Podcasts about cnap

Dans cet épisode, je reçois le duo de designeuses graphiques Camille Baudelaire et Olivia Grandperrin. Camille Baudelaire travaille en indépendante depuis plus de dix ans lorsque Olivia Grandperrin la rejoint en 2021. Ensemble, elles forment l'Atelier Baudelaire.Camille et Olivia répondent à des commandes d'institutions culturelles, publiques ou privées.Régulièrement épaulées par certaines expertises — notamment des dessinatrices de caractères — elles placent la typographie au cœur de leurs compositions. Nous discutons de leur processus créatif, dont l'étape de recherche est primordiale, aussi bien sur les projets de commande, qui leur permettent de répondre le plus justement possible, que sur les projets auto-initiés, ces moments de respiration essentiels qui nourrissent leur pratique et leur liberté.Nous prenons également le temps de décortiquer l'appel d'offres et leur conception de l'identité visuelle pour la métropole de Rennes, réalisée en 2022, ou, plus récemment, l'affiche pour les Universités Populaires d'Emmaüs.Je vous souhaite une bonne écoute avec Camille et Olivia.➡️ atelierbaudelaire.com @atelierbaudelaireLes références et noms cité.es :- Camille Trimardeau- Lucie Soquet- Jérémie Harper- Élisabeth Çatçoury- Bold Design- Centre d'initiation à l'art, mille formes- Alice Savoie- Laurent Riera- Alexandre Bassi- Clément Frassi- Mathis El Idrissi- Mathilde Nivet- Emilie Brisavoine- Clotilde HesmeType in use : l'Alphabestiare, projet en cours réalisé par Atelier Baudelaire et Eugénie Bidaut dans le cadre de la résidence "Typographier la francophonie ou la francophonie typographiée" lancé par le CNAP, la Cité internationale de la langue française, le Centre des monuments nationaux et Atelier du Livre d'art. Petit message à toustes les auditeurices, la Biennale de design graphique organisée par le Signe revient à Chaumont cette année.

Neste episódio, exploramos o cenário atual da Segurança de Aplicações (AppSec) com a participação deum convidado ilustre. Discutimos as principais tendências, desafios e boas práticas para tornar o desenvolvimento de software mais seguro. Desde a adoção do DevSecOps até o impacto das novas regulamentações, abordamos o que profissionais da área precisam saber para proteger suas aplicações. Um bate-papo essencial para quem busca se aprofundar no tema e entender para onde o mercado está caminhando.

Send us a textWhat if Artificial General Intelligence (AGI) could be the job creator of the century? Buckle up for a hilarious yet thought-provoking exploration of this bold idea as we dissect the potential economic impact of AGI development alongside Chris, who aspires to up his Blue Sky game inspired by his brother Tim. We dive into compelling articles like the one from CRN, spotlighting Palo Alto Networks' maneuver to streamline their product offerings into a singular platform akin to the Apple ecosystem. This opens up the age-old debate about vendor lock-in, and we can't help but chuckle at the similarities with Cisco's approach. We'll also navigate through the labyrinth of product names, specifically Palo Alto's Prisma, and the challenges of achieving true platform integration.Cloud security is a jungle of acronyms and complexity, but fear not—we've got our machetes ready! Join us as we untangle the web of CSPM, CNAP, CIEM, and CASB, piecing together the puzzle of multi-cloud environments highlighted by a Fortinet report. While we question some of the report's methodologies, it undeniably underscores a trend towards centralized security dashboards. With businesses of all sizes grappling with diverse cloud security challenges, we set the stage for an upcoming segment about our own company's stance in this arena. Expect a mix of skepticism, humor, and serious conversation as we navigate this intricate landscape.Finally, we journey into the realm of AGI and job creation, challenging the narrative of inevitable AI-driven job losses. We speculate on the logistics behind such job creation, pondering the international AI race, and throwing in some humor about genetically modified apples for good measure. We wrap up with some playful banter about Tim's personal details and offer heartfelt thanks to our listeners. We hope you subscribe, follow us on social media, and visit our website for the full scoop. Our discussion is as juicy as a genetically modified apple, and you won't want to miss a bite!Wake up babe, a new apple just dropped:https://www.kissabel.com/Check out the Fortnightly Cloud Networking Newshttps://docs.google.com/document/d/1fkBWCGwXDUX9OfZ9_MvSVup8tJJzJeqrauaE6VPT2b0/Visit our website and subscribe: https://www.cables2clouds.com/Follow us on Twitter: https://twitter.com/cables2cloudsFollow us on YouTube: https://www.youtube.com/@cables2clouds/Follow us on TikTok: https://www.tiktok.com/@cables2cloudsMerch Store: https://store.cables2clouds.com/Join the Discord Study group: https://artofneteng.com/iaatj

„Du musst 10 Jahre in Luxemburg arbeiten, erst dann bekommst du von dort auch eine Pension“, hat wohl jeder Grenzgänger schon einmal gehört. Doch was ist dran an solchen Aussagen? Und was passiert mit dem Pensionsanspruch, wenn man wieder zurück nach Deutschland geht, um dort zu arbeiten? In der neuen Folge des Podcasts „Der Pendler Club“ stehen Alain Reuter, Präsident der CNAP, und Monique Zimmer, beigeordnete Leiterin der Pensionsabteilung, Rede und Antwort, um 10 Mythen rund um die Pension in Luxemburg zu bestätigen oder zu widerlegen. ­ Eure Erfahrungen und Fragen sind uns wichtig! Was habt ihr als Pendelnde schon erlebt, welche Frage brennt euch unter den Nägeln? Schreibt einfach eine E-Mail an pendler@wort.lu. Und nicht vergessen: Abonnieren! _______________________________ ­ Zum Luxemburger Wort Whatsapp-Newsletter ­ _______________________________ ­ Links: Für mehr Ehrlichkeit in der Rentendebatte Rentendebatte beginnt offiziell im Herbst Luxemburg gibt deutlich mehr für Bildung und Renten aus als die Nachbarländer Aus der Rentenschätzung durch die CNAP ergibt sich keine Garantie _______________________________ ­ Der Pendler Club ist ein Podcast vom Luxemburger Wort. ­ Moderation und Produktion: Marc Blasius Gäste: Alain Reuter (Präsident der CNAP) und Monique Zimmer (beigeordnete Leiterin der Pensionsabteilung) Musik: Christian MertesSee omnystudio.com/listener for privacy information.

Pour la quatrième année consécutive, 9 Lives magazine poursuit son partenariat avec le ministère de la Culture dans le cadre de la cinquième édition du Parlement de la Photographie, qui se déroulera les 5 et 6 juin prochains. Chaque jour, nous vous dévoilerons les différentes thématiques explorées à travers de courts entretiens. Aujourd'hui, nous vous proposons de découvrir deux intervenants de la table ronde autour de PERFORMANCE, une commande photographique du Cnap avec l'artiste Suzanne Hetzel et Pascal Beausse, modérateur et responsable de la collection photographie au Centre national des arts plastiques.

durée : 00:58:51 - Être et savoir - par : Louise Tourret - Le design pour enfant a été synonyme de progrès social et éducatif, est-ce toujours le cas aujourd'hui ? - invités : Céline Saraiva Conservatrice, responsable de la collection design et arts décoratifs au Centre national des arts plastiques (CNAP); Stéphanie Marin Designer et fondatrice du studio smarin; Elsa Ramos Maitresse de conférence en sociologie (HDR) à l'Université Paris Cité- CERLIS (Centre de recherche sur les liens sociaux)

"Chuir siad fríd rud nár cheart dom a dul tríd.” Tá leithscéal gafa ag aerfort Bhaile Átha Cliath le húdar clúiteach Gaeilge as eachtra a thit amach ina raibh uirthi a próistéis brollaigh a thaispeáint go poiblí. Labhair Seachtain le Realtán faoin eachtra seo, faoina turas ailse agus faoina cuid scríbhneoireachta. Foclóir: Cnapáin - lumps A ceannsú - tame A dhíbirt - banish Cóir leighis – medical treatment Ar lár - missing Cíoch - breast Meáchan - weight Leacht – fluid Broin – womb Scanóirí - scanners Cíochbheart - bra Gan dua – without difficulty I lár an aonaigh - in the middle See omnystudio.com/listener for privacy information.

LES ONDES URBAINES - LOU #15 - LABO 148 / SOIREE PAS.SAGE #3 Une émission radio menée par le LABO 148 et présentée par Asma Boulouiz et Camélia Sghayare sur les jeunesses à Roubaix. Dans le cadre de la saison PAS.SAGE sur les jeunesses à Roubaix, notre émission radio les Ondes Urbaines s'est invitée en direct à l'Alim de la Condition Publique. A l'occasion des 20 ans de la Condition Publique, le LABO148 s'est associé à l'INA  pour explorer l'histoire de la ville de Roubaix et de la Condition Publique à partir d'archives audiovisuelles.  L'histoire est regardée sous le prisme des jeunesses à Roubaix, à trois époques : 1984, 2004 et 2024. Cette exploration nous a menés à produire des contenus audiovisuels à partir d'archives. Plusieurs thèmes ont été abordés dans les vidéos produites par le LABO 148 : la marche pour l'égalité et contre le racisme, le Paris-Roubaix, La rénovation urbaine à l'Alma, le parc Barbieux, la Condition Publique.  Retour sur la production réalisée par Elodie Requillart, “Briques Rouges et Songes Bleus”, à travers laquelle elle explore poétiquement la Condition Publique, une retour sur la vidéo « Alma Vivra » réalisée par Asma Boulouiz et Agathe Forget avec comme invité Florian Vertriest du collectif d'habitants « Non à la destruction du quartier de l'Alma gare ». Un retour sur les résidences de cette saison avec le LABO 148  RESIDENCE AVEC CLIO SIMON   RESIDENCE  AVEC JULIEN PITINOME   RÉSIDENCE AVEC LUDIVINE LARGE BESSETTE  Un moment de discussion avec  nos invités Nordine et Abdel des associations caritatives sur Roubaix On Tend La Main et Le Pouvoir d'un sourire.  Et un dernier temps humoristique avec Amanda, ventriloque et sa marionnette Ernest. Merci à nos partenaires et artistes de cette saison PAS.SAGE ;  Clio Simon,  Ludivine Large Bessette Julien Pitinome Denis Baronnet,  L'INA, Le Centre national d'arts appliqués - CNAP,  l'Archipel des lucioles,  le Labo des histoires,  PArkour 59 Merci à la technique pour la réalisation de cette émission : Tom, Jeremy,  Merci à toute l'équipe du Labo 148 mobilisée pour cette émission et cette soirée LABO148 Le LABO148 est une agence de production de contenus portée par la Condition Publique, un espace d'expérimentation à la lisière entre artistiques et journalistiques. Sa rédaction mêle des volontaires âgés de 15 à 30 ans, vivant à Roubaix et dans toute la métropole lilloise.  --- Send in a voice message: https://podcasters.spotify.com/pod/show/labo-148/message

President of CNAP, Alain Reuter, talks to us about how to obtain a pension in Luxembourg. Sasha discusses the week's news, and I wish you all a Happy St. Patrick's Day! Pensions are one of those parts of life-long planning which, due to the nature of our busy days, we don't always have time to think about or organise. Now if you happen to spend your entire working life in Luxembourg, and you're an employee (rather than an independent worker), again you have to think a little less about such issues. However, a lot of my audience is international with some time spent in Luxembourg, some coming, going and even returning. Again, a lot of these people will come with a partner who may not be working. And so the questions begin. What does one need to do to contribute to a 'pot' where, one day, they may be entitled to a Luxembourg pension? How do you add educational years (yes, that's a thing here)? How do you add child-rearing years? Alain Reuter and his team get such questions every day. Alain is President of the National Pension Insurance Office (Caisse nationale d'assurance pension - CNAP) and the Compensation Fund of the General Pension Scheme (Fonds de compensation commun au régime général de pension - FDC) since December 2020. At the moment, about 215,000 are retired (and receiving a pension) in Luxembourg, out of a population of about 650,000. This number has risen by 15% in the last five years. The total amount paid out is about 5.7 billion euros. Of this amount, about 4 billion euros is to people in Luxembourg and 1.7 billion to those now living abroad (in 111 different countries to be precise). The average age of retirement, currently, is 60.1. Pensions have been in the news for various reasons over the last few months. The most pertinent and, in my opinion, important reason is that there is not going to be enough money in the system to pay for future pensions. In fact, by 2042, the pension fund's reserves will be insufficient to cover expenditure. Ivaylo Markov, Managing Partner of Thales Capital puts it like this: "From 2027 we will be spending more than we earn, which will reduce the reserves, which will be depleted in barely 15 years... The current decade will see the number of beneficiaries grow by around 4% each year. This increase is explained by the IGSS as being due to a 'wave of new pensioners, mainly made up of immigrant and cross-border workers recruited from the 1990s onwards" This is a topic that needs further investigation and I will try to do a follow-up show with your questions. Please send any thoughts to contenttoday@rtl.lu with the title 'Pensions - questions for Lisa Burke' Enjoy the show and have a wonderful St. Patrick's Day celebratory weekend!

