Lacking traditional academic qualifications will no longer be a bar to study at Oxford, as the University will now accept applications from students with new government Diplomas as well as A-levels.Oxford will now consider students with an Advanced Engineering Diploma for a place on an Engineering course. However Diplomas such as Hospitality, IT or Health and Beauty are still ruled out by the Admissions Office.Mike Nicholson, Director of Undergraduate Admissions, said that the University recognised some people may be qualified for entry onto Oxford degrees despite lacking A-levels.He said, “this provides a route for those who opt to study the Advanced Diploma in Engineering to apply to study Engineering at Oxford.” He added, “Oxford has always looked at more than just qualifications – academic ability and potential is assessed through a range of measures.”Nicholson emphasised that Oxford encouraged all appropriately qualified students to apply regardless of their school or college background.The Advanced Engineering Diploma, which is to be launched in 2010, is worth the equivalent of three and a half A Levels. Oxford applicants must also have a Physics A-level to apply for an Engineering degree.The new Diplomas designed by the government are largely vocational and include ten days work experience as part of the qualification.Some students think those with Diplomas will face some academic difficulties. One commented, “no one at Oxford has done anything vocational really. I don’t know if a Diploma would prepare you for the type of work here.” However, many students feel this move will not make much difference to the applications system. One student said, “If the Diploma is worth more than 3 A Levels, you’ve still got to be pretty academic.”Jim Knight, Minister for Schools and Learners, claims the benefit of the Diploma system is that students have, “a genuine choice about where their qualifications take them, be it university or straight towards employment.”Almost all the Russell Group Universities have responded positively to the new Diploma system. Mike Nicholson maintains that the new qualifications “have the greatest relevance for our courses.”He said Oxford academics involved in the project are keen to “ensure that the Diplomas can deliver the highly rigorous academic content and study skills that candidates to highly competitive universities need.”
passed away at her residence on January 7, 2017. She was born and raised in Bayonne and was a resident there until moving to California in 1992. She returned to Bayonne in 2003. Ms. Lewko is survived by her daughters, Marisa Lincoln and Lauren Rubitz; son-in-law Clem Lincoln; and her grandchildren, Ava, Samuel and Lillian Lincoln. She was predeceased by her parents, Marion (nee: Fischer) and William Charles Lewko; and her sister, Marjory Lewko. Funeral arrangements by BAYONNE MEMORIAL HOME, 854 Avenue C.
A memorial mass was held Jan. 20 at Immaculate Conception Church in Secaucus for Frank David Formisano, 75, of Secaucus. He passed away Jan. 16 at the Care One at Wellington in Hackensack. Born in Jersey City to the late David and Cecelia (Potoczniak) Formisano, Frank owned his own auto parts store, and has been living in Secaucus most of his life. Frank is survived by his wife, Elisa (Acerra) Formisano; sons Scott Thompson and Frank Formisano; daughter Tara and her husband Kevin Nolan; and brother and sister Michael and Cecelia Formisano. He is also survived by his grandchildren Sophia and Gaetano Formisano and Frank, Ava, and Riley Nolan.Services arranged by the Mack Memorial Home, Secaucus.
A mobile comes home Museum staff work to hang the mobile. Carlos Amorales called the work “an expansion of the building.” Alexander Calder would have admired the new installation that hangs above the Harvard Art Museums’ Calderwood Courtyard. Constructed of 16 chrome-plated steel triangles, 15 painted steel bars, and black climbing rope, “Triangle Constellation” attaches to the steel trusses that support architect Renzo Piano’s glass ceiling. The piece evokes the work of Calder (1898–1976), the renowned American sculptor considered by many the father of the mobile.It’s no surprise. Carlos Amorales, the Mexican artist who created the Harvard sculpture on a commission, was part of a residency at Calder’s country house and studio in Saché, France, three years ago. There in the French countryside, he immersed himself in Calder’s world and work, particularly the organic-seeming structure of the mobiles. “They have these branch-like ways of coming together,” Amorales said recently, speaking by phone from his studio in Mexico City. “By looking at his work I got this image: I wanted to make a mobile with symbols.”That image became Amorales’ 2012 piece “We’ll See How All Reverberates,” which was displayed at the Guggenheim Museum in New York and is the predecessor to the Harvard work. In the earlier installation, Amorales opted for 35 copper symbols instead of steel triangles to create his “public instrument,” one that anyone could play with the piece’s accompanying mallets — no specific musical training or lengthy lessons required. Harvard Art Museums’ Richard L. Menschel Curator of Photography Deborah Martin Kao (from left), Associate Curator of Modern and Contemporary Art Mary Schneider Enriquez, and artist Carlos Amorales watch the action. A new piece by Mexican artist Carlos Amorales is installed from the courtyard ceiling of the Harvard Art Museums. The installation is a large mobile made up of 16 large steel triangles. Jeff