#conceptnote

[calyx-arts]

Comic Cover Concept

NOT A REAL COMIC! This is just a concept! Just wanted to see how I would make a cover for one, and I think it's pretty good!

Posted using PostyBirb

[keynewssuriname]

VSB: Tot $1 miljoen aan Grants mogelijk uit het Caribbean Climate Investment Program

In een eerdere publicatie maakte de VSB melding van een roadshow van het Caribbean Climate Investment Program (CCIP) waar de VSB aan meedeed. De presentatie, verzorgd door het CCIP, biedt waardevolle informatie over het CCIP Annual Program Statement (APS) en het Grant programma. Laten we de belangrijkste punten die in de presentatie worden behandeld, eens nader bekijken. Wat is het CCIP Annual Program Statement (APS)? Het CCIP Annual Program Statement (APS) is een belangrijk instrument waarmee subsidieaanvragen worden verzameld voor projecten gericht op de ontwikkeling van hernieuwbare energie- en energie-efficiëntietechnologieën, evenals klimaatadaptatie-interventies die particuliere investeringen vergroten. Basisvereisten en in aanmerking komende partners Het APS richt zich op particuliere Caribische bedrijven of organisaties, zowel non-profit als for-profit, evenals particuliere internationale non-profit of for-profit organisaties die geavanceerde technologieën voor hernieuwbare energie, energie-efficiëntie of klimaatadaptatie ontwikkelen en piloteren. Deze technologieën moeten schaalbaar zijn in de CCIP-prioriteitslanden. Maximale grant bedragen: Niet-Amerikaanse organisaties: Grants mogen niet meer bedragen dan USD 1 miljoen. Amerikaanse organisaties (non-profit of for-profit): Grants mogen niet meer bedragen dan USD 500.000. Duur van de Grant verlening: Maximaal 2 jaar. Grants type: Fixed Amount Awards (FAAs), gebaseerd op mijlpalen. Jaarlijks Programma Statement Het primaire doel van het CCIP APS is om de ontwikkeling van hernieuwbare energie en energie-efficiënte technologieën te ondersteunen, evenals klimaatadaptatie-interventies die particuliere investeringen vergroten. Het programma heeft een twee-fasen aanvraagproces: Deadline voor indiening: 31 maart 2024. Conceptnota’s worden maandelijks beoordeeld. Basisvereisten en in Aanmerking Komende Partners Om in aanmerking te komen voor CCIP-subsidie, moet uw organisatie een privébedrijf of organisatie zijn, gevestigd in het Caribisch gebied of een privé internationale non-profit of for-profit organisatie die innovatieve technologieën ontwikkelt op het gebied van hernieuwbare energie, energie-efficiëntie of klimaatadaptatie. Uw voorstel moet een minimale hefboomverhouding van 1:1 voorstellen. Wat kunnen CCIP-Grants financieren? CCIP-subsidies kunnen een breed scala aan projecten en diensten financieren, waaronder: Ontwikkeling en opschaling van klimaatadaptatie- en schone-energietechnologieën zoals elektrische voertuigen (EV’s), zonne-energieoplossingen, mini-grids, energieopslag, slimme netwerken, en meer. Het ontwikkelen van capaciteit voor financiële instellingen om te investeren in energie-efficiëntie maatregelen, slimme meters, ingebedde microgrids en gedistribueerde energie-investeringen. Adoptie en/of uitbreiding van energie-efficiëntie systemen of apparatuur, zoals koeling, motoren, en meer. Het verminderen van investeringsrisico’s voor bedrijven die oplossingen ontwikkelen op basis van natuurlijke hulpbronnen (bijv. groene infrastructuur) die het energieverbruik verminderen en/of de impact van extreme weersomstandigheden verminderen. 4 Stappen in een Volledig Succesvol Aanvraagproces Het aanvraagproces omvat vier stappen, waaronder het bekijken van prioriteiten, het indienen van een conceptnota, co-creatie sessies, en onderhandelingen over de subsidievoorwaarden. Hoe een Conceptnota Indienen Om een conceptnota in te dienen, ga naar https://www.climatelinks.org/ccip en meld je aan bij het Climate Finance Investment Network (CFIN). CFDA zal alle volledige en openbare aanbestedingen, wijzigingen, antwoorden op vragen en andere updates delen met contacten die geregistreerd zijn bij CFIN. De APS- en conceptnota/ begrotingssjablonen zijn hier beschikbaar. Conceptnotities en begrotingen moeten worden ingediend via het aanvraagportaal vóór de indiening deadline om 11:59 uur EST op 31 maart 2024. CCIP zal maandelijks conceptnotities beoordelen. Niet-geselecteerde conceptnotities ontvangen feedback over hoe ze hun concepten kunnen versterken als de aanvrager besluit de conceptnota opnieuw in te dienen. Read the full article

