ESS is a boys' boarding school that started off with two Form I streams in January 2006. Its first Form IV graduands - 31 of them - rolled out at an auspicious graduation ceremony on 24 October 2009. graced by The First Lady, Mama Salma Kiwete, Chairperson of Taasisi ya Wanawake na Maendeleo Tanzania.
Information about how to apply for a secondary school place in Eagles Secondary School for your child.
NECTA's results confirm the firm path that Eagles Secondary School has taken towards national excelency. With a high GPA score, in 2013, Eagles was ranked 30 (out of 3256) in the Nation and 3 (out of 105) in Pwani Region, just behind Marian Boys and Girls at 1 and 2 respectively, ahead of Kibaha and Baobab at 4 and 5.
The core of any School is the quality and track record of its professional cadre and the manner in which this is synchronised with the administrative functions. The Board has benefited from the experience of the School's first 5 years to make targeted appointments in key areas.
We offer a conducive learning atmosphere in the form of all the necessary teaching and learning materials, well furnished and ventilated classrooms and spacious dormitories.
Strong Academics and a vast range of Extra Mural Activities.
We have assembled an exceptionally strong team of teachers and we also place a great deal of emphasis on the all-round development of every member of the school community in cultural and sporting pursuits.
The boarding concept has thrived at Eagles Boys, where boys are fully occupied at school for the whole period, with regular outings to visit attractive historical and cultural or tourist sites locally or upcountry.
Each student's progress is assessed regularly, both in quantitative scoresheets and qualitative assessments by his teachers, with reports given to students and parents.
Eagles Boys is a learning community of students, staff and parents.
At ESS we accept motivated children, even those with average intelligence, aiming to uplift them to become amongst the Nation's best. We see parents as partners working together to identify each student's strengths and weaknesses and channel them toward the appropriate subjects of specialization.
Mgeni rasmi Mkaguzi na mdhibiti wa elimu bora Wilaya ya Bagamoyo Bwana. Davis Moye akiwa kwenye picha ya pamoja na wahitimu wa kidato cha Nne wa Shule ya Sekondari ya Eagles wakiwa kwenye Mahafali yao ya 10, yaliyofanyika mwishoni mwa wiki Oktoba 6,Mjini Bagamoyo, Mkoani Pwani.
Shule ya Sekondari ya Eagles ya Mjini Bagamoyo Mkoani Pwani, imefanya sherehe za mahafali yake ya 10 na kuzindua rasmi mfumo mpya wa Menejimenti ya Shule ambao utasaidia wazazi kufuatilia maendeleao ya watoto wao kwa ukaribu zaidi.
Akizundua mfumo huo sanjari na kutoa neno kwa wahitimu 71 wa kidato cha nne wa shule hiyo, mgeni rasmi Mkaguzi na Mdhibiti wa Elimu Bora Wilaya ya Bagamoyo, Davis Moye amewataka kuzingatia maadili na kujiandaa vyema kwa mitihani yao hiyo ya kuhitimu.
"Mjiandae vyema na mtafanya vizuri kwenye mitihani yenu, lakini pia nitumie nafasi hii kuwapongeza uongozi wa Eagles kuja na mfumo huu ambao utasaidia wanafunzi na walimu kufanya mambo kiufanisi zaidi," amesema Moye.
Naye Mwenyekiti wa bodi wa shule hiyo, Eva Fumbuka amejivunia kufanya vizuri kitaaluma na kuongeza kuwa lengo la shule hiyo ni kuwa shule bora kitaifa.
"Eagles mwaka 2006, ilikuwa ya kwanza kwa wavulana kwa Wilaya ya Bagamoyo, leo katika mahafali ya 10, matamanio yetu ni kufikia nafasi za juu zaidi kitaifa.
Staff members from Eagles Secondary School in collaboration with Kawe Jogging Social Club, participated in the 5th Bagamoyo Historical Marathon, which was held on Sunday, 29th July 2018. Their participation in this event is part of their school's efforts to compliment government efforts in promoting sports and tourism in the country for the development of Bagamoyo town and for the benefit of the people of Tanzania at large.
Why sports is important for students?


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Welcome to the Human Rights Press Awards People's Choice Photo Award 2019, where you get the chance to choose the best of a selection of photos picked by this year's judges. Scroll down to register your vote. Voting closes at 11.59pm on May 1. A ceremony to announce this year's HRPA winners including People's Choice Photo takes place on May 16, 2019, at the Foreign Correspondents Club, Hong Kong.
Work there...Eat there, by Felix Wong SCMP
Legacy of War in Sri Lanka, by Adam Dean, The New York Times
Work there…..Eat there, by Felix Wong SCMP. Cleaning workers on strike photographed having lunch in Kwun Tong Public Refuse Collection Point. About 100 of cleaners employed by a contractor join a strike in protest at what they say is harsh treatment of elderly workers. 做到邊。。食到邊, 王智強,南華早報
Legacy of War in Sri Lanka, by Adam Dean of The New York Times. Mayuran Suganthan, 22, is prone to epileptic fits after being injured in shelling by a shrapnel wound to the skull as a child when his family were displaced during the civil war. 斯里蘭卡戰爭後遺, Adam Dean,紐約時報
Underground Church in China, by Lam Yik Fei, The New York Times
Freedom at last... by Indranil Mukherjee of Agence France-Presse (AFP)
The holy caves at Ningde, Fujian. China on 13 February, 2018. Lam Yik Fei for The New York Times.
Freedom at last… by Indranil Mukherjee of Agence France-Presse (AFP). A member of the lesbian, gay, bisexual, transgender (LGBT) community celebrates the Supreme Court decision to strike down a colonial-era ban on gay sex, in Mumbai on September 6, 2018. 終於自由了…. Indranil Mukherjee,法新社
Three Defendants, by Tsang Hin Chung, Ming Pao
Kisan (Farmers) Long March: A New Beginning, by Shrirang Swarge of PARI
Three Defendants, by Tsang Hin Chung of Ming Pao. Three Defendants, by Tsang Hin Chung of Ming Pao. Independence activist Edward Leung Tin-kei and two co-defendants arrive at Hong Kong's High Court. 三名被告, 曾憲宗,明報
Kisan (Farmers) Long March: A New Beginning, by Shrirang Swarge of PARI – People's Archive of Rural India. A quiet show of strength by the marginalised, united under a single flag. 農民長征:新的開始, Shrirang Swarge,印度農村人民檔案

redpajama_set_name: RedPajamaCommonCrawl


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| Annenberg panelists say Kardashians manufactured their fame by commodifying Black culture
Annenberg panelists say Kardashians manufactured their fame by commodifying Black culture
By Arina Paniukhina 11/08/20 10:37pm
Kim Kardashian West and her family are sometimes criticized for their use of Black cultural forms for mass consumption. (Photo by Ashley Graham | CC BY 3.0)
The Annenberg School for Communication hosted a panel of professors to discuss how the Kardashian family appropriated and repackaged Black culture for a white audience to build their media empire.
The panel was a part of the Annenberg Conversations on Race, a series of discussions between experts outside Annenberg who examine anti-Black racism in American society. Friday's roundtable discussion, titled "Situating the Kardashians: Skin, Theft, Ops," criticized the Kardashian family's use of Black cultural forms for mass consumption.
Dixa Ramírez D'Oleo, an assistant professor of American studies and English at Brown University, said Kim Kardashian West and her family follow a long tradition of white women exploiting the hypersexualized trope of "mulata," or a person of mixed racial ancestry.
"The term 'mulata' was a shorthand for a slaveholding society's view of Black women, whether seen as racially mixed or not, as wanted, hypersexual, and available," Ramírez D'Oleo said.
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In her book, "Colonial Phantoms: Belonging and Refusal in the Dominican Americas, from the Nineteenth Century to the Present," Ramírez D'Oleo discusses how "mulata," "mulâtresse," or mulatto women became associated with sexual decadence during the time of the Atlantic slaveholding world.
Ren Ellis Neyra, an associate professor of English at Wesleyan University and a poetic theorist focusing on Caribbean and African diaspora and Latinx studies, drew on their recently published essay, "The Kardashians' Multiracial White Supremacy," to characterize the Kardashians as "a commercial enterprise posing as a family."
They said the Kardashians have gained fame and money by stigmatizing Black women and Black culture through projecting a multiracial image, despite being white women.
They added that the Kardashians have propagated the commodification of Black culture by partnering with famous Black men and having multiracial children. Ellis Neyra wrote in their essay that this "commercial-enterprise-posing-as-a-family retraces the historical dispossession of Black motherhood."
They added that the Kardashians are far from the first white women to appropriate Black culture.
"Viewers of the Houghtons, Kardashians, Jenners, are bound to the empire of white domesticity and its love of the idea [the historian Saidiya] Hartman calls the afterlife of slavery," Ellis Neyra said.
They added that 19th-century middle-class womanhood, which involved exploiting Black people and their culture for entertainment, laid the groundwork for the Kardashian family to appropriate Black culture.
The panelists also discussed Kardashian West's mass incarceration activism, including her documentary, "Kim Kardashian West: The Justice Project," and her efforts to lobby President Donald Trump to grant clemency to 63-year-old Alice Marie Johnson, who was sentenced to life imprisonment for a first-time nonviolent drug offense.
Elizabeth Hinton, a professor of history, African American studies, and law at Yale University and a leading mass incarceration scholar, said that although Kardashian West's mass incarceration activism efforts are impactful and critical for raising awareness, it is still a business move that steps over the work that lifelong community activists and lawyers are doing.
Hinton said Kardashian West's social justice commitment has been critical to building her public persona and her family's commercial brand.
"Alice Marie Johnson's release became a plot twist and an advertising gimmick," Hinton said. "So this was not the center of Kim's day — this was like a side note thing when Kim was taking a break from her makeup or whatever, with an exaggerated expression of sympathy and concern."
Hinton said Kardashian West's work as a "champion" and "savior" of incarcerated people can be viewed as an act of appropriation as the lawyers, community organizers, and activists of color who have worked for criminal justice reform for decades have been erased from popular view.
Kardashian West is currently studying to become a lawyer. Her late father, lawyer Robert Kardashian, famously represented O.J. Simpson in his 1995 murder trial.
Johnson's "I Am Free" speech in August thanking Trump for commuting her sentence was used as leverage for his campaign, which made Kardashian West and Kanye West "handmaidens of white supremacy and the Trump administration," Hinton said.
Despite the West family's effort to bolster social justice issues in America, Hinton said the commercialization of their advocacy through reality TV shows and Instagram posts undermines these struggles for freedom.
Vanessa Díaz, an assistant professor of Chicana/o and Latina/o Studies at Loyola Marymount University, drew on her experience as a reporter for People Magazine and the research done for her book, "Manufacturing Celebrity," to discuss the Kardashian family's strategic crafting of fame.
Díaz said the starting point for how the Kardashians and Jenners exploited Black culture to manufacture their celebrity status was Kim Kardashian West's sex tape which leaked in 2007, which reflected the deeply ingrained racial tropes of hypersexualized Black male desire for docile white women.
Kardashian West's use of the white woman victim trope can also be seen in her careful crafting of the media story around the sex tape, which she, according to her claims, did not want released but ultimately made a multimillion dollar deal to release, Díaz said.
Díaz said Kardashian West's interactions with paparazzi, including hiring her own personal photographer, is a strategy to boost her celebrity status and create the illusion that those who are famous do not want to be followed by paparazzi.
The fact that the majority of paparazzi in Los Angeles are Latino men stereotyped as "aggressive macho violent sexual predators" makes it convenient for Kardashian West and other white women celebrities to demonize them, Díaz added.
Simultaneously demonizing paparazzi while actively using them for media exposure is also a strategy that Díaz believes that Trump used to become famous. She added that, like the Kardashians, he was previously just "famous for being famous."
The next Annenberg Conversation, "Technology and the Reproduction of Racial Inequity" featuring New York University professor Kadija Ferryman and Annenberg professor Julia Ticona, will be held on Jan. 15.


