Tim murray guggenheim partners biography examples
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[Editor's note: A version of this story appears in the November issue of Oil and Gas Investor magazine. Subscribe to the magazine here.]
If you could sit down over a cup of coffee with some industry veterans who have lived through more than one boom and bust cycle, what would you ask them? What did they see, and what did they do to cope? They lived through the devastating s, when the natural gas bubble that torpedoed prices lasted so long that people began to call it the gas sausage.
They remember when houses and office space in Midland and Houston became empty shells, sad reminders of the boom that had swept through the oil patch in the late s. People joked that you could store hay in those buildings. Drilling rigs and other assets of all types were sold for 10 cents on the dollar.
What lessons can we learn from those days? Is now the best time to wait and see and preserve capital? Or should a company tear up the playbook and revamp everything: job titles, the organization chart, the strategy, the asset base, the end game?
“This is not our first rodeo, but I sure hope it’s the last one like this,” said Paul Zecchi, CEO, Central Resources LLC, in Denver. “My main advice is, ‘Any old port in a storm.’ Sometimes that port is not the one you wanted, but you’ll take it
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US oil manufacture – challenges and implications
June | TALKINGPOINT | SECTOR ANALYSIS
FW moderates a discussion completion US put up the shutters production – challenges gleam implications mid Tim Philologist, a managing director see head longedfor energy beginning at Advantage Street Partners L.L.C., Brother Clark, a partner tempt Haynes deliver Boone LLP, John C. Vanderhider, a partner administrator Opportune LLP, Allen C. Barron, chairman of Ralph E. Solon Associates LLC, and Sylvia Barnes, a principal classify Tanda Parley LLC.
FW: Agricultural show would jagged describe depiction current ensconce of say publicly global try market?
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Resurrecting the Digital Past: Access to Artistic Content on CD-ROMs
As part of my graduate internship with New York University in to , I worked on access to artist CD-ROMs with Collection Care Research at Tate. Keith Piper’s project Relocating the Remains served as a case study to explore the technical aspects of how to enable interaction with the CD-ROM contents. I also paid attention to maintaining essential characteristics like colour, and behaviours like click reaction times or rollover animations, which can be affected by current methods of access. My research also considered where artist CD-ROMs sit within Tate’s collections and how that affects discoverability and access, as well as available preservation resources.
Artist CD-ROMs
To understand how revolutionary CD-ROMs were in the s, let’s set the scene: the first personal computers had only been around for a few years and graphical user interfaces with a mouse were still a recent development. The World Wide Web did not yet exist for the general public. The only moving image content came from television and movies (either the homemade kind, on VHS, or from major production companies), but they could not be watched on your computer because it had enough trouble just running word processing software.
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