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L'Université Lille-II était l'une des trois universités publiques françaises qui formaient l'organisation universitaire de Lille (Métropole européenne de Lille, Hauts-de-France) entre 1970 et 2017. Elle s'est également provisoirement appelée Université de Lille, droit et santé pour amorcer la réunification (mais ce dernier nom n'était pas officiel et n'apparait pas dans les décrets).

Membre de la COMUE Lille Nord de France, elle était issue des anciennes facultés de droit, médecine et pharmacie de l'université de Lille, héritière de l'université de Douai créée en 1559.

L'université Lille-II était pluridisciplinaire : droit, santé, science politique, gestion et sport. Elle regroupait six unités de formation et de recherche (UFR) : la faculté des sciences juridiques, politiques et sociales, la faculté de médecine, la faculté des sciences pharmaceutiques et biologiques, la faculté de chirurgie dentaire, la faculté des sciences du sport et de l'éducation physique et la faculté de finance, banque, comptabilité (anc. ESA). Elle comprenait aussi des IUT (IUTC) et IUP qui étaient décentralisés à Roubaix, et le Service de formation permanente (SFP) qui se trouvait à proximité du CHRU de Lille. L'Institut d'études politiques de Lille (Sciences-Po Lille), situé alors à Lille-Moulins, était un établissement rattaché à cette université.

Elle s'est réunifiée avec les universités Lille-I et Lille-III en 2018 pour former une seule grande Université de Lille pluridisciplinaire de 70 000 étudiants.

Histoire

Initialement autorisée en 1559 à Douai par les papes Paul IV et Pie IV dans la mouvance de la Contre-Réforme et du Concile de Trente, créée effectivement par Philippe II d'Espagne (d'abord les facultés de droit, puis celle de médecine et des Arts), l'organisation médiévale primitive rayonne jusqu'à la Révolution française qui fit disparaître les facultés. Progressivement réorganisée, elle s'implante à Lille en 1885/86. L'université de Lille comprend alors les quatre grandes composantes : droit, lettres, médecine et sciences. Les premiers bâtiments de la faculté de médecine et de pharmacie de Lille sont inaugurés par Jules Ferry le , prenant la suite de l'école de préparation à la pharmacie créée en 1805.
Les principaux locaux de recherche de la faculté de médecine et de pharmacie sont construits à l'angle de la rue Jean-Bart et de la rue de Valmy, face à la place Philippe-Lebon. Les travaux, confiés à l'architecte Carlos Batteur, se sont déroulés de 1876 à 1892.

Ensuite vint une nouvelle forme de l'université en 1970 (application de la réforme de 1968), avec l'éclatement en trois structures universitaires distinctes, dont Lille 2. Son siège social se trouve alors rue Paul-Duez (Constitutionnaliste de renom, ancien doyen de la faculté de droit de Lille). Elle compte  personnels (dont  enseignants et enseignants-chercheurs permanents) pour  étudiants/ans (formation initiale), répartis sur une vingtaine de sites, cette multipolarité n'étant pas sans poser des problèmes de synergie, ajoutés « au mariage de la carpe et du lapin » (rapport d'évaluation - 1995) que constitue la cohabitation de deux pôles distincts : droit et santé. Elle aura cependant perdu, dans la dernière décennie du , le contrôle de deux unités excentrées (son antenne de Boulogne-sur-Mer et l'IUT de Lens). Son président est, entre le  et la réunification de 2018, le professeur Xavier Vandendriessche, agrégé des facultés de droit.

Au , Lille-II fusionne avec Lille-I et Lille-III pour former l'Université de Lille.

Chronologie de la santé

 1562 : inauguration de l'université de Douai, à 30 km de Lille, autorisée par une bulle du pape Paul IV le  et comprenant les facultés de théologie, droit canon, droit civil, médecine et arts
 1705 : création de l'école royale de chirurgie de Lille
 1793 : décret de la Convention nationale du , article 3 ordonnant la suppression des collèges et des facultés
 1805 : création de l'école préparatoire de médecine de Lille
 1854 : décret du  instituant l'école préparatoire de médecine et de pharmacie de Lille
 1875 : décret du  où l'école préparatoire de médecine et de pharmacie est transformée en faculté mixte de médecine et de pharmacie de Lille
 1896 : loi du  transformant les « corps de facultés » en universités (établissement de l'université de Lille)
 1970 : subdivision de l'université de Lille en trois entités autonomes, à la suite de la loi Faure du . Les facultés de droit et de médecine et pharmacie forment l'université du droit et de la santé (Lille 2).
 2018 : Dissolution de Lille 2 au sein de l'Université de Lille qui absorbe ses structures dédiées à la santé.