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CyberArt
Cybernetic Serendipity
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Nomad Art Productions, Darwin
Studio links
The Old Stile Press
When silence falls
Courtney J Martin: 'Robert Ryman makes a lot of difficult things look incredibly easy'
Catlin Art Prize
Picturing Derry
Global Clarion Call: Fiona Hall – Big Game Hunting
Purely Elemental: Wood Craft as Fine Art
NeoCraft Conference
Melbourne Art Fair 2006: A Celebration of Indigenous Art and Beyond
Designing for a Change
Djalkiri: We are Standing on their names: Blue Mud Bay, (2009–2010)
Nomad Art Productions, Darwin, August 2010
Travelling to museums throughout Australia, 2011–14
by Dr JANET McKENZIE
Blue Mud Bay is a famous and wonderful place, in a famous and wonderful region. Northeast Arnhem Land is a bastion of Australian Aboriginal cultural and biological knowledge. It is linguistically diverse and biologically rich and is the home of the unanimously respected Yolngu clans. The region is famous for a number of spectacular episodes that have occurred there since settlement. There have been notorious killings of Japanese fishermen and police, famed bark paintings and large mining operations. However, Blue Mud Bay is most famous for the momentous High Court decision in 2008 to give traditional owners exclusive rights over tidal waterways fringing Aboriginal Land.
Yilpara on Blue Mud Bay is a special place. Djalkiri is a special word. It has several meanings, one of which relates to footprints, but also refers to deep, hidden knowledge. (Glenn Wightman, 2010)1
Djalkiri: We are Standing on their names: Blue Mud Bay, (2009–2010) a cross-cultural project, the exhibition of which, was launched in Darwin, in August 2010. It will travel to museums and art centres throughout Australia over the next four years. A project of major importance, Djalkiri involved nine Indigenous and non-Indigenous artists, as well as scientists and printmakers and a back up team. Nomad Art Productions conceived and organised the project, which took place in the unspoiled environment of Blue Mud Bay in Arnhem Land. Based in Darwin, Nomad Art was established by Rose and Angus Cameron, whose experience in the fields of Indigenous art projects and education has resulted in the meticulous assemblage of information in the spirit of collaboration. The educational kit that accompanies the launch of the project reflects their work over a lengthy period where the dissemination of knowledge about Indigenous Australian culture is seen as imperative to a more balanced society in the future.
The concept for Djalkiri came during the 150th anniversary of the publication of On the Origin of Species by Charles Darwin (Its full title was On the Origin of Species by Means of Natural Selection, or the Preservation of Favoured Races in the Struggle for Life. Worldwide commemorations of the 150th anniversary of the publication of On the Origin of Species and the bicentenary of Darwin's birth took place in 2009. They celebrate the ideas which "over the last 150 years have revolutionised our understanding of nature and our place within it".2 It is particularly fitting that, in the city that was named after him, a project was instigated that has presented an alternative to Darwin's "findings" which were in turn used to sanction Western notions of cultural supremacy and led to the destruction of Indigenous culture. Today Darwin remains the only city in the Northern Territory of Australia, an area of pivotal significance for Australia's Indigenous population, and an area of seminal importance for Aboriginal Land Rights.
In terms of colonial policy and attitudes to nomadic societies that appeared to the 19th-century eye to be less evolved, Darwin's views on living things evolving from common ancestors made an understanding of Aboriginal culture impossible. The past 30 years in particular, have seen the study of Aboriginal culture expand. The Djalkiri project is a unique attempt to learn from the Yolngu people of Blue Mud Bay, who have a very different view: "Yolngu belief and knowledge is contained within songs, stories, ritual and art. Paintings are like maps depicting living things and elements of the world. All have meaning and are based on an organization of knowledge and relationships. This is expressed through Djalkiri, which actually means foot or footprints, but when applied to Yolngu law it takes on a more profound meaning referring to the underlying foundation of the world."3
The idea, Angus Cameron points out, "was to bring a group of artists, scientists and printmakers together to think about Western scientific ideas and knowledge together with the holistic perspective of Yolngu people". The title of the exhibition, Djalkiri: We are standing on their names – Blue Mud Bay, came from the words spoken by clan leader Djambawa Marawili. "It is about cultural inheritance of the ancestors, it is also about respecting different cultures and beliefs, walking together in the footsteps of their knowledge." 4
The five local artists from Arnhem Land, Djambawa Marawili AM (Australian Medal or Order of Australia), Marrirra Marawili, Marrnyula Mununggurr, Mulkun Wirrpanda and Liyawaday Wirrpanda, were joined by Fiona Hall from Adelaide, by John Wolseley from Melbourne, by Jörg Schmeisser from Canberra and by Judy Watson from Brisbane. They were joined by a number of workshop facilitators: Basil Hall (printmaker), Glenn Wightman (ethno-biologist), Professor Howard Morphy (anthropologist), Peter Eve (photographer), and Angus and Rose Cameron (curators and project managers).
The visitors to the project flew from Darwin and drove to the remote community of Yilpara on Blue Mud Bay in the easterly region of Arnhem Land where they were given a moving reception from the whole community who had gathered on the beach overlooking the bay. The visitors "were met by spear wielding, dancers, looming and retreating in a traditional test of the new relationship. The Yolngu then led the visitors to their campsite for a smoking (cleansing) ceremony. The camp consisted of traditional raised bark shelters, outdoor kitchen, bower shelter and shower block. The site was made in the shape of Lulumu, the ancestral stingray who had created the land before returning to the sea. That night Djambawa Marawili sang of Lulumu and the branches of the trees that waved above our heads in the evening breeze".5
Fiona Hall observed:
"For each of us, home is a place that is not only fixed on a map but floats along the tributaries of our consciousness. The place I come from is, I think, located somewhere on the ebb tide of the world at large, a place in a culture in a continual state of flux, drifting without an anchor. It is a place which is sharing less and less of its space with its kindred plants and animals, and which is inundated time and again by the tidal waves of its own gross superfluities. Too often the world I belong to absolves itself of guilt and responsibility for its actions by washing away the traces of its murky history.. I learnt at Blue Mud Bay, that Yolngu culture is a fluid one, with a deep knowledge of and respect for the source from which it flows. A tide of goodwill from the community there invited us to walk and sit together, to create Djalkiri. In the slipstream of this collaboration our different worlds are flowing together, making ripples on the surface where our cultures meet. I think I see a shimmer on the horizon."6
The adventure and organisation of the Djalkiri project are described in detail in the catalogue and on the website. Glenn Wightman observed, "Watching the artists interact with the incredible biodiversity of Yilpara and the Blue Mud area, with the senior biocultural knowledge custodians who accompanied us on country, with each other and with the other members of the Djalkiri team was both enthralling and highly educational."7
Basil Hall, who originally trained with Jörg Schmeisser at the Canberra School of Art, and who has played a seminal role in the introduction of printmaking techniques to Aborigines, and the establishment of community printmaking studios, underpinned the production of the artworks. As Howard Morphy has pointed out, "Etching is a magical process in which unique ideas are created in a reproducible form", having the advantage in a collaborative project, "that the dialogue with the artists continues long after the first encounter".8 The works that appeared from the project are all challenging and outstanding works.
Djambawa Marawili is a leader of the Madarrpa clan and an important activist and administrator who had been responsible for the present relationship that exists between non-Aboriginal people and the Yolngu people of North East Arnhem Land. He was instrumental in Aboriginal Land Rights from the late 1980s to the recent 2004 Federal Court Sea claim, which resulted in the 2008 High Court ruling that the Yolngu people owned the land between the high and low water mark at Blue Mud Bay. Drawing on the sacred foundation of Yolngu culture he is dedicated to informing the wider world of Yolngu culture and struggling for their rights. His etching and screen print represents the sacred and dangerous area of Garrangali where Baru the crocodile nests. The meticulous and skilful patterning is layered with the ancient belief system. "Baru, the ancestral crocodile ventures here from Yathikpa, bringing the power and authority of the Ancestral Fire with him. The sacred clan design of cross-hatched ribbon swirling flame denotes this fertile mix of waters and fire, in this sacred area Garrangali is revered as a resevoir of Madarrpa soul. To venture into these parts is for those with appropriate knowledge and the preparedness for the intense heat and the ire of the crocodile".9
Liyawaday Wirrpanda's screenprint represents her Dhudi-Djapu clan's design of country that was transformed and sanctified by the principal creator of the Dhuwa moiety – the Djan'kawu. The image depicts floodwaters on these plains where grasses are suspended by the sacred water. The dramatic depiction of the stingray, the Gurrtjpi, which is much hunted in the shallow waters of Blue Mud Bay, is by Marrirra Marawili, an elderly artist and community leader. He has been an important and widely recognised artist since the 1970s. The stingray is "also a totem for the Madarrpa at Båniyala as they talk of Gurrtjpi having a path of creation at Båniyala. A few hundred yards down the beach, a small tidal creek cuts through the dunes to the flat country immediately behind. This creek named Måwangga was used by Gurrtjpi to track back into the bush. Here he bit into the country forming several small billabongs, a source of water for Yolngu living there. His path continued along the direction that is now the Baniyala air strip to flat sandy country before heading out to the point Lulumu to become a white rock".10
Marrnyula Mununggurr is one of many accomplished women artists in Arnhem Land. During the Djalkiri project following a talk where Djambawa was telling a story about Yilpara and the sea rights ceremony, she had a dream about the Bawu, the sailing cloth, which is the clan design for the Madarrpa and Mangalili. She sought permission from Marrirra and Djambawa to paint her mother's design. With permission granted she used the story for her print.
She explains:
"The design in the middle is Bawu. On the top the white represents the clouds and the blue represents the water. The lines around Bawu represent the salt-water-Mungurru connected to Yilpara and Djarrakpi homelands. This is my first painting from my mother's clan. It tells the story of sea rights. The ceremony for sea rights at Yilpara had this flag situated in the sea connecting clouds and water."11
Mukluk Wirrpanda is the daughter of the great Yolngu leader Dhakiyarr Wirrpanda. She is recognised as a leader for her extensive knowledge of the Dhudi-Djapu clan from Dhuruputjpi, one of the few women to hold such status. Her artistic position is also one of authority, for she was an early practitioner of sacred clan imagery using earth pigments. She paints on bark, larrakitj (memorial poles) and yidaki (didjeridus) as well making carvings and weavings. Her work has been widely exhibited. Her work for the Djalkiri project, combining etching and screen print, Birrkuda, is from her mother's clan, her miny'tji (design). With her two brothers she looks after the design and the land since her mother's death, for her mother's grandchildren as well. The clan history is a sensitive one, since they were victims of a massacre in the early 1900's. As a consequence this is a rarely reproduced design.12
It is not surprising that the non-Indigenous artists visiting Blue Mud Bay were overwhelmed and humbled by the remarkable art works they saw there, and the extraordinary power in spiritual terms of the land and the multifarious ways the creation stories could be passed on in visual terms. John Wolseley described such an experience: "Since the early days of European settlement there has been a tradition of heavy-footed artists drawing and documenting parts of the continent about which they know little. As for myself, when I arrived at Baniyala I was just plainly discombobulated. Here I was, with Yolngu artists of such distinction and with such brilliant ways of expressing in paint their vast knowledge about the place that I thought – goodness me – I'm starting from scratch".13
