PUTTING IN NEW CAPITAL in a sentence | Sentences WordTool (2024)

Melvin Capital put on a new position, buying 1.35 million shares in the retailer, which gained 43 percent in the first quarter.

This can help to ensure that new capital is not put to use in an attempt to save previous investment decisions — an activity known as «throwing good money after bad.»

«Some of the regulatory issues that have been put in by state and local governments, some of the capital constraints that the independent builders are facing, the labor shortages in a lot of markets, have all conspired to make this a very difficult recovery for new - home builders,» said Rick Sharga, chief marketing officer at Ten - X, a real estate auction company.

The announcement puts potential new energy investments in British Columbia at greater risk and raises the potential for capital flight — and related job losses — from B.C. in energy and resources.

Every time McDonald's put capital in, new stock was issued.

Expenses are being covered by AT&T, which put up $ 2 million in seed capital in the hope of getting access to a new pool of well - trained engineers.

Getting paid in a timely manner for your customer invoices will allow you to put that working capital back into your company for things like new inventory purchases and making payroll.

New York The term «Greenspan Put» was coined after the stock market crash of 1987 and the subsequent bailout of Long Term Capital Management in 1998.

The former Washington Capital picked the puck up at the red line, put the puck between the legs of two New Jersey players, and then spun around to his forehand in the high slot and beat Martin Brodeur far post.

Kennedy: «I'm disappointed with the addition of the 63rd Senate seat, besides adding to the cost of government, it was put in a place that has no impact on western New York and quite frankly has no impact on the population shift in New York state and if there was going to be an additional seat added that despite the fact that I disagree with you that the Constitution was in fact violated and you say that it was not violated — the fact that this additional seat adding to the cost and size of government was added to a place in the Capital Region rather than a place where distinctly the population grew down in New York City I believe was based upon the fact that had an additional district been added in the city where the population shift had come from it would have included that seat being an additional minority seat and that is why it was put up in the Capital Region and rather than in the New York City area.

President Obama has put little political capital behind his transportation objectives; Congress has yet to hammer out a new transportation bill; the Highway Trust Fund is nearing bankruptcy; Governor Andrew Cuomo has yet to take a position on Gateway, and hasn't shown much enthusiasm for transit in general, and Christie seemed to express his position on mass transit with the cancellation of ARC, which has been the subject of a very damaging report by the Government Accountability Office.

«New York state has put more money into the capital plan for the MTA than ever before — $ 8 billion,» Cuomo said in an interview Monday on NY1 referring to pledged money for the capital plan.

So while tens of thousands of New Yorkers go to their cabinets tonight looking for food to put on the table for their kids, and while tens of thousands of senior citizens by pass dinner tonight so that they may have enough left from their social security checks to pay for the December heating bill, our esteemed legislators, who least we forget have been awarded the distinction of being the most dysfunctional legislative body in the nation, feast and toast themselves in the capital city's Crown Plaza.

The bill would also have exempted New York City OTB from several provisions that other OTBs in the state, including the Capital Region's OTB, say puts them at a disadvantage.

«New York State has put more money in the capital plan for the MTA than ever before.

«If there is a difference of opinion as to what it says, where it says that the City of New York is responsible for the capital program, now we are going to put it in even simpler language than that.»

The budget also puts $ 21 million in capital funds towards new snow removal equipment for neighborhoods with narrow streets.

Mayor Bill de Blasio, generally a champion of unions, opposes a state Assembly bill that would boost disability pensions for New York City police officers because he believes it would put too big a dent in the city budget, Capital has learned.

«The Thruway Authority has taken important steps to save costs and put in place a financially secure capital plan that will allow vital repair projects to be undertaken across New York State,» Governor Cuomo said.

Podcast: Jason Kamras, deputy to D.C. Schools Chancellor Michelle Rhee in charge of human capital, talks with Education Next about the new teacher evaluation system put in place in D.C.

Money generated from the governments «sugar tax» will be available in 2018 and will be put into the new Healthy Pupils Capital Programme, the education secretary Justine Greening has announced.

Jason Kamras, deputy to D.C. Schools Chancellor Michelle Rhee in charge of human capital, talks with Education Next about the new teacher evaluation system put in place in D.C. Beginning this year, teachers in D.C. will be evaluated based on student test scores (when available) and classroom observations (by principals and master educators), and poorly performing teachers may be fired, regardless of tenure.

After all, most capital raising requires a discount to current price levels, and somehow the diluted value of the equity needs to represent a premium price where new capital gets put in.