Chronologie du droit

 1562 : inauguration de l'université de Douai, à 30 km de Lille, autorisée par une bulle du pape Paul IV le  et comprenant les facultés de théologie, droit canon, droit civil, médecine et arts
 1793 : décret de la Convention nationale du , article 3 ordonnant la suppression des collèges et des facultés
 1865 : décret  du  rétablissant la faculté de droit de Douai
 1887 : décret du  transférant de Douai à Lille la faculté de droit, qui est installée dans les locaux de la faculté mixte de médecine et de pharmacie de Lille
 1896 : loi du  transformant les « corps de facultés » en universités (établissement de l'université de Lille)
 1970 : subdivision de l'université de Lille en trois entités autonomes, à la suite de la loi Faure du . Les facultés de droit et de médecine et pharmacie forment l'université du droit et de la santé (Lille 2)
 1995 : la nouvelle faculté de Droit prend place sur le site rénové de l'ancienne filature Leblan, rue de Trévise-place Déliot.
 2018 : Dissolution de Lille 2 au sein de l'Université de Lille qui absorbe ses structures dédiées au droit.

Composantes en 2017

UFR de droit
En 2017, la faculté des sciences juridiques, politiques et sociales de Lille II se situe dans le quartier Moulins au sud-ouest de Lille. Depuis sa création au , la faculté a beaucoup voyagé : de Douai, où elle prospérait initialement jusque Lille. Installée en 1895 rue Angelier (les locaux existent encore), elle déménage en 1949 rue Paul Duez (siège actuel de l'université), avant d'émigrer en 1975 à Pont-de-bois à Villeneuve-d'Ascq. Enfin, en 1995 il est décidé que la nouvelle faculté de Droit de Lille-Moulins prendra place sur le site rénové de l'ancienne filature Leblan, place Déliot.

L'amphithéâtre de prestige est dédié à René Cassin, qui enseigna comme professeur de droit à Lille.

Il existe une antenne de la faculté à Cambrai. L'autre antenne, qu'elle animait à Boulogne-sur-Mer, a été absorbée par la création de l'université du Littoral basée à Dunkerque.

La faculté dispose de son propre département de formation continue.

On y trouve divers instituts : criminologie - IEJ (études judiciaires), ICEU (construction, environnement et urbanisme), Institut de préparation à l'administration générale. La faculté abrite en outre l'École supérieure des affaires de Lille, le CRFPB (Centre régional de formation professionnelle des barreaux), l'IST (Institut des sciences du travail), ainsi que des laboratoires de recherches, tels que le Centre Demogue, Le Centre d'Histoire Judiciaire, le CERAPS (Centre d'Études et de Recherches Administratives, Politiques et Sociales (UMR 8026 CNRS)) ou l'IREENAT (Institut de recherches sur l'évolution de l'environnement des activités transnationales).

Les effectifs : environ 7 000 étudiants et 600 enseignants titulaires dont 140 enseignants-chercheurs.

L'offre de formation initiale : la faculté a adopté le cursus LMD. Elle propose une "Licence Droit" qui se décline sous deux parcours (Parcours Droit et parcours systèmes juridiques de l'Union Européenne (droits comparés des pays membres de l'UE), une licence "Administration Economique et Sociale (AES)", une "Licence Science Politique", une  capacité en droit, de multiples  masters (Science politique, Droit privé, Droit public, Droit des affaires, etc.) jusqu'au doctorat. Par ailleurs, la faculté propose une filière professionnelle : licence (Management des petites et moyennes entreprises; Transport) ; master (Droit des activités transnationales; Défenses et sécurité nationales et européennes; Droit de l'entreprise, etc.). Elle propose également un parcours complet en Science politique.

L'offre de formation continue :
 Licence et Master droit
 Diplômes d'université (DU) : droit du travail, propriété industrielle et nouvelles technologies, droit des assurances
 Préparation au concours d'entrée dans les IEP

La recherche (Une école doctorale  et cinq laboratoires, parties prenantes du Collège Doctoral Européen Lille - Nord-Pas-de-Calais) :
 Centre de recherches d'histoire judiciaire (Serge Dauchy);
 Centre d'études et de recherches administratives, politiques et sociales (CERAPS) (Pr. Jean-Gabriel Contamin) ;
 Centre Droits et perspectives du droit (CRDP, EA n°4487) ( Gaël Chantepie, Fabienne Péraldi-Leneuf)
 Groupe d'études et de recherches en management des entreprises ( Éric Debodt);
 Centre d'analyse de la décision et de la réglementation économique ( Armand-Denis Schor);