In fact, John Wolseley has exerted a considerable influence on art and culture in Australia since arriving there from England, in 1976, by virtue of his independent vision in relation to land, Indigenous culture, history and evolution. "I genuinely feel that the land has not really been painted yet – except by some singular artists and, of course, Aboriginal ones, and this is because we've imposed European or other foreign models on something most peculiarly different".14
He has adopted a scientific exactitude to his study of bio-geography of northern Australia and Asia. His investigations are based on a holistic view of life where drawing plays a pivotal role. In drawing Wolseley seeks a formal language to express the unique and peculiar nature of the Australian environment. Drawing on the spot, he points out is vital in a society dominated by technology and second-hand information. Drawings are essentially explorations, in contrast to the magisterial gaze where ego gets in the way of communing with place.15 He has worked in numerous remote settings in Australia: Arnhem Land, the Tasmanian wilderness and the Mallee region in NW Victoria. His most recent drawings, which have been allowed to float about in the landscape for weeks and months, become the voice of the land. Akin to meditation or prayer these works are evidence of listening to nature, to the essential character of the land, to connecting to a higher order. In this Wolseley makes a unique contribution to Australian culture. Traversing scientific theory and ancient history, Wolseley is trying to give form to his "obsession and fascination with the way every living species is part of the huge dynamic movement of the earth and its evolution. If one looks at the frond of a fern say, in its design and structure, there lies the history of the Earth".16
At Blue Mud Bay he collected random natural objects. Glenn Wightman and Djambawa elucidated his knowledge with scientific and cultural knowledge, which made him feel as if "an invisible ordering force was at play". Looking at the etchings some time later he observed, "I hope that I may have learnt just a little bit about some of the mysterious systems of correspondences and interconnections which are part of the Yolngu cosmic understanding of the nature of the world".17
Judy Watson played a unique role, as a visitor to the region but as an Aboriginal descendant of the Waanyi people of northeast Queensland, and an artist of international stature, having represented Australia at the 1997 Venice Biennale. Judy Watson was born in Mundubbera in Queensland in 1959, a member of the Waanyi Aboriginal language group. She co-represented Australia with Emily Kame Kngwarreye at the Venice Biennale in 1997. Her haunting and beautiful works incorporate a celebration of 21st-century Aboriginality – reclamation and revival – as well as being infused with mourning.
Her artworks in a range of media allude to past and present, remembrance and forgetting. Her Guardian figures are created from various media including pigment on plywood. Her images of self are subjectively established, depicted as if from inside the skin – in which she makes a comment on the effective absence and powerlessness of Aboriginal people in political terms.
Referring to the land in 1990, she claims, "when you walk in that country – the earth is beating pulsating heat, blood, heart things are hidden, like the bones of the people who have been there before – you are walking in their footprints".18 Watson's ethereal works are intensely personal, where figures hover in space, above the land. Memory, heat, and ancestral presence, are created by Watson's meticulous treatment of the surface. She trained in print-making, her methods are often exploratory and original embedding the material with a personal iconography and spirituality.
Her etching for Djalkiri: kurajong, disc, sea rights 1 (2010), incorporates documents from the Blue Mud Bay Native Title Case judgement, that recognised Yolngu ownership of the intertidal zone in the Aboriginal Land Rights, Northern Territory Act.19
Glenn Wightman made a study of the plant and animal species depicted in the artworks from the Yilpara field trip, 12–16 October 2009, listing western scientific names and Yolngu. In Fiona Hall's Pandanus – Gunga, he points out, "Pandanus is an important species for Yolngu and other Aboriginal groups in northern Australia. They provide important food, medicine, fibre resources and a number of minor uses. Pandanus forests fringing waterways are also important habitats and food resources for many animals".20
Of Jörg Schmeisser's Mangroves and Notes, Wightman writes, "This plate depicts some of the most important plant and animal relationships in the inter-tidal zone. The Stiltroot Mangrove contains the important food resource of mangrove worms. Drypetes leaves are used as flavouring for cooking saltwater animal foods. Mud crabs are often found in mangrove tree roots. Club Mangrove leaves are used as stingrays for spear practice".21
Jörg Schmeisser is a printmaker of international stature. He has also been an important teacher in Australia (1978–1997) as Head of Printmaking at the Canberra School of Art, now part of the Australian National University. Schmeisser was born in Germany in 1942 where he grew up and went to school before moving to Kyoto for post-graduate studies in 1968. In his early career Jörg Schmeisser worked as an archaeological draughtsman, which, "ingrained in him the habit of clinical, scientific observation in order to convey in an immediate and objective way whatever details of the whole or part of an object were required by the archaeologist. Artistic persona was not something that intruded in these exercises".22 As a young artist he looked to the work of Albrecht Dürer and also to the work of Rembrandt and Leonardo. The very qualities of rigour and meticulous drawing, are those which have always informed Schmeisser's own work.
Schmeisser's curiosity takes him to obscure sources and places, where his natural sense of adventure finds wonderment and inspiration. Imagination turns danger into tragedy; the minutiae of life into symbols of hope. He draws with a rare degree of subtlety and technical skill yet he imbues his work with the spirituality. Drawing is therefore a tool with which to make non-verbal statements or to prepare for subsequent works. It is also an art form in its own right.
The Djalkiri project was for Schmeisser, an extension of many aspects of his art practice. The poetic sensibility that has made him a remarkable artist and teacher captured the exploration and openness required to understand other cultures, to be flexible and prepared to change. "Time seems to slow down as I work. The moment is extended, the flow of time measured, departure delayed. While I observe, the other senses are alert: I taste the air and the dust, I feel the rough stones, hear the cicadas, smell the smoke. And somehow this will find its way into the picture. The sketched lines of first thoughts remain on the surface, together with the defined marks of the final image. On the way back to base: baggage, precariously close to the plates, the copper is bruised by the movement of the travelling car, cold weather cracks the ground, the heat will let the block-out stick to my hands. In the end it is both the travel and I, who create the marks, which will make the print of the journey".23
Angus and Rose Cameron are to be congratulated on bringing together artists of exceptional sensibility and skill, and the team too, who made the final product a reality. Set to spend the next few years travelling around Australia, it is hoped that this exceptional project will further the country's understanding of what now constitutes an alternative to Darwin's scientific appraisal of life.
1. Glenn Wightman, "Djalkiri Magic", in Angus Cameron, Djalkiri: We Are Standing on their Names, Blue Mud Bay, Nomad Art Productions, Darwin, 2010, p.15.
2. Cameron, ibid, p.5.
3. Ibid, p.5.
5. Angus Cameron, Nomad Art Education Kit: www.nomadarts.com.au
6. Djalkiri, op.cit., p.18.
7. Ibid. p.15.
8. Ibid, p.11.
9. Cameron, ibid, p.16.
10. Ibid, p.20.
12. Cameron, Education Kit, op.cit.
13. Djalkiri, op.cit., p.22.
14. Quoted by Sasha Grishin, John Wolseley: Landmarks II, Craftsman House, Sydney, 2008, p.9.
15. John Wolseley, conversation with Janet McKenzie, 30 May 2009.
16. John Wolseley, "Artist's Statement: Tracing the Wallace Line", Roslyn Oxley9 Gallery, Sydney 2001.
18. Judy Watson referring to the work: sacred ground beating heart, (1989), quoted by Queensland Art Gallery website, 1990.
19. Cameron, Educational Kit.
22. Peter Haynes, "Silent Truths", Jörg Schmeisser: Breaking the Ice (works from the Antarctica, 1998-2003), Edited by David Hansen, Tasmanian Museum and Art Gallery, Hobart, 2003, p.25.
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Does your organization know its rights when it comes to government surveillance? Do you and your colleagues have the technical knowledge necessary to secure your organization's sensitive data and communications against government intrusion?
Many of the legal protections against government searches and surveillance have been removed since 9/11 and the USA PATRIOT Act, so EFF has developed STOP -- a free, five-hour security training for non-profits that will give you the legal and technical information that you need to protect the privacy of your organization and its clients.
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A unique carbon-recycling system, which can harvest solar energy to transform water and CO2 into liquid fuels, could soon become a reality. Scientists are now exploring this method to develop such a system. According to them, by improving various parts of the system, they can presently drive two-electron chemical reactions, which are a significant development over the energy inefficient one-electron reactions.
Published in the journal Nature Chemistry, the study will help those hoping to discover a method to convert surplus amounts of atmospheric carbon dioxide into useful energy sources, stated Prashant Jain, who headed the latest study and is a chemistry professor at the University of Illinois.
"Scientists often look to plants for insight into methods for turning sunlight, carbon dioxide, and water into fuels," he said.
When plant leaves are hit by solar energy, the electrons present in chlorophyll are stimulated. It is these excited electrons that eventually drive the chemistry, which converts water and carbon dioxide into glucose.
However, instead of depending on biodegradable plant pigments to transform light energy into chemical energy, researchers are now turning to electron-rich metal catalysts like gold, which provides a better alternative. At certain light intensities and wavelengths, gold is capable of transferring photoexcited protons and electrons to reactants without being used up or degraded.
For instance, when the nanoparticles are coated with a polymer and suspended in water, they reflect a deep red color after absorbing green light. These nanoparticles, under light excitation, transfer electrons to probe molecules, which subsequently change color. This enables researchers to determine the level of efficiency at which the electron-transfer reactions take place.
Researchers have managed in the past to use photochemistry and these light-absorbing materials to transfer one electron at a time. But in the new study, we've identified the principles and rules and conditions under which a metal nanoparticle catalyst can transfer two electrons at a time.
Jain and his coworkers varied the intensity of laser light employed in the experiments and observed that at four to five times the intensity of solar energy, the gold nanoparticles present in the system were able to transfer a pair of electrons from ethanol to an electron-hungry probe molecule at one particular time.
According to Jain, two-electron reactions are much more preferred to one-electron reactions.
You need a pair of electrons to make a bond between atoms. When you don't provide a pair of electrons – and a pair of protons to neutralize the loss of electrons – you end up making free radicals, which are highly reactive and can back-react, wasting the energy you used to create them. They also can react with other chemicals or destroy your catalyst.
Jain also informed that experiments which were recently performed in his laboratory using the same system also involved multiproton, multielectron transfers. During those experiments, CO2 was converted to ethane. Compared to methane, which contains just a single carbon, ethane is a two-carbon compound that is more energy-rich. Ultimately, Jain and his team are hoping to produce butane, which has a four-carbon backbone, and propane, which has a three-carbon backbone.
From the point of view of chemistry, it's interesting to understand the rules for stringing carbon atoms together. Transferring more than one electron at a time, activating more than one carbon dioxide molecule at a time at the surface of the nanoparticle catalyst can get us access to higher hydrocarbons.
Although the latest findings mark a significant step forward, more research is needed before this technology can be applied and scaled up to meet present challenges, said Jain.
The research was supported by the Arnold and Mabel Beckman Foundation and the National Science Foundation.