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[ajwang-caren-nancy]

HOW TO WRITE GRANT PROPOSALS THAT WIN

What Entails Grant Proposal Writing

Proposal writing is both an art and a science. Whereas everyone can learn the “science” of proposal writing, the “art” part may seem a bit difficult. Writing a grant proposal is an exercise in logic. A winning grant proposal is one written that follows the rules set by the funder and/or in a manner that makes sense to the reviewers.

What a Winning Grant Proposal Does

The key to success is in creating a proposal that is well thought out, and the argument must flow rationally through the proposal’s various sections, building the impression that funding of the proposed project is reasonable, sensible, and desirable. Therefore, a winning grant proposal:-

• Identifies a problem;

• Explains the project’s intent to resolve the problem and sets measurable markers of success;

• Describes steps that will be taken to reach the objectives;

• Introduces the individuals who will carry out the activities;

• Outlines procedures for measuring the project’s success in meeting its objectives; and

• Estimates the funding needed to complete the project as proposed (Budget).

Component of a Winning Grant Proposal

ABSTRACT (OR EXECUTIVE SUMMARY): Usually at most a one-page (or less) summary of the core concepts presented in the proposal. It appears before the narrative and gives the reader a clear idea of what is coming. An abstract must be clear, concise, and compelling. The abstract identifies the applicant organization and gives a sense of its ability to implement the project.

TABLE OF CONTENTS: The proposal should include a brief (no more than one page) table of contents, following the abstract, which outlines its sections and cites page numbers for each.

INTRODUCTION: The introduction serves to acquaint the reader with the applicant. The introduction should provide background information the reader needs to understand the proposal and lead directly into the need statement, taking the reader from the general to the specific. To be most effective, the introduction should be brief so it doesn’t wear the reader out too early; to the point so it doesn’t lose the reader in miscellaneous, unnecessary facts; and interesting so it captures the reader’s imagination.

NEED STATEMENT: The need statement is the most important part of any proposal. Unfortunately, it is also often the most poorly written section. The need statement has two purposes: to explain how your needs meet the funder’s interests and priorities; and to establish the specific problem the proposed project will address.

OBJECTIVES: Objectives are simply the intent of the project. They indicate what the project will achieve and the time it will need to reach its goals. Objectives should be concise, specific, measurable, and relate directly to the need. As an extension of the need statement that described the current situation, the objectives statement, describes what the situation will be after implementation.

ACTIVITIES: The section outlining project activities (commonly called the methodology section) is simply an explanation of how the project will reach its objectives. The description of activities should focus on the aspects of the project that will resolve or prevent the problems identified in the need statement by obtaining the results promised in the objectives. A project should undertake only activities that will move it toward the objectives. The rule of thumb for activities is, if they are not necessary for reaching the objectives, omit them from the proposal.

PERSONNEL: The personnel section of a proposal should show that the persons who will be assigned or hired to implement project activities have the skills and experience necessary for a successful program.

