78 Sentences With "contextualised" | Random Sentence Generator

I ruminate much less, and my thoughts feel ordered, contextualised.

Experiments with contextualised admissions, which adjust for an applicant's educational background, have been limited.

Our main goal is to produce well-reported, contextualised, and in-depth journalism in the public interest.

As contextualised as Teens of Denial is, it allows us to leap over reality in its own peculiar way.

This cabinet of curiosities gives the impression of a collection of natural and artificial objects, or items of re-contextualised objet trouvé.

This is designed to create a "network of contextualised scientific data" (genes, proteins, diseases and compounds) and to look at the relationship between them.

The horrifying details of Mr Pistorius's actions on that night, contextualised in a familiar Shakespearean frame, helps members of the court, and the public, to make sense of the unnecessary bloodshed.

"Having such a complete, contextualised later Bronze Age home is a phenomenally rare discovery, especially in the United Kingdom," reads an update on the project's website, describing the find as an opportunity prehistorians long for.

Similarly, Jack Halberstam has contextualised stone butch identities as one of many distinct female masculinities.

After its opening, the museum has been criticised for being too dark, and the exhibits too reliant on text and not being properly contextualised.

Similar Gujarati kinds of cotton were traded as far east as Indonesia, and this is contextualised under the medieval trades of the wider Indian Ocean.

It is not what the Qur'an itself states."Believing Women in Islam" by Asma Barlas, University of Texas Press, Austin. 2002, 53-55. Rachel Woodlock points out that the wearing of hijab is contextualised by culture.

In the novel MacLeod uses "alien space bats", a science fiction MacGuffin, as characters in the novel as an in-joke. Further, the text of the novel is inter-larded with re-contextualised quotations from the works of other famous science fiction writers.

Both System 1 and System 2 processing can lead to normative answers and both can involve cognitive biases. # System 1 processing is contextualised while System 2 processing is abstract. Recent research has found that beliefs and context can influence System 2 processing as well as System 1.

This Museum has over 1,500 objects of terracotta art, sculptures and figurines from the tribal areas of India, displayed in the backdrop of the respective tribal arts.Tales in terracotta: Set up in 1990, the Sanskriti Museum has contextualised and documented terracotta from all parts of the country, Indian Express, 15 May 2005.

Moscou sans Voiles is highly critical of the Soviet regime, although Hergé contextualised this by noting that in Belgium, at the time a devout Catholic nation, "Anything Bolshevik was atheist". Hergé later dismissed the failings of this first story as "a transgression of my youth".Thompson, Harry (1991). Tintin: Hergé & His Creation (First ed.).

45 and his prophecy of events and terrors of the last days. The manuscript was probably influenced by the c 776 writings of the Spanish monk Beatus of Liébana, who contextualised the writings of Saint John into an early medieval context.Barnet, 39 Today it is in the collection of The Cloisters, in New York.

Agrarian Bengal: Economy, Social Structure and Politics, 1919–1947, published in 1986, contextualised rural economic life within the wider currents of the global economy, while a 1993 contribution to the New Cambridge History of India, Peasant Labour and Colonial Capital: Rural Bengal since 1770, analysed two and a half centuries of regional economic and social change.

Milan: Giuffrè.) which was published in 2018 with two other colleagues (Eugenio Calvi and Elena Leardini) is a new edition of the commentary on the Code of Ethics for Psychologists, in which each article of the Code of Ethics is analysed with ordinary decisions and case law, and contextualised with how they are applied to the professional practice of psychologists.

To be launched in June 2010, The NGA Training Series are a set of training programmes organized by the NGA to address certain skill and competency gaps identified in the Nigerian gas industry. The training programmes will be contextualised to fit and meet with the requirements of the Nigerian market, and will prosecuted by both professional experts with real industry experience.

Retrieved 21 March 2012. The contextualised grammatical knowledge acquired by non-native language users through exposure to authentic texts in corpora allows them to grasp the manner of sentence formation in the target language, enabling effective writing.Yoon, H., & Hirvela, A. (2004). ESL Student Attitudes toward Corpus Use in L2 Writing. Journal of Second Language Writing, 13(4), 257-283. Retrieved 21 March 2012.

Dalton taught studio practice and critical theory at Dartington College of Arts and Birmingham City University. Dalton spent many years as an academic researcher in socially contextualised practice in printmaking and art education, drawing on feminist and linguistic theory. In recent years she has eschewed 'theory'. The arts - she now believes - are being absorbed within the economies of entertainment, social welfare and consumerism.

