#wanami

[sumiye-draws-sometimes]

WLW Picrews wOWie

This took way too long for me to remember these ships ehee

Again each one is a different fandom <3

[sweetcici-123]

I’m going through a lesbian Nami phase rn so I’m gonna be sharing tons of gay Nami fanfic ideas. I’m pretty sure all of them are AU’s and some of them wouldn’t even make sense at all in canon but I don’t care.

Are some of these ships that I literally only thought of because I wanted more girls to ship Nami with? Yes. I’m pretty sure some of them have never even interacted with her but I do not care.

Bring on the Gay Nami!

[dailyrebranded]

WaNami!

[antronaut]

Judy Watson - great artesian basin springs, the gulf (jiwil, wanami). 2019

212 x 169 cm indigo, acrylic, graphite on canvas

[write-something-new-again]

"Isagi! Isagi, look!" Bachira chirped, waving his hand in the air like a child to beckon their parent's eye. Luckily, Isagi already struggled to focus on anything that wasn't Bachira.

As soon as he knew Isagi was watching, Bachira of course did the most logical thing, and started spinning around in a circle. "Bzzzzzz!"

He tries not to be surprised. He does! Blue Lock was initially 300 people, Isagi was bound to meet some interesting people. And meet them he did, in the form of people like Nagi, the Wanami brothers, and Rin with his brother complex going on. He's surrounded by a wide variety of weirdos with all differing flavors of strange. You'd think he'd get used to it.

"See, look! It's my name! Bzzzzz..." But still, his partner is spinning around in a circle, making a buzzing noise, and it still surprises Isagi just how odd this particular striker is.

A soft chuckle falls out of his mouth by accident, "What exactly are you doing?"

"Have I ever told you what my name means!"

"No, I don't think you have. And slow down, you'll get dizzy."

Bachira slows down. "It means 'spinning bee'! And look! I'm a bee, bzzzzz, and I'm spinning!"

Truth be told, Isagi used to be pretty scared of bees. One of his classmates had to go to the hospital because they got stung by one and were allergic. The majority of people see a bee and freak out, it's just how things are. These days, though?

Isagi watches him lazily turn on his feet with a smile. These days, Isagi really likes bees.

[worldsandemanations]

Judy Watson - great artesian basin springs, the gulf (jiwil, wanami). 2019

[alexchadwick-abts2030-uq-y2023]

Connection to Country: Aboriginal Artists’ Responses to Climate Change 

I chose to examine Aboriginal artists visual responses to climate change because environmental issues in Australia are inherently tied to systemic coloniality as well as more broadly endured socio-cultural impacts. Indigenous peoples “greater exposure to the impacts of climate change” can be explained both through their “deep connection […] to place and culture” and a “heightened vulnerability owing to entrenched disadvantages and injustices” (Blashki, Bradshaw, Gardner, & Gergis, 2023, p. 36). As such, I want to reflect on four artworks to understand the logic of place in Aboriginal artists’ responses to environmental degradation: Nici Cumpston’s Lake Bonney Barmera – place of large water (2022) (Figure 1), Judy Watson’s string over water (alkurrji kingkarri wanami) (2019) (Figure 2), Megan Cope’s Kinyingarra Guwinyanba (On Country) (2022) (Figure 3) and Brian Martin’s Methexical Countryscape Wurundjeri #3 (2012) (Figure 4). 

I find enormous value in Louise Gwenneth Phillips’ and Tracy Bunda’s Research through, with and as storying (2018), which I imagine as a cross-cultural handbook that informs my ongoing research. The authors come “two-gather” to provide a complex, critical framework to engage in alternative means of knowledge-building through the act of ‘storying’ (Phillips & Bunda, 2018, p. 1). Phillips and Bunda (2019) describe storying as “the act of making and remaking meaning through stories”, as “living and active rather than fixed, archived products” (p. 7). Here, marginalised voices are accentuated by considering intersectional standpoints and unconventional methodologies. As an Anglo-Saxon woman who lives on the unceded lands of so-called Australia, I approach this topic from a largely academic perspective that draws upon first-hand knowledge from the selected Aboriginal artists. I rely upon First Nations stories because I do not wish to make assumptions about, nor impose my own biases upon, an evolving and variable culture(s). However, I would like to take this opportunity to critically reflect upon my unique reception on these works to highlight my potential (mis)understandings. As I will attempt to express myself through a storying research framework, the following text will present as creative exploration. This will demonstrate the development of my understandings of Aboriginal and Torres Strait Islander perspectives.

