HOBOKEN – The City of Hoboken Green Team will host the 7th Annual Green Fair on Saturday, June 16.The 7th Annual Green Fair will be held from 11 a.m. to 3 p.m. at Church Square Park, entering from the corner of Fourth Street and Garden Street, and will feature live music and organic food vendors. It is intended to introduce sustainable lifestyle choices to the community, raise awareness regarding environmental issues, and demonstrate how consumers can reduce their impact on the earth by selecting sustainable, eco-friendly products and services.Green businesses or non-profits whose mission aligns with environmental sustainability are invited to participate in the Green Fair.The Green Team also welcomes the local arts community. Interested vendors can submit the online registration form at www.hobokennj.gov/greenfair and contact Jennifer Gonzalez at [email protected] with any questions. The final day for registration is Monday, June 11. ×
2nd & Bay Avenue where piping crews are installing a 24-inch pipeline. Updated 1:30 p.m. Nov. 30, 2018North End Neighborhood Drainage ProjectWORK TO BE COMPLETED IN THE WEEK OF DEC. 3 TO 7Feriozzi Concrete will be finishing work on Moore Avenue between 7th Street and 8th Street. They will then begin work on Pleasure Avenue starting at 8th Street and working toward 6th Street.Pipe crews will be finishing work between 2nd Street and 3rd Street on Bay Avenue installing 24-inch pipeline. They will then begin work between 5th Street and 6th Street on Bay Avenue, installing 24-inch pipeline.South State will begin paving by the end of next week. They will be topping 3rd Street, then milling and paving 7th street from West to Bay, as well as Moore and Haven between 7th and 8th.7th & Moore Ave is on track for paving.Project DesignSee Design Presentation for Detail
In the 18 November issue of British Baker there is an error in our feature on Greggs’ chief executive Ken McMeikan. The last line of the story should read, “greater emphasis on the bakery feel rather than the food-to-go or the coffee shop.”British Baker apologises for this mistake.
This weekend, rock fusionites TAUK are teaming up with future funk’s finest Naughty Professor for a one-stop shop at the Howlin’ Wolf in New Orleans. While both bands are completely instrumental, they offer extremely different attitudes that complement each other in a profoundly tasteful way. The night will begin with the jazz-influenced party culture of Naughty Professor, in their core, weaving together complex compositions and loose individual improvisation in their hometown. Then, revealing both their refined musicality and unbridled creativity, the Oyster Bay, New York-bred rock-fusion four-piece will push into new sonic terrain in their own richly textured soundscape.To get acquainted with the vibes you are about to receive, get pumped with these videos:Newly shared video of TAUK performing “Times Up” Live From The Lab:Naughty Professor performs “Brain Storm” from their recent “Out on a Limb” at One Eyed Jacks:On November 12, it’s going down at the Howlin’ Wolf. Tickets are currently on-sale here. Don’t miss out on the funk & jams.