Chen Gour Arie, Director of Engineering at Snyk, joins Corey on Screaming in the Cloud to discuss how his company, Enso Security, got acquired by Snyk and what drew him to Snyk's mission as a partner. Chen expands on the challenges currently facing the security space, and shares what he feels are likely outcomes for challenges like improving compliance across value-add on security tools and the increasing scope of cybersecurity at such a relatively early phase of the industry's development. Corey and Chen also discuss what makes Snyk so appealing to developers and why that was an important part of their growth strategy, as well as Chen's take on recent security incidents that have hit the news. About ChenChen is the Co-founder of Enso Security (part of Snyk) - the world's 1st ASPM platform. With decades of hands-on experience in cybersecurity and software development, Chen has focused his career on building effective application security tools and practices.Links Referenced:Snyk: https://snyk.ioSnyk AppRisk: https://snyk.io/product/snyk-apprisk/TranscriptAnnouncer: Hello, and welcome to Screaming in the Cloud with your host, Chief Cloud Economist at The Duckbill Group, Corey Quinn. This weekly show features conversations with people doing interesting work in the world of cloud, thoughtful commentary on the state of the technical world, and ridiculous titles for which Corey refuses to apologize. This is Screaming in the Cloud.Corey: Welcome to Screaming in the Cloud. I'm Corey Quinn. This promoted guest episode is brought to us by our friends at Snyk, and as a part of that they have given me someone rather distinct as far as career paths and trajectories go. Chen Gour Arie is currently a director of engineering over at Snyk, but in a previous life—read as about six months or so ago—he was a co-founder of Enso Security, which got acquired. Chen, thank you for joining me.Chen: Thank you for having me, Corey.Corey: So, I guess an interesting place to begin is, what has the past couple of years been like? And let's dive in with, what is or was Enso Security?Chen: Yeah. So, Enso started for me first as friendship because I joined the team that I was working with as a contractor for a while. There was such an excellent and interesting team with a very interesting environment. And then after a while, they asked me to join that team, and then I became part of the security team of a company called Wix.com.It's quite a large company, web do-it-yourself kind of platform, that you can build your own website with a presentation style kind of interface, and our job was to secure that. And we formed a very, very nice friendship throughout it, but we also gained a lot of experience because you work with such a large company, and you experience many challenges, including real-time attempts to penetrate, and the complexity of social engineering at large scale. You go through a lot of things. So, this was the start. And after a couple of years, we decided that we have some interesting ideas that can do good to the community in the cybersecurity industry, and we embarked on a new journey together to start Enso.Corey: I can see why you aligned with Snyk. It sounds like a lot of what you were aimed at is very much in step with how they tend to approach things. I have a number of sponsors that I can say this about, but Snyk is a particularly fun one, in that, obviously, you folks pay me to run advertisements and featured guest episodes like this, which is appreciated, but we also pay you as a customer of Snyk because it does a lot of things that we find both incredibly useful and incredibly valuable. The thread that I've seen running through everything coming out of Snyk has been this concept of, I think, what some folks would say shifting left, but it comes down to the idea of flagging issues as early in the process as possible rather than trying to get someone to remember what they did three months ago, and oh, yeah, go back and address that. That alone has made it one of the best approaches to things that are truly important—and yes, I consider security to be one of those things—that I've seen in a while on the dev tool space.Chen: Yeah, and this has been the mission of Snyk for a very long time. And when we started Enso, our mission was to help in some additional elements of the same problem space in introducing additional tools to help drive this shift left, this democratization of the security effort around and in the organization, and resolving some of the friction that is created with the, kind of, confusing ownership of security and software development. So, this was kind of the mission of Enso. The category introduced by it and the ASPM category to bring the notion of postural security, postural management to applications. And it really is a huge fit with the journey of Snyk, and we were very excited to be approached by them to join their journey and help them do further shift left and extend on problem space on the complexity of this collaboration between security and developers.Corey: A question I have around this is that it seems to me that viewing security posture management from an application perspective, and then viewing other parts of it from a cloud provider perspective and other parts of it from a variety of different things—you know, go to RSA and walk up and down the endless rows of booths, and you know, look at the 12 different things that they're all selling because it's all the same stuff around 12 categories or so, with different companies and logos and the rest—it feels like, on some level, that can lead very quickly to a fractured security posture where, well this is the app side of the security, and then we have the infrastructure security folks, but those groups don't really collaborate because they're separate and distinct. How do you square that circle?Chen: Yeah, it's not an easy problem, and I think that the North Star of many vendors exists this notion of sometimes I think we call it CNAP or something that will unify all of it. Cloud as a solution, and the offering that exists with cloud computing enables a lot of it, enables a lot of this unification, but we have to remember that the industry is young. The software security industry in general is young. If we will look at any other industry with that size, all of them have much more history and time to mature. And inside this industry, the security itself is even younger.It has become a real problem much later than then when software started. It has become a huge problem when cloud emerged and became, like, the huge deal that it is now. And when more and more businesses are based on digital services, and more people are writing software, a lot of it is young, and it needs time to mature, and it's time to get to—to accomplish some big parts like this unification that you are pointing out missing.Corey: I have to confess my own bias here. A lot of the stuff that I build is very small-scale, leverages serverless technologies heavily, and even when I'm dealing with things like the CDK, where I start to have my application and the infrastructure that powers it coalesce into the same sort of thing, it becomes increasingly difficult, if not outright impossible for some of these co...