For me, Cumpston’s Lake Bonney Barmera - place of large water presents as an abstracted, apocalyptic landscape. The long-dead, scrabbly trees almost seem parched as they sink heavily into an expansive body of still water. Cumpston’s multimedia style combines the inherent realism of photography with the intimacy of hand-colouring, creating an eerie presence. Even as the horizon softly blazes, recalling devasting Australian wildfires, it seems almost hopeful too. Perhaps that is the call of flourishing lands, because there seems to be a forest just out of reach. Here, Lake Bonney Barmera - place of large water highlights the conflict that pervades the public sphere: while disaster lies around us, we can still see an attainable future. There still exists trees to be cut down and coal to be extracted. Yet Cumptson foregrounds the destruction of the present moment, the damage that her Country has survived. This immediacy demands the viewer to problematise their worldview throughout closer, more careful reflection. I relate to this image through a comparison of the land around my own home, whose unpredictable weather patterns often leave communities devastated after ‘natural’ disasters. I think this is a powerful strategy to approach the highly contested and emotionally conflicted issues of climate change. She offers an adaptable access point that individuals can engage with, inviting audiences to reflect on their own story. Yet this personal exploration remains mediated by the artist’s visual stimulus. This keeps one’s reception grounded by one’s relation to Cumpston’s worldview. As such, further critical analysis of the artwork should take into consideration the coloniality of Australian landscapes. 

Watson’s string over water (alkurrji kingkarri wanami) follows a different pathway: this artwork traverses the concept of memory as a link between matrilineal ties and lands. The artwork positions audiences underneath a rippling surface that emphasises the ephemerality of Country – from elusive fragments of open sky to sinuous string that delicately unwinds. This string reflects traditional Waanyi practices where hair follicles are rolled to absorb oils and subsequently woven. As such, the string holds the memory of ancestors. Watson’s creative inquiry into the role of memory extends to that of Waanyi Country, where she understands water as an inherent, enduring quality that will remember its original pathway (QAGOMA, 2020). Unfortunately, this phenomenon is not always allowed. These pathways are often forcibly displaced or altered: poisons from agricultural runoffs or mining effects water quality and imposed infrastructure redefines its form. I see this darkness within string over water (alkurrji kingkarri wanami) where deep hues seep into the work from the bottom right corner. Here, visual strategies animate dialogue around environmental action where she promotes a custodial approach: Country should be appreciated as a living entity to encourage active conservation and sustainable practices. This standpoint directly opposes Western perspectives surrounding environmental interaction, which ‘knows’ land as an inanimate object available for ownership.

In Kinyingarra Guwinyanba (On Country), Cope engages with the concept of memory in an alternative way: she participates in the ongoing, transgenerational storying of Country where she creates a sustainable, eco-activist project. Located near Myora, an intertidal area, Cope has secured numerous hand built sculptural “sea gardens” in an effort to heal Country (Cope, n.d.). Her work is grounded by the environmental degradation she stands witness to throughout Quandamooka Country (Stradbroke Island, Queensland), in particular the diminished population of oyster reefs. This is a direct impact of the extractive settler-colonial practices that were imposed after Australian invasion (ABC Arts, 2022). Where oyster reefs provide habitats as mineral-rich, carbon-capturing filtration organisms, large-scale depletion has had notable consequences on surrounding ecosystems (ABC Arts, 2022). As such, Cope has engaged in a radical approach to artistic activism: her living sculpture works as an innovative, functional habitat restoration project. Through caring for Country, Kinyingarra Guwinyanba (On Country) contributes to an ongoing storying of Aboriginal creative inquiry: where she foregrounds custodianship, Cope pledges resistance to the colonial project by regenerating ancestorial practices to offset the consequences of climate change. 