text:
Latest MCA News
Stay up to date on the latest news from Midwest Curling Association
11th Annual Five Year & Under
https://midwestcurling.com/wp-content/uploads/2018/11/1.jpg 2400 3600 Shannon Brown https://midwestcurling.com/wp-content/uploads/2019/01/midwest_curling_association_logo.svg Shannon Brown2018-11-21 16:05:502018-11-22 08:07:5811th Annual Five Year & Under
6th Annual Prairie State Challenge
https://midwestcurling.com/wp-content/uploads/2018/11/1st-Event-Brown2.jpg 1198 2048 Shannon Brown https://midwestcurling.com/wp-content/uploads/2019/01/midwest_curling_association_logo.svg Shannon Brown2018-11-10 15:30:102018-11-10 15:47:466th Annual Prairie State Challenge
A Permanent Facility for St. Louis Curling Club
https://midwestcurling.com/wp-content/uploads/2018/11/5a3b99fb787170abe530533951081349-rimg-w720-h480-gmir-1.jpg 1365 2048 Shannon Brown https://midwestcurling.com/wp-content/uploads/2019/01/midwest_curling_association_logo.svg Shannon Brown2018-11-06 10:15:212018-12-19 01:48:39A Permanent Facility for St. Louis Curling Club
Team Wright brings home Bronze Medal from 2018 Senior Worlds
https://midwestcurling.com/wp-content/uploads/2018/05/32267238_1235153509948431_7476328303192702976_o.jpg 1365 2048 Shannon Brown https://midwestcurling.com/wp-content/uploads/2019/01/midwest_curling_association_logo.svg Shannon Brown2018-05-02 23:43:072018-11-08 15:22:38Team Wright brings home Bronze Medal from 2018 Senior Worlds
72nd Annual Dar Curtis Bonspiel
https://midwestcurling.com/wp-content/uploads/2018/02/1.jpg 1054 1783 Shannon Brown https://midwestcurling.com/wp-content/uploads/2019/01/midwest_curling_association_logo.svg Shannon Brown2018-02-21 06:29:592018-11-07 11:57:1072nd Annual Dar Curtis Bonspiel
Learn2Curl at Park at Wrigley
https://midwestcurling.com/wp-content/uploads/2018/02/27629441_1829542947078980_3881745393932541015_o.jpg 1512 2016 Shannon Brown https://midwestcurling.com/wp-content/uploads/2019/01/midwest_curling_association_logo.svg Shannon Brown2018-02-20 05:25:102018-11-07 12:04:43Learn2Curl at Park at Wrigley
Quick Guide to Curling at the PyeongChang 2018 Winter Olympics
https://midwestcurling.com/wp-content/uploads/2018/02/23.jpg 2400 3600 Shannon Brown https://midwestcurling.com/wp-content/uploads/2019/01/midwest_curling_association_logo.svg Shannon Brown2018-02-07 17:42:552018-11-08 15:20:33Quick Guide to Curling at the PyeongChang 2018 Winter Olympics
Andrew Stopera's rink becomes 2018 USA Curling Junior National Champs
https://midwestcurling.com/wp-content/uploads/2018/02/Stopera-2017-web.jpg 497 800 Shannon Brown https://midwestcurling.com/wp-content/uploads/2019/01/midwest_curling_association_logo.svg Shannon Brown2018-02-06 08:00:202018-02-06 23:15:12Andrew Stopera's rink becomes 2018 USA Curling Junior National Champs
Team Wright Wins 2018 USA Curling Senior Nationals
https://midwestcurling.com/wp-content/uploads/2018/02/Team-Wright.jpg 768 1024 Test Manager https://midwestcurling.com/wp-content/uploads/2019/01/midwest_curling_association_logo.svg Test Manager2018-02-01 04:18:212018-02-06 03:53:32Team Wright Wins 2018 USA Curling Senior Nationals
Midwest Curling Association is excited to connect you with the wonderful game of Curling.
Join MCA