Once (or should I say if) this pension / labour dispute is put to rest, I'd actually expect a rapid & substantial improvement in shareholder value — this might be a substantial return of capital or a tender offer (to distribute surplus cash), and / or a potential new partnership or even a takeover offer..?!

I actually haven't put that much new capital to work this month, as the BP purchase was solely funded by the sale of more than half of my position in Intel Corporation (INTC).

As a dividend growth stock investor at heart, I normally put most of my new capital to work in individual dividend paying companies.

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It Continues On the Pre / Post Trips (Oct 15, 2014)[Feature] Voices of the Lumbee - VotL Featured on New York - based Arts Program Bare Feet (Sept 14, 2014)[Sidebar] El Nuevo Dia — Danzas en Bali (Sept 14, 2014)[Feature] TripsFilms.com — Women's Travel Fest Dates Announced (Aug 19, 2014)[Press Release] NYC Media - A New Season of TV Programming Premieres This August on NYC Life (Jul 28, 2014)[Video] Mutual of Omaha — Mickela's Aha Moment (Jul 19, 2014)[Feature] Right Here in Fuquay - Varina - Bare Feet ™ TV Series Visits Lumberton, North Carolina (Jul 15, 2014)[Feature] My Pembroke NC - Powwow will be featured on online episode of Bare Feet (Jul 15, 2014)[Feature] St. Paul's Review - Powwow will be featured on online episode of Bare Feet (Jul 15, 2014)[Feature] Robesonian - Powwow will be featured on online episode of Bare Feet (Jul 15, 2014)[Feature] Fayetteville Observer - Lumbee's Dance of the Spring Moon will be featured on the television show «Bare Feet» (Jul 10, 2014)[Feature] WBTC CBS News 13 - Bare Feet ™ TV series visits Lumberton to feature Lumbee Native American tribe (Jul 9, 2014)[Feature] Repeating Islands - Dance and Music from Curaçao and Aruba on The Bare Feet ™ (NYC Life)(Jul 6, 2014)[Feature] Amigoe Express - Mickela Mallozzi: Curaçao is Unique, Colorful, and Alive [print and online](Jul 4, 2014)[TV] WBKO ABC News — National Campaign Tour #AHA Moment (Jun 30, 2014)[Feature] GoNomad.com — Dance Around the World Barefoot (Jun 24, 2014)[Feature] DuList - «Bare Feet» Novi Serijal Sniman i na Korculi (Jun 20, 2014)[Feature] JustDubrovnik — Korcula in the American Series «Bare Feet» (Jun 20, 2014)[Photo] DubrovnikNet - FOTO: Kako se u Gradu slavila velika pobjeda Hrvatske [# 14](Jun 19, 2014)[Feature] Autographer - The Best Travel Vloggers to Follow on YouTube (Jun 3, 2014)[Feature] Voices of the Lumbee - Travel Barefeet Interviews Alexis Locklear (May 4, 2014)[Feature] DanceStudioLife.com - See the World While Dancing with Trendy New Travel Industry Packages (May 2, 2014)[Feature] The Huffington Post — Dance Your Way Across the World (Apr 24, 2014)[Feature] Amigoe Express - 64in the Christmas Spirit (Dec 15, 2014)[Mention] PlanetStyleTravel.com — #StudyAbroadBecause You'll Discover New Loves (Dec 13, 2014)[Mention] KarolinaPatryk.com — Gareth Leonard from Tourist2Townie.com (Dec 10, 2014)[Mention] TheLifeEscape.com — NEWS: White House Summit on Global Engagement (Dec 10, 2014)[Feature] Skift - The White House Looks to Hosteling International and Bloggers to Promote Study Abroad (Dec 9, 2014)[Feature] NIAF (National Italian American Foundation)- Italian - A-Day Campaign (Dec 3, 2014)[Feature] Johnny Jet — Travel Style: Mickela Mallozzi (Nov 19, 2014)[Roundup] LA Times - Attractions For Your Holiday Bucket List (Nov 6, 2014)[Feature] Travel Channel - Travel's Best: Holiday Attractions 2014 (Nov 4, 2014)[Interview] Daily Travel Podcast — 122: Dancing Around The World With Mickela Mallozzi from Bare Feet (Oct 23, 2014)[Feature] Travel Channel — Our Type of Traveler: «Bare Feet» Dancer Mickela Mallozzi (Oct 21, 2014)[Mention] TravelBlogger101.com — Networking Does Not Stop At The Parties; It Continues On the Pre / Post Trips (Oct 15, 2014)[Feature] Voices of the Lumbee - VotL Featured on New York - based Arts Program Bare Feet (Sept 14, 2014)[Sidebar] El Nuevo Dia — Danzas en Bali (Sept 14, 2014)[Feature] TripsFilms.com — Women's Travel Fest Dates Announced (Aug 19, 2014)[Press Release] NYC Media - A New Season of TV Programming Premieres This August on NYC Life (Jul 28, 2014)[Video] Mutual of Omaha — Mickela's Aha Moment (Jul 19, 2014)[Feature] Right Here in Fuquay - Varina - Bare Feet ™ TV Series Visits Lumberton, North Carolina (Jul 15, 2014)[Feature] My