UFR de médecine

La faculté de médecine Henri Warembourg de Lille II est le produit d'une longue histoire entamée à Douai en 1570 et qui commence à Lille par une École royale de Chirurgie à partir de 1705, transformée en une école de médecine mise en place par la municipalité de Lille en 1805 ; mais l'étape décisive du développement lillois est la création en 1874 de la faculté mixte de médecine et de pharmacie, implantée rue Jean-Bart et inaugurée par Jules Ferry le Petite histoire des grandes écoles lilloises ; Jean-François Garsmeur ; Pays du Nord - 1997, . Celle-ci finira par émigrer à la nouvelle cité hospitalière, à l'est de Lille, achevée en 1951-1953. Elle s'y trouve encore en 2017, sur le campus du Centre hospitalier régional universitaire de Lille (CHRU), mais occupe de nouveaux locaux depuis 1996, signés de l'architecte Gilles Neveux, inaugurés par Jacques Chirac, et dédiés à l'un de ses anciens doyens, également premier président de l'université de Lille II, le professeur Warembourg. En 1981, l'Institut d'orthophonie Gabriel-Decroix de Lille est rattaché à la faculté de médecine.

En 2017, la faculté se divise en deux pôles : le pôle recherche faisant face à l'hôpital Claude Huriez et le pôle formation où sont formés les jeunes médecins. L'administration de la faculté se situe au pôle formation et rue Paul Duez au centre de Lille.

Les effectifs : Étudiants : 11 000 étudiants  et 550 personnels (dont 287 enseignants-chercheurs)

La faculté assure la formation initiale et la formation continue des médecins, et contribue à la formation des autres professionnels de santé, et à la recherche médicale fondamentale et clinique.

Son doyen est le professeur Didier Gosset depuis , remplaçant le professeur Jean-Paul Francke.

La Recherche (dix-sept laboratoires) :
 Les Laboratoires universitaires de recherche médicale,
 Le CERIM (Centre d'études et de recherche en informatique médicale),
 Le Laboratoire EVALAB,
 Le Laboratoire SIMED,
 L'Institut Fédératif de Recherches IFR n°22 "Biologie et Pathologie des Régulations Cellulaires",
 L'Unité 459 INSERM,
 L'ADR n°7 INSERM (Administration Déléguée Régionale).

UFR de pharmacie
La faculté des sciences pharmaceutiques et biologiques (ou faculté de pharmacie) de Lille II est l'héritière de la faculté mixte de médecine et de pharmacie créée en 1874. Henri Lotar fut le premier titulaire de la chaire de pharmacie créée en 1881 (on peut voir le mobilier et divers objets de son officine au musée de la faculté de pharmacie). La dichotomie s'ébauche en 1970, lors de la création de l'université de Lille II, avec la constitution d'une UER de pharmacie, qui devient autonome en décembre 1980, lors du regroupement des UER médicales au sein de la faculté de médecine.

En 2017 elle se trouve près du CHRU de Lille, rue du Professeur-Laguesse, en compagnie du SFP de Lille II (Service commun de formation permanente). Son doyen est le professeur Damien Cuny depuis 2015.

Les effectifs : une centaine d'enseignants-chercheurs pour 2000 étudiants

L'offre de formation initiale :
 Cursus des études de pharmacie
 MSBM (Maîtrise des Sciences Biologiques et Médicales)
 10 Diplômes de 3° cycle (4 DES d'internat, 2 DESS, 1 DEA ET 2 masters, doctorat et habilitation à diriger les recherches)
 2 DU (Santé  - Environnement, toxicologie médicale)
 2 DEUST (TOPS, Santé-environnement)

L'offre de formation continue :
 12 DUEC (Diplôme d'études complémentaires universitaires)
 3 DESS.
 2 DEUST
 1 licence professionnelle (Diagnostic et Suivi Agri-Environnementaux)
 1 licence professionnelle (Diagnostic et suivi agri-environnementaux)

La recherche (neuf laboratoires) :
 Parasitologie ( Thérèse Duriez)
 Immunologie
 Hématologie
 Biomathématique
 Physique
 Bactériologie clinique ( Luc Dubreuil)
 ICPAL (Institut de chimie pharmaceutique Albert-Lespagnol)
 interactions ligand-protéine
 Physiologie

UFR dentaire

La faculté d'odontologie (ou faculté de chirurgie dentaire) de Lille II est d'abord liée à l'histoire de la faculté de médecine, au sein de laquelle est autorisée l'enseignement dentaire, le , grâce au docteur Abel Caumartin. Lille devient ainsi la seconde ville, après Nancy, à posséder un tel enseignement. L'Institut de stomatologie, finalement ouvert en 1935, boulevard Paul-Painlevé, et détruit en 1944, est reconstruit en 1965 place de Verdun près du centre hospitalier (dont il occupe toujours l'emplacement en 2017), avant de devenir également un centre de soin et d'être érigé en UER en 1970, sous la direction du professeur Marcel Lemaire, prothésiste réputé.