Martin’s highly theoretical strategy toward environmental action, as presented in Methexical Countryscape Wurundjeri #3, is grounded by an embodied, ‘methexical’ visual storying of Country: that is, the performative “reverberation of bringing something into being” (CLIMARTE, 2021). This artwork is made up of thirty individual hand-drawn canvases that depicts a ‘Bunggabi’ (tree) on Wurundjeri Country (CLIMARTE, 2021). I think it is interesting that the artist presented the work in charcoal, which typically dims its subject. However, I find this decision emphasises the sculptural forms of the land and emphasises its diverse ecological features. Here, Martin effectively transforms embodied knowledge into visual data to animate Country as a subject. I find Martin’s conceptual grounds difficult to engage with, which might speak to my limited perspective as a non-Indigenous person more than the difficulty of the philosophy. Yet I can grasp this idea when thinking about the nature of storytelling as animating something intangible. In Methexical Countryscape Wurundjeri #3, Martin relies on the visual embodiment of memory to story the land into being. As such, Methexical Countryscape Wurundjeri #3 presents as an immersive, intersubjective aesthetic experience. 

I have also drawn from Kombu-merri and Waka Waka philosopher Mary Graham’s Some Thoughts About the Philosophical Underpinnings of Aboriginal Worldviews (2008) where the author critically assesses the singular nature of Aboriginal ontology. She beautifully expresses the inextricable role of Country in human life, where she explains that “[b]ecause land is sacred and must be looked after, the relations between people and land becomes the template for society and social relations” (Graham, 2008, p. 106). I would like to approach my critical essay with her writing in the back of my mind as this underlying ontology can be seen to pervade each Aboriginal artists’ expression of Country. I also found this an important truth to live by, particularly in a time when many people feel disconnected from each other. We can look to heal our relationships by first healing the lands upon which we live. This perspective provides an alternative worldview to concepts born from the Anglosphere that are ingrained within white Australian culture and government. For example, the supposed limitless resource of natural environments that allows for endless extraction. This utilitarian language purposefully strips ecologies of the possibility, or inherent existence, of a meaningful relationship between people and place. As such, the model for social relationships is strictly functional. Graham’s text offers an alternative structure that foregrounds sensuous understanding of the land as well as our reciprocal dependence for existence. I find this concept of embodied knowledge is often brought up in discussions around Aboriginal artwork, which I think speaks to the depth of artists connection with their world. As such, I would like to turn to an important moment that influenced my understanding of Aboriginal cultural expression.

In January 2020, The Queensland Art Gallery | Gallery of Modern Art (QAGOMA) hosted a significant event in affiliation with their current interdisciplinary exhibition ‘Water’. The discussion panel, titled “Traditional Responses to Contemporary Problems”, connected Aboriginal artists Watson, Cope, and Wiradjuri woman Nicole Foreshew with Bundjalung and Kullilli host Daniel Browning. Their extensive dialogue took me on a journey to each artists homeland to examine the conditions of their Country in our collective, global climate emergency. Their acts of storying built a web of connection between the audience and each other through the intimacy of sharing and listening (Phillips & Bunda, 2018). This process foregrounded embodied knowledge and evolving relationalities by honouring sensational presence over cognitive perception (Phillips & Bunda, 2018). I found learning about this alternative way of being transformed my understanding of Aboriginal worldviews, as well as broader discourse around knowledge. Using this framework to examine the work of Aboriginal artists will allow for genuine insight into both their practice and intentions. 

