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Adapt’s vision for the future includes the following key goals:
i) Create a leading authoring tool capable of producing responsive and multi-device e-learning;
ii) Encourage wider adoption of Adapt’s free and open source licence;
ii) Ensure Adapt’s authoring tool is intuitive and easy to use especially for those with the limited technical knowledge; and
iv) Support collaborative development and transition towards a ‘community-led governance structure’.What’s making users embrace Adapt Learning?
Here are some of the key reasons that’s leading multitude of users to transition towards Adapt’s authoring tool:key reasons Responsive Content: Deep scroll design Flexibility
Let’s take a closer look at what’s great and not so-great about AdaptIntelligent Design: Component driven: Cost efficiency: LMS Compatibility: Languages: Track between devices: Add-on costs No offline-access: Animations: Who is Adapt currently idealfor?
Adapt’s authoring tool is ideally for someone who needs to create courses that require ‘linear navigation’, need to be responsive across devices, are text and image based (no animations) and need to be created in a limited time frame.
However, for a course creator who needs to create content that can be accessed offline by his learners, Adapt Authoring Tool is not the ideal tool. Currently Adapt doesn’t support ‘branching scenarios’ either — if this is a requirement, course developer can only avail this feature via a paid version of Adapt authoring tool.Can Adapt Learning impact evolution of the eLearning world?
Experts believe that given Adapt Learning’s open source framework and authoring tool and its limitless potential, it would drive a significant change in the rapid learning development industry.
There are admittedly concerns like the learning curve is initially a bit higher and additional time needs to be invested, but the results would over time outweigh the investment.
Others believe that despite some obvious design limitations and even though Adapt is not yet a mature product, it is far from a fade. It will pave the way forward towards “unencumbered design in eLearning” which will allow instructional designers to explore “boundless possibilities of web design in their courses.”
The infamous exhibition marked the beginning of Third Reich's mass censorship of Modernist art.
Henri Neuendorf ,
In 1937, Adolph Hitler initiated one of the most shamefulactsof art censorship in modern history: the campaign to confiscate and purge so-called “degenerate art”—works deemed undesirable by the fascist regime—from Germany’s museums. That same year, to mark the beginning of Hitler’s attack on Modernist art, the Nazi party organized the infamous exhibition “Degenerate Art,” which showcased these stolen and unwanted works.
Between 1937 and 1939, about 21,000 objects were removed from German state collections during the purge. Masterpieces of Expressionism, Surrealism, Dada, Cubism, New Objectivity, and Fauvism were systematically taken from dozens of institutionsaround the country, and stolen from private collections to beburned or sold abroad.
While most of the stolen works may never be fully retrieved, a number of Germany’s museums are mounting dedicated exhibitions to acknowledge Hitler’s campaign and its devastating impact. In Berlin, a new Museum of 20th Century Art will feature a permanent exhibition dedicated to the purge. And to mark the 80th anniversary of the “Degenerate Art” exhibition, two notableGerman museums will this year mount special exhibitions to commemorate the history of the show and the Modernist treasures that were lost.
Reichsminister Joseph Goebbels at the“Degenerate Art” exhibition. Courtesy of Wikimedia Commons.“Munich, Summer 1937” at theHaus der Kunst
Interestingly enough, in order for the German people to understand the differencebetween “degenerate” and “great” art, the Third Reich exhibited two shows that exemplified both artistic currents:the “Great German Art” exhibition at the Haus der Kunst in Munich on July 18, 1937, and the “Degenerate Art” exhibition at the Institute of Archaeology at the Hofgarten on July 19, 1937.
It is no surprise that the “Great German Art” exhibition displayed works that were Nazi-friendly: classical in style, and often idealized presentations of pastoral scenes. On the other hand, the “Degenerate Art” exhibition focused on works that were made by Jewish artists and were claimed to be offensive to women, soldiers, and farmers, and insulting toward religion.
The “Degenerate Art” exhibition presented 650 works confiscated from German museums.These works were publicly displayed to be ridiculed and later destroyed. Some of the artists that were included in this exhibition were Emile Nolde, Franz Marc,
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, Paul Klee , Kurt Schwitters, and many other prominent German artists of the time.
Les rapports de systèmes ont souvent été inscrits, par la doctrine, dans le registre sémantique de la polémologie ou de l’art militaire. Il convient, pourtant, de garder à l’esprit que les interactions entre ordres juridiques sont passées au filtre d’une approche faisant de la pacification des relations intra-européennes une fin politique et du juge l’un des instruments de celle-ci. Pour autant, nous accepterons, pour les besoins de la cause, de filer à notre tour la métaphore guerrière.
De toutes les manœuvres qu’une armée en campagne peut conduire, la retraite est probablement l’une des plus délicates à exécuter. L’histoire enseigne qu’elle doit être parfaitement maîtrisée au risque de se transformer en débâcle. Or, c’est bien la question que pose l’arrêt rendu le 5 décembre 2017, dans l’affaire
, M.A.S. En effet, interrogée sur les conséquences à tirer de sa décision
, la Cour y opère un repli sur une position dont on peine à imaginer qu’elle fût «sûre et préparée à l’avance».
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The discussion on the restrictive migration management policies of the European Union (EU) and its Member States (MS) has so far focused on the potential violation of the primary rules of international law that determine the conduct of subjects of international law. The question of applicability of the secondary rules of international responsibility that provide for the consequences of the commitment of a wrongful act has attracted less attention. The main question in the current context is whether the cooperation of the EU and its MS with the Libyan coastguard and militias with the view of stemming irregular migration flows to Europe generates international responsibility for the above actors. More specifically, it is asked whether there is an autonomous basis in the law of international responsibility for holding the EU and its the MS responsible for the violations of human rights occurring in Libya, even if they do not exercise directly jurisdiction over migrants. Three aspects of this theme will be developed here: first, the nature and scope of the cooperation of the EU and its MS, in particular Italy, with the Libyan authorities, coastguard and militias in view of restricting the access of migrants to the EU; second, the extent of human rights violations of migrants in Libya; and third, the alleged complicity and responsibility of the EU and MS for the violations of these rights.
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