The Najidah Prime Statement: > "No form of abuse is acceptable. Every individual has the right to live in a > safe community." Najidah Community Development practices work for the reduction of societal tolerance of abuse; and Najidah Service Delivery contributes to the development of safer communities. All Najidah responses adhere to the Najidah Philosophy, which is contextualised in the United Nations Bill of Human Rights.

Jenkins situates spreadability in a particular context. This concept is particularly contextualised in the social media era and the Web 2.0 culture. These two transformations can be considered prerequisites for the idea of spreadibility to exist and for spreadable media to adopt such mechanisms to achieve spreadability. This new culture began at the beginning of the second millennium when the internet became an interactive space.

The particular manner in which art is studied at MONREPOS is characterised by a contextualised approach that aims to understand the principles and rules behind patterns in design and production. The plaquettes are currently part of a detailed 3-D analysis.A. Güth: New scientific findings confirming "The Oldest Representation of Childbirth". A 3D-Re-Vision of an engraved slate plaquette from the Magdalenian site of Gönnersdorf (Neuwied/Rhineland).

"These ideas contributed some of the theoretical mise-en-scène for emergent Industrial groups such as Throbbing Gristle, SPK, and Cabaret Voltaire, all of whom experimented with cut-up sound and re-contextualised ambient recordings." Sargeant, Jack, "The Primer: William S. Burroughs," The Wire 300, February 2009, p. 38. Many of the first industrial musicians were interested in, though not necessarily sympathetic with, fascism.RE/Search #6/7, p.

Postdigital, in artistic practice, is an attitude that is more concerned with being human, than with being digital. Postdigital is concerned with our rapidly changed and changing relationships with digital technologies and art forms. If one examines the textual paradigm of consensus, one is faced with a choice: either the "postdigital" society has intrinsic meaning, or it is contextualised into a paradigm of consensus that includes art as a totality.

The curriculum in Western Australia is developed by the School Curriculum and Standards Authority. The Authority is also responsible for maintaining school standards and managing national literacy and numeracy testing (NAPLAN). The Western Australian curriculum is broadly consistent with the Australian Curriculum, but is contextualised for Western Australia students and teachers. Secondary students in years 11 and 12 are enrolled in the Western Australian Certificate of Education program.

University of Chicago classicist Clifford Ando described Beard's scholarship as having two key aspects in its approach to sources. One is that she insists that ancient sources be understood as documentation of the attitudes, context and beliefs of their authors, not as reliable sources for the events they address. The other is that she argues that modern histories of Rome must be contextualised within the attitudes, world views and purposes of their authors.

Temporary structures were replaced in the 1970s by Ministry of Education blocks, contextualised by the use of brick to the Anscombe building. In the 1980s the main block was scheduled for demolition. After protest it was restored and extended by a sympathetic addition designed by Ted McCoy, and in 1987 was listed as a Category I Historic Place. The school has since acquired part of the old King Edward Technical School site.

Accessed 26 December 2013 The melody of Widor's Toccata is based upon an arrangement of rapid staccato arpeggios which form phrases, initially in F, moving in fifths through to C major, G major, etc. Each phrase consists of one bar. The melody is complemented by syncopated chords, forming an accented rhythm against the perpetual arpeggio motif. The phrases are contextualised by a descending bass line, often beginning with the 7th tone of each phrase key.

Kita's contextualised political ideology is defined as Shōwa statism, otherwise known as Japanese fascism or Shōwa nationalism. It is a sector of fascism/socialism that was often ultra-nationalist and militaristic in nature. It is categorised as a political syncretism, a political alignment that combines sectors from both left and right-wing politics and thus defies a singular identification. Kita was considered one of the great Japanese thinkers and intellectuals in this movement.

Powell (2007) focused on a particular medium, public internet access, in an urban context. Shepherd, Arnold, Bellamy and Gibbs (2007) extended the concept to attend to the material and spatial aspects of the communicative ecology of the domestic sphere. The term "communicative ecology" has also been used in other studies with various interpretations. Interactional sociolinguists use the term to describe the local communicative environment of a particular setting in which discourse is contextualised.

German wikipedia states that Schlitter "aryanised" Offenstetten, which is not necessarily implausible, but the term is a vague one that needs to be contextualised, and to date (March 2016) no other source for the assertion has been checked out. The family moved to Offenstetten where Daisy and their two children lived during the World War II which resumed in September 1939, although Schlitter's work kept him away from home for most of this time.