[trixieswitchcraft]

Wanda x Nami Collage💙

I love them so much😢

[graphic-recording]

2020.04.02

無料で学べるデザイン学習サイト「chot.design」にて取材を受けまして、インタビュー記事が公開されました。『デザイナー の学び方』がテーマでして、広告業界からアプリサービス業界への畑違いな転職経験を中心にお話しました。

私の場合、答えがなかったり未知だったりと何もわからないからこそデザインを続けているところがあります。グラフィックレコーディングなどの可視化の技術もその橋渡しのためのコミュニケーションの具現化の一つとして活用しています。全ては誰かの想いを見える化したものづくりに繋げるため、今日もデザイナーとしてあれこれ色々チャレンジする日々です。

可能性は「わからないこと」に詰まっている。DeNAデザイナー和波里翠 

ちなみに、chot.designを運営している小島さんとは、HTML5 Conference 2015で出会いました。このHTML5のイベントで及川卓也さんや村井純先生の基調講演をグラレコしてWeb技術やIoTの話にとにかくワクワクしたので、この時の好奇心をずっと大切に転職後は開発に取り組んできました。

[hbhughes]

Elizabeth Womelsdorf Mitchell

Elizabeth Womelsdorf Mitchell, daughter of the late E. Guy Womelsdorf and Bertha Griffith Womelsdorf, died in Stamford, Connecticut, on March 29th, 2020, at the age of 97. Born in Wanamie, Pennsylvania, on January 23rd, 1923, she graduated from Newport High School in 1940. Following high school, Elizabeth attended Bucknell Junior College (now Wilkes University) graduating with a degree in bookkeeping. She worked as a secretary at the Glen Alden Coal Company in Wilkes-Barre, PA, from 1942 to 1952. She met and married Herbert Mitchell and raised two daughters, Ann Meredith and Elizabeth Jane.

After raising her daughters, she was a bookkeeper and office manager at the office of Irem Temple in Wilkes-Barre, PA. She retired in 1988. She and husband Bert enjoyed traveling and, especially, spending time with their granddaughters.

Elizabeth, familiarly known as Betty, possessed an outstanding vocabulary and knowledge of English grammar and enjoyed completing crossword puzzles throughout her life. She was an excellent writer of prose and poetry and a lover of mathematics.

She had a full life in the Church of Christ Uniting in Kingston, Pennsylvania, enjoying Women’s Fellowship, singing in the choir, and volunteering for the Al Beech Food Bank.

Elizabeth’s family extends heartfelt gratitude to the staff of Sunrise Assisted Living on Turn of River Road in Stamford, Connecticut, where Elizabeth thrived because of their caring professionalism. When she moved there from Pennsylvania in 2017, she found a fulfilling life at Sunrise. While still living in Kingston, Elizabeth enjoyed excellent care rendered by Pat of Home Instead. Pat’s vital support helped Elizabeth remain in her home as long as she did.

Special appreciation is due Carol Johnson who provided a wide variety of caring assistance whether it was accompanying Betty to church, driving her to the grocery store and doctor’s appointments or stepping in and stepping up to help Betty frequently. Her neighbors, William and Ed Urbanski and Maureen Lacey and her husband, David Scheydwasser, made an important difference in Betty’s life. They kept her sidewalk shoveled in the winter, looked out for her, brought her homemade meals and bran muffins, and helped her in any way that she needed. When Elizabeth moved to Connecticut, she missed Carol and her neighbors most of all.

Elizabeth was preceded in death by her parents, sisters Martha Womelsdorf and Amy Vandermark, brother Raymond Womelsdorf, her husband Bert, and daughter Ann Meredith Mitchell.

She is survived by her daughter Elizabeth (Mrs. Randall) Outlaw, son-in-law Randall, granddaughter Kathryn and her husband, Tim Lopas, granddaughter Meredith and her husband, Justin Kircher, her nephew Tim Mitchell, nieces Emily Hosey Sallitt and Ellen Mitchell Gacomis, and beloved cousins.

A private graveside service for the family will be held at Oaklawn Cemetery in Wilkes-Barre, Pennsylvania, with Rev. Carol Fleming officiating. Elizabeth will be laid to rest beside her beloved husband and daughter Ann. Arrangements are being managed by Hugh B. Hughes Funeral Home, 1044 Wyoming Avenue in Forty Fort, Pennsylvania, and in Stamford, Connecticut, by Thomas M. Gallagher Funeral Home, 453 Shippan Avenue. A service of celebration and remembrance will be held at Church of Christ Uniting, 190 S. Sprague Avenue, Kingston, PA, at a later date.