I have to admit: I did not have high expectations for Microsoft Windows 7. I had the chance to test some of the earlier beta versions of Windows 7 (including the public beta) and they didn't really impress me. However, I recently installed the latest build (build 7077) and I have to say that I've been very impressed. I installed this version on a convertible tablet (Fujitsu) and an ultra-mobile PC (Samsung Q1 Ultra) It's very fast and responsive and it doesn't lock up like Vista. If you have an older notebook/laptop, you may want to give it a try.


text:
Urbana es una ciudad ubicada en el condado de Champaign en el estado estadounidense de Ohio. En el Censo de 2010 tenía una población de 11.793 habitantes y una densidad poblacional de 585,56 personas por km².

Geografía
Urbana se encuentra ubicada en las coordenadas . Según la Oficina del Censo de los Estados Unidos, Urbana tiene una superficie total de 20.14 km², de la cual 20.08 km² corresponden a tierra firme y (0.3%) 0.06 km² es agua.

Demografía
Según el censo de 2010, había 11793 personas residiendo en Urbana. La densidad de población era de 585,56 hab./km². De los 11793 habitantes, Urbana estaba compuesto por el 89.75% blancos, el 5.35% eran afroamericanos, el 0.44% eran amerindios, el 0.68% eran asiáticos, el 0.01% eran isleños del Pacífico, el 0.72% eran de otras razas y el 3.05% pertenecían a dos o más razas. Del total de la población el 2.04% eran hispanos o latinos de cualquier raza.

