Fast - forward to the year 2013 and let's allow the Heidelberg Catechism to open up and
frame our conversation for today:
It's
frames the conversation for the reader.
Framing your conversation for the reader that we know has a particular mindset is key to getting them to call you for an interview.
Not exact matches
As the always - incisive Bryan Roberts,
framed it
for me in a
conversation around this time last year, hospitals «are essentially big capital assets trying to stuff people through them.»
They are taught in
conversation with other texts, other
framings, some merely different, some once or presently contending with them
for canonical relevance.
But we women do have to have the
conversation (actually ongoing
conversations), agree to compromise on an acceptable level of cleanliness and an acceptable time
frame for having things done, kids fed, bathed and etc., and then we just need to... let it go.
City Hall sources point to the mayor's plaudits of individual heroic cops, his
framing of the
conversation around wearing body cameras as a positive
for officers, and his work to put more cops on the streets to civilianization.
Once the profile photo is
frame - worthy, and you've hit on your best bits, all that's left is a couple of teases
for conversation.
Framed by a boisterous dinner scene between playwright friends, alarm bells ring early in Melinda and Melinda when
conversation turns to whether a random scenario, the arrival of an unexpected stranger at a dinner party, would work best as the premise
for tragic drama or comedy.
Instead, right down to the nearly synonymous title we get a lurid, silly «Prisoners» me - too (and that film itself was far from flawless) in which the only additions are a flashback - and - forward structure that never works, the kind of contrivance in which a laptop camera accidentally left transmitting records a crucial
conversation (perfectly
framed) and a crude, distastefully regressive subtheme which suggests that well, of course that this is what happens to girls and to women (even successful, intelligent, independent women) when they are left alone even
for a moment by their menfolk.
Instead, right down to the nearly synonymous title we get a lurid, silly «Prisoners» me - too (and that film itself was far from flawless) in which the only additions are a flashback - and - forward structure that never works, the kind of contrivance in which a laptop camera accidentally left transmitting records a crucial
conversation (perfectly
framed) and a crude, distastefully regressive sub-theme which suggests that, well, of course this is what happens to girls and to women (even successful, intelligent, independent women) when they are left alone even
for a moment by their menfolk.
Not
for nothing, it makes textbook - worthy use of negative space — heightening the effectiveness of its intimate
conversations, characters are often tucked away into the corner of the
frame in fully realized visuals.
the
frame just sits there, stationary,
for what feels like minutes, as we watch a couple having a
conversation in a cleverly - placed mirror, or Casey pacing around outside, smoking, anxiously rattling off rapid - fire architecture jibber - jabber to herself.
The default setting
for a film about political scandal is to have characters conduct an endless stream of
conversation and
frame them in tight shots that make their environments irrelevant.
Sometimes the broadcasting teacher will come into the social studies classroom to help students think about
framing conversations and questions
for a radio audience.
«The tool
for observing and analyzing instruction will be very useful to
framing the
conversation and (our) pedagogy.»
The SOAR
frames give us a common language
for engaging in meaningful
conversation around instruction, and the rubrics are a useful tool that will help teachers plan instruction as well as reflect on their practice.
Watch how second grade teacher Monique LaCour uses sentence
frames to scaffold the language required
for students to have evidence - based
conversations.
EUROPEAN and AMERICAN paintings
framed by Gill & Lagodich include (in alphabetical order): Milton Avery,
Conversation in Studio, 1943; Jules Adolphe Breton, The Song of the Lark, 1884; Elbridge Ayer Burbank, six Native American portraits, Kah - Kap - Tee / Moqui, Wick - Ah - Te - Wah / Moqui, Ko - Pe - Ley / Moqui, Pah - Puh / Moqui, Shu - Pe - La / Moqui, Ho - Mo - Vi / Moqui, 1898; Gustave Caillebotte, Paris Street; Rainy Day, 1877; William Merritt Chase, North River Shad, c. 1910; Thomas Cole, New England Scenery, 1839; Jasper Cropsey, Blasted Tree, c. 1850; Gustave Courbet, Reverie (Portrait of Gabrielle Borreau), 1862; Thomas Doughty, Coming Squall (Nahant Beach with a Summer Shower), 1835; Thomas Eakins, Study
for «William Rush Carving His Allegorical Statue of the Schuylkill River», c. 1876 - 77; DeScott Evans, The Irish Question, 1880s, Marsden Hartley, The Last of New England — The Beginning of New Mexico, 1918/19; George Hitchcock, Flower Girl in Holland, c. 1887; Winslow Homer, Peach Blossoms, c. 1878; Edward Hopper, Nighthawks, 1942; George Inness, Crossing The Ford, 1848; George Inness, Summer in the Catskills, 1867, George Inness, The Mill Pond, 1889, George Inness, Early Morning, Tarpon Springs, 1892; George Inness, The Home of the Heron, 1893; George Inness, After A Summer Shower, 1894, Joshua Johnson, Mrs. Andrew Bedford Bankson and Son, Gunning Bedford Bankson, 1803/05; Otis Kaye, Heart of the Matter, 1963; Fernand Leger, Reclining Woman, 1922; Fernand Leger, Still Life, 1926; Edouard Manet, Still - Life with Carp, 1864; Edouard Manet, Bullfight, 1865/66; Julius Gari Melchers, Mother and Child, c. 1906; Jean - Francois Millet, In the Auvergne, 1866/69; Jean - Francois Millet, Bringing Home the Calf; Jean - Francois Millet, The Shepherdess; William Sidney Mount, Bar - Room Scene, 1835; Camille Pissarro, The Place du Havre, Paris, 1893; Severin Roesen, An Abundance of Fruit, 1860; Albert Pinkham Ryder, The Essex Canal, 1896; John Singer Sargent, Venetian Glass Workers, 1880/82; John Singer Sargent, Thistles, 1883/89; John Singer Sargent, The Fountain, Villa Torlonia, Frascati, Italy, 1907; Elihu Vedder, The Fates Gathering in the Stars, 1887; Charles Wilbert White, This, My Brother, 1942; Hale Woodruff, Twilight, 1926; and more...