As a modernist, George Woods is best known for his graphic, stylised images and is most readily contextualised alongside contemporaries Russell Clark (1905–1966) and E. Mervyn Taylor (1906–1964). His early work, particularly illustration of books, is associated with the New Zealand Nationalist art movement, with his work set firmly in a native environment. He recognised nature as the bottom line for artists, commenting: "I think artists should begin where Nature leaves off."[Woods, G. (9148) George Woods.

Those on the east, west and north sides were then systematically damaged by the Christians, who wanted to erase the ancient gods.However, the exact date of the destruction of the metopes is unknown and cannot therefore be contextualised. Ascribing the act to Byzantine iconoclasticism is problematic since the pediments and the gods on the east frieze were not also systematically defaced. Anthony Kaldellis: The Christian Parthenon, Classicism and Pilgrimage in Byzantine Athens, Cambridge, 2009, p.42.

She says it is "access over ownership". This is contextualised in a positive environment where individuals can profit from the resources others can provide and are not obligated to be self- dependent. For example, carsharing illustrates how the practice of sharing can be communal act of giving and taking that does not explicitly require ownership. Another example is how one may upload a picture onto social media such as Facebook and by doing so, Facebook archives this information.

Duca has played (1982–1991) in the experimental groups "Auch wenn es seltsam klingen mag / even though it may sound strange)","8 ODER 9 / 8 OR 9" and "Skin" (accordion, guitar, vocals, percussion). Starting in 1992, he has been working mainly on solo projects with electronic instruments (analog and digital synthesizers, computer). Duca is known for his work with audio samples (i.e. snippets of digitized audio material) that get altered, cut-up and "re-contextualised" (cut-up artist - Spin Magazine).

But, an utterance may be interpreted (contextualised) in various ways, and interdiscourse and interdiscursivity denote how certain such interpretations (and relations to other discourses) are socially more privileged than others. Since interdiscourse privileges certain interpretations, it has a close affinity to the concepts of ideology, hegemony and power (sociology). For Bakhtin/Voloshinov, signs are a reality that refracts another reality, that is, signs are ideological.Voloshinov 1973: 10 Therefore, the embedding of a discourse in an interdiscourse is an ideological interpretation of the discourse.

Prosodic features in SMS language aim to provide added semantic and syntactic information and context from which recipients can use to deduce a more contextually relevant and accurate interpretation. These may aim to convey the textual equivalent of verbal prosodic features such as facial expression and tone of voice Indeed, even though SMS language exists in the format of written text, it closely resembles normal speech in that it does not have a complicated structure and that its meaning is greatly contextualised.

"The Guns of Brixton" explores an individual's paranoid outlook on life, while on "Death or Glory", Strummer examines his life in retrospect and acknowledges the complications and responsibilities of adulthood.Gilbert 2005, p. 259. "Lover's Rock" advocates safe sex and planning. Some songs have more widely contextualised narratives, including references to the "evil presidentes" working for the "clampdown", the lingering effects of the Spanish Civil War ("Spanish Bombs"), and how constant consumerism had led to unavoidable political apathy ("Lost in the Supermarket").

David J. Kalupahana (1936–2014) was a Buddhist scholar from Sri Lanka. He was a student of the late K.N. Jayatilleke, who was a student of Wittgenstein. He wrote mainly about epistemology, theory of language, and compared later Buddhist philosophical texts against the earliest texts and tried to present interpretations that were both historically contextualised and also compatible with the earliest texts, and in doing so, he encouraged Theravadin Buddhists and scholars to reevaluate the legitimacy of later, Mahayana texts and consider them more sympathetically.

The Lienzo de Quauhquechollan was deciphered by the Dutch archaeologist Florine Asselbergs (Leiden University, The Netherlands) in 2002. She was the first to identify the cloth as depicting Jorge de Alvarado's campaign and to recognise the role of Quauhquechollan in the Spanish conquest. Her path-breaking work has been published in the book Conquered Conquistadors in 2004.Asselbergs 2004, 2008 This book offers a detailed and fully contextualised analysis of the Lienzo and is considered one of the best books on the Spanish conquest of Guatemala.