L'offre de formation :

 Cursus des études de chirurgien dentiste
    : 3 DU (orthopédie dento-faciale et d'orthodontiste, de parodontologie, d'occlusodontologie et de réhabilitation orale fonctionnelle, d'occlusodontologie et d'ostéopathie); 2 Certificats d'études supérieures (d'orthopédie dento-faciale, d'odontologie chirurgicale); Certificat d'études cliniques spéciales mention orthodontie.
 Internat.

La recherche (huit laboratoires) :
 Physiopathologie des Maladies Osseuses et Inflammatoires EA4490 (dir. : Guillaume Penel)
 Biologie buccale (Doc. Marc Dangleterre)
 Morphogénèse céphalique et Prévention (Pr. Pierre Lafforgue)
 Biologie du parodonte ( Elizabeth Delcourt-Debruyne)
 Morphologie crânio-faciale ( Arlette Doual-Bisser)
 Physiologie mandibulaire appliquée ( Pierre-Hubert Dupas)
 Technologie des biomatériaux dentaires ( Pascal Behin)
 Laboratoire d'Anatomie buccodentaire ( Jean-Claude Libersa)

UFR du Sport
En 2017, la faculté des sciences du sport et de l'éducation physique de Lille II est la plus récente composante facultaire. Elle se situe sur la commune de Ronchin, au sud de Lille. Elle assure la formation des enseignants en éducation physique et sportive. Elle dispose notamment d'un grand stade, d'un gymnase et d'une piscine couverte. Son directeur est Guillaume Penel.

Les effectifs : Plus de 80 personnels (dont 60 enseignants) pour environ 2000 étudiants.

L'offre de formation : Parallèlement à une formation académique déclinée sous la forme du système LMD, les formations ont été professionnalisées afin de répondre au marché de l'emploi dans les domaines de l'enseignement et des activités physiques, sportives, artistiques et de loisirs. Quatre filières spécialisées (entraînement sportif, management du sport, activités physiques adaptées, éducation et motricité) sont proposées et des diplômes professionnels (un DEUST « encadrement et animation des APS » et une licence professionnelle « Management des Associations Sportives ») sont proposés.

La recherche : trois laboratoires couvrent les domaines des sciences de la vie et de la santé, ainsi que des sciences sociales et sciences de l'intervention :
 Laboratoire d'Études de la Motricité Humaine (Serge Berthoin);
 Laboratoire Sport Identité Culture (Claude Sobry);
 Laboratoire Éducation et Intervention (Béatrice Carne).

L'université de Lille II déclarait ainsi d'être l'une des plus sportives de France (à noter que le sport est obligatoire en première année de médecine ou de droit). Une Association sportive facultaire, affiliée à la Fédération française du sport universitaire, regroupait d'ailleurs 825 licenciés (au ).

UFR Finance, Banque, Comptabilité (anc. École supérieure des affaires)

Service de formation permanente

En 2017, le service commun de formation permanente (SFP) de Lille II, (ex-IUFP), est implanté sur la même aire que la faculté de pharmacie. Son directeur est M. Larbi Ait Hennani.

Le SFP ne résume pas toute l'offre de formation continue de Lille II. Il faut notamment y ajouter celle propres aux facultés de droit, de médecine et de pharmacie.

L'offre de formation du SFP couvre un large spectre, y compris la préparation aux concours des écoles sanitaires et/ou sociales; le SFP s'adapte à la demande :

