WASHINGTON When Democratic presidential nominee Hillary Clinton announced her vice presidential choice, she referred to Virginia Senator Tim Kaine as a progressive who is "everything Donald Trump and Mike Pence are not." Timothy Michael "Tim" Kaine was born on February 26, 1958, in St. Paul, Minnesota, but grew up in the metro area of Kansas City, Missouri. He is the eldest son of an ironworker and a home economics teacher. Kaine attended an all-boys Jesuit high school, joining spring mission drives to fund Jesuit activities in Honduras. He went on to earn a bachelor's degree in economics from the University of Missouri before entering Harvard Law School. Kaine took time off from his law studies to work with the Jesuit Volunteer Corps in Honduras for nine months in 1980-81, helping Jesuit missionaries who ran a Catholic school in El Progreso. His time there reportedly helped form his support for citizenship for undocumented immigrants in the United States a stance likely to attract Latino voters. He also learned to speak fluent Spanish, seen as a possible advantage with Hispanic voters. At Harvard, Kaine met his wife, Anne Holton, the daughter of former Republican Virginia Governor Linwood Holton (1970-74), who desegregated the commonwealth's public schools. She now serves as Virginia's secretary of education. They have three children. After law school, the Kaines settled in Richmond, Virginia, where he spent nearly two decades as an attorney focusing on civil rights and fair housing. He helped found the Virginia Coalition to End Homelessness and was a board member of the Virginia chapter of Housing Opportunities Made Equal. Kaine entered politics in 1994 when he was elected to the Richmond City Council, then became the city's mayor. Virginia's voters chose him as their lieutenant governor in 2001. Four years later, he ran for governor against Republican candidate Jerry Kilgore, a former state attorney general. Considered an underdog, Kaine trailed in polls for most of the election but won the race. He... When did Kaine learn to speak fluent Spanish? - While studying economics at the University of Missouri - While serving as governor of Virginia - not enough information - While working as a Jesuit Volunteer Corps in Honduras
While working as a Jesuit Volunteer Corps in Honduras

A prospective client sent me a link to this in-depth article on IBM's design thinking revolution, where Phil Gilbert, IBM's General Manager of Design, has hired over 1000 designers into the firm, and pushed for over 8000 of its managers and staff to get 'trained' in design thinking. They have even created specific design centres across the firm, with design offices in most of its key locations, such as the one above. The goal is nothing short of beginning IBM's next phase of transformation, one of many in its 100+ year history. However, all is not rosy. Despite achieving a monumental success relative to the status quo, 8000 'recognised' design thinkers in a corporation of over 370,000 souls is barely a dent in terms of changing practice. If NoTosh were to effect change in only 2% of the teachers with whom we work, we'd have packed up our bags long ago. I'm not sure hiring 1000 designers in and of itself is the answer to any organisation trying to instil a different way of viewing the world. Here's why. Since design thinking really began to be a thing, back in the early 60s, the designer him or herself has consistently been at the centre of the design process. Even though we talk of 'user-centred design', the actual ideation and production of a solution, and in many cases the synthesis and definition of the problem to be solve, too, are all tasks undertaken by skilled 'designers', rather than the people in the organisation who have the scope, brand, or 'permission' to play in that space. Once the designers leave the project, so does the design thinking. There is a reason d.school sees its executive courses filled with repeat customers and firms like IDEO continue to thrive - they are resolving challenges in specific examples of services or products, but not necessarily transforming the firms and organisations who had the budget and desire to solve a problem in that specific area. Solving a problem costs money. Solving a problem and teaching the client how to do it again and again costs more than just money.... Gilbert probably believed that: - His staff would rapid gain knowledge from the professionals as envisaged - The challenge in embarking on this task is easily solvable - His staff will mandatory gather their interest - not enough information
His staff would rapid gain knowledge from the professionals as envisaged

I've learnt a great amount throughout this studio, first and foremost I was taught: how the art world functions, how specific galleries such as Gertrude St Contemporary run and how artists earn a living. The studio also provided me with basic filmmaking skills such as how to: create a shooting schedule, write a shooting script, set up three-point lighting, conduct an interview, utilise visual storytelling and edit a short film. Throughout the shooting process with my artist I also developed my abilities regarding how to use a: Sony Zoom H2N (and other such handy recorders), a lapel mic, my own Canon EOS 60D and Adobe Premiere Pro editing software. Overall I think the studio functioned quite successfully, it was great to be in a studio with nineteen people who all were interested in the same topics as you. I felt that overall, the studios had a very happy and supportive environment, and you walked away knowing a great deal about the art world and how to make short documentaries. The project itself taught me a great deal about how to work with talent, as well as my group members. Having to work independently forced me to be completely all over every aspect of the shoot, whether that be choosing which questions to ask, deciding what to focus on, where I wanted the shoot to happen, deciding what gear to use, getting to the shoot, carrying all the gear, what I wanted to shoot, managing the audio, managing the lighting, managing the camera set-ups, managing the talent, editing the film, and finding a great soundtrack for it. I'm a pretty self-conscious person and I often doubt the decisions I make or ask someone else for their opinion (should I shoot this angle, or what do you think of this question etc.). Working independently pushed me to go with my gut instincts, to make decisions and to not seek others approval. It forced me to develop my aesthetic as a filmmaker and to own the work that I ended up producing, so ultimately I was really glad with how everything panned out. Why did the author think the studio was overall successful? - He knew what gear to use. - He visited specific art galleries. - not enough information - It was a supportive and enjoyable environment.
It was a supportive and enjoyable environment.