Alex Lawrence, Field CISO at Sysdig, joins Corey on Screaming in the Cloud to discuss how he went from studying bioluminescence and mycology to working in tech, and his stance on why open source is the future of cloud security. Alex draws an interesting parallel between the creative culture at companies like Pixar and the iterative and collaborative culture of open-source software development, and explains why iteration speed is crucial in cloud security. Corey and Alex also discuss the pros and cons of having so many specialized tools that tackle specific functions in cloud security, and the different postures companies take towards their cloud security practices. About AlexAlex Lawrence is a Field CISO at Sysdig. Alex has an extensive history working in the datacenter as well as with the world of DevOps. Prior to moving into a solutions role, Alex spent a majority of his time working in the world of OSS on identity, authentication, user management and security. Alex's educational background has nothing to do with his day-to-day career; however, if you'd like to have a spirited conversation on bioluminescence or fungus, he'd be happy to oblige.Links Referenced: Sysdig: https://sysdig.com/ sysdig.com/opensource: https://sysdig.com/opensource falco.org: https://falco.org TranscriptAnnouncer: Hello, and welcome to Screaming in the Cloud with your host, Chief Cloud Economist at The Duckbill Group, Corey Quinn. This weekly show features conversations with people doing interesting work in the world of cloud, thoughtful commentary on the state of the technical world, and ridiculous titles for which Corey refuses to apologize. This is Screaming in the Cloud.Corey: Welcome to Screaming in the Cloud. I'm Corey Quinn. This promoted guest episode is brought to us by our friends over at Sysdig, and they have brought to me Alexander Lawrence, who's a principal security architect over at Sysdig. Alexander, thank you for joining me.Alex: Hey, thanks for having me, Corey.Corey: So, we all have fascinating origin stories. Invariably you talk to someone, no one in tech emerged fully-formed from the forehead of some God. Most of us wound up starting off doing this as a hobby, late at night, sitting in the dark, rarely emerging. You, on the other hand, studied mycology, so watching the rest of us sit in the dark and growing mushrooms was basically how you started, is my understanding of your origin story. Accurate, not accurate at all, or something in between?Alex: Yeah, decently accurate. So, I was in school during the wonderful tech bubble burst, right, high school era, and I always told everybody, there's no way I'm going to go into technology. There's tons of people out there looking for a job. Why would I do that? And let's face it, everybody expected me to, so being an angsty teenager, I couldn't have that. So, I went into college looking into whatever I thought was interesting, and it turned out I had a predilection to go towards fungus and plants.Corey: Then you realized some of them glow and that wound up being too bright for you, so all right, we're done with this; time to move into tech?Alex: [laugh]. Strangely enough, my thesis, my capstone, was on the coevolution of bioluminescence across aquatic and terrestrial organisms. And so, did a lot of focused work on specifically bioluminescent fungus and bioluminescing fish, like Photoblepharon palpebratus and things like that.Corey: When I talk to people who are trying to figure out, okay, I don't like what's going on in my career, I want to do something different, and their assumption is, oh, I have to start over at square one. It's no, find the job that's halfway between what you're doing now and what you want to be doing, and make lateral moves rather than starting over five years in or whatnot. But I have to wonder, how on earth did you go from A to B in this context?Alex: Yeah, so I had always done tech. My first job really was in tech at the school districts that I went to in high school. And so, I went into college doing tech. I volunteered at the ELCA and other organizations doing tech, and so it basically funded my college career. And by the time I finished up through grad school, I realized my life was going to be writing papers so that other people could do the research that I was coming up with, and I thought that sounded like a pretty miserable life.And so, it became a hobby, and the thing I had done throughout my entire college career was technology, and so that became my new career and vocation. So, I was kind of doing both, and then ended up landing in tech for the job market.Corey: And you've effectively moved through the industry to the point where you're now in security architecture over at Sysdig, which, when I first saw Sysdig launch many years ago, it was, this is an interesting tool. I can see observability stories, I can see understanding what's going on at a deep level. I liked it as a learning tool, frankly. And it makes sense, with the benefit of hindsight, that oh, yeah, I suppose it does make some sense that there are security implications thereof. But one of the things that you've said that I really want to dig into that I'm honestly in full support of because it'll irritate just the absolute worst kinds of people is—one of the core beliefs that you espouse is that security when it comes to cloud is inherently open-source-based or at least derived. I don't want to misstate your position on this. How do you view it?Alex: Yeah. Yeah, so basically, the stance I have here is that the future of security in cloud is open-source. And the reason I say that is that it's a bunch of open standards that have basically produced a lot of the technologies that we're using in that stack, right, your web servers, your automation tooling, all of your different components are built on open stacks, and people are looking to other open tools to augment those things. And the reality is, is that the security environment that we're in is changing drastically in the cloud as opposed to what it was like in the on-premises world. On-prem was great—it still is great; a lot of folks still use it and thrive on it—but as we look at the way software is built and the way we interface with infrastructure, the cloud has changed that dramatically.Basically, things are a lot faster than they used to be. The model we have to use in order to make sure our security is good has dramatically changed, right, and all that comes down to speed and how quickly things evolve. I tend to take a position that one single brain—one entity, so to speak—can't keep up with that rapid evolution of things. Like, a good example is Log4j, right? When Log4j hit this last year, that was a pretty broad attack that affected a lot of people. You saw open tooling out there, like Falco and others, they had a policy to detect and help triage that within a couple of hours of it hitting the internet. Other proprietary tooling, it took much longer than two hours.Corey: Part of me wonders what the root cause behind that delay is because it's not that the engineers working at these companies are somehow worse than folks in the open communities. In some cases, they're the same people. It feels like it's almost corporate process ossification of, “Okay, we built a thing. Now, we need to make sure it goes through branding and legal and marketing and we need to bring in 16 other teams to make this work.” Whereas in the open-source world, it feels like there's much more of a, “I push the deploy button and it's up. The end.” There is no step two.Alex: [laugh]. Yeah, so there is certainly a certain element of that. And I think it's just the way different paradigms work. There's a fantastic book out there called Creativity, Inc., and it's basically a book about how Pixar manages itself, right? How do they deal with creating movies? How do they deal with doing what they do, well?And really, what it comes down to is fostering a culture of creativity. And that typically revolves around being able to fail fast, take risks, see if it sticks, see if it works. And it's not that corporate entities don't do that. They certainly do, but again, if you think about the way the open-source world works, people are submitting, you know, PRs, pull requests, they're putting out different solutions, different fixes to problems, and the ones that end up solving it the best are often the ones that end up coming to the top, right? And so, it's just—the way you iterate is much more akin to that kind of creativity-based mindset that I think you get out of traditional organizations and corporations.Corey: There's also, I think—I don't know if this is necessarily the exact point, but it feels like it's at least aligned with it—where there was for a long time—by which I mean, pretty much 40 years at this point—a debate between open disclosure and telling people of things that you have found in vendors products versus closed disclosure; you only wind—or whatever the term is where you tell the vendor, give them time to fix it, and it gets out the door. But we've seen again and again and again, where researchers find something, report it, and then it sits there, in some cases for years, but then when it goes public and the company looks bad as a result, they scramble to fix it. I wish it were not this way, but it seems that in some cases, public shaming is the only thing that works to get companies to secure their stuff.Alex: Yeah, and I don't know if it's public shaming, per se, that does it, or it's just priorities, or it's just, you know, however it might go, there's always been this notion of, “Okay, we found a breach. Let's disclose appropriately, you know, between two entities, give time to remediate.” Because there is a potential risk that if you disclose publicly that it can be abused and used in very malicious ways—and we certainly don't want that—but there also is a certain level of onus once the disclosure happens privately that we got to go and take care of those things. And so, it's a balancing act.I don't know what the right solution is. I mean, if I did, I think everybody would benefit from things like that, but we just don't know the proper answer. The workflow is complex, it is difficult, and I think doing our due diligence to make sure that we disclose appropriately is the right path to go down. When we get those disclosures we need to take them seriously is when it comes down to.Corey: What I find interesting is your premise that the future of cloud security is open-source. Like, I could make a strong argument that today, we definitely have an open-source culture around cloud security and need to, but you're talking about that shifting along the fourth dimension. What's the change? What do you see evolving?Alex: Yeah, I think for me, it's about the collaboration. I think there are segments of industries that communicate with each other very, very well, and I think there's others who do a decent job, you know, behind closed doors, and I think there's others, again, that don't communicate at all. So, all of my background predominantly has been in higher-ed, K-12, academia, and I find that a lot of those organizations do an extremely good job of partnering together, working together to move towards, kind of, a greater good, a greater goal. An example of that would be a group out in the Pacific Northwest called NWACC—the NorthWest Academic Computing Consortium. And so, it's every university in the Northwest all come together to have CIO Summits, to have Security Summits, to trade knowledge, to work together, basically, to have a better overall security posture.And they do it pretty much out in the open and collaborating with each other, even though they are also direct competitors, right? They all want the same students. It's a little bit of a different way of thinking, and they've been doing it for years. And I'm finding that to be a trend that's happening more and more outside of just academia. And so, when I say the future is open, if you think about the tooling academia typically uses, it is very open-source-oriented, it is very collaborative.There's no specifications on things like eduPerson to be able to go and define what a user looks like. There's things like, you know, CAS and Shibboleth to do account authorization and things like that. They all collaborate on tooling in that regard. We're seeing more of that in the commercial space as well. And so, when I say the future of security in cloud is open-source, it's models like this that I think are becoming more and more effective, right?It's not just the larger entities talking to each other. It's everybody talking with each other, everybody collaborating with each other, and having an overall better security posture. The reality is, is that the folks we're defending ourselves against, they already are communicating, they already are using that model to work together to take down who they view as their targets: us, right? We need to do the same to be able to keep up. We need to be able to have those conversations openly, work together openly, and be able to set that security posture across that kind of overall space.Corey: There's definitely a concern that if okay, you have all these companies and community collaborating around security aspects in public, that well won't the bad actors be able to see what they're looking at and how they're approaching it and, in some cases, move faster than they can or, in other cases, effectively wind up polluting the conversation by claiming to be good actors when they're not. And there's so many different ways that this can manifest. It feels like fear is always the thing that stops people from going down this path, but there is some instance of validity to that I would imagine.Alex: Yeah, no. And I think that certainly is true, right? People are afraid to let go of, quote-unquote, “The keys to their kingdom,” their security posture, their things like that. And it makes sense, right? There's certain things that you would want to not necessarily talk about openly, like, specifically, you know, what Diffie–Hellman key exchange you're using or something like that, but there are ways to have these conversations about risks and posture and tooling and, you know, ways you approach it that help everybody else out, right?If someone finds a particularly novel way to do a detection with some sort of piece of tooling, they probably should be sharing that, right? Let's not keep it to ourselves. Traditionally, just because you know the tool doesn't necessarily mean that you're going to have a way in. Certainly, you know, it can give you a path or a vector to go after, but if we can at least have open standards about how we implement and how we can go about some of these different concepts, we can all gain from that, so to speak.Corey: Part of me wonders if the existing things that the large companies are collaborating on lead to a culture that specifically pushes back against this. A classic example from my misspent youth is that an awful lot of the anti-abuse departments at these large companies are in constant communication. Because if you work at Microsoft, or Google or Amazon, your adversary, as you see it, in the Trust and Safety Group is not those other companies. It's bad actors attempting to commit fraud. So, when you start seeing particular bad actors emerging from certain parts of the network, sharing that makes everything better because there's an understanding there that it's not, “Oh, Microsoft has bad security this week,” or, “Google will wind up approving fraudulent accounts that start spamming everyone.”Because the takeaway by theby the customers is not that this one company is bad; it's oh, the cloud isn't safe. We shouldn't use cloud. And that leads to worse outcomes for basically everyone. But they're als—one of the most carefully guarded secrets at all these companies is how they do fraud prevention and spam detection because if adversaries find that out, working around them becomes a heck of a lot easier. I don't know, for example, how AWS determines whether a massive account overage in a free-tier account is considered to be a bad actor or someone who made a legitimate mistake. I can guess, but the actual signal that they use is something that they would never in a million years tell me. They probably won't even tell each other specifics of that.Alex: Certainly, and I'm not advocating that they let all of the details out, per se, but I think it would be good to be able to have more of an open posture in terms of, like, you know what tooling do they use? How do they accomplish that feat? Like, are they looking at a particular metric? How do they basically handle that posture going forward? Like, what can I do to replicate a similar concept?I don't need to know all the details, but would be nice if they embrace, you know, open tooling, like say a Trivy or a Falco or whatever the thing is, right, they're using to do this process and then contribute back to that project to make it better for everybody. When you kind of keep that stuff closed-source, that's when you start running into that issue where, you know, they have that, quote-unquote, “Advantage,” that other folks aren't getting. Maybe there's something we can do better in the community, and if we can all be better, it's better for everybody.Corey: There's a constant customer pain in the fact that every cloud provider, for example, has its own security perspective—the way that identity is managed, the way that security boundaries exist, the way that telemetry from these things winds up getting represented—where a number of companies that are looking at doing things that have to work across cloud for a variety of reasons—some good, some not so good—have decided that, okay, we're just going to basically treat all these providers as, more or less, dumb pipes and dumb infrastructure. Great, we're just going to run Kubernetes on all these things, and then once it's inside of our cluster, then we'll build our own security overlay around all of these things. They shouldn't have to do that. There should be a unified set of approaches to these things. At least, I wish there were.Alex: Yeah, and I think that's where you see a lot of the open standards evolving. A lot of the different CNCF projects out there are basically built on that concept. Like, okay, we've got Kubernetes. We've got a particular pipeline, we've got a particular type of implementation of a security measure or whatever it might be. And so, there's a lot of projects built around how do we standardize those things and make them work cross-functionally, regardless of where they're running.It's actually one of the things I quite like about Kubernetes: it makes it be a little more abstract for the developers or the infrastructure folks. At one point in time, you had your on-premises stuff and you built your stuff towards how your on-prem looked. Then you went to the cloud and started building yourself to look like what that cloud look like. And then another cloud showed up and you had to go use that one. Got to go refactor your application to now work in that cloud.Kubernetes has basically become, like, this gigantic API ball to interface with the clouds, and you don't have to build an application four different ways anymore. You can build it one way and it can work on-prem, it can work in Google, Azure, IBM, Oracle, you know, whoever, Amazon, whatever it needs to be. And then that also enables us to have a standard set of tools. So, we can use things like, you know, Rego or we can use things like Falco or we can use things that allow us to build tooling to secure those things the same way everywhere we go. And the benefit of most of those tools is that they're also configured, you know, via some level of codification, and so we can have a repository that contains our posture: apply that posture to that cluster, apply it to the other cluster in the other environment. It allows us to automate these things, go quicker, build the posture at the very beginning, along with that application.Corey: One of the problems I feel as a customer is that so many of these companies have a model for interacting with security issues that's frankly obnoxious. I am exhausted by the amount of chest-thumping, you'll see on keynote stages, all of the theme, “We're the best at security.” And whenever a vulnerability researcher reports something of a wide variety of different levels of severity, it always feels like the first concern from the company is not fix the issue, but rather, control the messaging around it.Whenever there's an issue, it's very clear that they will lean on people to rephrase things, not use certain words. It's, I don't know if the words used to describe this cross-tenant vulnerability are the biggest problem you should be focusing on right now. Yes, I understand that you can walk and chew gum at the same time as a big company, but it almost feels like the researchers are first screaming into a void, and then they're finally getting attention, but from all the people they don't want to get the attention from. It feels like this is not a welcoming environment for folks to report these things in good faith.Alex: [sigh]. Yeah, it's not. And I don't know what the solution is to that particular problem. I have opinions about why that exists. I won't go into those here, but it's cumbersome. It's difficult. I don't envy a lot of those research organizations.They're fantastic people coming up with great findings, they find really interesting stuff that comes out, but when you have to report and do that due diligence, that portion is not that fun. And then doing, you know, the fallout component, right: okay, now we have this thing we have to report, we have to go do something to fix it, you're right. I mean, people do often get really spun up on the verbiage or the implications and not just go fix the problem. And so again, if you have ways to mitigate that are more standards-based, that aren't specific to a particular cloud, like, you can use an open-source tool to mitigate, that can be quite the advantage.Corey: One of the challenges that I see across a wide swath of tooling and approaches to it have been that when I was trying to get some stuff to analyze CloudTrail logs in my own environment, I was really facing a bimodal distribution of options. On one end of the spectrum, it's a bunch of crappy stuff—or good stuff; hard to say—but it's all coming off of GitHub, open-source, build it yourself, et cetera. Good luck. And that's okay, awesome, but there's business value here and I'm thrilled to pay experts to make this problem go away.The other end of the spectrum is commercial security tooling, and it is almost impossible in my experience to find anything that costs less than $1,000 a month to start providing insight from a security perspective. Now, I understand the market forces that drive this. Truly I do, and I'm sympathetic to them. It is just as easy to sell $50,000 worth of software as it is five to an awful lot of companies, so yeah, go where the money is. But it also means that the small end of the market as hobbyists, as startups are just getting started, there is a price barrier to engaging in the quote-unquote, “Proper way,” to do security.So, the posture suffers. We'll bolt security on later when it becomes important is the philosophy, and we've all seen how well that plays out in the fullness of time. How do you square that circle? I think the answer has to be open-source improving to the point where it's not just random scripts, but renowned projects.Alex: Correct, yeah, and I'd agree with that. And so, we're kind of in this interesting phase. So, if you think about, like, raw Linux applications, right, Linux, always is the tenant that you build an application to do one thing, does that one thing really, really, really well. And then you ended up with this thing called, like, you know, the Cacti monitoring stack. And so, you ended up having, like, 600 tools you strung together to get this one monitoring function done.We're kind of in a similar spot in a lot of ways right now, in the open-source security world where, like, if you want to do scanning, you can do, like, Clair or you can do Trivy or you have a couple different choices, right? If you want to do posture, you've got things like Qbench that are out there. If you want to go do runtime security stuff, you've got something like Falco. So, you've got all these tools to string together, right, to give you all of these different components. And if you want, you can build it yourself, and you can run it yourself and it can be very fun and effective.But at some point in your life, you probably don't want to be care-and-feeding your child that you built, right? It's 18 years later now, and you want to go back to having your life, and so you end up buying a tool, right? That's why Gartner made this whole CNAP category, right? It's this humongous category of products that are putting all of these different components together into one gigantic package. And the whole goal there is just to make lives a little bit easier because running all the tools yourself, it's fun, I love it, I did it myself for a long time, but eventually, you know, you want to try to work on some other stuff, too.Corey: At one point, I wound up running the numbers of all of the first-party security offerings that AWS offered, and for most use cases of significant scale, the cost for those security services was more than the cost of the theoretical breach that they'd be guarding against. And I think that there's a very dangerous incentive that arises when you start turning security observability into your own platform as a profit center. Because it's, well, we could make a lot of money if we don't actually fix the root issue and just sell tools to address and mitigate some of it—not that I think that's the intentional direction that these companies are taking these things and I don't want to ascribe malice to them, but you can feel that start to be the trend that some decisions get pushed in.Alex: Yeah, I mean, everything comes down to data, right? It has to be stored somewhere, processed somewhere, analyzed somewhere. That always has a cost with it. And so, that's always this notion of the shared security model, right? We have to have someone have ownership over that data, and most of the time, that's the end-user, right? It's their data, it's their responsibility.And so, these offerings become things that they have that you can tie into to work within the ecosystem, work within their infrastructure to get that value out of your data, right? You know, where is the security model going? Where do I have issues? Where do I have misconfigurations? But again, someone has to pay for that processing time. And so, that ends up having a pretty extreme cost to it.And so, it ends up being a hard problem to solve. And it gets even harder if you're multi-cloud, right? You can't necessarily use the tooling of AWS inside of Azure or inside of Google. And other products are trying to do that, right? They're trying to be able to let you integrate their security center with other clouds as well.And it's kind of created this really interesting dichotomy where you almost have frenemies, right, where you've got, you know, a big Azure customer who's also a big AWS customer. Well, they want to go use Defender on all of their infrastructure, and Microsoft is trying to do their best to allow you to do that. Conversely, not all clouds operate in that same capacity. And you're correct, they all come at extremely different costs, they have different price models, they have different ways of going about it. And it becomes really difficult to figure out what is the best path forward.Generally, my stance is anything is better than nothing, right? So, if your only choice is using Defender to do all your stuff and it cost you an arm or leg, unfortunate, but great; at least you got something. If the path is, you know, go use this random open-source thing, great. Go do that. Early on, when I'd been at—was at Sysdig about five years ago, my big message was, you know, I don't care what you do. At least scan your containers. If you're doing nothing else in life, use Clair; scan the darn things. Don't do nothing.That's not really a problem these days, thankfully, but now we're more to a world where it's like, well, okay, you've got your containers, you've got your applications running in production. You've scanned them, that's great, but you're doing nothing at runtime. You're doing nothing in your posture world, right? Do something about it. So, maybe that is buy the enterprise tool from the cloud you're working in, buy it from some other vendor, use the open-source tool, do something.Thankfully, we live in a world where there are plenty of open tools out there we can adopt and leverage. You used the example of CloudTrail earlier. I don't know if you saw it, but there was a really, really cool talk at SharkFest last year from Gerald Combs where they leveraged Wireshark to be able to read CloudTrail logs. Which I thought was awesome.Corey: That feels more than a little bit ridiculous, just because it's—I mean I guess you could extract the JSON object across the wire then reassemble it. But, yeah, I need to think on that one.Alex: Yeah. So, it's actually really cool. They took the plugins from Falco that exist and they rewired Wireshark to leverage those plugins to read the JSON data from the CloudTrail and then wired it into the Wireshark interface to be able to do a visual inspect of CloudTrail logs. So, just like you could do, like, a follow this IP with a PCAP, you could do the same concept inside of your cloud log. So, if you look up Logray, you'll find it on the internet out there. You'll see demos of Gerald showing it off. It was a pretty darn cool way to use a visualization, let's be honest, most security professionals already know how to use in a more modern infrastructure.Corey: One last topic that I want to go into with you before we call this an episode is something that's been bugging me more and more over the years—and it annoyed me a lot when I had to deal with this stuff as a SOC 2 control owner and it's gotten exponentially worse every time I've had to deal with it ever since—and that is the seeming view of compliance and security as being one and the same, to the point where in one of my accounts that I secured rather well, I thought, I installed security hub and finally jumped through all those hoops and paid the taxes and the rest and then waited 24 hours to gather some data, then 24 hours to gather more. Awesome. Applied the AWS-approved a foundational security benchmark to it and it started shrieking its bloody head off about all of the things that were insecure and not configured properly. One of them, okay, great, it complained that the ‘Block all S3 Public Access' setting was not turned on for the account. So, I turned that on. Great.Now, it's still complaining that I have not gone through and also enabled the ‘Block Public Access Setting' on each and every S3 bucket within it. That is not improving your security posture in any meaningful way. That is box-checking so that someone in a compliance role can check that off and move on to the next thing on the clipboard. Now, originally, they started off being good-intentioned, but the result is I'm besieged by these things that don't actually matter and that means I'm not going to have time to focus on the things that actually do. Please tell me I'm wrong on some of this.Alex: [laugh].Corey: I really need to hear that.Alex: I can't. Unfortunately, I agree with you that a lot of that seems erroneous. But let's be honest, auditors have a job for a reason.Corey: Oh, I'm not besmirching the role of the auditor. Far from it. The problem I run into is that it's the Human Nessus report that dumps out, “Here's the 700 things to go fix in your environment,” as opposed to, “Here's the five things you can do right now that will meaningfully improve your security posture.”Alex: Yeah. And so, I think that's a place we see a lot of vendors moving, and I think that is the right path forward. Because we are in a world where we generate reports that are miles and miles long, we throw them over a wall to somebody, and that person says, “Are you crazy?” Like, “You want me to go do what with my time?” Like, “No. I can't. No. This is way too much.”And so, if we can narrow these things down to what matters the most today, and then what can we get rid of tomorrow, that makes life better for everybody. There are certainly ways to accomplish that across a lot of different dimensions, be that vulnerability management, or configuration management stuff, runtime stuff, and that is certainly the way we should approach it. Unfortunately, not all frameworks allow us to look at it that way.Corey: I mean, even AWS's thing here is yelling at me for a number of services not having encryption-at-rest turned on, like CloudTrail logs, or SNS topics. It's okay, let's be very clear what that is defending against: someone stealing drives out of a data center and taking them off to view the data. Is that something that I need to worry about in a public cloud provider context? Not unless I'm the CIA or something pretty close to that. I mean, if you can get my data out of an AWS data center and survive, congratulations, I kind of feel like you've earned it at this point. But that obscures things I need to be doing that I'm not.Alex: Back in the day, I had a customer who used to have—they had storage arrays and their storage arrays' logins were the default login that they came with the array. They never changed it. You just logged in with admin and no password. And I was like, “You know, you should probably fix that.” And he sent a message back saying, “Yeah, you know, maybe I should, but my feeling is that if it got that far into my infrastructure where they can get to that interface, I'm already screwed, so it doesn't really matter to me if I set that admin password or not.”Corey: Yeah, there is a defense-in-depth argument to be made. I am not disputing that, but the Cisco world is melting down right now because of a bunch of very severe vulnerabilities that have been disclosed. But everything to exploit these things always requires, well you need access to the management interface. Back when I was a network administrator at Chapman University in 2006, even then, I knew, “Well, we certainly don't want to put the management interfaces on the same VLAN that's passing traffic.”So, is it good that there's an unpatched vulnerability there? No, but Shodan, the security vulnerability search engine shows over 80,000 instances that are affected on the public internet. It would never have occurred to me to put the management interface of important network gear on the public internet. That just is… I don't understand that.Alex: Yeah.Corey: So, on some level, I think the lesson here is that there's always someone who has something else to focus on at a given moment, and… where it's a spectrum: no one is fully secure, but ideally, you don't want to be the lowest of low-hanging fruit.Alex: Right, right. I mean, if you were fully secure, you'd just turn it off, but unfortunately, we can't do that. We have to have it be accessible because that's our jobs. And so, if we're having it be accessible, we got to do the best we can. And I think that is a good point, right? Not being the worst should be your goal, at the very, very least.Doing bare minimums, looking at those checks, deciding if they're relevant for you or not, just because it says the configuration is required, you know, is it required in your use case? Is it required for your requirements? Like, you know, are you a FedRAMP customer? Okay, yeah, it's probably a requirement because, you know, it's FedRAMP. They're going to tell you got to do it. But is it your dev environment? Is it your demo stuff? You know, where does it exist, right? There's certain areas where it makes sense to deal with it and certain areas where it makes sense to take care of it.Corey: I really want to thank you for taking the time to talk me through your thoughts on all this. If people want to learn more, where's the best place for them to find you?Alex: Yeah, so they can either go to sysdig.com/opensource. A bunch of open-source resources there. They can go to falco.org, read about the stuff on that site, as well. Lots of different ways to kind of go and get yourself educated on stuff in this space.Corey: And we will, of course, put links to that into the show notes. Thank you so much for being so generous with your time. I appreciate it.Alex: Yeah, thanks for having me. I appreciate it.Corey: Alexander Lawrence, principal security architect at Sysdig. I'm Cloud Economist Corey Quinn, and this episode has been brought to us by our friends, also at Sysdig. If you've enjoyed this podcast, please leave a five-star review on your podcast platform of choice, whereas if you've hated this podcast, please leave a five-star review on your podcast platform of choice, along with an insulting comment that I will then read later when I pick it off the wire using Wireshark.Corey: If your AWS bill keeps rising and your blood pressure is doing the same, then you need The Duckbill Group. We help companies fix their AWS bill by making it smaller and less horrifying. The Duckbill Group works for you, not AWS. We tailor recommendations to your business and we get to the point. Visit duckbillgroup.com to get started.