 Licence d'administration publique.
 Master d'administration publique 1 et 2
 Master 2 Administration Pénitentiaire
 Préparation à la méthodologie des concours administratifs
 Préparation externe aux concours administratifs de catégorie B
 Préparation interne aux concours administratifs
 Mastère spécialisé en Drug design
 DU Techniques d'élaboration et d'analyse de biomolécules
 Master spécialisé conception du médicament
 Diplôme d'État I.C.H., sous le contrôle et avec homologation de l'ICH de Paris et délivré par l'ICH de Paris.
 Certificat d'études juridiques immobilières, délivré par l'ICH de Paris.
 Diplôme d'Université I.C.E.U. délivré par l'Université du Droit et de la Santé
 Diplôme ICH.
 Certificat d'études juridiques immobilières
 Diplôme ICEU
 Licence en Droit
 Master Droit  (en 2 ans)
 Les Masters professionnels Droit
 Les Masters professionnels Science politique
 DU Droit du Travail
 DU Droit des Assurances
 DU Propriété industrielle & technologies nouvelles
 DU de Fiscalité & Comptabilité
 DU Intervention dans le champ social
 DU d'Études juridiques françaises pour Étudiants Étrangers
 Licence de gestion, administration des affaires
 Licence Professionnelle Banque (en alternance)
 Master  Sciences de Gestion Administration des Affaires 1 et 2
 DU Podologie Appliquée au Sport
 DU Kinésithérapie du Sport
 Formation à la fonction de Cadres Supérieurs des services Médicaux et Médicaux Techniques Hospitalier Publics et Privés
 Certificat de Capacité des Personnels Techniques des Laboratoires d'analyses Médicales pour Effectuer des prélèvements Sanguins
 Séminaire de Formation et de Perfectionnement L'infirmière face aux Situation d'Urgences chez l'enfant.
 Séminaire Sécurité Transfusionnelle et Hémovigilance
 Diplôme de Nutrition et Alimentation chez la Personne Âgée
 Préparation au concours d'Admission Écoles Paramédicales Infirmiers, Aides-soignants et Auxiliaires de puériculture
 Préparation au concours d'Admission Écoles Sociales
 Préparation au concours d'Admission Écoles d'Orthophonie
 DU - Méthodologie et Didactique de l'Éducation Physique et Sportive
 DU - Préparation Physique des Sports d'Équipe
 Licence professionnelle Gestion des ressources humaines : assistant ressources humaines
 Séminaire Sensibilisation aux Techniques Sophrologiques
 A.E.U.C. de Sophrologie
 DU de Sophrologie

Instituts de Lille-II

Institut de Préparation à l'administration générale (IPAG)
Rattaché à la faculté de droit, l'IPAG prépare les étudiants aux différents concours de la fonction publique par le biais de formations diplômantes ou non. Les concours préparés sont ceux des Instituts régionaux d'administration (IRA), l'EHESP, le concours d'inspecteur des impôts ou encore les concours des douanesSite de l'IPAG.

Institut des Sciences du Travail (IST)
L'Institut des Sciences du Travail a été créé dans les années 1950Site de l'IST.

Institut lillois d'ingénierie de la santé(ILIS)

Institut de criminologie de Lille

Institut de Formation de Psychomotriciens
L'Institut de Formation de Psychomotriciens (IFP) est un établissement agréé par le Ministère du Travail et de la Santé & le Ministère de l'Enseignement Supérieur et de la Recherche, en convention avec l'Université de LILLE 2, en gestion autonome et subventionné par le Conseil Régional.

Personnalités liées à l'université

Enseignants

Dans l'ordre chronologique :
 René Cassin (prix Nobel) (1887 - 1976) fut professeur à l'université de Lille de 1920 à 1929.
 Paul Duez (1888-1947) était juriste.
 Claude Huriez (1907 - 1984) fut professeur de médecine à Lille et titulaire de la chaire de dermatologie.
 Guy Debeyre (1911 - 1998) fut professeur de droit à l'Université de Lille, puis recteur d'académie de Lille et homme politique.
 Monique Capron (1947 -) est professeure d'immunologie à la faculté des sciences pharmaceutiques depuis 1993.
 Régis Courtecuisse (1956 -), mycologue réputé, est professeur à la

Étudiants

Dans l'ordre chronologique :
 Daniel Vincent (1874 - 1946), homme politique
 Guy Debeyre (1911 - 1998), professeur de droit, puis recteur d'académie de Lille et homme politique
 Monique Capron (1947 -), pharmacienne, obtient son doctorat à l'université de Lille en 1974 avant d'y devenir praticienne hospitalière puis professeur.
 Régis Courtecuisse (1956 -), mycologue réputé, docteur en pharmacologie de l'université Lille 2 et docteur en science de l'université Paris XI (Orsay)
 Claire Mounier-Vehier (1962-), cardiologue, présidente de la FFC.
 Jean-Yves Moyart (1967-2021), avocat blogueur
 Frédéric Nihous (1967 -), homme politique français
 Angela Behelle (1971 -), romancière
Iris Mittenaere (1993 -), Miss France 2016 puis Miss Univers 2016
Patrick Kanner (1957 -), Ministre de la Ville, de la Jeunesse et des Sports (Gouvernement Valls II et Cazeneuve)
Maëlle Philippe, athlète française

Vie étudiante

Évolution démographique
Évolution démographique de la population universitaire

Sociologie des étudiants
Les étudiants de l'université Lille-II étaient principalement des habitants de la région. On trouvait aussi un certain nombre d'étudiants originaires d'autres régions de France, particulièrement pour les plus hauts diplômes (masters, doctorats). De nombreux étrangers suivaient des cours à Lille-II en dehors des programmes d'échanges.