A century ago this July, construction began on a new building for Harvard’s Germanic Museum. It was to be housed in Adolphus Busch Hall, named after the main donor, a St. Louis beer baron.In one way, the museum’s venue on Kirkland Street arrived at a good time. Since 1903, its collection of monumental plaster casts — then America’s most impressive representations of medieval sculpture from northern and central Europe — had languished in cramped Rogers Hall, a former gymnasium.In another way, it came at a very bad time. Less than a month after construction started, so did World War I, sending a tsunami of anti-German sentiment across America. Busch Hall was finished in 1917, and the casts were moved in. But the Germanic Museum’s new venue did not officially open until 1921, purportedly delayed by a lack of coal. (“The odium that attaches to it will, of course, wear off in time,” the Crimson wrote of the new museum.) For the next decade, it remained a sleepy destination compared with the ascendant Fogg Museum, which in 1927 moved to grand new space on Quincy Street.The Germanic — closed again during World War II and renamed the Busch-Reisinger in 1950 — was the subject of a recent daylong discussion of the museum’s identity by way of its history. This “study day,” the third in three years, was intended to mine the past now that the future is so close. By the end of this year, all three of Harvard’s art museums (the Fogg, the Busch-Reisinger, and the Arthur M. Sackler) will share space at 32 Quincy St., dramatically renovated under the direction of the celebrated Italian architect Renzo Piano.“We are at a tremendous moment” as the museums get ready to occupy a common space for the first time, said study-day speaker Joseph Koerner, the author of several books on German art and the Victor S. Thomas Professor of the History of Art and Architecture. He foresaw the sky-lit museum, more accessible than ever, as “a thoroughfare, a piazza, an agora. … It will be possible to see the history of art as not a series of enclaves but as a river.”“This study day comes at an appropriate moment,” said Thomas W. Lentz, A.M. ’81, Ph.D. ’85, the Elizabeth and John Moors Cabot Director of the Harvard Art Museums. He introduced the official program, which will include seven lectures followed by discussions, on Feb. 28.“We actively embrace our three separate identities,” Lentz said. “Like a kind of multi-armed Hindu goddess, these three museums … actually give us special abilities and capacities.”The refurbished museums will invite creative dialogue and provide greater access to Harvard collections, he said, as well as encourage continual examination of important issues, including the “evolving nature of the museum identity, the renegotiation with the past, [and] the fundamental nature of the art museum, whether it’s civic, academic, or private.”Discussions also will center on “possible futures for the Busch-Reisinger,” said Lentz, “an institution with an unusually complex history.”That complexity was evident to the study-day audience in Busch Hall. All around was monumental statuary. Behind each speaker loomed the hall’s dramatic replica of the 13th-century Golden Portal from the Church of Our Lady in Freiberg, Germany. The reproduction of the gorgeous medieval art carried a hint of the fateful grandiosity that underlay some 20th-century misinterpretations of the Germanic spirit. Jeffrey F. Hamburger, a study-day lecturer, called such invocations of the medieval past “ideological fantasies.”Hamburger is Harvard’s Kuno Francke Professor of German Art and Culture. His title honors the man credited with conceiving, founding, and directing the Germanic Museum in its earliest years, as a means of introducing America to German culture. After all, said the famed philosopher William James at the 1903 dedication, Harvard, “like most American universities, is Teutomaniac,” owing its ideals of scholarship to German rather than “French or English models.”As for any “ideological fantasies” such as those promoted by Nazi Germany, to the close observer the hall itself offers a sly counterpoint. In the foyer are frescos painted by Lewis W. Rubenstein between 1935 and 1937. They depict scenes from old legends, including the “Song of the Nibelungs” from medieval Germania. The intent was to parody Nazi Germany, as the artist admitted decades later (and as was seen, but ignored, by Harvard in the 1930s). In one panel, a horn-helmeted dwarf, a stand-in for Hitler, lashes a whip at cowering slaves.The Rubenstein murals were among the first modern artworks acquired by the Germanic Museum, a swing away from a focus on the medieval, said study-day organizer Lynette