durée : 01:47:48 - Soft Power - par : Frédéric Martel - Béatrice Salmon, la directrice du Centre national des arts plastiques, détaille les missions du Cnap, puis l'avocat William Bourdon revient sur 40 ans de grands procès internationaux. - invités : Béatrice Salmon Directrice du Centre national des arts plastiques (Cnap); Hippolyte Pérès Producteur de l'émission "Au coeur du ballet"; William Bourdon Avocat au Barreau de Paris, spécialisé en droit pénal des affaires et droit des médias, fondateur de l'association Sherpa

Ever wondered how pensions in Luxembourg even work? What system is in place for people who have worked in several countries? That's what our journalist Tracy Heindrichs wondered about in this week's episode of No Stupid Question. Alain Reuter, president of the national pension insurance fund CNAP, provided an insight into the system.

Process Improvement: Why Change Isn't Always a Bad Thing Nonprofit leaders, when is the last time you did a process improvement audit for your organization? Does just the thought of it make you cringe or give you all the thoughts of overwhelm? If so, fear not! Today, you're in luck because we have a special guest, Margaret Chapman, who is an expert in implementing strategic and meaningful changes in nonprofit backend processes. She's going to break down some strategies for us and give us a wealth of information starting with strategic planning.  Margaret shares with us strategies for making your strategic plan a tactical document your organization will actually use, instead of putting it together once every three years, shoving it in a closet, and never looking at it again. If this is your organization, there is no judgment here! It happens a lot more often than you think. That's why we are so excited to dive into process improvement for backend systems with Margaret!    About Margaret Margaret Chapman, MBA, MA, CNAP has spent the last 20 years of her career helping organizations with their finance, operations, fundraising and overall programmatic strategy. From national candidates and multi-billion dollar nonprofits to small start-ups, she leverages what's unique about each group to ensure they are able to leap to the next phase in their growth. Specifically, Margaret focuses on using strategic planning methods in building robust back office systems that fit the needs of the organization. Rethinking staffing, accounting, and operational structures are her specialty. Throughout her career, Margaret has worked to make financial analysis, processes, and all things money approachable for all audiences. Dealing with numbers is often anxiety-producing but Margaret translates finance-speak into easily understandable concepts and practices that every organization can efficiently implement and feel confident in sharing.   Episode Summary On today's episode, you'll learn how you can improve your organization's strategic planning and backend processes including: Common challenges nonprofits are seeing right now (12:55) What components your strategic plan needs to have to be a successful, tactical document (16:00) One of the most common missing pieces of a nonprofit strategic plan (18:00) One strategy for getting the bigger picture of what is going on in the organization (22:50) Proven strategies for managing change in an organization (27:00) What happens when you empower your team members (30:00) Creating a culture of improvement (36:05)   Teasers “I think strategic planning is a lot more about what you're not doing oftentimes than what you are doing.” “I'm not sure that we could get any more inefficient than that, having someone physically drive checks across the city for a signature. But that's the way that they had always done it.” “Change is hard, even if it's a change that we know will probably improve our lives and our ability to do our work.” “It's really engaging the people who are having to do it every day and saying, what are your ideas for how to do this better?” “This is how we've always done it is not always a bad thing. I think the key is to continuously review and continuously think about is there a way that we could iterate and make this better, or is this process working really well?”   Resources Follow Margaret on Instagram: @jamstrategies Keep up with Margaret on Facebook: https://www.facebook.com/JaMStrategies  Connect with Margaret on LinkedIn: https://www.linkedin.com/in/margaret-chapman-mba/  Check out Margaret's website: https://jamstrategies.com/    FREE Cash Forecast Spreadsheet: https://100degreesconsulting.com/cash  Keep up to date with the podcast: @100degreesconsulting Follow Stephanie on Instagram: @stephanie.skry Connect with Stephanie on LinkedIn: https://www.linkedin.com/in/stephanieskryzowski/  Visit the podcast page: https://100degreesconsulting.com/process-improvement  

In today's episode, our host, Andrew Monaghan, sits down with Dhiraj Khare from Pingsafe, a leading cloud security platform company. Dhiraj shares some fascinating insights about their journey in the cybersecurity space and the strategies they've employed to drive revenue for their startup.From their memorable first day at Pingsafe, coming from a similar cloud security platform company to handling a significant transaction with a nonprofit organization backed by prestigious foundations, Dhiraj takes us through their experiences in securing meaningful deals.We also delve into Pingsafe's innovative approach of looking at cloud infrastructure from an attacker's perspective, its unique CNAP platform, and the challenges they face in a crowded market with over 3400 cybersecurity vendors.Dhiraj offers valuable advice on differentiation, building a strong customer base, and the importance of localization in the Indian and Southeast Asian markets. They highlight their commitment to providing unparalleled customer success and discuss the potential of the Indian market for startups.Tune in to this episode to learn how Pingsafe's revolutionary platform is transforming the cybersecurity landscape and how they are navigating the challenges of scaling and expanding globally. Get ready for an enlightening conversation with Dhiraj Khare at Pingsafe!PingsafeDhiraj Khare on LinkedInSupport the showFollow me on LinkedIn for regular posts about growing your cybersecurity startupWant to grow your revenue faster? Check out my consulting and trainingNeed ideas about how to grow your pipeline? Sign up for my newsletter.

Join this episode of In the Nic of Time, with Robby Ann Carter, CEO of SASSI as they discuss the Cloud SRG, how Robby Ann helped us get the CNAP approved in DoD, and her current work on the Defensive Cyber Operations (DCO) and data centric security.

Pockets of Innovation with John ChavanneEpisode SummaryOn this episode, Solutions Architect at Palo Alto Networks, John Chavanne, joins Matt to talk about his career of innovation. John's career spans over 20 years at HSBC before transitioning into DevOps and Cloud Solutions at Palo Alto Networks.Today, John talks about his career arc, transitioning to cloud, and the value of communities of practice groups. Where should organizations start with deploying a CNAP? Hear about the challenges with deploying cloud platforms, and John's greatest accomplishments. Timestamp Segments·       [01:30] About John.·       [02:54] John's career.·       [05:47] What is something that cloud makes easier?·       [07:09] Transitioning from network to DevOps and Cloud.·       [10:15] Starting the move to cloud at HSBC.·       [13:15] Cloud communities of practice.·       [18:47] Sharing code.·       [21:27] John's biggest accomplishment.·       [23:23] Prisma Cloud.·       [26:25] Organizational challenges with deploying cloud platforms.·       [29:41] Where to start with deploying a CNAP.·       [33:54] How does John stay fresh? Notable Quotes·       “You can test things out in the cloud and the price of failure is almost zero.”·       “Innovation happens in pockets.”·       “Reduce waste and build habits that reduce waste.” Relevant LinksRecommended reading:         The Toyota Way.                                                Kubernetes - An Enterprise Guide.KodeKloud:     https://kodekloud.comTwitter:            https://twitter.com/jjchavanneComprehensive, full-stack cloud security Secure infrastructure, apps and data across hybrid and multi-cloud environments with Prisma Cloud.

À l'image de sa population, le Grand Paris est un territoire aux multiples facettes et à l'identité composite. Pour tenter d'en saisir les contours, les Ateliers Médicis et le Centre national des arts plastiques (CNAP) ont passé commande auprès d'artistes photographes pour en faire une exposition photographique : les Regards du Grands Paris.Qu'est-ce que recouvre le Grand Paris ? En quoi l'approche de cette “ville-monde” est-elle pertinente pour réfléchir sur les questions raciales ? Quelles questions éthiques se posent aux artistes lorsqu'il s'agit de prendre des personnes minorisées en photo ?Dans le cadre de la « Nuit des Regards » - soirée lors de laquelle des artistes, collectifs, journalistes et militant·es de la scène culturelle émergente ont posé leurs regards sur cette exposition - Rokhaya Diallo et Grace Ly ont reçu les photographes Alassan Diawara, Khalil Nemmaoui et Rebecca Topakian pour parler de leur travail. Ensemble, ils et elles ont exploré les manières possibles de représenter l'espace et les visages cosmopolites du Grand Paris.RÉFÉRENCES CITÉES DANS L'ÉMISSION Retrouvez toutes les références sur https://www.binge.audio/podcast/kiffetarace/photographier-le-grand-paris CRÉDITS Kiffe ta race est un podcast de Binge Audio animé par Rokhaya Diallo et Grace Ly. Cet épisode a été enregistré le 16 septembre 2022 aux Magasins Généraux, à Pantin. Prise de son : Clément Postec. Réalisation : Elisa Grenet. Générique : Shkyd. Production et édition : Naomi Titti. Marketing : Jeanne Longhini. Communication : Lise Niederkorn & Justive Taverne. Identité graphique : Manon Louvard & Camille Bernard (Upian). Direction des programmes : Joël Ronez. Direction de la rédaction : David Carzon. Direction générale : Gabrielle Boeri-Charles. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

“Regards du Grand Paris“au Magasins généraux, Musée Carnavalet – Histoire de Paris, 38 sites du Grand Paris et chantiers du nouveau métro du Grand Paris Expressdu 24 juin au 23 octobre 2022Interview de Pascal Beausse, responsable de la collection photographie du Centre national des arts plastiques (Cnap) et co-commissaire de l'exposition,par Anne-Frédérique Fer, entre Clichy-Montfermeil et Pantin, le 24 juin 2022, durée 33'26.© FranceFineArt.(entretien réalisé dans le bus entre les Ateliers Médicis, le chantier de la gare Clichy-Montfermeil et les Magasins généraux)Communiqué de presseL'équipe curatorialePascal Beausse, responsable de la collection photographie du Centre national des arts plastiques (Cnap)Clément Postec, conseiller arts visuels et prospective des Ateliers MédicisAnna Labouze & Keimis Henni, directeurs artistiques des Magasins générauxLes regards associésRomain Bertrand, historienMeriem Chabani, architecteEmanuele Coccia, philosopheKaoutar Harchi, écrivaine et sociologueFrédérique Aït-Touati, historienne ; Alexandra Arènes, architecte ; Axelle Grégoire, architecte38 artistes, 337 oeuvres, 40 lieux d'expositionsFruit d'une collaboration entre les Ateliers Médicis, le Centre national des arts plastiques (Cnap), les Magasins généraux, la Société du Grand Paris et le musée Carnavalet – Histoire de Paris, l'exposition Regards du Grand Paris rassemble les oeuvres des artistes ayant participé aux cinq premières années (2016 à 2021) de la commande photographique du même nom, confiée par le ministère de la Culture aux Ateliers Médicis en partenariat avec le Cnap. L'exposition dévoile ces œuvres pour la première fois au public et entend également revenir vers les territoires qui ont vu naître ces images.Les artistesCamille Ayme, Julie Balagué, Aurore Bagarry, Sylvain Couzinet-Jacques, Raphaël Dallaporta, Hannah Darabi et Benoît Grimbert, Gabriel Desplanque, Mathias Depardon et Guillaume Perrier, Alassan Diawara, Patrizia Di Fiore, Sylvain Gouraud, Julien Guinand, Gilberto Güiza-Rojas, Lucie Jean, Karim Kal, Mana Kikuta, Assia Labbas, Lucas Leglise, Geoffroy Mathieu, Olivier Menanteau, Francis Morandini, Baudouin Mouanda, Khalil Nemmaoui, Marion Poussier, Marie Quéau, Maxence Rifflet, Sandra Rocha, Po Sim Sambath, Luise Schröder, Alexandra Serrano et Simon Pochet, Anne-Lise Seusse, Bertrand Stofleth, Zhao Sun, Chenxin Tang, Rebecca Topakian.ÉditionUn ouvrage dont le premier volume est consacré aux cinq premières années de la commande photographique nationale Regards du Grand Paris est publié à l'occasion de l'exposition. Il est coédité par le Centre national des arts plastiques (Cnap), les Ateliers Médicis et les éditions Textuel. Il rassemble les contributions de Frédérique Aït-Touati, Alexandra Arènes, Axelle Grégoire, Romain Bertrand, Meriem Chabani, Emanuele Coccia, Kaoutar Harchi, Anne de Mondenard et Magali Nachtergael. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Aaron is a DevOps engineer, solution architect, and all-around cybersecurity expert. He works for a global cybersecurity services company, is a member of the Cloud Security Alliance, and is a co-author of the up-and-coming Software Defined Perimeter Specification Version 2. Since last time (episode 18), Aaron was 1.5 years overseas supporting the Army and moved back to the U.S. last year to join Appgate as a Senior Solutions Architect.   Topics of Discussion: [4:11] What types of things has Aaron observed that programmers don't typically gravitate towards, but they need to give some attention to in just the overall IT and security space? [9:42] Should developers be thinking about zero trust just for their production environments, or should they be thinking about it for their own working environments, as well? [13:30] Is there a standard set of tags that someone could use from day one? [15:15] A core tenet of Zero Trust is Enterprise Identity Governance. [17:35] Do the cloud providers already have this mechanism of automatically discovering via tags and/or is there something that needs to be added to what they provide? [22:36] What are the pros and cons of working with smaller vs. bigger companies? [24:41] What does Aaron see for the future?   Mentioned in this Episode: Architect Tips — New video podcast! Azure DevOps Clear Measure (Sponsor) .NET DevOps for Azure: A Developer's Guide to DevOps Architecture the Right Way, by Jeffrey Palermo — Available on Amazon! Jeffrey Palermo's YouTube Jeffrey Palermo's Twitter — Follow to stay informed about future events! Appgate — The leader in Zero Trust Network Access solutions Zero Trust Thirty EO 14028 — Executive Order on Improving the Nation's Cybersecurity Presidential memo on Moving the U.S. Government Toward Zero Trust Cybersecurity Principles CISA's focus on Zero Trust — 508 search results CISA's Zero Trust Maturity Model document NIST — Implementing Zero Trust Architecture Cloud Security Alliance — Software Defined Perimeter and Zero Trust Platform One — “An official DoD DevSecOps Enterprise Services team for the DoD” leveraging CNAP for secure remote access to cloud resources. Department of Defense (DoD) Cloud Native Access Point (CNAP) Reference Design (RD)   Want to Learn More? Visit AzureDevOps.Show for show notes and additional episodes.