In Dogançay's approach, the serial nature of investigation and the elevation of characteristic elements to form ornamental patterns are essential. Within this, he formulates a consistent continuation of decollagist strategies – effectively the re- contextualised deconstruction of positions related to the nouveau réalistes. Dogançay may have started out as a simple observer and recorder of walls, but he fast made a transition to being able to express a range of ideas, feelings, and emotions in his work. His vision continued to broaden, driven both by content and technique.

On 24 February 2007 Viett published a piece in Junge Welt in which she contextualised and defended the terrorism of the RAF. The "political-military struggle" was at that time "the appropriate expression for [their] opposition to capitalism". Looking back, she lamented the way that in the appetite for liberation "the guerilla fight in West Germany and in all the imperialist countries excluded from the headlines the more experienced, intelligent, persistent and constructitive aspects" of the movement. The "armed actions" by the RAF represented one element as "class struggle from below".

The computer is vastly becoming a significant tool and agent of performative action and creation. Computer technologies can be contextualised as being of a social, cultural and artistic change. Computers do now permit for the artistic modes of expression and for the new generic forms of networking and interactive performance. Theatre itself has always been right at the cutting edge of technology and it has been quick on the mark to be able to recognise, and to take full advantage of the dramatic and aesthetic potentials that these new and existing technologies have to offer.

Count Albert von Mensdorff-Pouilly-Dietrichstein—previously Austrian ambassador to the UK, and George V's second cousin—believed that both Windsors favoured German fascism as a bulwark against communism in Europe. Windsor also, according to the Count, favoured an alliance with Nazi Germany around this time. Stanley Baldwin, prime minister during the abdication crisis Windsor himself later contextualised his position in the 1930s as being a reaction to what he termed "the unending scenes of horror" of the First World War. This, he said, led him to support appeasement with Hitler.

Yadav runs the project from Mumbai. There is no restriction on nationality and origin of the contributors, but only contributions related to the Indian subcontinent are accepted. The project employs photographs, contextualised narratives and letters found in personal archives, highlighting themes such as social transformation, new professions, partition, education, war, marriage, religion and culture, and the impact they had on families living during these times. With personal images serving as evidence, each post on the archive reveals information about people, families and ancestors, cultures, lifestyles, traditions, choices, circumstances and thereby consequences.

During the European leg, Bono replaced this segment with pleas for resolution to the Syrian refugee crisis, along with a snippet of "Zooropa" re-contextualised by the crisis seguing into "Where the Streets Have No Name". Performances of "Pride (In the Name of Love)" were preluded by an extended snippet of "The Hands That Built America". "With or Without You" was played late in the second act, with the group often shuffling its position in the setlist. During the encore in North America, U2 played "City of Blinding Lights", "Beautiful Day", and occasionally "Bad".

Early photograph of Grassmarket, one of the locations in Confessions, taken around 28 years after publication of the novel. The Private Memoirs and Confessions was published as if it were the presentation of a found document from the previous century offered to the public with a long introduction by its unnamed editor. The structure thus is of a single, self-contained publication offering a historically contextualised story, but the effect is unsettling. When taken together, the different elements create an impression of ambivalence and inconsistency, as if they were intended to present the reader with a conundrum.

Controversy about this particular work resurfaced in 1993 in connection with proposals to award Fussenegger the Weilheim Literature Prize and the Jean-Paul Prize awarded by "The Free State of Bavaria". Many of Fussenegger's other pieces, mostly during this period religiously contextualised novels, poems and reviews, found their way into important party newspapers and journals. Most (in)famously, her poem "Stimme der Ostmark" ("Voice of the Ostmark") was printed in 1938 by the Völkischer Beobachter. The poem attracted huge criticism after 1945, because it celebrated the "peaceful annexation of Austria into Nazi Germany" and it eulogised Hitler.

Within a meta-narrative systematic review of research in the field, there exist a number of different philosophical approaches to the EHR. The health information systems literature has seen the EHR as a container holding information about the patient, and a tool for aggregating clinical data for secondary uses (billing, audit etc.). However, other research traditions see the EHR as a contextualised artifact within a socio-technical system. For example, actor-network theory would see the EHR as an actant in a network, while research in computer supported cooperative work (CSCW) sees the EHR as a tool supporting particular work.

Commentators have subtly varied in describing and interpreting the face of Lawrence. Domenico Bernini contextualised the creation with the anecdote that Bernini placed his actual hand in a flame and fashioned Lawrence’s expression from his own facial reaction seen in a mirror; thus implying that the focus of the portrait of Lawrence would be the physical pain. Yet later commentators have described Lawrence's face not as one of pain, but of being "tired" or more commonly of being spiritual rapt. To Howard Hibbard, the sculpture makes a clear religious statement of spiritual salvation—inner strength overcomes external bodily pain.

