Podcast appearances and mentions of james gleeson

Before, earning a verification on social media, you had to be a celebrity, a politician or someone in the public eye such as a journalist, however, since Elon Musk's introduced verification for sale on X,  it's now easier than ever to buy credibility that was once hard earned. This creates an issue where users can share divisive content online with unearned credibility to unsuspecting readers.   As the general election approaches where parties and users alike share content in the attempt to win votes and spread ideologies, new research “Echo Chamber Formation Sharpened by Priority Users” from Munster Technological University suggests that X's verification model can intensify the polarisation on people's opinions and create echo chambers online.  One of the Co-Author's of the research is Kleber Andrade and I spoke to him. Kleber talks about his background, verification on social media, the research he Co-Authored, the recent American election, the upcoming Irish election, AI ,and more. More about Kleber Andrade: Kleber recently started as an Assistant Lecturer at Munster Technological University, Ireland. Previously, he was a researcher at the CENTAI Institute in Turin, Italy. He completed a PhD in Applied Mathematics supervised by Prof. James Gleeson, at the Mathematics Applications Consortium for Science and Industry (MACSI) of the University of Limerick, Ireland. His research interests are in the space of online social networks, information diffusion and nonlinear dynamics.

Before, earning a verification on social media, you had to be a celebrity, a politician or someone in the public eye such as a journalist, however, since Elon Musk's introduced verification for sale on X, it's now easier than ever to buy credibility that was once hard earned. This creates an issue where users can share divisive content online with unearned credibility to unsuspecting readers. As the general election approaches where parties and users alike share content in the attempt to win votes and spread ideologies, new research "Echo Chamber Formation Sharpened by Priority Users" from Munster Technological University suggests that X's verification model can intensify the polarisation on people's opinions and create echo chambers online. One of the Co-Author's of the research is Kleber Andrade and I spoke to him. Kleber talks about his background, verification on social media, the research he Co-Authored, the recent American election, the upcoming Irish election, AI ,and more. More about Kleber Andrade: Kleber recently started as an Assistant Lecturer at Munster Technological University, Ireland. Previously, he was a researcher at the CENTAI Institute in Turin, Italy. He completed a PhD in Applied Mathematics supervised by Prof. James Gleeson, at the Mathematics Applications Consortium for Science and Industry (MACSI) of the University of Limerick, Ireland. His research interests are in the space of online social networks, information diffusion and nonlinear dynamics. See more podcasts here.

Jeremy Eaton curates and showcases the best of James Gleeson's artwork dating back to the 1940's Born in 1915, Gleeson began painting in the 1930s in the surrealist style, further... LEARN MORE The post Jeremy Eaton showcasing James Gleeson Art appeared first on JOY Breakfast.

Send us a Text Message.What an incredible collection! Gary and I visited their fantastic terrace house in Erskineville, where every wall is adorned with art. Tune in now to discover how they built their collection, the day jobs that support their passion, how they select each piece, and what they hope their legacy will be. It's a great conversation with two fascinating individuals—thank you, Gordon and Michael! 'The Elliott Eyes Collection (TEEC) of contemporary art is housed in a private Victorian terrace house in Erskineville, Sydney NSW.The collection of approximately 400 works (sculpture, painting and ceramics) focuses mainly on Australian and New Zealand art, but also includes work by German, Belgium, American, South African and English artists, all of which are on display. Four major outdoor sculptures extend the collection beyond the usual interior walls, tables, mantels and, in our case, even the floor of the house. The decision to open tEEC to public tours was prompted by a visit to Terry Stringer's sculpture park “Zealandia” north of Auckland and by our inclusion in Skadi Heckmueller's book, “Private: A Guide to Personal Art Collections in Australia and New Zealand” (Dott Publishing, 2015). It also follows the opening of the Lyon Housemusem and the Justin Art House Museum in Melbourne; both exceptional collections and buildings well worth a visit.It is also motivated by the realization that once works become part of a private collection they can easily be ‘lost' to public view. Sharing these works, and listening to other people's comments and responses adds immensely to the pleasure we are lucky to experience as we engage with and enjoy the collection on a daily basis.The wonderful experience provided by the recent trend of house museums, is that each venue is truly individual and unique; expressing the personal interests and character of the owners/collectors. Allen Weiss in "The Grain of the Clay" (Reaction Books,2016) has described collecting, or a collection, as an autobiographical statement. Unencumbered by the boundaries, rules and bureaucracy of public galleries, the house musem displays the passion of the collector – individualistic, subjective, imaginative and zany.It is important to say that we live permanently with our collection. We are not a museum or a gallery. Artworks are displayed and incorporated into the everyday spaces of our house, working around the normal aspects and tasks of a standard household. We find ourselves drying off in the shower, trying to avoid knocking over Jim Cooper's large ceramic flower and duck or, in quieter moments, spending endless hours trying to decipher just what is going on in Mark Whalon's mysterious and deliciously perverse paintings. Some works are functional – Michael Snape's security door - while others are more traditional, decorative pieces, acquired and admired simply because they are beautiful or significant works in contemporary (Australian) art history. While our collection is constantly growing, sometimes in divergent, unexpected directions, it's central focus is on the figure in the landscape. This theme is only loosely adhered to, so an outlier work of art can easily capture our attention and find it's way into the collection. Some works are ‘serious' (e.g. our obsession with the 1950s and 1960s paintings by James Gleeson) and others are just ‘fun' (e.g. Madeleine Child's ceramic popcorn).'