Vie associative

Notes et références

Voir aussi

Bibliographie

Articles connexes
 Université de Lille
 Université Lille I
 Université Lille III
 Collège doctoral européen de la COMUE Lille Nord de France

Liens externes

Établissement scolaire fondé en 1970
Établissement scolaire disparu en 2017


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Q: How can I set a JavaBean's property using EL? I know how to retrieve (get) a bean's properties using EL. How can I set a JavaBean's property using EL?
Thanks!

A: A JSP is used to generate markup, from beans placed in request attributes by a controller. It shouldn't have to change bean properties. Only read from beans. So I would first check if what you're doing shouldn't be done in the controller rather than the view.
That said, to set a bean property, you use the <c:set> tag of the JSTL:
<c:set target="${someBean}" property="foo" value="someValue"/>

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About ten days ago, I installed the latest Visual D from GitHub and ran into some problems when trying out the DMD/GDC console application to use the "DMD | x64" config to compile a simple console app as an x64 native Windows application.
While I have not yet tested it, I believe the installer would have worked out of the box on my Windows 7 machine. But on my Windows 8.1 laptop, I had some trouble. Rather than boring you with all the things I tried, I will just share what finally worked for me.
I had downloaded and installed Visual D with VisualD-v0.3.37.exe. I had also downloaded and installed the latest DMD compiler from dlang.org. In the process of figuring things out, I also reinstalled Visual D.
Building Debug DMD x64\ConsoleApp1.exe failed!
After doing some browsing and searching, I found the known issues page and the fix described on the page did not work but it did lead me to do some more digging and experimenting until I found that modifying the sc.ini file with some very specific changes solved the problem. Here are the relevant lines, as modified, in my sc.ini file that finally made it possible for my little program to compile. (update—only the Environment64 changes are required—while Rainer Scheutze suggests that the paths can be modifed in Visual Studio, I've not been able to make that work).
This post will be my saved notes for the next time I have to configure a Windows 8.1 machine for D programming language in Visual Studio 2013 (and beyond). And I hope you find it useful too.


text:
package net.ontrack.extension.api;

import net.sf.jstring.support.CoreException;

public class ExtensionNotFoundException extends CoreException {

    public ExtensionNotFoundException(String name) {
        super(name);
    }
}

redpajama_set_name: RedPajamaGithub


text:
Vareilles ist der Name mehrerer Orte in Frankreich:

 Vareilles (Creuse), Gemeinde im Département Creuse
 Vareilles (Saône-et-Loire), Gemeinde im Département Saône-et-Loire
 Vareilles (Yonne), ehemalige Gemeinde im Département Yonne

redpajama_set_name: RedPajamaWikipedia


API Heritage Month originated in June 1977 when Representatives Frank Horton (New York) and Norman Y. Mineta (California) called for the establishment of Asian/Pacific Heritage Week. Hawaii senators Daniel Inouye and Spark Matsunaga introduced a similar bill in the Senate. Both bills passed, and in 1978 President Jimmy Carter signed the resolution. In 1990, President George H. W. Bush expanded the celebration from a week to a month. Asian Pacific American Heritage Month is celebrated to commemorate the arrival in May 1843 of the first Japanese immigrants to the United States.
"A child is a treasure that a professor has the ability to teach" "A teacher is a mother or a father, is a counselor, is a person that share knowledge, experience, and love; to create the new man or woman for a new generation that will help our society."


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Home Celebrity Charlie Sheen: "Hope is For Suckers"
Charlie Sheen: "Hope is For Suckers"
by Roger Friedman - March 4, 2011 2:55 pm
Charlie Sheen, who I thought was a little quiet in recent hours, surfaced again today on a Philadelphia morning radio call in show. He told Chia and Shilo from Philly's 96.5 that he's close to making a deal with CBS and "Two and A Half Men." He said he had faith,, not hope, that it was happening because "hope is for suckers." Sheen called into the show because they flew a plane over his house and begged him to call. You can only imagine what his neighbors are thinking at this point. Anyway, there's a lot of insane stuff in this interview as usual. Sheen said of people who are against him: "They boil my tiger blood like a microwave on meth." He added: "I don't speak to them anymore. I speak past them. I don't have any interest in being stuck in the mire of their stupidity. I lead with the truth. I've been inside the truth. If they decided to come around eventually… because the party over here is really bitching." Congrats to the radio station; their gimmick paid off. Nothing like the rantings of a madman to get attention!
JLO American Idol Video Sends Her to Number 1 on ITunes
Tiggy Winkle
I am waiting for Gary Busey to interview Charile…now that is one worth watching!
Charlie has balls.
too bad the same cant be said of the rest of America.
Anytime the MSM says someone is "crazy" or "madman" it gives credence to their message.
time to stop worrying about what other people think and open your mind to the truth.
March 5, 2011 11:58 am at 11:58 AM
Mmmm — I'm not sure, but I have a sneaking suspicion that Charlie Sheen might be crazy like a fox with his rantings. A lot of folks find his behavior interesting and entertaining, even COOL. There may just be commercial possibilities if it can be smartly harnessed in the right vehicle: internet blog, satelite radio show, cable reality show, etc.. Look no further than the successes of Howard Stern, TMZ, Radaronline, The Jersey Shore, among others. Charlie Sheen's shenaigans may just be a fit for something like this. Look at how the late night and cable TV comics have been milking this to great comic effect and ratings. The things that make you go "hmmmm"!