Referencias

Enlaces externos

Ciudades de Ohio
Localidades del condado de Champaign (Ohio)

redpajama_set_name: RedPajamaWikipedia


You can see here we have an ALS with a background video that autoplays on desktops… But not on mobile devices.
We are trying to pitch for a job and the KEY ELEMENT is that this works… So we are reaching out to you for help… the deadline for this to work for us is Friday this week so it's quite urgent.
That is happening because it is intend browser functionality. Not a lot we can do on that one from our side, we are afraid.
Is it the device that is causing 'non-autoplay' on mobile devices due to keeping data usage down?
Many mobile browsers disable video autoplay.


text:
"""
Django settings for {{ project_name }} project.

Generated by 'django-admin startproject' using Django 1.10.5.

For more information on this file, see
https://docs.djangoproject.com/en/1.10/topics/settings/

For the full list of settings and their values, see
https://docs.djangoproject.com/en/1.10/ref/settings/
"""

import os
import sys

# ========================
# GENERIC
# ========================
# Application definition
APP_NAME = '{{ project_name }}'

# Build paths inside the project like this: os.path.join(BASE_DIR, ...)
BASE_DIR = os.path.dirname(os.path.dirname(os.path.abspath(__file__)))
# Fetch the project_root
PROJECT_ROOT = os.path.dirname(BASE_DIR)

# add library folder to path
sys.path.append(os.path.join(PROJECT_ROOT, 'libs'))

ROOT_URLCONF = 'config.urls'

WSGI_APPLICATION = 'config.wsgi.application'

# ========================
# libraries
# ========================
PROJECT_APPS = []   # add all applications apps

DEFAULT_APPS = [
    'django.contrib.admin',
    'django.contrib.auth',
    'django.contrib.contenttypes',
    'django.contrib.sessions',
    'django.contrib.messages',
    'django.contrib.staticfiles',
]
INSTALLED_APPS = PROJECT_APPS + DEFAULT_APPS

MIDDLEWARE = [
    'django.middleware.security.SecurityMiddleware',
    'django.contrib.sessions.middleware.SessionMiddleware',
    'django.middleware.common.CommonMiddleware',
    'django.middleware.csrf.CsrfViewMiddleware',
    'django.contrib.auth.middleware.AuthenticationMiddleware',
    'django.contrib.messages.middleware.MessageMiddleware',
    'django.middleware.clickjacking.XFrameOptionsMiddleware',
]

# Password validation
# https://docs.djangoproject.com/en/1.10/ref/settings/#auth-password-validators
AUTH_PASSWORD_VALIDATORS = [
    {
        'NAME': 'django.contrib.auth.password_validation.UserAttributeSimilarityValidator',
    },
    {
        'NAME': 'django.contrib.auth.password_validation.MinimumLengthValidator',
    },
    {
        'NAME': 'django.contrib.auth.password_validation.CommonPasswordValidator',
    },
    {
        'NAME': 'django.contrib.auth.password_validation.NumericPasswordValidator',
    },
]

# ========================
# TEMPLATE/STATICS
# ========================

# Static files (CSS, JavaScript, Images)
# https://docs.djangoproject.com/en/1.10/howto/static-files/
STATIC_URL = '/static/'

# look for static assets here
STATICFILES_DIRS = [
    os.path.join(PROJECT_ROOT, 'static'),
]

TEMPLATES = [
    {
        'BACKEND': 'django.template.backends.django.DjangoTemplates',
        'DIRS': [os.path.join(PROJECT_ROOT, 'templates')],
        'APP_DIRS': True,
        'OPTIONS': {
            'context_processors': [
                'django.template.context_processors.debug',
                'django.template.context_processors.request',
                'django.contrib.auth.context_processors.auth',
                'django.contrib.messages.context_processors.messages',
            ],
        },
    },
]

# ========================
# Internationalization
# https://docs.djangoproject.com/en/1.10/topics/i18n/
# ========================

LANGUAGE_CODE = 'en-us'

TIME_ZONE = 'America/Los_Angeles'

USE_I18N = True

USE_L10N = True

USE_TZ = True

# ========================
# The following must be set separately in each environment specific setting
# - DATABASES
# - LOGGING
# - SECRET_KEY
# - STATIC_ROOT / STATIC_URL
# ========================

redpajama_set_name: RedPajamaGithub


text:
Wolverines win three games at Scammon Bay tournament
Dick Shellhorn
On Jan. 8, 2023, the Cordova boys basketball team begins loading on a small plane to depart from Scammon Bay to Bethel following a four-day tournament there. Photo by Jake Borst
Traveling all the way to little known Scammon Bay, the Cordova High School boys basketball team won three games in the double-elimination Kickoff Klassic on Jan. 4-7.
Located on the Bering Sea, 144 miles north of Bethel, 12 teams from villages scattered around western Alaska joined the Wolverines for four days of non-stop basketball action in the isolated community of 550, where their spacious, modern gymnasium is clearly the center of wintertime activities.
The games were streamed live for fans throughout the region, but in the background one could hear play-by-play radio broadcasts in Yup'ik on the Internet, being sent to fans who could not get the games.
Coach Jake Borst, front left, prepares to depart Scammon Bay after winning three games with the Cordova High School boys basketball team on Jan. 4-7, 2023. Photo by Jake Borst
Not surprisingly, travel delays for the small planes bringing the teams in quickly scrambled the tournament brackets but once everyone arrived it was up-tempo basketball and noisy partisan fans that are the trademark village hoops.
On Wednesday, Jan. 4, Cordova topped Chevak 72-63. Jaykob Thorne led CHS with 23 points, Junior Itliong, John Itliong and Xavier Russin were all in double digits.
On Jan. 5, CHS fell to Hooper Bay 42-37. John Itliong led Cordova with seven points and multiple assists.
Cordova, with one loss in the double elimination format, had to play two games on Friday, Jan. 6. They rambled past St. Mary's, 79-24, and Chiko Jacob was top scorer with 13 points. The Wolverines also topped Chevak again last Friday, this time 48-33.
Next up was a noon rematch with Hooper Bay on Saturday, Jan. 7, with the winner advancing to the championship against Scammon Bay. Once again, Hooper Bay prevailed in a close contest.
"It was tight all the way", said CHS Coach Jake Borst.
Cordova was within three points with two minutes to go, but just couldn't take the lead.
CHS finished third — with a lot of memories of one of the more unique road trips in Wolverine basketball history.
Previous articleApplicants sought for artist-in-residence program
Next articleCordova Electric wants to hear from you!
Dick Shellhorn is a lifelong Cordovan. He has been writing sports stories for the Cordova Times for over 50 years. In his Cordova Chronicles features, he writes about the history and characters of this Alaska town. Alaska Press Club awarded Shellhorn first place for Best Humor column in 2016 and 2020, and third place in 2017 and 2019. He also received second place for Best Editorial Commentary in 2019. Shellhorn has written two books about Alaska adventures: Time and Tide and Balls and Stripes. Reach him at dshorn44@gmail.com.
Last Updated on Feb 1 2023, 12:53 pm AKST
Wind: North at 0mph


Simple 6-Figure Income System – Learn How to Make Money From Your Computer!
This is the best business opportunity I've ever worked!
I can't believe the power of this business. Over $8K dropped at my doorstep while I was in Maui with the family (afforded by this business). I was literally on the beach with the family and my business was working for me the whole time.
You can't find this kind of opportunity anywhere else. I took a look at the stock market on the day some of the funds came in and it was a total disaster. I'm so glad I work for myself in this amazing industry. If I had been in stocks I would have lost my shirt (not that I don't invest in the market some).
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text:
Mazus est un genre de plantes à fleurs de la famille des Phrymaceae.

En , les Mazaceae (genres Dodartia, Lancea et Mazus) sont une famille distincte des Phrymaceae.

Liste d'espèces
Selon  :

Selon  :

Références

Liens externes

Genre d'Angiospermes (nom scientifique)
Scrophulariaceae (Cronquist)
Phrymaceae


This is a collection of humorous science fiction stories. It draws inspiration from P G Wodehouse in employing that subtle humor style as also his serial story style. All the action takes place in a futuristic pub where the regulars meet for their own brand of constitutional. The most senior member regales them with adventures of members of his vast group of relatives, each one an aspiring technocrat who comes up with a novel invention. The funny results of employing these contraptions should result in rib-tickling reading.


text:
Retirement Preparation on a Regional Basis
From a geographic standpoint, the Northeast area of the United States is different than the Mountain West. The South is unique from the Pacific Coast. The Midwest is in the middle of all of it.
Some areas are hotbeds of retired Americans. Florida and Arizona have a noticeable percentage of its population numbered by so-called snowbirds, who split their time between the southern states in the winter and their former northern homes in the summer. Some retirees leave their northern climes entirely and set up permanent residence in Phoenix or Miami or other communities nearby.
Attitudes about retirement are likely to differ based on regional location. Spectrem research shows that attitudes towards retirement accounts differ by region as well.
Spectrem's new study Regional Impact on Investors shows that ownership of retirement accounts differs significantly based on the regions of the country. Advisors who work specifically within one region or another can benefit from the knowledge of how their region looks at retirement accounts.
For example, while 62 percent of all investors have employer-sponsored defined contribution plans such as a 401(k), only 56 percent of Mountain West investors do. It is possible fewer investors in the Mountain West work for companies which provide 401(k) programs. Also, the Mountain West has the highest rate of retired and semi-retired investors compared to other regions of the country, and they may have rolled over their defined contribution plan into another form of retirement account.
However, a look at Individual Retirement Account ownership shows little disparity based on region. The only outlier is the Midwest, which sees 58 percent of its investors owning Roth IRAs, compared to just 52 percent at the national average. The national average for contributory IRAs is 60 percent (with 62 percent of Pacific Coast investors owning one), and the national average for Rollover IRAs is 60 percent as well (with 62 percent of Mountain West and Northeast investors owning them).
There are some more significant differences in the amount of money investors have in their defined contribution and retirement accounts. The Mountain West, with the lowest level of defined contribution ownership, has the most assets invested in contributory IRAs ($401,000 on average) and rollover IRAs ($701,000 on average). For comparison, investors in the South have only $612,000 in Rollover IRAs and Midwest Investors have only $616,000.
Another consideration for retirement is insurance and annuities, and ownership of those products is much different based on region. For example, while national ownership of life insurance is at 54 percent, only 44 percent of Pacific Coast investors have such insurance. On the other side of the ledger is Midwest investors, of whom 58 percent own life insurance.
The disparity in annuity ownership is not as wide. On the high end of fixed annuities is Mountain West investors with 27 percent compared to just 22 percent of Pacific Coast investors. For variable annuities, 24 percent of Midwest investors own them, compared to 20 percent of investors from the South.
It is notable that insurance and annuity ownership is relatively lower among investors from the Pacific Coast states, which for the purposes of the study are California, Oregon, Washington, Hawaii and Alaska. From a business standpoint, those states do operate differently than most other states due to ocean-related commerce, and the Pacific Northwest is home to much of the nation's tech industries, which may impact financial decisions.
©2019 Spectrem Group


