6 Reasons Universities Are Building Media Labs Now — from edtechmagazine.com by Brad Grimes
Digital production centers help institutions close the gap between academic training and professional practice.
Higher education is undergoing a significant transformation in how it prepares the next generation of media professionals. Across the country, universities are investing in state-of-the-art media labs — facilities built not around traditional classroom instruction, but around the tools, workflows and collaborative environments that define today’s professional production landscape. These spaces represent a fundamental rethinking of what it means to train students for careers in film, animation, gaming and digital storytelling.
Therefore he is able to save completely those who come to God through him, because he always lives to intercede for them.
How long will you people turn my glory into shame?
How long will you love delusions and seek false gods?
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23 “I have the right to do anything,” you say—but not everything is beneficial. “I have the right to do anything”—but not everything is constructive. 24 No one should seek their own good, but the good of others.
I know that my redeemer lives,
and that in the end he will stand on the earth.
Navid Baraty’s Atmospheric Photos Explore Contrasting Scales of Time — from thisiscolossal.com by Navid Baraty and Kate Mothes
When we consider that enormous metropolises like New York City and Chicago have only come into being within the past few hundred years, it’s impossible not to stand in awe of ancient cultural sites that have existed for millennia or geological features that expose millions—even billions—of years of the planet’s natural history. For Navid Baraty, the contrasts and tensions of contemporary urban life and timeless landscapes merge in otherworldly photographs.
Baraty’s series The Time Between juxtaposes cityscapes with dramatic terrain, from desert dunes to snow-capped mountains. The project revolves around images in which two distinct digital photographs converge in a composite, drawing on the film technique of double exposure and exploring ideas of permanence, presence, and the “space between different scales of time,” the artist says.
For if, while we were God’s enemies, we were reconciled to him through the death of his Son, how much more, having been reconciled, shall we be saved through his life!
It is written:
“‘As surely as I live,’ says the Lord,
‘every knee will bow before me;
every tongue will acknowledge God.’”[a]