EVALUATION: Funders want to know that their money will be well spent and who will benefit from the project and to what extent. Evaluation should be important to grantseekers as a means of showing funders that they are capable, reliable, and can be trusted with future grants.

BUDGET: The budget should reflect the costs of the items and activities described in the project narrative portion of the proposal. If an item is not described and justified in the narrative, it should not appear in the budget. The converse also is true: If an item is listed in the narrative, it should show up in the budget. The relationship between the budget and the project description should be so tight that a reader can determine what the project is by simply reading the budget.

APPENDIX: If the RFP allows an appendix, keep it brief and remember that it should support the rationale and logic of the entire proposal. Keep in mind that readers have limited time to review and score proposals and do not have time to read every item that is included in the appendix.

DISSEMINATION PLAN: Occasionally, funders require grantees to develop plans for disseminating project results so the project can be replicated in other locations. Check the budget section of the RFP to see what, if any, dissemination costs are allowable.

SUSTAINABILITY: Often, funders want to know how a grantee will continue a project after grant funding runs out. Funders are not interested in best intentions and dreams for the future; they want a specific, credible plan that shows where funding and resources will come from after they are out of the picture.

FOR DETAILED GUIDELINE ON GRANT PROPOSAL WRITING AND OR A FREE TEMPLATE/SAMPLE OF GRANT PROPOSAL, EMAIL US AT techinvak@gmail.com or WhatsApp +254111380358

[super-hml]

I found my concept design note for Rude Heroes. It reminds me the person who said “Ghost Rider?!!😂😂😂 Hahaha”. 2017년 2월에 누군가의 요청으로 불량한 히어로를 그리기 위해 컨셉을 잡던 노트를 간만에 보았다. 이 그림을 보고 “고스트라이더 어쩔꺼야” 하던 사람이 생각난다. 😅 이중 제일 강할수도 있던 히어로를 작업복 입혀 세워놨으니... 다 케서방이 흥행을 못시킨 탓으로...🤔🤔😁 . . . #conceptnote #conceptdesign #concept #illustration #illust #marvel #dc #marvelheroes #dcheroes #ironman #deadpool #superman #batman #ghostrider #thor #captainamerica #spiderman #일러스트 #컨셉노트 #히어로 #마블히어로 #디씨히어로 #아이언맨 #에로우 #데드풀 #수퍼맨 #고스트라이더 #토르 #캡틴아메리카 #스파이더맨

[questioncloud]

Central Bank Digital Currency (CBDC) is a digital form of currency notes issued by a central bank.

[indytaylor-blog1]

Concept Notes: Brave New World

EXPLORATION OF ‘CULTURE’ + themes within Brave New World:

“In Brave New World, Huxley critiques modern governmental institutions whose power has slowly crept into the lives of ordinary people. This process often occurs in the name of security or peace, yet such actions inevitably lead to the destruction of everything that is good in a society such as freedom or creativity.”

‘Pneumatic’ is a word used excessively throughout the novel - filled with air (airy?) lacking sustenance.

For me, this refers to the lack of human experience found within the World State, for example - culture, identities, self-expression and are all in scarcity within Huxley’s dystopian landscape. This builds upon my initial concept ideas in that a futuristic way of life has been constructed, within which humanity has lost touch with all elements of cultural identification that formed the world how it is today, and have instead developed their own lacklustre, deconstructed and emotionally-void version of a distinctiveless society.

The only form of culture is seen in John the Savage, who lives in one of the almost third world reserves within the novel, and lives as we do now - with normal familial kinships and a sense of identity and belonging. The vulgarity of this (as covered in earlier notes, inspired by my visit to the Barbican exhibition) in comparison to the new world’s ideologies is evident, however the Savage Reservations are the only places in which elements of traditional culture, such as the arts and specifically the works of Shakespeare, the Bible and other literary works, are present.

Overall, my collection will aim to work with the culturally-authoritarian themes explored in Huxley’s dystopian Brave New World and create an alternative yet futuristic concept that would actually involve elements of culture, arts and even smaller sub-cultures that are so prolific today; examining how our future societies may progress in keeping with cultural differences and individualities, and how these may evolve in a more wholesome way than simply stripping whole classes of their identities.