The use of solar cooking in international cooperation has a long-term tradition in Switzerland, along with a number of Swiss people and organizations who have been pioneers in this field.
The "International Solar Food Processing Conference 2009," was held from 14 to 16 January 2009, in Indore, India, and was organized by the Solar Food Processing Network. It was the first conference that specifically addressed the commercial use of solar cooking and drying. ExSol attended the conference and has written a comprehensive report on solar cooking from a Swiss perspective, based on the conference. The report contains conference results and contributions, as well as further solar cooking assessments and experiences.
The Final Report, "Solares Kochen aus Schweizer Sicht," is available at www.repic.ch.


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A Lack of Sincerity Isn't Sean P. Fodera's Problem (Updated)
Posted on February 22, 2014 by Michi Trota — 7 Comments ↓
A little less than a week after Sean P. Fodera's derogatory, sexist comments about former SFWA Secretary and VP, Mary Robinette Kowal, hit the internet, Fodera issued an apology to Kowal, and offered his thoughts on women and sexism in the SF/F world. (Apparently there have been problems with sff.net crashing, so Natalie Luhrs managed to get screencaps of both Fodera's apology and follow up post.)
Kowal has graciously accepted Fodera's apology and no one gets to say "boo" to her for doing so. She was, after all, singularly named and targeted by Fodera, despite his later assertion that he was more frustrated with policies and changes made by the SFWA board as a whole. Kowal is apparently satisfied by the sincerity in Fodera's apology, and I don't see any reason to doubt that. Certainly no one gets to tell Kowal how she should or should not feel and react about Fodera's apology to her.
Mary Robinette Kowal has been nothing less than a class act.
However, sincerity or lack thereof isn't the reason I'm less than impressed with either of Fodera's statements, nor does his "sincerity" mean that it's wrong to take a critical look at the substance of Fodera's apology and subsequent "thoughts" about women in SF/F and sexism. Fodera's appalling statements about Kowal, his apology and attempt at an explanation are an all-too-common example of how sexism gets excused and brushed off as merely the product of a snapped temper, rather than the result of deeply held and often unexamined biases and some pretty screwed up expectations about how men and women are supposed to act when expressing anger and disagreement.
While Fodera apologizes for what he said about Kowal and apparently regrets any hurt he caused her, he seems to have completely missed the fact that what he said wasn't just about Kowal and whether or not he liked her. The same tired, predictable and inherently harmful sexist language calling into question Kowal's professionalism because of what she wore was wrong regardless of whether or not he liked her as a person and/or respected her work as a professional. No woman deserves to be treated that way merely by virtue of her gender and personal respect or affection (or lack thereof) has nothing to do with it. When Fodera attacked Kowal that way, he wasn't just flinging crap at her, he was flinging crap at every single woman who has ever had that same line of sexist bullshit thrown at her for merely speaking up for herself. That splash damage was just as infuriating as Fodera's targeted statements at Kowal, and nowhere in Fodera's apology does he acknowledge this.
Fodera was clearly upset over feeling that his contributions to SFWA were being ignored and that he was being marginalized after a long history of participation. While those feelings are understandable, that doesn't excuse the way that Fodera chose to handle them. I don't doubt that Fodera is sorry that he hurt Kowal, but there's also a palatable sense that he's just as sorry that he got called out for what he said and if only people understood his pain, they wouldn't be so mad at him, because there's a lot of attempts at justification for why he was upset enough to say what he did.
In context, I had invested nine years working diligently and effectively for SFWA under six presidents (Spinrad, Lee, Asaro, Bailey, Capobianco, and Davis), serving on nine committees (chairing two of those), only to see most of those committees dissolved, or reduced in mission and impact in my final year of membership and since. SFWA used to do excellent work in educating writers (members and non-members alike) on the business of writing – contracts, copyrights, estate planning, etc. SFWA has continued to matter to me, as I think it can still be a very powerful organization in the genre. I'd simply like to see them doing more outreach and making resources available to writers who haven't yet reached SFWA eligibility.
When the question was raised in this forum why SFWA's focused shifted inward, I pointed solely at Mary, which I should not have done, and my comments about her devolved into hyperbole.
It's just that he cares so much about SFWA, young writers and SF/F, you see, so of course he lost his temper and lashed out at this one specific person who happens to be a woman and his words just happened to be sexist drivel – it just happened, it's not like he had any control over what he typed in a public forum, right?
I didn't mean to be a sexist asshole, it just happened!
Over at Scalzi's post about Fodera's apology, Kat Goodwin makes an excellent point about how Fodera's behavior and subsequent repentance is a common dynamic reflective of male privilege:
[H]ere's the thing, men are used to it being okay for them to be "riled up" and when riled up, to attack people. And in particular, to attack women, who they know will not get a lot of sympathy for being verbally attacked (and not even necessarily if physically attacked,) and who are more likely to give them a response as Kowal did with Fedora. They are used to it being okay to go after women because women are vulnerable, disvalued and blocked in the society and because the society will excuse their behavior on the grounds that they are a man who lost his temper.
This is part of what we call male privilege in the society — male anger in a discussion is okay, excessive perhaps but understandable because he is a man — he's in power and allowed — and such behavior does not signal the downfall of civilization, like women's anger does. Because it is okay, it's considered wrong to label it abusive and heavily criticize it, even though it was in the context of the other thing that is okay for both men and women to do, which is talk about women in sexualized terms, in degrading and derogatory terms, in insults, threats, and false claims. It's verbal abuse, which Kowal herself fully recognized, and it is calculated to present the idea that a woman has overstepped her place, frustrating the man and producing this over-reaction from the man. It's all the woman's fault that he lost his temper.
Goodwin also points out how the expected dynamic would have shifted had Kowal been a man and the argument had ensued between two men, rather than a man and a woman:
If Kowal had been a man, Fodera would not have, in criticizing and insulting her, talked about her body, purity, etc., and done gender specific insults. If Kowal had been a man and responded to the insults with an FU, this would not have been seen as an unreasonable reaction from a man, but very unacceptable from a woman, even with the sexualized insults. In fact, if Kowal as a man had engaged in a war of words with Fodera over the insults, creating a feud, it would be well in the tradition of grand feuds between authors in SFFH. Those feuds very seldom involve women authors because it is not considered reasonable and professional for women to engage in that sort of aggression and it can have strong business consequences for them.
Essentially, Fodera's apology is about him "losing his temper" and being "mean" to Kowal, rather than about his pernicious attempt to dismiss her opinions and devalue her work purely on the basis of her gender. It is heavily problematic because it fits right into an established social norm in which men can lose their tempers and throw out bile about how a woman who likes wearing diaphanous white dresses on the beach doesn't deserve to be taken seriously, just because he disagrees with her, but heaven forfend that a woman lose her temper and refer to people slinging sexist malarky at her as "rabid weasels." Despite any remorse he might feel, Fodera doesn't seem to understand why singling out Kowal as the target for his ire, despite the fact that he was upset about the changes being made to SFWA (many of which apparently dissolved committees and projects in which he'd been involved) and the leadership in general, was in and of itself manifestly sexist. .
That impression is further cemented by Fodera's follow-up statement about "women in SF/F." As Avery Tillett Ke pointed out in Scalzi's entry, Fodera's second statement managed to snatch defeat from the jaws of victory:
It is certain that in any community, there will be individuals who do not get along as individuals, without that disagreement indicating a blanket condemnation of any group, gender, ethnicity, race or religion. There are male writers, editors and agents with whom I prefer not to associate, as there have been writers, editors and agents of both genders who did not wish to associate with me prior to recent events. Such is the nature of society that we simply don't create positive relationships with everyone we encounter, much as we might like to do so.
Well, yes, disagreement is a natural part of life, but the problems women face in SF/F, much less our overarching patriarchal culture, isn't about "disagreement" so much as it is about systemic inequalities based on arbitrary definitions and expectations surrounding gender, and fighting for women to be treated with the same level of respect given to the men in their professional fields. We can accept that disagreements occur between people without accepting that institutionalized sexism is unchangeable and just something we're going to have to learn to live with.
While my comments about Mary Robinette Kowal were inconsiderate, they were taken out of context, edited to change their meaning, and given a misleading headline and interpretation that certainly prejudiced anyone following the links to the original posts. This has given many people a very inaccurate view of who I am, and where I stand on the matter of gender in science fiction. At no time did I ever indicate that I "don't want women to write science fiction", as stated in The Daily Dot…
No, Fodera didn't say that he didn't "want women to write science fiction," but again, that's not what he was being criticized for saying. He was criticized for his sexist invective directed at Kowal, which, as even Kowal noted herself, is the same kind of treatment countless women have received in return for standing up for themselves or merely voicing disagreement.
I'm not even going to touch the fact that Fodera's still asserting that he could have brought a lawsuit against the Daily Dot for the above-linked article if he really wanted, but Popehat has a fairly lengthy and detailed explanation for why a successful suit by Fodera would be highly unlikely.
For the past 25 years of my career in publishing, I have been an admirer of women in publishing… I worked for seven years at DAW Books; the only major, female-owned genre publisher. In my time there, I worked with some of the best and brightest female authors of our genre, giving them ground-breaking placement in our ebook publishing program, and promoting them to our licensees… I was part of the SFWA committee that created the Andre Norton Award for Young Adult Science Fiction and Fantasy to honor one of the genre's great voices, male or female, and which award has been dominated by female writers… In short, I am not now, nor have I ever been, nor will I ever be, antithetical to female writers in our genre or any genre. If people wish to believe otherwise based on recent events, I'll have to live with the shame and embarrassment of that appearance. Any of the women writers listed above, or any who actually know me in real life, should be able to tell you that I am one of the most ardent supporters of female genre writers you'll ever meet.
Fodera spends over 750 words describing how much he loves science fiction written by women, how much of his career has been spent working with women in the industry and promoting the work of women in the genre and how much he respects women authors. He even spends an entire paragraph talking about his involvement in kids' softball and supporting a (sadly failed) attempt at getting boys and girls softball teams to play each other, and another full two paragraphs on how he encourages his daughter to read more fiction by women. There are just so many women who would speak to his good character if people would just ask them. The obvious implication being that because of all these bona fides and qualifications, clearly Fodera isn't a sexist and the fact that some people now have his perception of him because of his own words and actions is just such a terrible burden of shame that he now has to live with.
Oh boy, where to start?
Let's get this out of the way first: No, I don't think Fodera is a misogynist in the same vein as Vox Day. No, I don't think he actively hates women and believes that women are inherently incapable of writing SF/F. This doesn't mean that he doesn't hold unexamined sexist attitudes and is contributing, however unintentionally, to the pervasive sexist problems in SF/F.
The problem is that Fodera's entire statement demonstrates that he's apparently laboring under the same problematic assumption as many "well-meaning" would-be allies: Mainly, that "liking women," "respecting their work," and not being "antithetical to women writers" means that they can't be sexist. Fodera's statement is, in essence, one long, rambling "But some of my favorite writers and best friends are women!" derailment bingo square.
It can't be stated enough that intent doesn't always mitigate impact, and while Fodera didn't intend to be sexist, that doesn't change the fact that the impact of his actions undeniably contributed to the sexism that continues to plague SF/F. He got mad about something he cares about and had disagreements with people – it happens to everyone – but he took that extra step into the same reflexive misogyny that taints so much of SF/F and our culture at large. And instead of stepping back and considering how his actions played into this toxic dynamic, he's doubling down and refusing to acknowledge that his actions were sexist and harmful, because he's an "admirer of women in publishing" and has supported women in the genre during his career.
This is why it's necessary to keep applying a critical eye to "explanations" or apologies like Fodera's, especially when they employ this particular brand of circular logic: "I'm not a sexist so nothing I say/do can be sexist." It's extraordinarily frustrating, not to mention exhausting, how often this mindset results in otherwise well-meaning people pulling up defenses and reacting as if their very character's been impugned when someone points out how something they just said or did was sexist. It neatly allows one to avoid any need for self-reflection or taking responsibility for causing harm, because if you're not sexist because you say so, clearly that person is just being hypercritically sensitive and plain mean by daring to say that you just did/said something sexist, even though you didn't mean to. And besides, you actually like and respect the woman you just threw sexist crap at, so it wasn't really sexist, it was just you being mad and unable to control your poor word choices. Why is that just so hard to understand and not be upset about?
Our culture is sexist, we swim in sexism the moment we leave the womb, and regardless of gender, we've all internalized it to varying degrees. This is why it's so important to continue checking our words and actions, to listen when called out, and to understand that our intent doesn't always mitigate the impact of what we say or do, rather than retreating into a defensive bubble.
"That thing you just said is kinda sexist." "I'm not sexist, some of my best friends are women and I love Anne McCaffrey – wait, where are you going??"
I said it earlier, but the point bears repeating here: Sexism isn't merely a matter of "hating women" or being "mean" to women. Nor is it ok to use sexist, misogynistic language in attacking women you don't like. One should be sorry about both using sexist, misogynistic rhetoric in expressing disagreement with a woman, regardless of if one likes and/or respects her or not, as well as any hurt feelings of a specific individual.
I'm glad Fodera apologized. I'm glad for Kowal that she's ok with it, because she deserved that apology, at minimum. As Scalzi noted, apologies can be useful things, especially if done correctly. I'm just disappointed that Fodera's statements lacked any deeper indication of self-awareness beyond, "I'm sorry I was mean to this one person, but it's not fair people criticized me for being a sexist jerk even though I was, because I'm a good person who cares about SF/F and I like women writers! And besides, you mean people almost made my book-loving daughter give up on SF/F, I hope you're happy!"*