redpajama_set_name: RedPajamaCommonCrawl


People are an odd bunch. This spring we'll get to finally see Guy Ritchie's "Aladdin" in theaters. The live action adaptation looks pretty promising from the trailer (in my opinion), but people are a little upset.
In fall of 2018 Disney dropped some exclusive photos of the "Aladdin" cast in Entertainment Weekly. Everyone was super upset that Will Smith, who plays the Genie, wasn't blue in those pictures. That prompted Disney to assure people that he would be blue for most of the movie and that was just one form.
Last night a new trailer premiered for "Aladdin" and we got to see Will Smith is all his blue glory. Do you think people were happy? Of course they weren't.
I honestly don't see what all the complaining is about. Isn't this exactly how a live action version of the genie should look? We need to stop comparing him to the cartoon version. Also, what else were you expecting out of Will Smith?
Will Smith has been paying the exact same character since forever and he's fantastic. Will Smith plays Will Smith. In Hitch, Will Smith. In MIB, Will Smith. In Fresh Prince, Will Smith. In After Earth...not Will Smith. Not sure what that was exactly, but I digress!
My point is, everyone needs to chill out. "Aladdin" is going to be a fun movie. Just relax and wait for it to hit theaters.


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These Are the 35 Most Useless Members of Congress
Image: United States Congress
4. André Carson
Effectiveness Score: 0%
Total Sponsored Bills: 50
Bills Passed Committee: 0
Serving Since: 2008
The Representative for Indiana's 7th congressional district, André Carson is one of only two Muslim congressmen. And the Democrat riled the right in 2012 by saying that American schools could learn a thing or two from the Islamic education system.
Image: Stan Honda/AFP/Getty Images
3. Donna F. Edwards
Donna F. Edwards was arrested less than a year after Maryland's 4th congressional district voted her into the House of Representatives. Why? Because she disregarded police warnings when a demonstration outside the Sudan embassy was taking place. The Democrat was among those protesting against events in Darfur.


"Feel your pulse. Think whether you can get up morning after morning, strengthened in yesterday's purpose. In that case I will make you an offer that no one would decline. Listen attentively. You see, I have an idea of my own. My idea is to live a patriarchal life on a vast estate, say a hundred thousand acres, somewhere in the Southern States of America. I mean to be a planter, to have slaves, to make a few snug millions by selling my cattle, timber, and tobacco; I want to live an absolute monarch, and to do just as I please; to lead such a life as no one here in these squalid dens of lath and plaster ever imagines. I am a great poet; I do not write my poems, I feel them, and act them. At this moment I have fifty thousand francs, which might possibly buy forty negroes. I want two hundred thousand francs, because I want to have two hundred negroes to carry out my notions of the patriarachal life properly. Negroes, you see, are like a sort of family ready grown, and there are no inquisitive public prosecutors out there to interfere with you. That investment in ebony ought to mean three or four million francs in ten years' time. If I am successful, no one will ask me who I am. I shall be Mr. Four Millions, an American citizen. I shall be fifty years old by then, and sound and hearty still; I shall enjoy life after my own fashion. In two words, if I find you an heiress with a million, will you give me two hundred thousand francs? Twenty per cent commission, eh? Is that too much? Your little wife will be very much in love with you. Once married, you will show signs of uneasiness and remorse; for a couple of weeks you will be depressed. Then, some night after sundry grimacings, comes the confession, between two kisses, 'Two hundred thousand francs of debts, my darling!' This sort of farce is played every day in Paris, and by young men of the highest fashion. When a young wife has given her heart, she will not refuse her purse. Perhaps you are thinking that you will lose the money for good? Not you. You will make two hundred thousand francs again by some stroke of business. With your capital and your brains you should be able to accumulate as large a fortune as you could wish. ERGO, in six months you will have made your own fortune, and our old friend Vautrin's, and made an amiable woman very happy, to say nothing of your people at home, who must blow on their fingers to warm them, in the winter, for lack of firewood. You need not be surprised at my proposal, nor at the demand I make. Forty-seven out of every sixty great matches here in Paris are made after just such a bargain as this. The Chamber of Notaries compels my gentleman to----"


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Barrikadnaja  è una stazione della Metropolitana di Mosca situata sulla Linea Tagansko-Krasnopresnenskaja. Prende il nome dagli eventi della rivoluzione russa del 1905, durante la quale il sito dove oggi sorge la stazione fu sede di barricate. La fermata fu inaugurata nel 1972 come prima stazione del ramo Krasnopresenenskij, e per tre anni fu il capolinea meridionale di tale tratta, finché il tunnel verso Puškinskaja non la collegà al ramo Ždanovskij, unendo le due linee.