Judith Peyrat, directrice artistique de la galerie d'art contemporain Baudoin Lebon revient avec honnêteté et transparence sur sa carrière et ses questionnements professionnels. Avec son rire spontané, elle nous dévoile son métier de galeriste loin du glamour des vernissages mais aussi ses interrogations et initiatives pour réduire l'impact carbone de ce son métier. Elle nous explique entrevoir une évolutions du marché de l'art vers des foires plus locales où l'on peut trouver des œuvres adaptées aux collectionneurs locaux. Ses conseils pour les artistes qui souhaitent présenter leurs travaux à des galeristes : faire des recherches sur la galerie avec laquelle on veut présenter son travail, passer du temps à faire des emails personnalisés et présenter un portefolio papier ou indiquer des infos sur l'accrochage des œuvres (les papiers, formats et encadrements,…) et aussi savoir clôturer une série pour pouvoir passer à un autre sujet. Bonne écoute !1' – Sa formation en arts plastique, son passage dans une agence de publicité, une expérience à New York au Dumbo Arts Center pendant un an, un tour du monde pendant deux ans et son arrivée à la Galerie Baudoin Lebon.9'30 – Les évolutions dans le milieu de la galerie et dans sa galerie : les prix des photographies du 19ème et photographies classiques s'effondrent.13'30 – "Quand j'ai commencé en tant qu'assistante on m'a beaucoup demandé si j'étais la fille ou la maitresse de Baudoin Lebon". "Pour beaucoup de personne je ne pouvais pas être là parce que j'avais travaillé et que je méritais mon poste".15'20 – Le métier de galeriste : préparer une dizaines d'expos à la galerie par an, préparer les foires, le quotidien de la galerie, gérer les équipes, les aspects financiers. Répondre à toutes les demandes des personnes qui viennent à la galerie. 17'55 – La galerie : lieu d'échange entre artiste, galeriste et visiteur. 18'54 – Les initiatives pour réduire l' impacts carbone des galeristes durant leurs participations aux foires internationales : volonté de réutiliser des caisses des œuvres, difficulté de grouper des envois car on ne prévoit jamais six mois avant les transports des œuvres. Le problème est que l'avion est devenu moins cher et plus rapide que le train. Les collectionneurs français sont ceux qui se déplacent le plus dans le monde pour voir des œuvres. 30'30 – Les évolutions du marché de l'art : des foires plus locales avec des œuvres exposées adaptées aux collectionneurs. 34'50 – Il y a parfois des grosses injustices : lors de la commission du CNAP lancé pendant le confinement, 40% des artistes dont les œuvres ont été achetés ne respectaient pas les critères de l'appel d'offre.37'50 – Ses conseils pour les artistes : faire des recherches sur la galerie avec laquelle on veut travailler et faire des emails personnalisés. Concernant le portefolio : proposer une version papier ou indiquer les papiers les formats et encadrement, donner des infos sur la présentation, avoir des textes de présentation de son travail, savoir clôturer un sujet pour passer à autre.Le LinkedIn de Judith Peyrat : https://www.linkedin.com/in/judith-peyrat-9624a924/Le site de la Galerie Baudoin Lebon : https://promenadesphotographiques.com/index.htmlPour suivre l'actualité du podcast vous pouvez vous inscrire à la newsletter ici : https://beacons.ai/lesvoixdelaphoto etretrouvez le podcast sur Instagram, Facebook et LinkedIn @lesvoixdelaphoto Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Pour la seconde année consécutive, 9 Lives magazine poursuit son partenariat avec le ministère de la culture dans le cadre de la troisième édition du Parlement de la Photographie qui se déroulera les 7 et 8 juin prochains. Chaque jour, nous vous dévoilerons, les différentes thématiques explorées à travers de courts entretiens. Aujourd'hui, nous vous proposons de découvrir les points qui seront évoqués lors de la troisième table ronde intitulée La Commande publique photographique : histoires enjeux et perspectives avec deux des quatre intervenantes : Héloïse Conesa (Conservatrice du patrimoine, chargée de la collection de photographie contemporaine, Département des Estampes et de la Photographie, Bibliothèque nationale de France) et Pascal Beausse (Responsable de la collection photographie du CNAP).

Vision(s) a deux ans ! Tirages et tote bag ici :  https://www.visionspodcast.fr/shop Chaque vision est singulière, porteuse de sens et de changement. Le but de ce format est de rassembler de nombreux artistes et que chacun nous délivre sa vision et son expérience de la photographie. Pour ce quatorzième podcast, nous avons le grand plaisir de recevoir Mathias Depardon. Né en 1980, ce photographe a grandi entre la France, la Belgique et les États-Unis. Après des études en journalisme et communication à Bruxelles, il choisit de se consacrer au reportage et à la photographie documentaire.  À travers portraits et paysages, Mathias Depardon a une approche immersive et sociologique. Depuis de nombreuses années, il s’intéresse à des questionnements et à des sujets environnementaux. En 2017 après avoir vécu cinq ans en Turquie, il est arrêté à Hasankeyf dans le Sud-Est de ce pays, alors qu’il effectue un reportage pour le magazine National Geographic sur la problématique de l’eau en Mésopotamie. Il est libéré puis expulsé du pays en juin 2017.  Dans ce podcast, nous parlerons de ses nombreux projets, notamment de Transanatolia, qui a fait l’objet d’un livre publié récemment chez André Frère. Projet réalisé au long cours, il nous fait parcourir la Turquie, sa géographie, sa société et une époque singulière. Transanatolia est une pérégrination aux confins de l’Anatolie. Mathias Depardon photographie la nouvelle Turquie, jusqu’aux confins de l’Azerbaïdjan et du Xinjiang, où la Turquie reste la « mère patrie ».  Comment Mathias prépare-t-il ses projets ? Comment collabore-t-il avec des magazines comme National Geographic ? Quel cadrage et approche adopte-t-il ? Comment faire un projet au long cours à l’étranger et avec quels moyens ? Quels sont ses derniers projets menés plus localement, en France ? Le photographe répond à toutes ces questions, entre autres, pendant presque une heure. Aujourd’hui, ses images ont été exposées dans plusieurs institutions telles que l’Institut Cervantes, l’Institut Français, la BNF et plus récemment le Musée des Archives nationale à Paris et prochainement au festival La Gacilly. En espérant que ce podcast vous plaise, très bonne écoute !  Essayez gratuitement les outils Adobe Creative Cloud pendant 7 jours : https://urlr.me/xz8qh Nous soutenir https://visionspodcast.fr/nous-soutenir/ Pour aller plus loin Raymond Depardon National Geographic, Hasankeyf (village turc), Projet GAP (Güneydoğu Anadolu Projesi), Soutien à la photographie documentaire contemporaine (CNAP), Panturquisme, Recep Tayyip Erdoğan, Empire Ottoman, Ouïghours du Xinjiang, Fondation Yves Rocher, Guillaume Perrier, Festival La Gacilly, Laura Serani, Festival Planches Contact (Deauville), Philippe Chancel, Lionel Charrier, André Frère éditions Liens https://www.instagram.com/mathiasdepardon http://www.mathiasdepardon.com https://www.instagram.com/podcastvisions/ https://www.visionspodcast.fr/

“DRAWING FACTORY” Des ateliers d'artistes pour le dessin contemporain à Paris !Interview de Christine Phal, fondatrice de la foire DRAWING NOW PARIS et du DRAWING LAB,par Anne-Frédérique Fer, à Paris, le 27 avril 2021, durée 23'19. © FranceFineArt.11 avenue Mac Mahon I 17ème arrondissement I 5 étages I 1 500 m2 de création I 32 ateliers I 6 mois I 250 m2 d'espaces communsAmbassadrices depuis plus de 15 ans pour la promotion et la diffusion du dessin contemporain, Christine Phal, fondatrice du Drawing Lab Paris, et Carine Tissot, directrice de DRAWING NOW Art Fair et du Drawing Hotel, renforcent cet engagement en transformant un ancien hôtel du 17ème arrondissement en ateliers destinés à des artistes pratiquant le dessin sous toutes ses formes. Par cet engagement, avec le Centre national des arts plastiques (Cnap) et en partenariat avec SOFERIM, promoteur immobilier, la DRAWING FACTORY a ouvert ses portes le 22 mars 2021 et restera ouverte jusqu'au 19 septembre 2021.Les 33 artistes invités bénéficient d'un accès gratuit à un espace de travail afin de poursuivre leurs projets et en développer de nouveaux. Pour les artistes sélectionnés avec le Cnap, l'établissement public prend en charge les loyers des ateliers et leur attribue à chacun une bourse de vie de 500 euros / mois.La DRAWING FACTORY est bien plus qu'un lieu de travail, elle devient un véritable lieu de rencontres, d'expérimentations et réalisations de projets. Des visites professionnelles et pour le public seront organisées en fonction des directives sanitaires en vigueur.Pilotée par les équipes du Drawing Lab Paris, centre d'art privé dédié au dessin contemporain, la DRAWING FACTORY entend devenir le lieu de création du dessin à Paris des prochains mois.Afin de trouver les artistes qui participeront au projet, un appel à candidatures national a été réalisé du 15 février au 8 mars 2021. Le comité de sélection de la DRAWING FACTORY : Sandra Hegedüs, fondatrice de SAM Art Projects et collectionneuseFlorentine Lamarche-Ovize, artiste Christine Phal, présidente de DRAWING NOW Art Fair et fondatrice du Drawing Lab ParisJuliette Pollet, responsable de la collection arts plastiques du Centre national des arts plastiques (Cnap)Béatrice Salmon, directrice du Centre national des arts plastiques (Cnap)Guillaume Dégé, artistePhilippe Piguet, critique d'art et commissaire d'exposition indépendant Des 400 candidatures reçues, voici la liste des artistes qui ont intégré la DRAWING FACTORY.Les artistes invités par le CNAP :Pooya ABBASIAN / Ethan ASSOULINE / Fabrice CAZENAVE / Camille CHASTANG / Dalila DALLEAS BOUZAR / Odonchimeg DAVAADORJ / Chloé DUGIT-GROS / Camille FISCHER / Gabriel FOLLI / Éléonore GEISSLER / Juliette GREEN / Shuo HAO / Marie HAVEL / Gabrielle KOURDADZÉ / Boris KURDI / Vanina LANGER / Gaspard LAURENT / Benjamin LAURENT-AMAN / Matthias LEHMANN / Thomas LÉON / Claire MALRIEUX / Pauline MARTINET & Zoé TEXEREAU / Audrey MATT-AUBERT / Chloé POIZAT / Clovis RETIF / Araks SAHAKYAN / Thibault SCEMAMA DE GIALLULY / Quentin SPOHN / Louise VENDEL / Maxime VERDIERLes artistes invités par le DRAWING LAB PARIS :Raphaëlle PERIA / François RÉAUD'autres artistes seront ponctuellement invités à investir certains espaces de la DRAWING FACTORY.LA DRAWING FACTORYLa DRAWING FACTORY se déploie sur 5 niveaux. Au rez-de-chaussée, un FOYER de 250 m2 est conçu comme lieu de vie commun. Espace de discussions, de conférences ou encore de workshops, cet espace commun est le point de rencontres du projet. De plus, 2 ateliers au rez-de-chaussée, accessibles sur réservation, permettront la réalisation de travaux de groupe, l'usage de nouvelles techniques ou le déploiement de projets de plus grands formats. Les 4 niveaux supérieurs sont dédiés aux 32 ateliers individuels. D'une superficie de 13 à 20 m2 chaque atelier est équipé d'un point d'eau, un WC, un rangement, un système d'éclairage et l'électricité. Les ateliers sont bruts, aménageables par les artistes selon leurs besoins. La DRAWING FACTORY est accessible aux artistes 7 jours/7.LE DRAWING LABFondé par Christine Phal en 2017 sur un modèle philanthropique, le Drawing Lab Paris est un centre d'art privé entièrement dédié à la promotion et à la diffusion du dessin contemporain. Sa programmation, assurée par un comité artistique, est basée sur la production de 4 expositions par an interrogeant le dessin sous toutes ses formes. Chacun des 3 duos lauréats perçoit une dotation de 20 000 euros HT pour la production des nouvelles oeuvres de l'exposition ainsi que leurs rémunérations. En plus de la production des expositions, le Drawing Lab assure la communication, la diffusion, l'accueil des publics, la médiation culturelle et l'organisation d'événements pour un budget de 15 000 euros HT par exposition. La 4ème exposition est celle du lauréat du Prix Drawing Now, remis lors de DRAWING NOW Art Fair. Le centre d'art, situé au niveau -1 du Drawing Hotel est ouvert tous les jours de 11h à 19h gratuitement pour tous, selon les recommandations sanitaires en vigueur.LE CNAPLe Centre national des arts plastiques (Cnap) est l'un des principaux opérateurs de la politique du ministère de la Culture dans le domaine des arts visuels contemporains. Il enrichit, pour le compte de l'État, le Fonds national d'art contemporain, collection nationale qu'il conserve et fait connaître par des prêts et des dépôts en France et à l'étranger, des expositions en partenariat et des éditions. Avec près de 105 000 oeuvres acquises depuis plus de deux siècles auprès d'artistes vivants, cette collection constitue un ensemble représentatif de la variété des courants artistiques. Acteur culturel incontournable, le Cnap encourage la scène artistique dans toute sa diversité et accompagne les artistes ainsi que les professionnels à travers plusieurs dispositifs de soutien. Il contribue également à la valorisation des projets soutenus par la mise en oeuvre d'actions de diffusion. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Il s'agit d'un lieu rarement ouvert au public. Le Centre national des arts plastiques (CNAP), se situe actuellement à la Défense, à l’ouest de Paris, et déménage dans l’est à Pantin dans des locaux acquis par l'État et où les réserves seront réunies : un trésor de près de 40 000 oeuvres et une collection riche de plus de 100 000 pièces dont plus de la moitié sont déposées dans les musées.  

