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Image Skincare - I Conceal Flawless Foundation SPF 30 (28g)

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Online // To mark World Day for Audiovisual Heritage on 27 October, Qatar National Library, in its role as the IFLA PAC Regional Center for Arab Countries and the Middle East, organized a webinar titled “Preserving Audiovisual Heritage in the Arab Region: Resources for Archivists, Librarians and Collectors.” The webinar featured Manoubia Hermi, Curator and Head of the National Sound Archive at the Centre for Arab and Mediterranean Music, and Hazem Jamjoum, Gulf History Audio Curator at the British Library. It was moderated by Maxim Nasra, Book Conservation Specialist at Qatar National Library.

Today, people are demanding that institutions listen to them to make the community voices central and push for not only care for objects but care for the people represented by them, or to whom these objects may truly belong. This is what a true community-centred approach demands. See Jay David Bolter and Richard Grusin, Remediation: Understanding New Media (Cambridge, MA, and London: MIT Press, 1998), 45. Two years after its beta launch in 2019, the Arab Image Foundation's platform is going through an important upgrade this year. ​ Visitors are currently able to access only some of our collections online, as well as an array of events, exhibitions, publications, activities, and institutional stories. The goal is to provide users with the ability to browse more collections, perform advanced searches on images using multiple criteria, participate in online documentation drives, and contribute to more Lab entries. Since 2018, I have been proudly part of this on-going effort in collaboration with my fellow colleagues at AIF.

This workshop aimed to look at photographs from the AIF’s collections through a postcolonial lens, to shift the focus to what, in contemporary terms, a colonial presence – or absence – may look like through photography from the region. Looking into the AIF’s photographic collections provided new insights into the present, sparking an important shared conversation across languages and cultures about what the "colonial" means, today, in our context. To find the best foundation formulas and brands, Good Housekeeping Institute Beauty Lab scientists and editors scan the market for bases across price points, which are then label-masked to eliminate bias. Professional makeup artist evaluators test the foundations on factors such as dispensing, texture, application (spreadability, blendability, buildability) and coverage look and feel. Formulas that claim moisturization benefits, like tinted moisturizers and BB and CC creams, are also tested for skin hydrating effects using the Lab's Corneometer device. In the GH Beauty Lab's latest foundation test, scientists analyzed 190 submitted products to find the top 30 contenders for evaluation, quantifying 919 data points to find the best-performing formulas. The Arab Image Foundation extends its appreciation to our current generous supporters that make our activities possible. We are equally grateful to those who wish to remain anonymous. The history of information finds its origins in the development of records and in particular in the documents that carry them (the support). From cave paintings (40,000 BCE), Tartaria tablets in Romania (5000 BCE), the library and archives of Ebla in modern Syria (2600 BCE), Sippar tablets in Iraq, to the classical and medieval worlds (Phoenician alphabet, public and private libraries of Rome and Greece, papyrus rolls, the codex, the great library of Alexandria), to the age of print, the 20th century and the advent of the digital computer and the internet.

Header image: 0026do00011, 0026do – Bedros Doumanian collection, courtesy of the Arab Image Foundation, Beirut. Header image: # 0026do00067 . Kind Abdullah I of Jordan with his guards, gelatin silver developing-out paper print. Bedros Doumanian Collection , courtesy of the Arab Image Foundation, Beirut. Throughout this time, our search for better premises never ceased. After visiting over 15 different places and endless negotiations, we are excited to announce our move to Aresco in Hamra by early Spring 2023, together with another cultural partner. The two entities will independently run two separate but linked spaces, sharing resources where possible and potentially collaborating on programming. This builds on our continuous efforts to be in dialogue with other disciplines, be it the performing arts, cinema or music. It is envisaged that our new expanded library and workstations carry AIF's image-related books, documents and audio-visual material and potentially other references from cultural partners, including the rich library of Dawawine, to allow for multi-disciplinary enquiries. Building on the solar energy pilot that resulted in more autonomy and safety for our physical and digital collections, the aim is to expand such capacities to accommodate bigger mobile cool storage facilities and archival labs. One of our team members tells how she lived out the post-explosion period and what keeps her going. Another colleague takes us to his dark workstation - the digitisation lab and his affair with albums. They happen to be one of many objects within our collections. They carry so many stories, literally, in the form of images, but also as a medium. Find out what intrigues him. Discover what is happening in our community. We are proud to showcase individuals and organizations that have been supporting us along the way. We are also eager to tell you about those we in turn support through training and consulting services. Members of this fast-growing community will be showcased in every issue of our Stories. ​After four years of extensive work that resulted in the digitisation of a significant part of AIF’s collection, the Albums Mission can be considered the jewel in the crown, especially when we consider all the challenges that we endured in 2020. Maha Kays // The Arab Image Foundation’s collections were an indispensable part of many research and projects I worked on prior to joining the Foundation. Its mission – to forge new pathways for photography and image practices, by ways of artistic creation, research and archiving - was instrumental in how I designed courses and seminars in the past years. The materiality of photographic objects at AIF, was a catalyser for my professional career, sixteen years ago. I am grateful for this beautiful experience, for an engaged board, for a committed team, and to the growing community of friends, donors, and all those who care for and have interacted with the foundation. I am confident of what is now in place – not only the knowledge, plans, processes, and programmes, but also how as a community, we have built on good practices over the past 25 years. This meticulous process requires its own set of guidelines of course, which were effectively developed during a testing period ahead of the digitisation phase while the albums were still being catalogued by the archivists in the preservation lab. Always a work in progress, those guidelines are constantly fine-tuned and updated. We often encounter things that were not anticipated, and we must respond to the requirements of each object to ensure its integrity but also obtain best results. This entails adjusting the lighting setup and imaging equipment, but also the use of special tools for handling. marks the 11th – and final – year of the AIF in its current location in Gemmayzeh. After viewing more than a dozen potential spaces across Beirut, we’re delighted to share the news that the ground floor of the Aresco building in Kantari will be the foundation’s new home as of the spring of 2023.

The combined footing is very similar to the isolated footing. When the columns of the structure are carefully placed, or the bearing capacity of the soil is low and their footing overlaps each other, combined footing is provided. It is fundamentally a blend of different footings, which uses the properties of various balances in a single footing dependent on the necessity of the structure. Parr, Martin; Badger, Gerry (2006). The Photobook: A History - Volume 2. London and New York: Phaidon. p.129. ISBN 0-7148-4433-0.See Stefan Römer, Künstlerische Strategien des Fake: Kritik von Original und Fälschung (Cologne: DuMont, 2001), 117. Fig. 12. Baqari’s wife, Studio Shehrazade, Saida, Lebanon 1954. From Akram Zaatari’s Objects of Study/The Archvive of Studio Shehrazade/Hashem el Madani/Studio Practices. Collection AIF/Hashem el Madani. Credit: the Arab Image Foundation. It has a broad scope of assortment with regard to structure. There are different materials we can here to build a stylish view, and it stays in our spending limit. The sundial casts the shadow of time and the photograph is what preserves the passing of time. It gives a moment of respite for the viewer to experience the pleasure and the numbness as we transition in a world that is in constant motion. The time has come for a transition – moving from my role as director to that of a member of the Arab Image Foundation – a shift in function but not in engagement. ​ As emotional as they are, transitions are an essential process in any association. ​ As a member, I am keen on seeing this foundation continue to grow regardless of who is at the helm.

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