 In lieu of flowers, the family encourages donations to the Church of Christ Uniting.

[iqvts]

1044 E MAIN, Wanamie, PA 18634 from iQ Visual Tours on Vimeo.

For more information: brokersrealty.com/listing/174-125768/1044-e-main-wanamie-pa-18634

PROUD HOUSE, SAFE AND QUIET/FAMILY LOCATION,BUT ONLY 22 MINS FROM DOWNTOWN WILKES BARRE,10 MINS FROM DOWNTOWN NANTICOKE, ACROSS FROM FIRE STATION,+ NEWER PARK, HIKING TRAILS, WITH 2 BATHS, TILED WET AREAS, SPACIOUS ROOMS, SEPARATE UTILITY ROOM, CLEAN BASEMENT 3 TIER YARD, DETACHED BI-LEVEL GARAGE.FOR YOUR TOYS, ALLOT OF LIVING WITH 5 BEDROOMS FOR NOT ALLOT OF PRICE, MUST SEE TO APPRECIATE!

Contact: Jim Donovan (570) 817-3716 jim@brokersrealty.com

[marble2info]

9/28 ひつじTOKYO

9/28(Fri) ひつじTOKYO @恵比寿BATICA

open19:00 door¥2,000（+1D） ※予約特典：Tnakaランダムチェキ

2F 19:00 OPEN 19:00-20:00 DJ ひめかわいい 20:00-20:30 電影と少年CQ (LIVE) 20:30-21:00 異国のパルピタンテ (LIVE) 21:00-21:30 marble≠marble (LIVE) 21:30-22:00 サムギョプサル和田 22:00-22:30 ナマコプリ (LIVE) 22:30-23:00 あさちる (LIVE) 23:00-23:45 SLF!!（その名はスペィド） 23:45-24:30 Takaki Ito 24:30-25:30 DJ フクタケ 25:30-27:00 B2B 27:00 CLOSE 1F 19:00-20:00 Takaki Ito 20:00-21:00 wanami 21:00-24:00 mimix 24:00-25:00 団長 25:00-26:00 Takaki Ito 26:00- 2Fのみ

東京遠征3days、初日！！！ 初めての恵比寿、初めての感じのイベント！

イケてる人たちばっかりの中、呼んで頂けてめっちゃ嬉しいです！！ 東京のこういうイベント、出てみたかった…（田舎者感）

最高にかっこいいmarble≠marbleをお見せしたいと思いますので、早めにお仕事終わらせて来て下さいね〜 華金を楽しみましょ！！！

ご予約・お問い合わせはお気軽にこちらまでお願いします marble2info@gmail.com

[igamezonenet]

JETRO-Einzelheiten zum Japanischen Pavillon und geplanten Events

Tokio, Japan. Die japanische Außenhandelsförderorganisation JETRO wird auf der CeBIT 2017 den Japanischen Pavillon organisieren. Die CeBIT, die vom 20. bis 24. März in Hannover stattfindet, ist das weltweit führende Event für alles, was das Thema Digitalisierung betrifft. Als größte Fachmesse für B2B-Lösungen präsentiert sie zudem zukunftsweisende Neuheiten im Bereich IoT, Big Data, künstliche Intelligenz und Robotik.