Roth, the Daimler-Benz Associate Curator of the Busch-Reisinger Museum. Today, she added, the virtual public face of the museum is Max Beckmann’s “Self Portrait in Tuxedo” (1927), which in 1937 was removed from Germany’s Berlin National Gallery by the Nazis as “degenerate art” and sold abroad. (It was purchased by Harvard in 1941, the Germanic’s last acquisition before the World War II.)Behind much of this pivot toward modern art was then-Germanic Museum curator Charles L. Kuhn, according to his daughter, Sally J. Kuhn, Radcliffe ’59. (The elder Kuhn was at the helm from 1930 to 1968; during World War II was part of the “Monuments Men” unit that rescued art stolen by the Nazis; and after the war initiated the museum’s name change.) During the 1930s, he enlisted Rubenstein to do the murals and negotiated the purchase of Beckmann’s iconic self-portrait, along with other works deaccessioned by the Nazis. “Curators can make things happen,” wrote Sally Kuhn in an email, “and students should know this.”By the 1930s, the museum had become “a place of exile from Germany,” said Koerner, “a cosmopolitan Germany [instead of] a Germany of nativism, blood, and soil.”Roth said that Beckmann’s austere painting illustrates the museum’s tortuous history, as well as its struggles with identity over time. She pointed out an earlier work that represented the more imperial sense the museum once had: a 1908 portrait of a sneering, militant Kaiser Wilhelm II by Arthur Kampf, who later became a Nazi functionary. This donation from Hugo Reisinger was the first painting acquired by the Germanic. The museum still retained its teaching role, but the new portrait also explicitly invited Americans to understand German art and its imperial underpinnings.Another study-day speaker was Megan McCarthy, an art history graduate student at Columbia University who is writing a dissertation titled “The Empire on Display: Exhibitions of Germanic Art and Design in America, 1890-1914.” The Germanic is one of her case studies, she said, and its changing identity shows that art museums are “barometers of larger cultural shifts.”Museums are also “a means of cultural diplomacy,” said McCarthy. Study-day speaker Heidi Gearhart, the Stefan Engelhorn Curatorial Fellow at the Busch-Reisinger and an assistant professor of art history at Assumption College, agreed, calling the pre-war Germanic an example of how museums provide “space of discourse” on a world stage. “From its earliest days,” she said, “Busch-Reisinger was a site for international exchange.”Franke used the museum’s plaster casts as “a visual medium to supplement his classes,” according to a scholar in a 2005 study. But out of the eight German art historians who took part in academic exchanges with Harvard before World War I, said McCarthy, only one of them used the casts for teaching.Still, Busch Hall and its remnant of the old Germanic Museum has pedagogic utility, said Hamburger. He and his classes regularly visit the hall’s plaster-cast portals, sculptures, and other artifacts. (This semester he is offering “Casts, Construction, and Commemoration: German Gothic in America and Abroad.”) “Teaching this collection opens a world of possibilities,” said Hamburger. “They have the power to make the dead come alive.”The plaster casts, although reproductions, awaken students to the now largely mysterious “basic tenets of Christianity” required to understand art from the European Middle Ages, said Hamburger. The casts are also “a very valuable record of what these original sculptures looked like,” he added. (Many of the real ones have been blurred by a century of air pollution.) The casts also show the modern era’s “newfound interest in materiality,” said Hamburger, and provide a 3-D counterpoint to computer learning. “A collection of reproductions,” he said, “can help students understand what it means to escape the flatness of the screen.”Hamburger is plainly enamored of cavernous and solemn Adolphus Busch Hall and its medieval resonance. Before his lecture there, he looked over the audience and said, “It’s always wonderful to see this space populated as it deserves to be.”The venerable hall is valued for its interpretive materials, agreed Roth, and will again have public hours in the fall, once the renovated main museum is open. The Busch-Reisinger program — “completely new,” she said — will rely on both old Adolphus Busch Hall and on new 32 Quincy St. One will house those plaster casts. The other will display Harvard’s impressive collection of expressionist, Bauhaus, and contemporary art, as well as a range of work dating back to medieval times. Combined, said Roth, the result will be “enlivening and enlightening.”