Cook is pictured during the installation. Photos by Stephanie Mitchell/Harvard Staff Photographer Museum guests observe the installation, which celebrates Piano’s architecture while encouraging visitors to “see the space differently,” said Mary Schneider Enriquez, the Houghton Associate Curator of Modern and Contemporary Art. Collections Specialist Sean Lunsford lends a hand during the installation. According to Amorales, the Harvard piece is more “about the idea of sound than how it sounds.” The same goes at the Harvard Art Museums. On special occasions, visitors will have the chance to treat Amorales’ piece as a giant instrument, swinging one of two long steel “strikers” to gently play the lowest hanging triangle, which is the size of a standard orchestral triangle. The triangles get bigger the higher up they hang. The largest measures almost 6 feet on each side.But those musical interludes will be fleeting. According to Amorales, the Harvard piece is more “about the idea of sound than how it sounds.”In planning the piece, Amorales and Harvard curators discussed its size and scope. It had to be big enough to animate the vast space, it had to complement Piano’s bold plan — which unites the Fogg, Busch-Reisinger, and Arthur M. Sackler museums under one roof — and it had to be transparent. (A key feature of Piano’s design is the open sightlines that allow visitors to easily peer into different collections from the museum’s central circulation corridor.)Amorales called the work “an expansion of the building. You see how a triangle expands, how it becomes larger and larger. And then, how conceptually, you can see [through the triangles], but also through the windows, through the collections. It’s like a center.”The sculpture also highlights curators’ ambition for public spaces in the newly reopened museums. Placing even more art in the courtyard fit “the opportunity to bring art out of a traditional gallery space and have it make a statement, so that visitors could then think of art in different ways,” said Mary Schneider Enriquez, the Houghton Associate Curator of Modern and Contemporary Art, who helped select Amorales for the commission.His work, she said, also celebrates Piano’s architecture while encouraging visitors to “see the space differently.”“We are up and alive,” added Enriquez, “but we are still actively moving forward and doing new things, and so this [work] puts a kind of frame around who we are as we grow.”
Essential Reading! Get my 3rd book: Eat Their Lunch “The first ever playbook for B2B salespeople on how to win clients and customers who are already being serviced by your competition.” Buy Now My Teenage SelfYou know you really are an asshole sometimes. Your Mom is raising four kids by herself and you can really be a selfish, little bastard. Start helping her, damn it.Remember to thank the good people at the restaurant later on in life. They gave you a job and fed you. Working fulltime at the age of thirteen is going to do more to help you succeed than almost anything else. Yes, even just washing dishes is going to form your character.Identify and get close to people with a way bigger vision of themselves than anything you are comfortable with. Your vision is way too small. Stunted, really.Later on, you are going to love a really nice suit and a really great tie. No. Really. Stop laughing.Don’t listen to people who tell you street smarts trump book smarts. Don’t listen to people who tell you book smarts trump street smarts. These things aren’t mutually exclusive, and combined they are more powerful than either alone. Go to school.My Early 20’s SelfGet out of bed before the sun comes up and get busy. The fastest way to win is to hustle. Don’t hang out at night partying with your friends. Do the work that matters instead.Talent by itself isn’t enough. Confidence and marketing provide a surer, straighter path to success. Double down on the marketing and promotion.Did you ever do anything about that whole “school” thing we talked about?You are a leader when you decide to be, not when someone gives you permission. Just start leading.Uh, dude, you might want to get those headaches checked out at some point. It could be something serious. Just sayin.My Late 20’s SelfLife isn’t a race. Take your time. You can accomplish a lot AND enjoy the experience at the same time. You don’t get go back over this ground again.Write down everything, every story. You are going to wish you could recall all the places, the faces, the names, and the lessons later on.Damn, boy! That wife is yours is something special! Don’t botch it up!My 30’s SelfLook, people have been having babies for a three and half million years. You aren’t going to screw it up worse than anyone else has . . . I hope.Twins. Really? Well now isn’t that going to be interesting?Your work and your job aren’t the same thing. Don’t confuse them. Spend more time doing your work than doing your job. You don’t know what I am saying? Well, think about it until you figure it out.Don’t be so damn judgmental. Everybody is dealing with their own pain, their own fears, and their own life. Who made you their judge?You can’t pay people to not have to lead them or manage them. It doesn’t work that way.My Early 40’s SelfGet started. Don’t wait for permission. Share what you know with people who need it.More margin! More margin!You only have these little people in your house for a few more years. Love them and prepare them to be healthy, happy grown ups. Make your mark, man!Your TurnWhat would you tell your younger self?