Want to grow your real estate investing business and portfolio?  You're in the right place. Welcome to the Property Profits Real Estate Podcast

March 2020 changed the lives of everyone around the around. We were all worried about the spread of COVID-19, fascinated with R number and hoping lockdowns would not last long.Working in the background was the UL team from MASCI (Mathematics Applications Consortium for Science and Industry) who as part of the Irish Epidemiological Modelling Advisory Group (IEMAG), provided expert advice, real-time information and forecast models to the Chief Medical Officer and NPHET.In this podcast you will hear from the award-winning UL team, led by MACSI Director Professor James Gleeson who developed the SEIR model, leading to the monitoring of restrictions, vaccinations and tracking the path of the virus throughout Ireland, disseminating findings to tackle real world problems.Former chair of IEMAG, Prof Philip Nolan discusses the importance of MACSI's work the decision-making process to inform a national response to a global pandemic.Recorded by GKMedia.ie

Our guest today is James Gleeson from Missouri. He is only 23 years old and has 58 units under him already!!! He is using social media and millennial tools to build his wealth and he is all about networking! Learn how in just 3 short years James went from 2k in his bank account to now 58 units all by using No Money Down Real Estate Investing Strategies!

With a career spanning six decades, Robert Klippel was one of Australia’s leading sculptors. His work investigates the relationship between the organic and the mechanical; a duality that he saw as central to life and culture in the 20th century. ‘No 329’ stems from this concept. It was described by artist James Gleeson as a brilliant and seemingly effortless sculpture, and is Klippel’s masterwork from the 1970s. In 1944, aged 24, Klippel began evening classes in sculpture at East Sydney Technical College while working at the Navy Gunnery making scale models for recognition training. Following his military discharge, he increased to full-time classes under the tuition of Lyndon Dadswell. In 1947 he left Australia for London to further his studies, living and working at The Abbey, where he met Gleeson and enrolled at the Slade School of Fine Art. He moved to Paris in 1948, where he held his first one-man exhibition at the Galerie Nina Dausset in 1949. Here he encountered surrealist ideas, which had a liberating effect on his work, leading him to experiment with automatism and techniques of spontaneity. In 1950, Klippel’s finances forced his return to Sydney to paid work, reducing his sculptural output. During this time, however, he acquired new skills, taking night courses in arc-welding, silver soldering and panel-beating. Metals allowed him to sear into space in ways that earth-bound wooden structures could not sustain. In 1957 he moved to New York where he explored the unlimited ‘vocabulary of shapes’ available in junk metals. Using detritus - the chance fragments of modern disposable society - he created complex configurations with new life and meaning. By the late 1960s he had begun to shift his emphasis from using primarily machine parts to steel sections. ‘No 329’ is one of Klippel's most imaginatively gripping as well as formally successful works. It highlights his individualistic commitment to a ‘humanised’ concept of sculpture, which emphasises the trace of the artist’s hand and labour. Klippel aimed to synthesise sculpture and landscape, and bring nature and technology together. Created from found objects and extruded steel sections, ‘No 329’ presents a hybrid landscape-city, reminding viewers of man-made structures in urban, industrial environments as well as plant forms.

James Gleeson (1915 - 2008), The citadel 1945. Painting, oil on composition board, 182.5 h x 122.0 w cm, framed 197.3 h x 136.8 w cm. Purchased 1972.

James Gleeson interviews Robin Wallace-Crabbe, 8 February 1980 [unknown location]

James Gleeson interviews Rosalie Gascoigne, 8 February 1980 in Canberra

James Gleeson interviews Robert Dickerson, 11 June 1979 [unknown location]

James Gleeson interviews Sir Russell Drysdale, 19 October 1978 [unknown location]

James Gleeson interviews Lesley Dumbrell, 16 October 1979 [unknown location]

James Gleeson interviews Brian Dunlop, 29 September 1979 [unknown location]

James Gleeson interviews John Firth-Smith, 29 August 1979 [unknown location]

James Gleeson interviews Elaine Haxton, 22 November 1978 [unknown location]