*I'm really disappointed that Fodera's daughter's been dragged into this, however tangentially. I'm sorry she's been hurt by any of this (it's painful to watch a parent you love catch flak in public), and she deserves better than to be used as a shield against her father's critics.
UPDATE 02/22/14 11:30pm: Kowal further elaborated on why she accepted Fodera's apology and what she hopes will come from doing so. In particular, she points out how making a sincere apology, problematic or not, is not the final step but a first one:
[W]hat you want next is a lot of introspection and learning, but the first thing is that step back. Mistakes like this has been the crux point for a lot of people, where they've taken the first step into becoming an informed ally. More importantly, there are people watching this who have probably made the exact same mistake, just not so visibly. It'd be unfortunate if one of the things they learned was that apologizing is pointless.
Now, this isn't to say that people shouldn't have conversation about problems with an apology. Particularly when it involves something that is really deeply embedded in the societal structure. Those conversations should absolutely occur, because that's the way we unpack the problems, so the next person who screws up doesn't have so far back to step.
And you know that there will be a next person. So refer back to this representative example the next time something happens and look at how we shaped the narrative from here.
If people can look at what happened with Fodera's comments and conduct, and understand both how not to repeat his mistakes and why they were mistakes in the first place, then that will be the best possible outcome.
This entry was posted in Culture, Fandom and tagged apologies, misogyny, Sean Fodera, sexism by Michi Trota. Bookmark the permalink.
7 Replies to "A Lack of Sincerity Isn't Sean P. Fodera's Problem (Updated)"
Antiqueight on February 22, 2014 at 6:23 pm said:
There was at least one comment by Sean, "While my comments about Mary Robinette Kowal were inconsiderate, they were taken out of context, edited to change their meaning, and given a misleading headline and interpretation that certainly prejudiced anyone following the links to the original posts."
But I didn't read the article – I followed the activities in sff.net directly. However they were parsed in the article, he showed himself to be sexist in his own words.
Mary is amazing and generous and her acceptance of his apology is admirable.
But Kat and Ann in the entry in whatever.scalzi.com make excellent points and if he has friends here they should take him aside and make sure he understands them.
(I left this comment there but John is away so who knows if it will ever appear)
Michi Trota on February 23, 2014 at 12:13 am said:
Yes, I'm also hoping his remorse (which I believe is genuine) will be an opportunity for him to think about how saying or doing something sexist isn't always a matter of intent.
Will "scifantasy" Frank on February 23, 2014 at 5:35 am said:
Thank you. This says it all.
Michi Trota on February 23, 2014 at 5:42 am said:
I've updated the entry with a link to Mary Robinette Kowal's explanation of why she accepted Fodera's apology and what she hopes will come from all this.
Kat Goodwin on February 24, 2014 at 5:45 am said:
We kind of got time delayed on that conversation because Scalzi had to close up shop for a bit, but the point I was trying to head towards is that these complaints against the casual sexism in the Bulletin, of the signers of the petition (including the female ones,) and Fodera are not simply a matter of hurt feelings and have very little to do with stifling speech. After all, women get this sort of thing thrown at them all the time. It's the business damage of women not being allowed to have free speech and speak up and complain about sexism in their own trade organization, and letting that sexism stand as the accepted way to talk about women authors that was the big issue of all these controversies. This stuff has a very real impact on women's opportunities in the market, getting decent contract terms compared to men, marketing issues, etc. It has a professional impact, and the SFWA is supposed to be a professional organization working for women authors, not a free for all for discussing them as babes with the women members having to "suck it up" as Gerrold suggested and let it damage their book sales. Fodera didn't just insult Kowal over a grudge — he went after her livelihood. Which was all the worse because her livelihood is part of his livelihood as contracts manager of her publisher. Which, frankly, seems to be the only reason he apologized, from the resentful words of his apologies. If he didn't work for Macmillan, I doubt he would have apologized, given his words.
Kowal is right about how pampering those taking their first steps towards being allies is sometimes necessary — especially when you have to work with them. Because otherwise, they can screw up your contracts, for example. (Although to be clear, I don't at all think Kowal's acceptance of the apology was motivated mainly by self interest. She's been incredibly magnanimous.) But that is also sexism — that "allies" still happily used institutionalized sexism and have to be given essentially a pat on the head for even considering kind of being sorry for it. (My daughter likes to remind me that even if things have changed for the better historically, it's still wrong that they take so long to change.)
If nothing else, though, Fodera's attack kind of showed that the petition was a farce — one that was also aimed at hurting women writers in the marketplace and in SFWA. So hopefully it does become a shifting point, but it also highlighted the business barriers placed in front of women authors even in "friendly" spaces.
*takes a second to squee happily that Kat Goodwin's commenting on my blog*
No, seriously, I often look forward to your comments on Hines's and Scalzi's blogs, so thank you for taking notice of my little corner of the geeky blog world!
I do wish there'd been more time to talk about how the sort of crap that Fodera was spewing, as well as his apology & "explanation" about how he "feels" about women in scifi, affects women's ability to do business as professionals, because of the social scripts that are expected to play out.
I think it's really important to look at how this isn't *just* about Fodera as an individual and his specific actions – it's just one more example of the harmful dynamic that plays out day after day. I've been trying to write another blog entry about how we need to remember that these problems aren't just about problematic individuals, but a larger, overarching problematic culture that enables individuals like Fodera or Truesdale to be excused. Not to mention, it's not just SF/F fandom & geek culture dealing with these issues, it's a similar dynamic playing out within skepticism/atheism circles, library sciences, tech, gaming, comics… all of it.
And I really wish that talking about these issues and being critical about the whole affair weren't so often conflated with invalidating MRK's choice to accept Fodera's apology or her graciousness in doing so, to the point where you and I and anyone else taking that critically analyzing view didn't *have* to point out that we have no problem with MRK's acceptance of the apology.
The business barriers issue is something that I also think could do with its own blog entry. Sigh. Too much to write about, too little time!
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ALL News archive from November 2016
2016 Oban Camanachd Player of the Year Awards
Oban Camanachd had plenty to celebrate at their Annual Dinner Dance at the Oban Rugby Club on Saturday 26 November 2016.
Strachur To Re-enter Senior Shinty
Strachur will return to senior shinty in 2017 after taking a break last season.
Strathglass Hope For National Shinty & To Restore Second Team
Strathglass have announced plans which they hope will build on their successful 2016 shinty in which they finished second in Marine Harvest North Division 1.
Ewen Morrison Memorial Cup
The Annual Ewen Morrison Memorial Cup match between North Skye and South Skye takes place at Pairc nan Laoch, Portree on Saturday 3 December 2016.
2016 Camanachd Association AGM
Representatives from shinty clubs across the country gathered at the West End Hotel, Fort William for the Camanachd Association Annual General Meeting on Friday 25 November 2016.
2016 Skye Camanachd AGM
The 2016 Skye Camanachd Annual General Meeting takes place at the Skye Camanachd Clubhouse on Saturday 3 December 2016.
Lochaber Ladies Development Success
There were celebrations at Spean Bridge as the Lochaber Ladies second team were crowned Marine Harvest Development League Champions on Saturday 26 November 2016.
Skye Camanachd Shinty Lotto Result
The Skye Camanachd Shinty Lotto was drawn on Saturday 26 November 2016.
Tayforth Seek New Manager
Tayforth are on the look-out for a new manager.
2017 Artemis MacAulay Cup
Now that the 2016 shinty season has come to a close, we know which teams will participate in the 2017 Artemis MacAulay Cup competition.
Motions Go Forward To 2016 Camanachd Association AGM
There are a number of voting matters to be put before members at the Camanachd Association Annual General Meeting which takes place at the West End Hotel, Fort William on Friday 25 November 2016.
Skye Camanachd Confirm Management Teams For 2017 Shinty Season
Skye Camanachd have confirmed their management teams for the 2017 shinty season.
Donald MacDonald, Strachur
There was great sadness in the shinty world following the passing of Donald MacDonald, Strachur.
2016 Lochaber Camanachd Annual Awards
There were a number of player of the year awards made at the Lochaber Camanachd Annual Dinner Dance at the West End Hotel, Fort William on Saturday 19 November 2016.
2016 Skye Camanachd Annual General Meeting
Eoghan Stewart & Iomain Cholmcille Recognised By Highland Council
Highland Council recognised the shinty work undertaken by Alness Academy Gaelic Teacher Eoghan Stewart at their Annual Awards at Smithton Free Church, Inverness on Thursday 17 November 2016.
Oban Camanachd Youth Proposal Narrowly Fails
Oban Camanachd narrowly failed with their proposal for a 12 month delay to Camanachd Association plans to amend Bye Law 4 and change the age limit for players eligible to play under 14 shinty.
Camanachd Association To Re-advertise Chief Executive Officer Post
The Camanachd Association Board of Directors is believed to be taking steps to re-advertise the key position of Chief Executive Officer.
Ballachulish Shinty Club Annual General Meeting
Ballachulish Shinty Club's Annual General Meeting takes place at the Jubilee Park side's clubhouse on Wednesday 30 November 2016.
Youth Age Group Age Change
The Camanachd Association are pushing ahead with plans to amend Bye Law 4 and change the age limit for players eligible to play U14 shinty.
Womens Camanachd Association Annual General Meeting
The Womens Camanachd Association Annual Meeting takes place at The Isles of Glencoe Hotel on Saturday 26 November 2016.
Camanachd Association Annual General Meeting
The 2016 Camanachd Association Annual General Meeting takes place at the West End Hotel, Fort William on Friday 25 November 2016.
Willie MacDonald Steps Down As Skye Camanachd U14 Coach
Willie MacDonald has stepped down from his role of Skye Camanachd U14 Youth Coach.
Skye Camanachd Looking For New Second Team Manager
Skye Camanachd are looking for a new second team manager after Davie Pringle confirmed that he is standing down after two years in the hot seat.
Marine Harvest North Division 2 Play Off - Glengarry 0 Lovat 6
Lovat won the Marine Harvest North Division 2 title and promotion to the top division in the women's game when they beat Glengarry 6-0 in their play-off match at the Bught Park, Inverness on Sunday 13 November 2016.
Glenurquhart Appoint Iain MacLeod As First Team Manager
Glenurquhart have confirmed that Iain MacLeod will be their new first team manager for the 2017 shinty season.
Alan MacRae Takes Over As Beauly Boss
Beauly Shinty Club has announced the appointment of Scotland U21 Head Coach Alan MacRae as their first team manager for the 2017 and 2018 shinty seasons.
Skye Camanachd Remembers
Skye Camanachd took part in the Remembrance Parade in Portree on Sunday 13 November 2016.
Skye Camanachd U14 Win Marine Harvest North Division 1 Title
Skye Camanachd U14 clinched the Marine Harvest North Division 1 title after they drew 2-2 with Fort William U14 at An Aird on Saturday 12 November 2016.
The Shinty Round Up – Saturday 12 November 2016
The 2016 senior shinty season came to an end following the shinty action on Saturday 12 November 2016.
Queens University 10-6 Scotland Universities
The Scottish University Ladies squad put up a good fight before going down 10-6 in their Shinty / Camogie meeting with their Queens University counterparts in Belfast on Saturday 12 November 2016.
Queens University (0-7) 7- 28 (6-10) Scotland Universities
The Scottish University men's squad recorded a 28-7 win in their Shinty / Hurling meeting with their Queens University counterparts at the Dub in Belfast on Saturday 12 November 2016.
Skye Camanachd Quartet Star For Scotland Universities
Four Skye Camanachd players were to the fore as the Scottish Universities were in Shinty / Hurling / Camogie action against their Queens University counterparts in Belfast on Saturday 12 November 2016.
Skye Camanachd U14 Win Marine Harvest North Division 1
The Skye Camanachd U14s ensured that Skye finished the 2016 shinty season on a high when they won Marine Harvest North Division 1 on Saturday 12 November 2016.
Fort William U14 v Skye Camanachd U14 – Team News
Skye Camanachd U14 Youth Coach Willie MacDonald has named his squad for the Marine Harvest North Division 1 meeting with Fort William U14 at A Aird on Saturday 12 November 2016.
This Week's Skye Camanachd Fixtures
There is just one Skye Camanachd fixture this weekend with the U14s in league action.
2016 Scottish University Squads Named
The Scottish University squads have been named for the 2016 Shinty / Hurling Camogie meetings with their Queens University counterparts in Belfast this coming weekend.
Recognition For Irish Shinty / Hurling Stars
Six players from the Ireland senior squad that lost 14-5 to Scotland in their Marine Harvest Shinty / Hurling international have been recognised in the GAA All Star nominations, Christy Ring 15 and Nicky Rackard 15.
Lovat Shinty Club Look To Build New Pavilion
Lovat Shinty Club have embarked on an ambitious project to build a new sports pavilion at their Balgate pitch.
2016 London Shield Final – Skye Camanachd U17 2 Oban Camanachd U17 3
A last-gasp Daniel MacVicar goal gave Oban Camanachd U17 a dramatic 3-2 victory over Skye Camanachd U17 to win the Marine Harvest London Shield at the Eilan on Saturday 5 November 2016.
Lovat Ladies Miss Chance To seal Title - Strathglass 6 Lovat 3
Lovat missed out on the chance to win the Marine Harvest North Division 2 title when they lost 6-3 to Strathglass in their 1pm throw up at Cannich on Sunday 30 October 2016.
Skye Camanachd Boss John MacLeod Leaves Post
Skye Camanachd first team manager John MacLeod has confirmed that he will stand down from the post.
Jones & Anderson Step Down At Kingussie
Kingussie have already confirmed that co-managers Russell Jones and Davie Anderson have stepped down.
All Change At Glenurquhart
Glenurquhart begin the hunt for a new management team after co-managers Billy MacLean and Dave Menzies ended their tenure at the Blairbeg club.
The Shinty Round Up – Saturday 5 November 2016
The shinty season is drawing to a close and there was no senior shinty action on Saturday 5 November 2016.
The Skye Camanachd Shinty Lotto was drawn on Saturday 5 November 2016.
Skye Camanachd Saturday Shinty Shorts
There was just one Skye Camanachd fixture this weekend but it was a big one!
Skye Camanachd U17 v Oban Camanachd U17 – Pitch Inspection
The Marine Harvest London Shield Final between Skye Camanachd U17 and Oban Camanachd U17 goes ahead at the Eilan on Saturday 5 November 2016 following a pitch inspection.
2016 Skye Camanachd Bonfire & Fireworks Night – Thank You!
Thank you to everyone who came along to support the third annual Skye Camanachd Bonfire & Fireworks Display which took place at the Skye Camanachd Clubhouse on Friday 4 November 2016.
Skye Camanachd U17 v Oban Camanachd U17 – Team News
Skye Camanachd U17 Youth Coach Davie Pringle has named his squad for the Marine Harvest London Shield Final against Oban Camanachd U17 at the Eilan on Saturday 5 November 2016.
Tesco Support 2016 Skye Camanachd Bonfire & Fireworks Night
Tesco, Dingwall are supporting the third annual Skye Camanachd Bonfire & Fireworks Display which takes place at the Skye Camanachd Clubhouse on Friday 4 November 2016.
There is just one Skye Camanachd fixture this weekend but it's a big one!