Recently he wrote «We Are More Than This,» an essay
for the Tate Modern on the occasion of the museum's exhibition, «Soul of a Nation: Art in the Age of Black Power» and is in
conversation with filmmaker and artist Arthur Jafa in the Dallas Museum of Art's «Truth: 24
frames per second» exhibition catalogue.His writing has appeared in the New Yorker and The New York Times.
Join artists and MADA staff, Tamsin Green and Leslie Eastman,
for an informal
conversation around their own use of film and video, together with ideas of memory, perception and the
framing of museum collections, in response to the current MUMA exhibition Life inside an Image.
March 25: 6 and 8:30 pm Screenings March 26: 3 pm Screening followed by a
conversation with Mary Helena Clark; Sky Hopinka; Cauleen Smith; Mia Locks, co-curator of the 2017 Whitney Biennial; and Aily Nash, co-curator of the 2017 Whitney Biennial film program Mary Helena Clark (b. 1983), The Dragon is the
Frame, 2014 Delphi Falls, 2016 Sky Hopinka (b. 1984), I'll Remember You As You Were, Not As What You'll Become, 2016 Jáaji Approx., 2015 Anti-Objects, or Space Without Path or Boundary, 2017 Cauleen Smith (b. 1967), H - E-L-L-O, 2015 Sine At The Canyon Sine At The Sea By Kelly Gabron, 2016 Tickets are required ($ 12 adults, students, and seniors; free
for members).
«Per - capita emissions» is the predominant public
frame for the climate
conversation in India.
Author Andres Edwards
frames the
conversation about consciousness and sustainability by: Explaining how self - development is a key driver
for planetary change.
A 2012 research report from Yale University's Project on Climate Change Communication found that placing the
conversation within a public - health
frame was more likely «to elicit emotional reactions consistent with support
for climate change mitigation and adaptation» than a traditional environmental
frame, or even one focused on national security.
These questions came up again and again in my
conversations with staff, and may be a useful
frame for other managers and employees as they work together to develop a career strategy.
Because of those needs, valuable
conversations occurred — but was Big Data the best
frame of reference
for those discussions?
A well defined legal services platform should help protect against the risk of purchasing power erosion by defining clear processes around requests
for increases in fees, and by carefully
framing the manner in which the
conversation will occur.
And here's something interesting: While your photo or video only remains visible
for 24 hours, your
conversation about it doesn't necessarily expire in that time
frame, as long as the thread remains active.
The extended time
frame allows users to have whole
conversations that can then be deleted
for privacy reasons, or if they wanted to hide typos.
This will give your connection a
frame of reference
for the
conversation.
We focus on telling a story
for your reader that properly «
frames the
conversation» to shape how hiring managers and recruiters and digests your information.
Framing a
conversation before you rush into detail will set the stage
for high - quality information to flow.
Below, we provide application materials
for front - line communicators in the form of a toolkit deploying recommended
framing strategies to shift the public
conversation about children, child development, child mental health and youth well - being in Tennessee.
For example, if you know that a client has downloaded a home staging white paper on your website, you can
frame the
conversation around that topic.
I call the bank just about every other day
for a status report, and I make sure to always end the
conversation with the next steps and a time
frame.
For both options we plan on moving that mirror up (maybe painting the
frame), reframing some of the photos in wood, white, and gold
frames then rearranging them, moving the two side chairs into the room so they feel part of the
conversation and adding more personal accessories.