Der umfangreiche Japanische Gemeinschaftsstand vereint 118 Unternehmen und Organisationen aus dem Partnerland Japan, die auf 7.200 m2 Ausstellungsfläche sich und ihre neuesten Technologien einem internationalen Publikum präsentieren. Eine Vorschau auf die im Mittelpunkt stehenden Themen und Ausstellungshighlights liegt bereits vor. Die Stände decken alle Themenschwerpunkte von Infrastruktur über Fabriken bis hin zu professionellen und privaten Anwendungen ab und präsentieren Firmen, die sich in unterschiedlichsten Bereichen engagieren, z.B. medizinische Versorgung und Gesundheit, Landwirtschaft und Bauwesen, aber auch Musik, Spiele und Sport. Dabei stehen die einzigartigen Technologien, Dienstleistungen und bahnbrechenden Lösungen und Ideen allesamt im Zeichen der Vielfalt des Ansatzes „Society 5.0“. (Siehe auch Anhang 2: Ausstellungshighlights)

Zusätzlich zum Gemeinschaftsstand wird JETRO auf der CeBIT vier Veranstaltungen organisieren, darunter ein Symposium und ein Networking-Event. Die Veranstaltungen sollen japanischen Unternehmen beim Auf- und Ausbau ausländischer Vertriebskanäle sowie bei der Entwicklung von Geschäftsmodellen mit IoT-Bezug in verschiedensten Bereichen unterstützen.

In knapp einem Monat öffnen sich die Tore der CeBIT 2017, bei der Japan erstmals als offizielles Partnerland fungiert. Die Messe wird von einzigartigen, zukunftsweisenden japanischen Technologien und Erfindungen geprägt sein, die Sie auf keinen Fall verpassen sollten.

„Society 5.0“ ist ein Begriff, den die japanische Regierung in Zusammenhang mit ihren wissenschaftlichen und technologischen Zukunftsplänen geprägt hat. Er bezeichnet die nächste Stufe der gesellschaftlichen Entwicklung – nach den vier Stadien Jäger und Sammler, Agrar-, Industrie- und Informationsgesellschaft.

Veranstaltungsüberblick

1. Japan Summit Zeit: 20. März 2017 (Montag) 11.30–13.00 Uhr (laut bisherigem Plan) Ort: Halle 8, Sakura Stage Kurzdarstellung: Das von JETRO und Deutsche Messe organisierte Symposium will anhand von deutsch-japanischen Kooperationen zeigen, was in Japan getan wird, um die neuen Möglichkeiten von IoT zu nutzen. Das Event soll die führende Rolle beleuchten, die das Land auf diesem Gebiet anstrebt, indem es seine technologische, ideelle und kreative Stärke ausspielt und neue Partnerschaften mit Deutschland und anderen Nationen eingeht. Ziel ist die Schaffung einer „superintelligenten Gesellschaft“, die den Einsatz von IoT durch die Verschmelzung von virtuellen und realen Räumen maßgeblich vorantreibt.

2. Business Networking Zeit: 21 März 2017 (Dienstag) 18:00–19:30 Uhr (laut bisherigem Plan) Ort: Halle 4, Teilfläche des Japanischen Pavillons Kurzdarstellung: Networking-Event für kleine und mittelgroße Aussteller des Japanischen Pavillons und für deutsche Firmen, die am Aufbau einer Geschäftsbeziehung mit einer japanischen Firma interessiert sind. Auch Mitglieder der aus kleinen und mittelgroßen Firmen bestehenden japanischen Handelsdelegation für die CeBIT nehmen an dieser Veranstaltung teil. Laut einer 2015 auf höchster politischer Ebene getroffenen Vereinbarung ist es das erklärte Ziel von JETRO, Kontakte und Geschäftsbeziehungen zwischen japanischen und deutschen Unternehmen zu fördern.

3. Japanische Nacht Zeit: 22. März 2017 (Mittwoch) 18:30–20:00 Uhr (laut bisherigem Plan) Ort: Halle 8, Ginkgo Stage Kurzdarstellung: Eine Networking-Veranstaltung, die sich an ausländische Unternehmen und an die Aussteller des Japanischen Pavillons richtet.