Aujourd'hui l'épisode de IEL PRÉSENTE est pensé par une historienne de l'art également critique d'art et curatrice. J'ai la chance de travailler avec elle dans le cadre de la confédération internationale YACI pour laquelle elle est responsable de développement du pôle Amérique Latine. Notamment parce qu'elle a travaillé successivement plus d'une quinzaine d'années au Pérou, au Paraguay et en Colombie. Elle est aussi lauréate du programme inédit de résidence curatoriale à la Cité internationale des arts & le CNAP ! Aujourd'hui je suis ravie de vous confier à Claire Luna. L'artiste qu'elle présente ici c'est Violaine Lochu ! Vous allez l'entendre, elles citent beaucoup de références et parlent de nombreuses personnes qui ont pu marquer le travail de Violaine. Elles vous les ont réunies ici : Là, vous avez les noms cités avec un lien vers leur site : Martina Catella - professeur de chant : http://www.lesglottetrotters.com/ Marie-Suzanne de Loye - gambiste Julien Desprez - guitariste : https://www.juliendesprez.com/ Joao Fiadeiro - chorégraphe, théoricien de la danse : https://joaofiadeiro.pt/ Cécile Friedmann - vidéaste, photographe : https://www.chill-okubo.com/ Florian Gaité - critique et commissaire Christophe Hamery - graphiste : http://www.violainelochu.fr/?page_id=822 Pierrick Hardy - guitariste, compositeur et pédagogue : https://www.pierrickhardy.com/ Joëlle Léandre - contrebassiste: https://www.joelle-leandre.com/ Valérie Philippin - chanteuse et pédagogue : http://valerie-philippin.com/ Céline Régnard - maquilleuse : https://www.instagram.com/celineregnard_makeup/?hl=fr Serge Teyssot Gay - guitariste : http://sergeteyssot-gay.fr/ Et ici, ce sont les liens vers les pièces mentionnées : Modular K - http://www.violainelochu.fr/?page_id=2111 Eden B4 - http://www.violainelochu.fr/?page_id=2138 Moving Things - https://movingthings.org/ Hybird - http://www.violainelochu.fr/?page_id=1266 Saddat - http://www.violainelochu.fr/?page_id=1482 Mémoire Palace - http://www.violainelochu.fr/?page_id=760 Animal Mimesis - http://www.violainelochu.fr/?page_id=729 Et puis pour aller plus loin, Claire a souhaité vous donner des références des textes ou des articles sur lesquels elle s'est appuyée pour préparer cet entretien (vous allez voir, il y a des pépites !) : D'abord Claire souhaitait citer Homi Bhabha, qui parle de l'hybridité comme le lieu du dépassement du binarisme culturel : « il est pour moi le « tiers-espace » qui rend possible l'émergence d'autres positions ». Parce que l'autre, dans la bouche de Violaine, n'est pas seulement humain, il est des existences, celle de l'esprit, de la machine, du minéral, de l'animal, en encore du végétal… Avec Un appartement sur Uranus, de Paul B. Preciado, Claire a souhaité aborder la notion de « voix de la traversée » qu'il emploie pour parler de la mutation transgenre opérée par la testostérone. Il ajoute « la voix qui tremble en moi est la voix de la frontière ». Ce tremblement de Preciado, auto-cobaye, qui pense sa propre somathèque (une collection de postures, de gestes, de corps, etc.) Claire le voit très présent dans l'œuvre de Violaine lorsqu'elle parle de ce point de jonction. Car il est en partie celui qui permet l'existence du collectif dans sa dimension élargie (transespèce). Enfin, parce que l'esthétique et les sujets de Violaine sont très changeants au sein d'une même oeuvre et qu'elle peut ainsi nous faire vaciller par des mouvements radicaux, Claire pensait à ce qu'a dit Isabelle Alfonsi dans son ouvrage Pour une esthétique de l'émancipation : construire les lignées d'un art queer. Lorsqu'elle dit « je n'ai jamais compris ce que signifiait « être soi ». Je ne sais pas ce que je suis ou plutôt je me définis par la multitude (…). J'aime être un flux ». Claire y voit le flux comme l'une des conditions d'un être queer…

“Antoine Renard” Amnesiaà la Galerie Nathalie Obadia – Bourg-Tibourg, Parisdu 3 février au 10 avril 2021Extrait du communiqué de presse :La Galerie Nathalie Obadia présente pour la première fois l'oeuvre de l'artiste Antoine Renard, que l'on a pu découvrir lors de l'exposition Futur, Ancien, Fugitif. Une scène française au Palais de Tokyo (2019). Diplômé de l'ENSA de Dijon, lauréat du Prix Occitanie de la Villa Médicis, d'une bourse de soutien du CNAP, du programme doctoral SACRe 2020 de l'université PSL et des Beaux Arts de Paris, l'artiste se consacre en parallèle de sa pratique à une thèse sur l'olfaction comme champ étendu de la sculpture. Il bénéficiera par ailleurs, en 2021, d'une exposition personnelle au CRAC de Sète.Essentiellement sculpturale, l'oeuvre d'Antoine Renard se situe là où « culture, science et politique peuvent se chevaucher et générer un dialogue ». A travers des environnements narratifs nourris de nombreuses recherches, Antoine Renard soulève des problématiques techno-politiques actuelles, conséquences d'un monde néolibéral dont il évoque, notamment, les manifestations et dérives dans la sphère du digital.L'exposition AMNESIA réunit un ensemble de 27 sculptures olfactives, dans le prolongement de celles proposées en 2019 au Palais de Tokyo. Réalisées en céramique avec une imprimante 3D et directement inspirées de la petite danseuse de Degas, oeuvre iconique et sulfureuse de l'art moderne, elles posent la question du corps objet comme condition proprement contemporaine.Antoine Renard s'intéresse à la mémoire, à la fois corporelle, historique et olfactive. Opérant couche par couche à partir d'une modélisation numérique, l'impression 3D fonctionne elle-même comme un processus mémoriel qui, à la manière d'une longue sédimentation, donne corps à une projection virtuelle. Différentes temporalités semblent se côtoyer dans ces oeuvres : là où l'impression 3D signe une esthétique contemporaine quelque peu surréelle, certaines aspérités et imperfections créent l'illusion d'une matière érodée, antique, et semblent incarner les stigmates d'une vie passée. La céramique ainsi stratifiée figure ce long processus historique qui a permis de lever le voile sur l'existence occultée de la jeune Marie Van Goethem, modèle de Degas, petit rat de l'Opéra aux conditions de vie misérables, soumise à la concupiscence des abonnés et au jugement intraitable de ses contemporains.La dimension olfactive des oeuvres s'inscrit pleinement dans ce travail autour de la mémoire, et la manière dont elle façonne les corps. Antoine Renard, qui a étudié lors de sa résidence à la Villa Médicis les pratiques ritualisées du parfum à Rome et suivi des guérisseurs parfumeros au Pérou, confectionne lui même chaque senteur à partir de plantes qu'il fait macérer ou de molécules de synthèse. La propension du parfum à susciter des souvenirs approfondit ce rapport à la vérité du modèle, à qui l'artiste redonne ainsi une présence, une identité. Ce travail sur les odeurs témoigne aussi du parti pris de la nuance et rend hommage à l'infinie complexité d'une personne, réduite, de son temps, à la caricature et au silence.Avec les outils propres à son époque, Antoine Renard transpose l'histoire et l'attitude de cette jeune danseuse dans notre société, marquée par l'emprise du marché, des lobbies consuméristes et par la toute puissance des algorithmes. Mais il révèle surtout la pertinence de cette posture à la fois captive, rebelle et désireuse à l'heure où l'attention est devenue valeur monnayable, où tout individu est un potentiel consommateur. Vaste plateforme immatérielle qui concentre et décuple ces enjeux, le digital occupe une place cruciale dans l'oeuvre de l'artiste. D'un point de vue formel, l'impression 3D, couplée aux recompositions qu'opère l'artiste, offre un rendu légèrement virtuel, qui n'est pas sans rappeler la silhouette vacillante d'un hologramme. Antoine Renard évoque ainsi la question du corps face au numérique, et plus largement de l'individu dans un système qui cherche constamment à capter l'attention, au prix d'une certaine déperdition de l'être. Visage en l'air, les yeux clos, cette jeune femme incarne un état de vulnérabilité, de réceptivité et de mise en scène de soi caractéristiques de cette forme d'aliénation contemporaine. Si l'industrie du parfum s'associe toujours à un concept phare, une image marketée, ici les multiples fragrances ramènent au contraire à une aura insaisissable et insufflent une plus grande densité dans le rapport à l'autre.La scénographie conçue par l'artiste souligne par ailleurs l'attitude ambivalente du modèle, qui a contribué à sa postérité légendaire. Comme une armée de clones répartis selon un quadrillage précis et individualisés sur un socle, l'agencement des oeuvres accentue l'affront, met en scène une résistance, à la fois personnelle et massive. En prenant pour sujet cette sculpture dont l'original, en cire, a fait l'objet de nombreuses copies en bronze disséminées dans les musées du monde entier, Antoine Renard démultiplie à nouveau, prolonge et renforce son message. L'ambiguïté de cette oeuvre observe un dualisme aux échos très actuels, oscillant entre des valeurs associées traditionnellement au féminin et au masculin. Ses jeunes danseuses prennent ainsi corps en se détachant progressivement de leur base, tels des hauts-reliefs d'une époque lointaine en voie de prendre leur indépendance – l'évolution de la sculpture étant aussi, de concert, remise en perspective dans cette exposition. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

I discovered Kristy Lovich on Twitter calling out the non-profit world and the local politicians in here native Los Angeles.  We talk about working with the unhoused, the paternalistic approach to treating unhoused people, and the law enforcements over involvement with the mentally ill.     Some organizations that can use your support: Ground Game LA https://www.groundgamela.org/   Ktown4All https://ktownforall.org/   Streetwatch LA https://streetwatchla.com/   Services Not Sweeps https://servicesnotsweeps.com/   Meztli Projects https://www.meztliprojects.org/   Echo Park Rise Up https://www.instagram.com/echoparkriseup/?hl=en   Mountain House: A collective that practices radical stewardship of land, relationships, and culture (on-going tent fund/unsetttling the commons) https://www.mountainhouse.family/   The Revolution Will Not Be Funded https://www.dukeupress.edu/the-revolution-will-not-be-funded   Unhousing the Poor: Interlocking Regimes of Racialized Policing Ananya Roy, UCLA Luskin Institute on Inequality and Democracy Terra Graziani, The Anti-Eviction Mapping Project, Los Angeles  Pamela Stephens, UCLA Luskin Institute on Inequality and Democracy  Link to PDF: https://challengeinequality.luskin.ucla.edu/2020/08/25/unhousing-the-poor/ The paper, prepared for The Square One Project's Roundtable on Justice Policy, is part of the Institute's ongoing research on racial banishment, the expulsion of Black, Brown, and Indigenous communities from our cities through criminalization, policing, and forced removal. With a focus on Los Angeles, the paper examines three regimes of racialized policing: the criminalization of the unhoused, nuisance abatement lawsuits (specifically the Citywide Nuisance Abatement Program, or CNAP), and the forfeiture of public housing. Since this is a paper written for a project concerned with the “social contract,” it concludes with a framework of rights, including “right to remain.” But as this national moment of reckoning in the United States has made vividly clear, such a right cannot be established without dismantling the role of racialized policing in maintaining propertied order. By bringing to light the many forms of spatial illegalization that are constitutive of racial banishment, the research presented in the paper makes a contribution to the ongoing work of housing justice.    Thank you guys again for taking the time to check this out.  Please support independent media and become a patron.  You'll get bonus content from a lot of the shows. We're currently creating patron only content and you'll get MERCH!    Become a patron: https://www.patreon.com/BitterLakePresents   Follow, like, subscribe, and PLEASE share on these platforms:   YouTube: https://www.youtube.com/channel/UCG9WtLyoP9QU8sxuIfxk3eg   Facebook: https://www.facebook.com/Thisisrevolutionpodcast   Twitter: https://twitter.com/TIRShowOakland   Twitch: https://www.twitch.tv/thisisrevolutionpodcast   Instagram: https://www.instagram.com/thisisrevolutionoakland/   Medium: https://medium.com/@jasonmyles/vengeance-has-no-foresight-837212d85a97  