It also includes an essay, entitled A Vindication of Robert Burns in connection with the above publication and the spurious editions which succeeded it.. This edition had a moral tone, and intended to challenge the collection's notoriety, and its identification as pornography. It also attempted to identify the authorship of some of the poems. A further edition of the poems was published in 1959, the title page reading: edited by James Barke and Sydney Goodsir Smith, with a Prefatory Note and some authentic Burns Texts contributed by John DeLancey Ferguson. Like the 1911 edition, this one contextualised the poems.

In his Economic Theory of the Leisure Class (1927),Economic Theory of the Leisure Class by Nikolai Bukharin 1927 at www.marxists.org Bukharin argued that Böhm von Bawerk's axiomatic assumptions of individual freedom in his subjectivist theories are fallacious in that economic phenomena can only be understood under the prism of a coherent, contextualised, and historical analysis of society, such as Marx's. By contrast, Austrian economists have regarded his critique of Marx as definitive. For example, Gottfried Haberler argued that Böhm von Bawerk's thorough critique of Marx's economics was so devastating that as of the 1960s, no Marxian scholar had conclusively refuted it.

WwB has been advancing local and regional security through contextualised iterations of the programme, and to date has engaged over two thousand mothers in twelve countries across Western and Eastern Europe; Central, South, and Southeast Asia; the Middle East; and Sub-Saharan Africa. MotherSchools also upgrade existing social services and local capacity by providing civil society stakeholders in at-risk regions with the essential structures, tools, and skills to address and counteract extremist ideologies. Owing to its proven track record, WwB's MotherSchools Model has emerged as a recognised good practice and contributed to rethinking and reshaping countering and preventing violent extremism (P/CVE) policy worldwide.

The plot sees evil alien Queen Angeleeka (Angelica) kidnap the mighty Reptar (Tommy's action figure), and the main characters' goal is to rescue Reptar so he can defeat the Queen. This plot is contextualised as the imagination of the babies, and the game itself is set in Tommy's family home. The game is a standard adventure title that plays like an interactive episode of the cartoon—even getting an in-game title of "Reptar vs. the Aliens", after the in-universe TV film the babies were watching at the beginning of the game—where the player collects items, interacts with characters, and solves puzzles to advance.

Legal history or the history of law is the study of how law has evolved and why it has changed. Legal history is closely connected to the development of civilisations and operates in the wider context of social history. Certain jurists and historians of legal process have seen legal history as the recording of the evolution of laws and the technical explanation of how these laws have evolved with the view of better understanding the origins of various legal concepts; some consider legal history a branch of intellectual history. Twentieth-century historians viewed legal history in a more contextualised manner - more in line with the thinking of social historians.

In 1920 the Fulton Building provided six additional classrooms, but this has since been replaced with the gymnasium complex and rehoused swimming pool designed by E.J. Ted McCoy as part of the later major restoration and redevelopment of the school's buildings. There is a teaching block, named after a former Rector, Mr. W.J. Morrell, which was erected in 1961 to a standard Ministry of Works design, though contextualised with blue stone fascias by the architect Ian R McAllum. A grandstand with similar fascias on its rearward elevation forms part of a quadrangle, with the Morrell building, behind the Lawson building. This was also designed by McAllum and built from 1962 to 1963.

After the war, he returned to the British Museum and wrote numerous books on art, in particular on William Blake, Persian art, and Japanese art. His work on ancient Japanese and Chinese cultures offered strongly-contextualised examples that inspired, among others, the poets Ezra Pound and W. B. Yeats. Binyon's work on Blake and his followers kept alive the then nearly-forgotten memory of the work of Samuel Palmer. Binyon's duality of interests continued the traditional interest of British visionary Romanticism in the rich strangeness of Mediterranean and Oriental cultures. Laurence Binyon In 1931, his two- volume Collected Poems appeared. In 1932, Binyon rose to be the Keeper of the Prints and Drawings Department, but in 1933, he retired from the British Museum.