4. Ausstellerpräsentationen Zeit: 20.–24. März 2017 (Montag bis Freitag) (laut bisherigem Plan) Ort: Halle 4 und Halle 12, Präsentationsbereich des Japanischen Pavillons

Japanischer Gemeinschaftsstand Veranstalter: Japanische Außenhandelsförder-organisation (JETRO) Förderer: Ministerium für innere Angelegenheiten und Kommunikation Ministerium für Wirtschaft, Handel und Industrie Ausstellungsfläche: 7.200 m2 Aussteller: 118 Unternehmen/Organisationen Standort: Halle 4, Stand A38 sowie Halle 12, Stand D04 Thema: Create a New World with Japan – Society 5.0, Another Perspective

Drei Bereiche:

Life/Office/Society (67 Aussteller, Halle 4) Im Bereich Life/Office/Society werden Produkte und Dienstleistungen gezeigt, die den Alltag von Verbrauchern verändern, z.B. im Büro, beim Einkaufen, beim Essen und anderen alltäglichen Erlebnissen. Auch die dazugehörigen Systeme und Dienstleistungen werden hier präsentiert.

Infrastructure/Factory (35 Aussteller, Halle 12) Im Bereich Infrastructure/Factory werden Produkte und Dienstleistungen gezeigt, die bei der Energieversorgung und -übertragung einen innovativen Beitrag leisten, ebenso bei Entwicklungen zu Ressourcen und Rohstoffen sowie bei gesellschaftlichen Entwicklungsprozessen.

Element (16 Aussteller, Halle 4) Im Bereich Element werden die grundlegenden Technologien (Geräte, Bauteile und sonstige Komponenten) gezeigt, auf denen die Innovationen der Bereiche Life/Office/Society sowie Infrastructure/Factory basieren.

Über JETRO Die staatliche japanische Außenhandelsförderorganisation JETRO (Japan External Trade Organization) ist eine Institution des öffentlichen japanischen Rechts, die die Handelsbeziehungen und wechselseitigen Investitionen zwischen Japan und der übrigen Welt fördert. Seit 1958 unterstützt die JETRO Unternehmen, die in Japan investieren, mit einem japanischen Unternehmen kooperieren oder ihre Produkte nach Japan exportieren wollen, mit starkem Fokus auf die Anwerbung ausländischer Investoren sowie die Unterstützung von kleinen bis mittelständischen japanischen Unternehmen bei der optimalen Ausschöpfung ihres Exportpotenzials.

Kontakt für Deutschland JETRO Berlin E-Mail: katrin_basalla@jetro.go.jp und cebit-berlin@jetro.go.jp Fr. Basalla

Kontakt für Japan Anfragen zum Japanischen Pavillon oder zur Japanischen Nacht JETRO Tokyo E-Mail: faa-cebit@jetro.go.jp Hr. Takano und Fr. Wanami, Trade Fair Department

Anfragen zum Japan Summit oder zu Business Networking JETRO Tokyo E-Mail: mono@jetro.go.jp Fr. Ebara und Hr. Tanaka, Manufacturing Industry Department

Anfragen zu möglichen Gesprächsterminen mit ausstellenden Unternehmen CeBIT Japan Pavilion PR Secretariat (Dentsu Public Relations Inc.) Mamiko Tominaga, Mina Sakai Tel.: +81-(0)3-5565-8996 E-Mail: CeBIT2017jppress@group.dentsu-pr.co.jp

Aktuelle Ausstellerinformationen finden Sie online

hier

.

Wuelle

Der Beitrag JETRO-Einzelheiten zum Japanischen Pavillon und geplanten Events erschien zuerst auf iGamezone.

from iGamezone http://ift.tt/2mKVycr

[iqvts]

1044 E MAIN ST, Wanamie, PA 18634 from iQ Visual Tours on Vimeo.

For more information: brokersrealty.com/listing/174-101383/1044-e-main-st-wanamie-pa-18634

5 beds under 30K!! Finished attic, 2 baths, detached garage, and many upgrades, this is no ordinary half double. Home boast more square feet than many sfr. Good room sizes, hard tile throughout,bathrooms upstairs and down. Nice large bay window. Safe area near police and fire, hiking trails and renovated park. Quiet yet only short drive to shopping and amenities, must see to appreciate.

Contact: Jim Donovan (570) 817-3716 jim@brokersrealty.com