James Gleeson interviews Weaver Hawkins, 20 June 1979 [unknown location]

James Gleeson interviews Sir William Dargie 1, 27 November 1978 [unknown location]

James Gleeson interviews Sali Herman, 23 November 1978 [unknown location]

James Gleeson interviews Frank Hodgkinson, 27 November 1979 [unknown location]

James Gleeson interviews Ian Howard [unknown location]

James Gleeson interviews Michael Johnson [unknown location]

James Gleeson interviews Sir William Dargie 2, 27 November 1978 [unknown location]

James Gleeson interviews Alexander Danko, 27 August 1979 [unknown location]

James Gleeson interviews Roger Kemp, 1 October 1978 [unknown location]

James Gleeson interviews Lyndon Dadswell, 8 June 1979 [unknown location]

James Gleeson interviews Grace Crowley, 25 August 1978 [unknown location]

James Gleeson interviews Noel Counihan 2, 2 November 1979 [unknown location]

James Gleeson interviews Noel Counihan 1, 2 November 1979 [unknown location]

James Gleeson interviews Tony Coleing, 1 Jan 1979 [unknown location]

James Gleeson interviews Judy Cassab, 1 January 1978 [unknown location]

James Gleeson interviews John Brack,5 October 1978 [unknown location]

James Gleeson interviews Charles Blackman,26 April 1979 [unknown location]

James Gleeson interviews David Aspden, 28 May 1979 [unknown location]

James Gleeson interviews John Armstrong, 6 September 1978 [unknown location]

James Gleeson interviews Guy Warren, 4 September 1979 [unknown location]

James Gleeson interviews Frank Watters, 15 August 1979 [unknown location]

James Gleeson interviews Fred Williams, 3 October 1978 [unknown location]

James Gleeson Interviews David Wilson, 3 November 1979 [unknown location]

James Gleeson interviews Vincas Jomantas, 15 October 1979 [unknown location]

James Gleeson interviews Graeme King 2, 18 October 1979 [unknown location]

James Gleeson interviews Graeme King 1, 18 October 1979 [unknown location]

James Gleeson interviews Lloyd Rees 2, 18 August 1978 at 37 Cliff Road, Northwood

James Gleeson interviews Margaret Tuckson, 12 November 1979 [unknown location]

James Gleeson interviews Albert Tucker, 2 May 1979 at his house in Hurstbridge

James Gleeson interviews Imants Tillers, 26 September 1979 [unknown location]

James Gleeson interviews Dorothy Thornhill, 10 August 1978 [unknown location]

James Gleeson interviews Alan Sumner, 28 November 1978 [unknown location]

James Gleeson interviews David Strachan, 11 Feb 1980 [unknown location]

James Gleeson interviews Tim Storrier [unknown location]

James Gleeson interviews Treania Smith, 8 March 1979 [unknown location]

James Gleeson interviews Garry Shead, 20 June 1979 [unknown location]

James Gleeson interviews Martin Sharp, 7 November 1979 [unknown location]

James Gleeson interviews Jan Senbergs, 1 April 1979 [unknown location]

James Gleeson interviews Gareth Sansom, 28 November 1978 [unknown location]

James Gleeson interviews William Salmon, 28 September 1978 [unknown location]

James Gleeson interviews Henry Salkauskas, circa 1979 [unknown location]

James Gleeson interviews Lloyd Rees 1, 18 August 1978 at 37 Cliff Road, Northwood

James Gleeson interviews Danila Vassilieff, 5 November 1979 [unknown location]

James Gleeson interviews Rosemary Madigan, 28 May 1979 [unknown location]

James Gleeson interviews Inge King, 18 October 1979 [unknown location]

James Gleeson interviews Robert Klippel, 4 August 1978 [unknown location]

James Gleeson interviews Les Kossatz, 28 November 1979 [unknown location]

James Gleeson interviews Eva Kubbos, circa 1979 [unknown location]

James Gleeson interviews Clifford Last, 27 November 1979 [unknown location]

James Gleeson interviews Elwyn Lynn, 24 July and 27 September 1979 [unknown location]

James Gleeson interviews Florence Martin, 28 May 1979 [unknown location]

James Gleeson interviews Stanislaus Rapotec, 22 October 1979 [unknown location]

James Gleeson interviews Justin O'Brien, 21 September 1978 [unknown location]

James Gleeson interviews Alan Oldfield, 1 August 1979 [unknown location]

James Gleeson interviews John Olsen, 9 April 1979 [unknown location]

James Gleeson interviews Desiderius Orban, circa September 1979 [unknown location]

James Gleeson interviews Lenton Parr, 29 November 1979 [unknown location]

James Gleeson interviews Paul Partos, 3 November 1979 [unknown location]

James Gleeson interviews Rudy Komon, 6 March 1979 [unknown location]