The first book which disseminated the concept of "spreadability" for media studies and marketing was Spreadable Media (2013) by media academics and industry experts Henry Jenkins, Sam Ford, and Joshua Green. This spreadability concept emerged in the development of a 2008 white paper, "If It Doesn't Spread, It's Dead: Creating Value in a Spreadable Marketplace" authored by Jenkins, Xiaochang Li, and Ana Domb Krauskopf, with assistance from Green. The concept "refers to the potential – both technical and cultural – for audiences to share content for their own purposes, sometimes with the permission of rights holders, sometimes against their wishes". It is contextualised in the media landscape due to the strong connection with quick and easy sharing practices which have been enabled by media platforms.

Jeff Jensen of Entertainment Weekly took issue with Sherlock killing Magnussen at the end, instead of outsmarting him, viewing it as out of character: "He [Sherlock] had the smarts to brainstorm more inspired solutions to the problem of Magnusson [sic], and the seasoning to resist a degrading one". An article in the Daily Mail penned by Tom Kelly, claimed that the episode was symptomatic of the BBC's "left-wing bias", arguing the episode's villain, Charles Augustus Magnussen, was portrayed as a capitalist, foreign- born newspaper baron, with similarities to Rupert Murdoch. Media commentator Roy Greenslade contextualised the criticism by suggesting the BBC, rather than Sherlock, is the Daily Mails "real enemy". The episode angered fans as it had removed the woman who, in Doyle's story, had shot Milverton.

In 2011 Zamano announced investment in a new entity called Newsworthie. This entity was focused on providing a solution for companies to use their online content to increase their revenues and a solution for companies seeking to promote their products in a contextualised manner. However, investment in Newsworthie was ended in October 2011 with outgoing CEO John O'Shea announcing that "As our investment capacity is limited, we intend focusing it entirely on opportunities related to our mobile expertise, and have suspended further investment in Newsworthie." CEO John O'Shea departed the company in November 2011 and was replaced by interim CEO Pat Landy in a temporary role. In April 2015, Zamano, signed a deal with Three mobile to allow the company’s technology to be used as a conduit by e-commerce providers.

The Museu Benfica – Cosme Damião is the museum of Portuguese sports club S.L. Benfica. Named after Cosme Damião, one of the club's founders in 1904, the museum was inaugurated on 26 July 2013 under the presidency of Luís Filipe Vieira and opened to the public on 29 July, one year and three months after the start of construction. Located near Benfica's stadium, the building occupies 4,000 square metres and is composed of three floors, which are accompanied by a huge vertical parallelepiped made of glass exhibiting roughly 500 trophies won by the club. The museum is split into 29 thematic areas containing around 1,000 pieces from a collection of 30,000, including trophies, documents, images, audio and video related to the history of Benfica, contextualised into domestic and international historic events of the 20th century.

Mechanics' Institutes were part of a wider 19th century movement promoting popular education in Britain, at which time co-operative societies, working men's colleges and the university extension movement were established. The call for popular education in turn can be contextualised within the broader liberal, laissez-faire, non- interventionist philosophy which dominated British social, economic and political ideologies in the 19th century. In this environment, Mechanics' Institutes flourished as a means by which working men might improve their lot, either through self-education (the provision of reading rooms was an important facility provided by the Institutes), or by participating in instructional classes organised and funded by Institute members. In the Australian colonies, Mechanics' Institutes were more likely to be called Schools of Arts, and they were more likely to be run by the middle-classes.

We know there are people questioning our work, probably those who have difficulties seeing the truth. But no one can show anything wrong about our translations." In August 2013, the Islamic Da'wah Centre of South Australia questioned the "reliability, independence and veracity" of the Middle East Media Research Institute after it posted what the Islamic Da'wah Centre called a "sensational de- contextualised cut-and-paste video clip ... put together in a suggestive manner" of a sermon by the Sheikh Sharif Hussein on an American website. According to the two-minute video, which was a heavily condensed version of the Sheikh's 36-minute speech delivered in Adelaide on 22 March, Hussein called Australian and American soldiers "crusader pigs" and stated "O Allah, count the Buddhists and the Hindus one by one.

The Humanitarian Encyclopedia, launched in June 2017, aims to create "a clear and comprehensive reference framework, influenced by local and contextualised knowledge … [including] analyses of lessons learned and best practices, as well as … insights for evidence-based decision and policy-making." A part of this mission will be to provide a centralised data base for defining or clarifying different understandings of key concepts in humanitarian aid. The need for this stems from the experience in Haiti in the aftermath of the 2010 earthquake, where international aid organisations pushed out local aid groups as a result of a lack of reflection and understanding of local contexts and aid concepts, making the relief effort less efficient. Free to access, the project is expected to be completed within five years, with the first parts slated to be published online by the end of 2018.