The Harvard Library announced a new policy on the use of digital reproductions of works in the public domain. When the Library makes reproductions and they are openly available online, it will treat the reproductions themselves as objects in the public domain. It will not try to restrict what users can do with them, nor will it grant or deny permission for any use. The policy supports the Library’s mission to advance scholarship and teaching through the creation, application, preservation, and dissemination of knowledge. Unfettered use and reuse of digitized content for research, teaching, learning, and creative activities supports that mission.Peter Suber, director of the Harvard Library Office for Scholarly Communication and of the Harvard Open Access Project said, “We were inspired by pioneering policies to this effect at Cornell University Library and Yale University. We were also fortunate to have the prime mover of the Cornell policy, Peter Hirtle, at Harvard. I’m proud that Harvard is removing obstacles to research and education, and taking this extra step to share the wealth of its extraordinary collections with the world.”Sarah E. Thomas, Vice President for the Harvard Library and the Roy E. Larsen Librarian of Harvard College, expressed strong support for the policy change. “We have already been using the digitization of Harvard’s collections as a means of enhancing access for Harvard’s students and faculty,” she said. “Now we are seeking to share Harvard’s unparalleled collections with the rest of the world in ways that will foster new creativity.”
continue reading » According to Forbes Magazine, global revenue derived from artificial intelligence (AI) for enterprise applications is projected to grow at more than 52 percent annually, from “$1.62B in 2018 to $31.2B in 2025.” The share of U.S. jobs requiring AI skills has grown “4.5X since 2013.” And 84 percent of enterprises “believe investing in AI will lead to greater competitive advantages.”While AI, machine learning and related technologies are poised to transform the future of fintech, what do these tools mean for credit unions, and how can they be applied to unleash growth opportunities?“AI presents an enormous opportunity for credit unions to transform the member experience on many levels,” said Fotis Konstantinidis, SVP of Fraud Products and Data Scientist for CO-OP. “By analyzing millions of data points about your members’ spending and transaction history, a sophisticated AI platform can help you uncover deep insights about your members and engage with them on a more personal level.”Take card portfolios, for example. Credit unions can leverage the power of AI in varying degrees of complexity to gather and analyze member data points ranging from membership accounts, activation rates and number of transactions by category (PIN, signature and credit) to average ticket, revenue and expense. Benchmarking this type of data can help credit unions develop more informed penetration, activation and usage (PAU) strategies – and execute more successful marketing campaigns as a result. ShareShareSharePrintMailGooglePinterestDiggRedditStumbleuponDeliciousBufferTumblr
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Papua has been the hotbed of separatism for years and armed groups, which authorities say operate in several regencies in the province, are reported to have been behind numerous violent incidents in the region.Earlier this month, the police said some 790 people fled their homes in mountainous areas around the Freeport mining site to take refuge at the Tembagapura Police headquarters in Timika over fears of an armed criminal group, which had reportedly terrorized the villagers.Security authorities previously reported that armed groups had been shooting at Indonesian Military (TNI) and police guard posts. The residents’ access to basic needs, such as food and health care, had reportedly been restricted by armed men who blocked roads.Authorities also claimed the locals were still traumatized from their previous encounter with the armed group in November 2017, when its members blocked access into and out of several villages.Topics : Human Rights Watch (HRW) has called for an independent investigation into the recent murder of a New Zealander Freeport employee by members of an armed group in Mimika regency, PapuaGraeme Thomas Wall, an employee of gold and copper mining company PT Freeport Indonesia, was shot dead by gunmen in Timika last week.Two of Wall’s colleagues, Jibril Wahar and Yosephine, were admitted to Tembagapura Hospital with serious injuries, while four other people sustained minor injuries and were treated in the office. HRW researcher Andreas Harsono said that while Indonesian police should investigate the attack and bring the perpetrators to account, he was worried about a potential violation of the rights of ordinary Papuans.“The New Zealand police should offer to send a team to help the Indonesian investigators. A criminal investigation in a place such as Timika, with numerous competing political and business interests, is best carried out by an independent investigative team removed from local issues,” Andreas said.As well as investigating this latest killing swiftly, Andreas said that the Indonesian government should also allow independent journalists, including from New Zealand’s media, to enter Papua without the region’s highly restrictive travel permit, so that they can freely investigate and report on this crime, he added.Although the Papua Police initially focused their investigation on an armed gang commanded by a person named Joni Botak, separatist group the West Papua National Liberation Army (TPNPB) has claimed responsibility for the shooting.