Pembroke NC - Powwow will be featured on online episode of Bare Feet (Jul 15, 2014)[Feature] St. Paul's Review - Powwow will be featured on online episode of Bare Feet (Jul 15, 2014)[Feature] Robesonian - Powwow will be featured on online episode of Bare Feet (Jul 15, 2014)[Feature] Fayetteville Observer - Lumbee's Dance of the Spring Moon will be featured on the television show «Bare Feet» (Jul 10, 2014)[Feature] WBTC CBS News 13 - Bare Feet ™ TV series visits Lumberton to feature Lumbee Native American tribe (Jul 9, 2014)[Feature] Repeating Islands - Dance and Music from Curaçao and Aruba on The Bare Feet ™ (NYC Life)(Jul 6, 2014)[Feature] Amigoe Express - Mickela Mallozzi: Curaçao is Unique, Colorful, and Alive [print and online](Jul 4, 2014)[TV] WBKO ABC News — National Campaign Tour #AHA Moment (Jun 30, 2014)[Feature] GoNomad.com — Dance Around the World Barefoot (Jun 24, 2014)[Feature] DuList - «Bare Feet» Novi Serijal Sniman i na Korculi (Jun 20, 2014)[Feature] JustDubrovnik — Korcula in the American Series «Bare Feet» (Jun 20, 2014)[Photo] DubrovnikNet - FOTO: Kako se u Gradu slavila velika pobjeda Hrvatske [# 14](Jun 19, 2014)[Feature] Autographer - The Best Travel Vloggers to Follow on YouTube (Jun 3, 2014)[Feature] Voices of the Lumbee - Travel Barefeet Interviews Alexis Locklear (May 4, 2014)[Feature] DanceStudioLife.com - See the World While Dancing with Trendy New Travel Industry Packages (May 2, 2014)[Feature] The Huffington Post — Dance Your Way Across the World (Apr 24, 2014)[Feature] Amigoe Express - 64in Fuquay - Varina - Bare Feet ™ TV Series Visits Lumberton, North Carolina (Jul 15, 2014)[Feature] My Pembroke NC - Powwow will be featured on online episode of Bare Feet (Jul 15, 2014)[Feature] St. Paul's Review - Powwow will be featured on online episode of Bare Feet (Jul 15, 2014)[Feature] Robesonian - Powwow will be featured on online episode of Bare Feet (Jul 15, 2014)[Feature] Fayetteville Observer - Lumbee's Dance of the Spring Moon will be featured on the television show «Bare Feet» (Jul 10, 2014)[Feature] WBTC CBS News 13 - Bare Feet ™ TV series visits Lumberton to feature Lumbee Native American tribe (Jul 9, 2014)[Feature] Repeating Islands - Dance and Music from Curaçao and Aruba on The Bare Feet ™ (NYC Life)(Jul 6, 2014)[Feature] Amigoe Express - Mickela Mallozzi: Curaçao is Unique, Colorful, and Alive [print and online](Jul 4, 2014)[TV] WBKO ABC News — National Campaign Tour #AHA Moment (Jun 30, 2014)[Feature] GoNomad.com — Dance Around the World Barefoot (Jun 24, 2014)[Feature] DuList - «Bare Feet» Novi Serijal Sniman i na Korculi (Jun 20, 2014)[Feature] JustDubrovnik — Korcula in the American Series «Bare Feet» (Jun 20, 2014)[Photo] DubrovnikNet - FOTO: Kako se u Gradu slavila velika pobjeda Hrvatske [# 14](Jun 19, 2014)[Feature] Autographer - The Best Travel Vloggers to Follow on YouTube (Jun 3, 2014)[Feature] Voices of the Lumbee - Travel Barefeet Interviews Alexis Locklear (May 4, 2014)[Feature] DanceStudioLife.com - See the World While Dancing with Trendy New Travel Industry Packages (May 2, 2014)[Feature] The Huffington Post — Dance Your Way Across the World (Apr 24, 2014)[Feature] Amigoe Express - 64in the American Series «Bare Feet» (Jun 20, 2014)[Photo] DubrovnikNet - FOTO: Kako se u Gradu slavila velika pobjeda Hrvatske [# 14](Jun 19, 2014)[Feature] Autographer - The Best Travel Vloggers to Follow on YouTube (Jun 3, 2014)[Feature] Voices of the Lumbee - Travel Barefeet Interviews Alexis Locklear (May 4, 2014)[Feature] DanceStudioLife.com - See the World While Dancing with Trendy New Travel Industry Packages (May 2, 2014)[Feature] The Huffington Post — Dance Your Way Across the World (Apr 24, 2014)[Feature] Amigoe Express - 649.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greateIn 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatnew york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatNew York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatnew york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatnew yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatNew York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatnew york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatnew contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatNew York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its lesser relationship to the greater.