“Flux” une société en mouvementau CRP/, Centre régional de la photographie Hauts-de-France, Douchy-les-Minesdu 19 septembre au 22 novembre 2020Extrait du communiqué de presse :commissariat : Muriel Enjalran, directrice du CRP/Panta Rhei (Toutes les choses coulent) – Héraclite d'EphèseLe CRP/ présente en avant-première les productions de cinq des quinze lauréats de la commande photographique nationale « Flux, une société en mouvement » lancée en 2018 par le Centre national des arts plastiques (Cnap), en partenariat avec le ministère de la Culture. Aux côtés de Diaphane, pôle photographique en Hauts-de-France, le CRP/ a accompagné ce projet de commande nationale qui sera présenté dans son ensemble aux Photaumnales à l'automne 2020 [du 19 septembre 2020 au 3 janvier 2021] au Quadrilatère à Beauvais.En écho aux différentes occurrences du mot « flux » entre écoulement, fusion, flot, transmission d'informations, mouvement d'ensemble ou fluctuations, les artistes lauréats se sont saisis de cette commande pour développer une recherche artistique singulière autour de la matérialité de l'image, réinvestiguant pour certains, des techniques photographiques anté-numériques, ici entre prise de vue à la chambre et tirage platine et carbone, ou encore héliogravure traduisant concrètement le sujet des flux qui traversent les paysages.Au CRP/, les oeuvres des cinq artistes et duo d'artistes présentés – Nicolas Floc'h, Éric Guglielmi, Ilanit Illouz, Florence Paradeis et Mathieu Farcy & Perrine Le Querrec – témoignent des préoccupations environnementales et sociétales que les flux économiques ont durablement bouleversées à l'échelle mondiale.Leurs productions proposant différentes approches autour de l'image, invitent les visiteurs à circuler dans des paysages forestiers, souterrains, sous-marins et mentaux, et à prendre conscience de l'influence des flux dans nos vies quotidiennes.Les environnements naturels sont le résultat de multiples processus écologiques et socio-économiques. L'érosion, les politiques d'appropriation et d'utilisation des sols, les systèmes de production et d'échanges les façonnent en profondeur. L'homme ne craint plus les forces de la Nature mais les effets de sa propre action. Le rôle des scientifiques est d'analyser ces processus pour les comprendre et alerter les consciences, mais il faut souvent des médiations pour que nous saisissions réellement la portée de leur message. Les artistes ont joué et continuent de jouer aujourd'hui ce rôle de médiateur des phénomènes sociaux qui agitent nos sociétés au travers de leurs oeuvres et de leurs recherches formelles. Notre perception et notre vision des paysages naturels ont ainsi été influencées de tout temps par les représentations artistiques contribuant à former « une anthropologie de la nature ». Le photographe participe aussi à une écologie du paysage en montrant des paysages transformés et en adaptant de manière originale ses techniques à l'objet de sa quête.Surgissant frontalement, d'énormes troncs jonchent le sol luxuriant de la forêt tropicale du bassin du Congo et dressent leurs racines vers les frondaisons proches. Éric Guglielmi dans sa série Paradis perdu enregistre les dérèglements qui mettent en péril l'équilibre de la deuxième plus vaste forêt tropicale de la planète. Cette masse verdoyante de fougères, de lianes et d'arbres géants est gravement menacée par une industrie du bois incontrôlée, notamment la surexploitation des essences précieuses et par des grands projets agro-industriels dévastateurs comme les plantations massives de palmiers à huile à quoi s'ajoute périodiquement le fléau des incendies. Eric Guglielmi saisit les entailles qui ravagent la forêt : arbres tronçonnés, trouées des pistes. Les conséquences environnementales et sociétales sont dramatiques : forêts pillées, faune décimée, populations locales exposées à la disparition d'un mode de vie et d'une culture fondée sur l'adaptation ancestrale aux subtilités d'un biotope complexe. La surface sensible de la plaque fixe les mutations des paysages photographiés à la chambre. Les tirages au platine palladium restituent l'identité profonde de paradis végétaux en sursis. Les noirs mats et denses, les dégradés de gris soulignent la beauté mystérieuse d'un environnement mis en péril par une logique économique brutale.Les séries de Nicolas Floc'h Structures productives, la Couleur de l'eau, et Paysages productifs – bulles, produites dans le cadre de la commande « Flux », relient la photographie à l'histoire de l'art et des formes. Son travail général s'inscrit dans une démarche plastique associant différents mediums artistiques (installations, films, sculptures). A travers ces trois séries engagées pour certaines depuis plus de dix ans, l'artiste réinvente le genre trop souvent stéréotypé de la photographie sous-marine et contribue à l'histoire des territoires en documentant différentes façades maritimes à l'instar des photographes engagés dans les missions photographiques célèbres de l'histoire de la photographie. Dans la continuité de ses recherches menées avec des scientifiques sur l'acidification des mers et la réduction de leur biodiversité, Nicolas Floc'h visualise pour la série des Paysages productifs – bulles ces processus en photographiant en lumière naturelle des sites sous-marins acides en méditerranée, ici Vulcano en Sicile. Ces zones très impactées par la présence de CO2 préfigurent l'état futur des océans marqué par la disparition progressive des algues et des coraux. Son projet photographique Bulles alerte sur la fragilité de cet écosystème et renouvelle par ce sujet inédit, l'approche du paysage dans la photographie contemporaine montrant malgré tout la beauté plastique des flux d'énergie tourbillonnant dans les colonnes d'eau qui s'élèvent des fonds sous-marins.L'approche géologique et paysagère des sols, les conséquences sociales et géopolitiques de leur exploitation, traduisent l'axe de recherche privilégié d'Ilanit Illouz. Elle arpente les territoires en quête d'indices des flux migratoires et économiques qui les ont marqués. Les débris organiques et minéraux collectés lors de marches – photographiés et mis en récits – décryptent l'histoire de ces paysages palimpsestes. Pour « Flux » et la série Petra, elle a réuni un corpus d'images de minerais photographiés au Musée de Minéralogie de l'école des Mines à Paris. L'exploitation des ressources naturelles est une source d'instabilité et de conflits. Certains minerais (germanium, titane, graphite, coltan, …) ont une importance stratégique du fait de leurs utilisations dans la haute technologie. Les diptyques produits en héliogravure mettent en relation ces métaux précieux avec les gestes pratiqués pour leur maniement dans des applications industrielles civiles (smartphones, GPS) et militaires (grenades, missiles, boussole). Ainsi se trouve souligné le lien entre nos comportements de consommateurs et l'épuisement prévisible des richesses des sous-sols.Le flux massif des images qui traversent nos existences constitue le répertoire dans lequel puise Florence Paradeis pour construire ses images décalées, à distance d'un réel déplacé, « réinjecté », protéiforme dont elle restitue la vibration, les tensions et les contradictions. Dans la série Des jours et des nuits, elle questionne le mouvement dans une composition en séquence alternant natures mortes en studio, mises en scène en intérieur et extérieur, invitant le regardeur à suivre de façon instinctive son « flow » mental pour lire et relier les images entre elles. Elle déroule ainsi un petit théâtre d'images symbolisant comme des « vanités » pour certaines, l'écoulement du temps et mettant en scène pour d'autres les interrogations, les résistances ou non de personnages de la vie courante face au flux général des échanges et des circulations auquel ils sont soumis en permanence.Comment l'artiste peut-il se situer par rapport au flot d'images et d'informations qui se succèdent à une cadence accélérée ? Mathieu Farcy photographe et Perrine Le Querrec écrivaine proposent ensemble un temps d'arrêt et de réflexion à travers une création à quatre mains de triptyques, prolongeant ainsi leurs travaux documentaires respectifs. L'Augure par référence à l'art du devin dans la Rome antique, est une chronique poético-documentaire associant photographie, archive sonore ou visuelle, texte littéraire selon trois temps distincts : une origine, un trajet, une destination. Leurs triptyques sont les miroirs de la multiplicité et de l'interpénétration des flux et mutations (climatiques, démographiques) qui marquent notre contemporanéité. Au CRP/, ils présentent un triptyque sur le thème du climat mettant en exergue l'interdépendance de toute forme de vie sur terre et leur devenir commun, nous exhortant à ne plus nous contenter d'assister impuissants au spectacle du recul et de la disparition.« Ce qu'il reste une fois les dates passées le présent couvert de mousse feuillage lichens chloridées les journaux froissés roulés en boule brûlés dans les décharges leurs fumées empoisonnent elles aussi les poissons le corail les océans.1 »Muriel Enjalran, commissaire de l'exposition et directrice du CRP/1. Extrait de Marine Skalova, Exploration du flux, p.64, Fiction et Cie Seuil, 2018“Les Photaumnales” 17ème édition, FLUXà Beauvais, Hauts-de-Francedu 19 septembre 2020 au 3 janvier 2021https://francefineart.com/2964-photaumnales/ Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

It's Monday! Time for another episode of "Chatting with Agnes & Cecilia" with our hosts Agnes Amos-Coleman, MBA,CMP and Cecilia Sepp, CAE, CNAP. Today we discuss Cutting Through the Noise with our regular Guest Aaron Castelo, CAE (and long-time friend and colleague) whom returns for his occasional series on Government Relations in 2020. In this episode Aaron shares some tips on managing government relations messaging when it doesn't necessarily have to do with the Pandemic. When should you release statements? Should you release a statement? Is data you have collected still relevant? What are some ways to continue to advocate when you can't meet in person? Join us for this important discussion to find out the answers to these questions and hear some great advice on cutting through the noise to be heard! --- Support this podcast: https://anchor.fm/cecilia-sepp/support

It's Monday! Time for another episode of "Chatting with Agnes & Cecilia" with your hosts Agnes Amos-Coleman, MBA, CMP and Cecilia Sepp, CAE, CNAP. Today's Episode: Our guest Ed Barks, President of Barks Communications (long time friend and colleague of our hosts!) discusses communications "must knows" for C-Suite Executives as well as how they can help their staffs handle situations where clear messaging is a must. We also get a sneak preview of Ed's new book that comes out on July 7, 2020!! Learn all about Ed's book and how to get a copy at www.barkscomm.com. --- Support this podcast: https://anchor.fm/cecilia-sepp/support

It's Monday! Time for another episode of "Chatting with Agnes & Cecilia" brought to you by Rogue Tulips LLC with Agnes Amos-Coleman, MBA,CMP and Cecilia Sepp, CAE, CNAP. Did I ever think I could laugh about Burnout? Not until I had this conversation with our guest Beth Sperber Richie, Licensed Psychologist, Trauma specialist, and Principal at Fermata Consulting. Beth shares her insights about what contributes to burnout, why people in the nonprofit world are challenged with burnout, how leaders can identify burnout in their teams and what they can do about it (Beth shares specific signs of burnout so this is a must watch). We discuss that leaders can contribute to burnout or contribute to healthier, happier employees. Leaders, the choice is yours. This conversation will help you know what steps to take to care for your teams and to care for yourself. A sense of humor is an important tool! And cookies and milk aren't a bad idea either. --- Support this podcast: https://anchor.fm/cecilia-sepp/support

It's Monday! Time for another episode of "Chatting with Agnes & Cecilia" with our co-hosts Agnes Amos-Coleman, MBA,CMP and Cecilia Sepp, CAE, CNAP. Cecilia was quoted as saying, "The only time society advances is when people work together." This applies across the board in all human endeavor and in today's episode, our Guest Kimberley Jutze, Chief Change Architect at Shifting Patterns, LLC, uses her experience in organizational development and management to discuss how to improve fundraising through better relationships based on trust. Kimberley reminds us that the most important building block of all organizations is the strength of relationships. You will enjoy this insightful conversation! --- Support this podcast: https://anchor.fm/cecilia-sepp/support

It's Monday! Time for another episode of "Chatting with Agnes & Cecilia" brought to you by Rogue Tulips LLC! Join Agnes Amos-Coleman, MBA,CMP, Cecilia Sepp, CAE, CNAP and our guest June Kress for a discussion of "Executive Transitions." Executive Transitions consultant and Coach June Kress joins us on her birthday to discuss writing your next chapter, how she wrote hers, the difference between consulting and coaching, and her initial views on coaching (they aren't what you might think!) She shares her inspiring story with us and how it can inspire you to write your own next chapter. And why does Cecilia mention Tiger Woods? Find out! --- Support this podcast: https://anchor.fm/cecilia-sepp/support

It's Monday! Time for another Episode of "Chatting with Agnes & Cecilia" with Agnes Amos-Coleman, MBA,CMP and Cecilia Sepp, CAE, CNAP. Today, we talk about Restoring Your Organization's Health with our guest (and Fellow Rogue Tulip Consultant!) Elisa Brewer Pratt, CAE. While this may be on your mind now due to the pandemic, Elisa shares why you should always be taking your organization's temperature and the important questions to ask in an organizational health assessment. She also discusses her three steps for healthy organizations: Assess, Evolve, Recover. --- Support this podcast: https://anchor.fm/cecilia-sepp/support

It's Monday! Time for another episode of "Chatting with Agnes & Cecilia" with hosts Agnes Amos-Coleman, MBA,CMP and Cecilia Sepp, CAE, CNAP. Today's episode: We are SO excited to have talked with Donté P. Shannon, CAE, about his personal CAE journey. Why? Because in addition to serving as the CEO at Association of Equipment Management Professionals, and a senior executive at AMPED Association Management, he is also the current Chair of the CAE Commission! Hear his take on how the CAE fueled his career, and why he waited to earn it. We also discuss how many times we took the exam, and our favorite CAE Domains! Don't miss this fun and insightful discussion of one CAE's journey. --- Support this podcast: https://anchor.fm/cecilia-sepp/support

It's Monday! Time for another episode of "Chatting with Agnes & Cecilia" with Agnes Amos-Coleman, MBA,CMP and Cecilia Sepp, CAE, CNAP. Today's Episode: Crisis Communications expert and former Association CEO Edward Segal, CAE discusses his new book "Crisis Ahead: 101 Ways to Prepare for and Bounce Back from Disasters, Scandals and Other Emergencies." Learn the 10 Reasons you NEED a Crisis Plan BEFORE something happens! We discuss timing, "no comment", and who should be the lead spokesperson. We also include an interlude where we thought we were paused . . . what did we say when we thought we weren't being recorded? Only way to find out . . . watch! "Crisis Ahead" is available on Amazon.com beginning April 21 and then around the country in a bookstore near you. Learn more at publicrelations.com. --- Support this podcast: https://anchor.fm/cecilia-sepp/support

Après le Cnap, le Musée de la chasse et de la nature, le Frac Grand Large et l'IAC Villeurbanne, Xavier Franceschi, directeur du Frac Île-de-France, invite l'Ecole nationale supérieure des Beaux-Arts de Paris, dirigé par Jean de Loisy, à se confronter aux collections du Frac Ile-de-France dans ce magistral Château de Rentilly signé Xavier Veilhan.