The film is a meditation on catastrophe, contextualised through the literary modes of religion and science fiction. It begins with a quotation, attributed to Blaise Pascal: "The collapse of the stellar universe will occur – like creation – in grandiose splendor." This attribution is apocryphal, as the text was in fact written by Herzog for the film and chosen, like the music, to give the film a certain mood. The prologue of the quotation is followed by thirteen sections, denoted by numbered title cards: "A Capital City", "The War", "After the Battle", "Finds from Torture Chambers", "Satan's National Park", "Childhood", "And a Smoke Arose like a Smoke from a Furnace", "A Pilgrimage", "Dinosaurs on the Go", "Protuberances", "The Drying Up of the Source", "Life Without the Fire" and "I am so tired of sighing; Lord, let it be night".

While the Hergé Foundation has presented such criticism as naïveté and scholars of Hergé such as Harry Thompson have said that "Hergé did what he was told by the Abbé Wallez", Hergé himself felt that his background made it impossible to avoid prejudice, stating, "I was fed the prejudices of the bourgeois society that surrounded me." In Tintin in the Land of the Soviets, the Bolsheviks were presented as villains. Hergé drew on Moscow Unveiled, a work given to him by Wallez and authored by Joseph Douillet, the former Belgian consul in Russia, that is highly critical of the Soviet regime, although Hergé contextualised this by noting that in Belgium, at the time a devout Catholic nation, "Anything Bolshevik was atheist". In the story, Bolshevik leaders are motivated by personal greed and a desire to deceive the world.

The primary audience for scratch video in the early to mid-1980s, was in nightclub performances by industrial music bands such as The Anti- Group, Cabaret Voltaire, Nocturnal Emissions, Psychic TV, SPK, Test Dept, and Autopsia. Some of those involved described their work as a form of cultural terrorism or as a form of anti-art. In the mid-1980s typical London venues would be screenings at artist-run spaces such as the Ambulance Station, in independent cinemas such as the Brixton Ritzy Cinema, or the Fridge nightclub, which boasted an array of dozens of recycled colour televisions. There was also significant distribution on VHS tape, following similar networks to cassette culture. After Andy Lipman’s City Limits feature contextualised the art values of this practice, material began to be featured in small screenings in official art galleries such as the ICA and Tate.

One Park West One Park West viewed from Chavasse Park Argentinian architect César Pelli - best known for designing Petronas Towers in Kuala Lumpur - and his team at Pelli Clarke Pelli Architects worked with the masterplan of the Paradise Project to create a design that fitted with the proposal for the rest of the site. One Park West is the first Pelli-designed building in the UK outside London. Pelli Clarke Pelli Architects team worked in partnership with Liverpool-based architects Brock Carmichael Architects to take the project through to planning. In their design justification for the site, both companies state the form of the new building was contextualised based on its setting, adjacent to Liverpool’s waterfront, a World Heritage Site including the Three Graces: the Royal Liver Building, the Port of Liverpool Building and the Cunard Building.

Set in the Dharavi slums of Bombay, the film's story of gangsters in Dharavi was a critique of socio-political inequality and injustice in Bombay. The characterisations of the two brothers are sociologically contextualised to represent a form of urban conflict and drama, aimed at presenting a causal explanation for the sequence of events and Vijay's social alienation, with the narrative explaining his every action and decision, grounded in his memories and experiences. The script generally has an atmosphere of secularism, while incorporating subtle religious motifs. The mother Sumitra Devi (Nirupa Roy) and police brother Ravi (Shashi Kapoor) are religious Hindus, whereas the criminal brother Vijay (Bachchan) is generally not religious and "upset with God", yet he carries a badge numbered 786, which the Muslim Rahim Chacha (Yunus Parvez) points out to be a number of religious significance in Islam (representing Bismillah) and has its own sub-plot.

David Marr had contextualised the occurrence of the Thai Nguyen uprising in a period where the scholar-gentry anti-colonial Vietnamese leaders were grappling with the pressures of modernizing and strengthening the Vietnamese state while Vietnam was still under colonial rule, and trying to search for a 'modern' Vietnamese national-consciousness and identity. Peter Zinoman elaborated on the above analysis and argued that the Thai-Nguyen uprising could be considered an important transition within the history of anti-colonialism in French Indochina as it was different from the earlier 'traditional' anti-colonial efforts that were organised locally.Zinoman (2000), p.58. As the rebels in Thai Nguyen uprising came from over thirty provinces and represented a wider cross-section of society of various classes, the event was marked to be significant in having 'modern' elements of having transcended the social and regional limitations that hampered the development of earlier movements.

