used (remove unused data elements) # Is being used consistently in various computer systems # Is being used, fit for purpose = Data Fitness # Has adequate documentation on appropriate usage and notes # Documents the origin and sources of authority on each metadata element # Is protected against unauthorised access or change Responsibilities of data stewards vary between different organisations and institutions. For example, at Delft University of Technology, data stewards are perceived as the first contact point for any questions related to research data. They also have subject-specific background allowing them to easily connect with researchers and to contextualise data management problems to take into account disciplinary practices.
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In 2012, Holder teamed up with guitarist Shane Hill to record his final album Interpretations featuring Peter King on alto, Dick Pearce on Flugel, Val Manix bass and Noel Joyce kit - well received by the jazz media it brought Holder back into the limelight. Later in 2012 he was interviewed by Clemency Burton Hill and appeared as a result of this interview in a BBC Two Culture Show documentary called Swinging into the Blitz, a program exploring the history of black music in the UK beginning in the 1930s. Burton Hill cited Holder as a connection to the early swing musicians such as Ken Snakehips Johnson and Leslie" Jiver" Hutchinson. The documentary was commissioned by the BBC to contextualise the black music scene explored in the Stephen Poliakoff television drama Dancing on the Edge that portrayed a fictional successful black band leader called Louis Lester.
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Since the beginning of the 2000s Žilnik’s body of work has been showcased in numerous tributes and retrospectives: Diagonale Film Festival in Graz, Austria in 2003, Huesca Film Festival in Spain in 2003, Arsenal in Berlin, Germany in 2010, Thessaloniki Film Festival in Greece in 2012 and CINUSP in Sao Paolo in Brasil in 2014. More recently, the major international presentation that brought Žilnik back to prominence and introduced him to a new generation of cinephiles was at Doclisboa in Portugal in 2015. This near-complete career retrospective was the most rigorous attempt to present the entirety of Žilnik’s body of work and to contextualise him in the landscape of European documentary directors and the history of nonfiction cinema. In 2017 Žilnik traveled to the United States for major presentations of his work at Anthology Film Archives in New York and at Harvard Film Archive, which were his first significant solo shows in North America.
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Noting that some people considered the decision to save the statues "a disaster", Watkins described the park as a place to contemplate "man's unbelievable folly and inhumanity ... and sadly, the endless repetition of history". Narkevičius's next film, Once in the XX Century (2004) played with the Lithuanian television footage, that was broadcast across the world, of the statue of Lenin being torn down in Vilnius's Lukiškės Square in 1991. Recutting it in reverse, Narkevičius showed a jubilant crowd cheering the monument as it was hoisted from the back of a vehicle onto a plinth, being reunited with its legs. In Once in the XX Century he continued to explore and contextualise the problematics of public monument and monumentality – a central theme in Narkevičius's artistic practice. The Head (2007) consisted entirely of photographs and archival footage made for East German television. The film documents the creation of the world's second-largest head sculpture – a seven- metre-high profile of Karl Marx by Soviet socialist-realist Lev Kerbel (1917–2003) – from its conception in 1968 to its unveiling in Karl-Marx Stadt (now Chemnitz) in 1971.
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