It's Monday! Time for another episode of "Chatting with Agnes & Cecilia" with Agnes Amos-Coleman, MBA,CMP and Cecilia Sepp, CAE, CNAP. Today's Episode: Building Board Capacity with Michael A. Butera! Michael shares his insights on how building capacity leads to improved Board performance and more successful Mission Fulfillment. He shares his thoughts on what falls in the "build capacity" category for Boards and why it's important. We discuss why creating a team at the Board should supplant personal agendas and the fact that building a team is hard work that pays off in the end. We also discuss our very fluffy hair and how one time in a basketball game Cecilia got a black eye :) Yes it does relate to the topic! --- Support this podcast: https://anchor.fm/cecilia-sepp/support

It's Monday - time for another episode of "Chatting with Agnes & Cecilia" with hosts Agnes Amos-Coleman, MBA,CMP and Cecilia Sepp, CAE, CNAP. Today's episode: Presented without bells and whistles due to a MAJOR computer malfunction! But we saved the file and are pleased to share "Dynamic & Productive Boards" with our guest Michael A. Butera. He quotes Darwin and Mark Twain and weaves them into his own unique knowledge of Boards and helping them be the best they can be. And we all agree that Boards should have lots of training every year! --- Support this podcast: https://anchor.fm/cecilia-sepp/support

Se nourrir quand on est loin de chez soi, c’est déjà une aventure. On ne peut plus compter sur son frigo ou sur sa boulangerie préférée, on ne connaît pas les produits qui nous entourent ou la langue dans laquelle ils sont décrits… Alors pour s’approprier un peu l’endroit, il faut se renseigner sur les quartiers, sur ce que font les locaux, et surtout, accepter de rompre avec ses repères habituels. Mais parfois, l’aventure demande un peu plus d’efforts, en particulier lorsque l’on a la contrainte d’une maladie comme le diabète par exemple.C’est le cas d’Inès Marzat, alias Inès Alpha, que Emilie a rencontrée à Lille il y a quelques années. Pour cette artiste du digital, voyager, c’est beaucoup d’excitation mais aussi pas mal d’organisation. Julien Lelièvre a lui vécu une toute autre expérience du voyage. De 2009 à 2016, le photographe a parcouru des milliers de kilomètres à bord de sa Golf pour répertorier les oeuvres d’art présentes sur le réseau autoroutier français. Emilie s’est demandée à quoi pouvaient bien ressembler les repas d’un voyageur solitaire en virée sur la route pendant des journées entières ?Références entendues dans l’épisode : Julien Lelièvre, Art d’autoroute, Building Books, 2019Woinic (ou le sanglier géant) est une sculpture de Eric Sleziac sur l’A34Signal en V (1975), Victor Vasarely, sur l’A8Victor Vasarely (1906-1997) est un artiste plasticien Georges Saulterre est un sculpteur français Les flèches des cathédrales (1989), Georges Saulterre, sur l’A10Sur la trace des Vikings (1990), Georges Saulterre, sur l’A13Signe infini (1994) est une sculpture d’acier de Marta Pan sur l’A6Le Centre national des arts plastiques (Cnap) propose des boursesL’Arche est une chaîne de restaurants sur autoroutesAndreas Gursky est un photographe allemandEric Tabuchi est un photographe françaisLa marque FreeStyle Libre propose des outils pour consulter son profil glycémique en temps réelL’application MapstrLes kanelbullar sont des brioches à la cannelle suédoises Bouffons est une émission de Nouvelles Écoutes, portée par Émilie Laystary. Montée et mixée par Thomas Decourt. Programmation par Cassandra de Carvalho. Coordination par Laura Cuissard avec l’aide de Mathilde Vinet.

Dans le cadre des Rencontres d'Arles, “Diagonal” propose une rencontre publique animée par Alexandre Héraud sur la thématique " L'engagement en photographie", une occasion de croiser les regards et les expériences avec :  Erick Gudimard, président du réseau Diagonal, directeur du Centre Photographique Marseille

. Un podcast proposé par @EnRouesLibres Michaël Houlette, directeur de la Maison de la Photographie Robert Doisneau(Gentilly) secrétaire de Diagonal 
 Pascal Beausse, responsable de la collection photographie du Centre national des arts plastiques - CNAP
 Yves Robert, directeur du Centre national des arts plastiques - CNAP
 Elisa Larvego, photographe  
 Arno Brignon, photographe En présence (eu micro) de Marion Hislen, déléguée à la photographie (DGCA, ministère de la Culture) et avec une présentation de Sam Stourdzé , directeur des rencontres d'Arles. Cette rencontre est le premier acte public des 10 ans du réseau et s’inscrit dans la manifestation nationale « L’Engagement » produite en partenariat avec le Centre national des arts plastiques - CNAP et avec le soutien du ministère de la Culture et de l'ADAGP qui se déroulera entre septembre 2019 et février 2020. Autour de «  L’Engagement », les membres du réseau Diagonal présentent une programmation artistique spécifique s’articulant à partir des œuvres issues de la collection du CNAP et ensemble nous tentons de poser un constat politique et artistique sur la photographie en France. https://reseau-diagonal.com/ http://www.cnap.fr/lengagement-0 https://www.rencontres-arles.com/fr/lieux/view/20/cour-fanton Remerciement aux Rencontres de la photographie d'Arles et tout spécialement à Willy pour l'enregistrement au Zoom 4CH Branché à la console de la table ronde dans des conditions dictées par l'urgence du moment ...et l'urgence de FAIRE !

Dans le cadre des Rencontres d'Arles, “Diagonal” propose une rencontre publique animée par Alexandre Héraud sur la thématique " L'engagement en photographie", une occasion de croiser les regards et les expériences avec :  Erick Gudimard, président du réseau Diagonal, directeur du Centre Photographique Marseille

. Un podcast proposé par @EnRouesLibres Michaël Houlette, directeur de la Maison de la Photographie Robert Doisneau(Gentilly) secrétaire de Diagonal 
 Pascal Beausse, responsable de la collection photographie du Centre national des arts plastiques - CNAP
 Yves Robert, directeur du Centre national des arts plastiques - CNAP
 Elisa Larvego, photographe  
 Arno Brignon, photographe En présence (eu micro) de Marion Hislen, déléguée à la photographie (DGCA, ministère de la Culture) et avec une présentation de Sam Stourdzé , directeur des rencontres d'Arles. Cette rencontre est le premier acte public des 10 ans du réseau et s’inscrit dans la manifestation nationale « L’Engagement » produite en partenariat avec le Centre national des arts plastiques - CNAP et avec le soutien du ministère de la Culture et de l'ADAGP qui se déroulera entre septembre 2019 et février 2020. Autour de «  L’Engagement », les membres du réseau Diagonal présentent une programmation artistique spécifique s’articulant à partir des œuvres issues de la collection du CNAP et ensemble nous tentons de poser un constat politique et artistique sur la photographie en France. https://reseau-diagonal.com/ http://www.cnap.fr/lengagement-0 https://www.rencontres-arles.com/fr/lieux/view/20/cour-fanton Remerciement aux Rencontres de la photographie d'Arles et tout spécialement à Willy pour l'enregistrement au Zoom 4CH Branché à la console de la table ronde dans des conditions dictées par l'urgence du moment ...et l'urgence de FAIRE !

durée : 00:32:35 - Talmudiques - par : Marc-Alain Ouaknin - . D'un sentiment de bien-être, d'une situation qui nous comble on dit que l'on voudrait qu'elle soit "éternelle" qu'elle dure toujours. C'est la rime habituelle de l'amour, comme si l'éternité en était la mesure. A l'inverse quand une situation nous est pénible ou simplement ennuyeuse nous avons le sentiment que cela dure une éternité. * Mesure du plaisir ou du déplaisir l'éternité, tout comme le temps en général, mais de manière encore plus intense, est une énigme. L'éternité nous donne souvent l'impression d'une effraction, d'un au-delà du temps, d'un hors-temps dans notre temps, d'un temps divin dans notre temps humain.  Impression sur laquelle se sont appuyés certains théologiens pour donner à Dieu le nom d'Éternel. Mais si l'éternité appartient particulièrement à Dieu elle appartient aussi aux hommes, ne serait-ce que dans cette chance de pouvoir en utiliser le vocable. Les poètes et les écrivains ne s'en sont pas privé !  Les artistes aussi ont un rapport privilégié avec l'éternité car ils portent un autre regard sur le monde, déplacement des perspectives, et savent passer, comme sut le faire Mozart dans le troisième mouvement de sa symphonie dite Jupiter, de l'horizontal du temps à sa verticale.  Et de manière tout à fait surprenante c'est en certains points de l'espace, en certains lieux, que s'ouvre cette verticalité du temps. Certaines villes nous le rappellent, car il existe des villes éternelles.  L'invitée Chantal Stoman est une photographe française qui vit à Paris. Son travail s'inscrit dans une démarche qui repose sur une observation approfondie des rapports entre l'Homme, son intimité, et la Ville.  Débuté avec A WOMAN'S OBSESSION, observation de la relation particulière que les femmes japonaises entretiennent avec le luxe et la mode, elle élargit ensuite sa focale avec LOST HIGHWAY, A PHOTO PROJECT. Réalisé sur les flyovers des grandes villes du monde c'est un voyage dans l'intimité furtive de l'humanité qui se cache au cour des grandes villes.  Depuis 2017, Chantal Stoman se consacre à OMECITTA, un projet ayant bénéficié du soutien du CNAP grâce au dispositif de l'aide à la photographie documentaire.  Site de Chantal Stoman https://www.chantalstoman.com/ Transition sonore Le site de la Galerie "Sit Down" http://sitdown.fr/ Livres de photographies publiés par Chantal Stoman Jérusalem Éditions Be-Pole, Paris-New-York https://www.portraitsdevilles.fr/fr/photographes/25-CHANTAL-STOMAN L'image culte 2014, Éditions Nicolas Lévy / Le Joker.  https://www.chantalstoman.com/copie-de-selected-articles A woman's obsession Chantal Stoman, A woman's obsession, La Martinière, 2006 - réalisé par : Dany Journo

durée : 00:05:02 - Les Carnets de la création - Julie Balagué est lauréate de la commande photographique du Ministère de la Culture des Regards du Grand Paris (Ateliers Médicis et CNAP). Depuis deux ans, elle travaille « sur » dit-elle le quartier de la Maladrerie à Aubervilliers.Elle expose uns série complète d'images, de sons et de sculptures.

Au programme : "Le Ludographe. Connaitre et pratiquer le design graphique à l'école élémentaire", avec Paul Cox et Marie Gouyon (CNAP) ; L'expo Little Circulations, avec Clara  Chalou (Fetard) ; Les p'ttits papiers d'Estelle ; Dans la cuisine d' Augustine et de Gabriel Les p'tits papiers d'Estelle - Revue de presse d'Estelle Laurentin, c'est au début Se baigner dans la Seine ? Initier les enfants au design graphique : Le Ludographe - interview de Paul Cox et Marie Gouyon (CNAP) - c'est à 15 minutes Edité par le CNAP, le Centre National des Arts Plastiques. Intitulé Le Ludographe. Connaitre et pratique le design graphique à l’école élémentaire, sous forme d’un élégant grand coffret rouge, le kit propose un livret-guide, revenant sur ce qu’est le design graphique, le rôle qu’il joue dans notre appréhension de notre environnement et les enjeux dans la communication visuelle, les outils qu’il nécessite, et proposant divers scénarios pédagogiques pour sensibiliser et mettre en pratique avec les enfants. Mais surtout, il rassemble tout un tas d’objets, cartes, transparents, formes, couleurs, éléments graphiques et typographiques, images, conçus et designés par Paul Cox, peintre, illustratreur, designer graphique, à manipuler par les enfants pour aborder les différentes notions et principes du design graphique.  Une superbe proposition, que nous avons eu envie de faire sortir des murs de l’école et de vous faire découvrir en compagnie de Paul Cox, donc, et de Marie Gouyon, chargée des projets de médiation au CNAP.Infos Dans la cuisine d'Augustine et de Gabriel - chronique littéraire d'Augustine et de Gabriel Lucas (La Mare aux mots) - c'est environ à 60 minutes  Gabriel a présenté : Les cousins Karlsson - Tome 9 : Trompettes et tracas, de Katarina Mazetti, traduit du suédois par Marianne Ségol-Samoy et Agneta Ségol, Thierry Magnier, 192 pages, 7,40 € Augustine a présenté : La confrérie des téméraires, de Floriane Turmeau,  Poulpe Fictions, 206 pages, 11.95 € Exposition : Little Circulations - interview de Clara Chalou, coordinatrice - c'est environ à 75 minutes La neuvième édition de Circulation(s), le festival de la jeune photographie européenne organisé par l’association Fetart, a commencé le 20 avril et se déroule jusqu’au 30 juin au 104, à Paris.Depuis plusieurs années, un parcours est adapté au jeune public, Little Circulations, toujours aussi malin. Coup de projecteur avec Clara Chalou, coordinatrice du projet. Infos 

Richard Morrell, Red Hat's Principal Security Strategist returns to the radio mic to talk to Richard Stiennon live from The Moscone Center San Francisco as part of RSA Conference 2016. Talking about CNAP, challenges of US Federal Government security and some realities.

The contrast between resistance to ischemia and ischemic lesions in peripheral nerves of diabetic patients was explored by in vitro experiments. Isolated and desheathed rat peroneal nerves were incubated in the following solutions with different glucose availability: 1) 25 mM glucose, 2) 2.5 mM glucose, and 3) 2.5 mM glucose plus 10 mM 2-deoxy-D-glucose. Additionally, the buffering power of all of these solutions was modified. Compound nerve action potential (CNAP), extracellular pH, and extracellular potassium activity (aKe) were measured simultaneously before, during, and after a period of 30 min of anoxia. An increase in glucose availability led to a slower decline in CNAP and to a smaller rise in aKe during anoxia. This resistance to anoxia was accompanied by an enhanced extracellular acidosis. Postanoxic recovery of CNAP was always complete in 25 mM HCO3(-)-buffered solutions. In 5 mM HCO3- and in HCO3(-)-free solutions, however, nerves incubated in 25 mM glucose did not recover functionally after anoxia, whereas nerves bathed in solutions 2 or 3 showed a complete restitution of CNAP. We conclude that high glucose availability and low PO2 in the combination with decreased buffering power and/or inhibition of HCO3(-)-dependent pH regulation mechanisms may damage peripheral mammalian nerves due to a pronounced intracellular acidosis.