The establishment of St Nicholas Russian Orthodox Church in Brisbane can be contextualised within the wider pattern of Russian emigration following the Bolshevik coup of 1917, and the establishment of the Russian Orthodox Church Abroad, and remains an important link between Queensland and the most significant political upheaval of the 20th century The place is important in demonstrating the principal characteristics of a particular class of cultural places. Its simple geometric forms, crowned with cupolas and punctuated with tall round-headed windows, and the interior arrangement of liturgical elements, including the iconostasis and royal gates, are an expression of the canon of Russian religious architecture that dates from Byzantium and that has been constructed here in response to local materials, time and place. The place is important because of its aesthetic significance. With its distinctive towers, the church contributes significantly to the streetscape in this part of Vulture Street.

These guest-curated CD were released several times a year; accompanying the aural element of the publication was a richly produced booklet that often underpinned and contextualised the themes explored on the CD. Issues were curated by Nicolas Collins, editor-in-chief of the Leonardo Music Journal and Chair of the Department of Sound at the School of the Art Institute of Chicago, who developed a theme based around silence. Kenny Goldsmith, a writer, poet and founder of UbuWeb, who trawled his archives to create a compilation of sound poetry. Japanese performance artist, Junko Wada curated a deeply personal selection of music, produced by a process of curation, performance and collaboration. Professor Andrew Hugill explored the French absurdist movement 'Pataphysics – a CD which travels from unheard Soft Machine tracks, Marcel Duchamp and Gavin Bryars and through to Frank Zappa's former lover, Nigey Lennon and a piece of silence that predates John Cage by 70 years by Alphonse Allais.

2019–20 NSW bushfire state memorial held at Sydney Olympic Park Ongoing political and social debate has surrounded many aspects of the 2019–20 Australian fire crisis, particularly regarding the causes and future prevention of such fire activity, and the role of climate change. Amid a conservative government that has received noted criticism for its climate change inaction and support for fossil fuel industries, growing acknowledgement within the nation's politics and society of the issue of climate change in Australia resulted in a highly political agenda to the crisis response. The governing Liberal and National parties, accompanied by numerous news outlets associated with climate change denial, firmly deflected responsibility away from the record-breaking drought affecting the country and its associated links to climate change observations and projections. Conversely, scientific experts have asserted the influence of climate change, drought, prolonged fire weather, and contextualised the limited role of prescribed burning and arson in influencing the crisis.

" Two years later, the Lebanese artist collective Dictaphone Group created the project Camp Pause, commissioned by the Beirut-based Dar El-Nimer foundation of Lebanese-Palestinian art collector Rami el-Nimer. It was exhibited at the Qalandia International Festival 2016 and at the 2017 CounterCurrent Festival in Houston, Texas. A video installation, which was contextualised by multidisciplinary research, centered on portraits of four Rashidieh residents around their everyday routes: > "Along the way, they weave narratives about the history of the land, their > arrival, the struggle to build, and everyday life in a camp situated away > from the city, bordered by agricultural fields and the sea. [..] We are > reminded through this project that the disregard of people’s pain and > personal choices, the casual racism and vilification of refugees in Lebanese > villages and towns, and the calls for grouping refugees in camps that are > easily controlled and ultimately attacked is nothing new. While the whole > world is busy discussing what they call the “refugee crisis,” we hope to > remember the importance of listening to those who are really in that crisis.

The method involved in "Emotion to Know" does not frame learning in fragmented exercises, but rather in complex and articulated activities, with a strong association at an affective level, involving more concepts, more competences, and more abilities that are not only potential, but realized. The ways of knowing, the experiences, the education, the knowledge, and the didactics are not presented in a superficial and linear way like the shot of a gun, but are systemic, contextualised, articulated, and complex like the flight of a butterfly. It is an educational and didactic method that does not place experiences, learning, and notions in a superficial rational relation, but rather into a psycho-affective-relational one where learning is essentially a qualitative maturation of the experience, specifically designed to arouse the emotion to know and desire to exist including the competences to solve new and unexpected problems. Interventions in Special Education characterised by the Emotion to Know method aim to link learning to the consciousness and to discover the power of one's own body, through which it is possible to operate on objects, on others, and on the world.