Themes

Class - people stick within their own castes. A lack of culture is found - each class is assigned their own ‘colour’ of uniform, or workwear, without any leeway for self-expression or identity; almost as if cultures have been abolished to form one whole, utilitarian society.

Inverse traditional class dress-codes by embellishing workwear/uniform or adding utilitarian styles to formal dresses.

Identity - no personal identity, everyone and everything works as a whole. Identical twins, dehumanisation. No flaws.

Asymmetrical garments? Juxtapose against the ’twin’ ideology within Brave New World - how all test tube babies are made as identical twins that work together within each caste.

Freedom - being a human is about having the freedom to feel how you want (i.e. be unhappy), “everyone belongs to everyone else”… Hypnopaedic phrases teach exactly how the government want you to act, restraining even freedom of thought or opinions.

“Flowy” silhouettes. Easily removable with zips, etc. gives a sense of liberty and empowerment - the freedom to move.

Science - high-tech, geared towards emotional control. This relates to the futuristic themes described in earlier notes concerning my concept.

Can science and culture, folklore, etc. ever work together?

Sex - promiscuity, undressing easily with zips, no emotional attachment, all desires are met. “Everybody belongs to everybody else.”

Lots of zips and easy-removal garments, a constant state of undress - bare skin, pushing boundaries.

Power - programming society like robots, a form mind control, a lack of free will.

Powerful silhouettes give wearers a sense of potential and even authority against a repressive government?

Suffering - suffering is integral to the human experience as normal emotional expression leads to compassion and empathy. Self-inflicted pain is described in the novel as a means of having emotional control, fighting back against an overtly-‘happy’ or emotionless state that sees any form of negative emotion as taboo.

How could these garments decrease suffering? Or even rebel against the lack of it found in Brave New World?

Isolation - themes of self-discovery, spirituality, confinement and solitude run throughout amidst a backdrop of a collective, non-identifiable World State.

People in the novel are rarely allowed to be alone due to high levels of control, whereas others are shunned from society and sent to live in isolation if they do not control their emotions.

Clothing expresses a form of self-competence and individuality that is hard to come by in the dystopian world.

Drugs - distributed en masse, another form of emotional control or subduement. People are turned into mindless drones, and soma has no consequences. This means no shame is associated with hiding emotion, as opposed to the repercussions of suffering a hangover or the negative effects of other mind-altering drugs.

Disillusionment - expressing discontent, or not being able to… Relates again to freedom and the theme of dystopia.

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The Concept

Gujarati culture is all about dynamism. Even though we find Gujaratis living all across the world, they have managed to preserve their traditional culture. Every culture has something to offer, and Gujarati’s take pride in it and like to stay as true as they can to their roots.

 There are many lost forms of Gujarati literature like Bhavai, Natak (Play), Navalkhatha( Novel), Haiku(Hoko), Navlika(Short-Story). These have been there for years but not many people are aware or well versed with them.

 Snehrashmi aka Jinabhai Desai, a great Gujarati poet, began to experiment with poems very close to spirit and form of original Haiku. The first collection of Haiku by Snehrashmi ‘ Soneri Chand, Ruperi Suraj (Golden moon and Silver sun) was published in 1967 and 360 Haikus. He virtually started off a Haiku movement in Gujarati literature in the late 70’s.

 Gujarati literature and haiku has another interesting tale. During the neo literature movement locally known as the Ray Math movement in the 1970’s, practitioners wrote haiku in protest. The best being ‘Daba haath no khel (Work of left hand)’ and Subhash Shah ni Haiku ni Chopdi (Book).The title suggests that the poet chose the form of haiku to break the monotony of literature.

 Through my project I would like to introduce these tales about the literature revolution that took place in Gujarati history. 

[abiodun-360degree]

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