A result of demand in China and India, he said, is that «Duke and others want to build a new power plant based on inexpensive coal, but the capital cost to build that plant is doubling before they even put a shovel in the ground.»

The Tulsa entrepreneurial business lawyers have assisted multiple existing businesses and new business start - ups put together the documentation necessary in arranging for financing their businesses, from bank loans to equity investments to venture capital.

Dundas & Wilson has overhauled the way partners pay capital into the firm, bringing in a new two - tier system that sees all partners put in total capital contributions of either # 230,000 or # 130,000.

Insurance is a very capital intensive business and IRDA has put in place stiff terms and conditions for any new player to enter.

That means venture capital funds generally can't put much money in public stocks, hedge funds — or new digital tokens via SAFTs.

Initially, this capital continued to pour into bitcoin, putting fuel on the short - term cycle and building new investor sentiment in favor of BTC.

The Ontario Pension Board and wealth advisory firm Glenmede Trust, both of which already have a stake in the firm via venture capital (VC) investments, are among new investors to put $ 30m (# 24.2 m) into the startup, which specialises in high - calibre tech and sales jobs for top companies such as Facebook and Uber.

Simply put, the flood of capital chasing urban, luxury apartments has created a surge in new supply that — in turn — creates challenges for investors to achieve pro forma growth.

In addition to traditional competitors, there has been a significant increase in new competition from private equity funds that have a cyclical high amount of capital to put to work, says Steven Schwartz, a partner heading the acquisitions group at Torchlight Investors, an investment management firm based in New York CitIn addition to traditional competitors, there has been a significant increase in new competition from private equity funds that have a cyclical high amount of capital to put to work, says Steven Schwartz, a partner heading the acquisitions group at Torchlight Investors, an investment management firm based in New York Citin new competition from private equity funds that have a cyclical high amount of capital to put to work, says Steven Schwartz, a partner heading the acquisitions group at Torchlight Investors, an investment management firm based in New York Cinew competition from private equity funds that have a cyclical high amount of capital to put to work, says Steven Schwartz, a partner heading the acquisitions group at Torchlight Investors, an investment management firm based in New York Citin New York CiNew York City.

The high price / low cap rate environment is also pushing investors to look for bigger returns in new development deals, value - add acquisitions and properties in secondary markets, such as Raleigh, N.C., Charleston, S.C. and Tampa, Fla. «What we really see is value - add picking up, because with minimal capital you can get a property up and going and get a little bit higher rental rate and a better ROI than you can by putting a shovel in the ground and waiting 19 to 36 months to see it come to fruition,» says Ressler.

Also, keep in mind that many have raised new capital to put to work in the sector under the current constrict and they will continue to participate in the market until something changes.

New and experienced Investors looking for passive income.If you want to finally build confidence when raising capital, structuring deals, minimizing financial risk, and gaining access to the secret tools the top 1 % of investors use in putting passive income deals together; then this LIVE course is for YOU.

I'm new here and have a great deal to learn before we actually put in offers, but we finally have the capital to start investing, and we want to save 100 % of the income earned in tax - sheltered accounts if at all possible.

Put in a new window, capital improvement.

In many ways, the internet has helped new agents to level the playing field against entrenched agents and bigger brokerages because so much information is available to learn and leads available for anyone willing who is to put forth the time and effort with little to no capital investment.

The Australian pop star and his girlfriend are expecting a baby together next year, so Peter has put his house on the market in a bid to buy a new family home nearer to Brighton as well as a London bolthole for when he is filming in the capital.