La stazione è stata costruita secondo il design tipico, tuttavia a causa delle condizioni geologiche del sito, i pilastri dovettero essere allargati. Decorativamente, la stazione mostra la deviazione degli anni settanta dal design funzionale degli anni sessanta. Gli architetti Strelkov e Polikarpova applicarono marmi rosati e rossi ai pilastri che, a causa della loro estensione dal pavimento alla volta, appaiono come barricate. Le mura sono squisitamente decorate con diverse tonalità di marmo rosa, rosso, blu e grigio; la banchina dovette essere estesa in quanto in origine era prevista la circolazione di treni più corti, che furono poi estesi a otto carrozze negli anni ottanta.

L'ingresso della stazione è situato il via Barrikadnaja, che collega Krasnajya Presnja con il Giardino dell'Anello; è esternamente decorato con un'opera in pietra che ritrae gli eventi del 1905. Dal lato opposto, vi sono i grattacieli di Stalin detti "Sette Sorelle". Al lato opposto del passaggio centrale, vi è l'interscambio con la stazione Krasnopresnenskaja della Linea Kol'cevaja

Il carico giornaliero di passeggeri della stazione ammonta a 32.400 persone entranti dagli ingressi, e 118.500 persone che accedono alla stazione tramite la linea Kol'cevaja.

Altri progetti

Collegamenti esterni

 KartaMetro.info — Posizione della stazione

Stazioni della metropolitana di Mosca


Apple has a double attack when it comes to making money and becoming the wealthiest company in the world with cash reserves that dwarf some countries' treasuries.
First, they make killer products with coveted features -- products that leave other tech companies only dreaming about innovation, and only copying Apple Inc. products.
Second, they make their products obsolete -- making it difficult for people to extend the life of their products.
The latest rumor out of Cupertino is that the next-generation iPhone will have a new connection port about one-third the size of the current model. It will use a 19-pin connector instead of the current 30-pin design. It will also incorporate electronic chips in the power supply that will block unlicensed accessories.
That means you extra chargers, clock radios, boom boxes, car chargers with your old phone won't work with your new phone.


Colleen Lindsay has more than twenty-five years experience in bookselling and publishing. For five years she served as the director of publicity for Del Rey Books, where she specialized in SF/F, graphic novels and licensed media. More recently she worked as a literary agent at FinePrint Literary Management, focusing on SF/F and young adult writers. Currently Colleen is part of the Penguin Group (USA) business development group and the community manager of Book Country, Penguin's new online community for genre fiction writers.
Charles Tan: Hi, Colleen! Thanks for agreeing to do the interview. In brief, could you tell us more about Book Country? How is it different from other critiquing sites?
Colleen Lindsay: Thanks for the invitation!
In a nutshell, Book Country is a free online workshopping community created by Penguin Books for genre fiction writers, specifically science fiction, fantasy, mystery, thriller and romance. (See below for more about why we chose genre fiction!) Although the site is intended for writers who are 18 years of age and older, we do welcome young adult writing on the site as long as the book fits naturally into one of the subgenres on our Genre Map and tags it as young adult.
On Book Country, writers can upload chapters, entire books, short stories, or flash fiction; get constructive feedback from their peers, as well as from the book industry professionals who run the site; and earn badges for writing accomplishments and improvements. And writers retain the copyright to any fiction posted on the site. Basically, our philosophy is: If you wrote it, it belongs to you.
And readers can join Book Country to find fresh new voices in genre fiction, provide thoughtful critique, learn about publishing, and earn badges for constructive participation on the site.
Book Country is a community created by people who are passionate about books, not just engineers and venture capitalists.
We keep people from gaming the system to get higher star ratings in two ways: In order for a writer to be able to post fiction on the site, he or she must first read and critique three pieces of fiction by fellow Book Country members. Additionally, we have a strong reputation system built into all areas of the site where members leave reviews and comments. At the bottom of every review or comment, you're asked the question: "Is this a constructive review (or comment)?" Members can thumbs-up or thumbs-down the reviews and comments; this way, the reputation of the member critiquing your book weighs as heavily as the critique itself. So a member who has no history of participation on the site leaving a five-star rating on a critique counts less than a long-term, active member who leaves a one-star rating. In this way, we feel that Book Country is a true meritocracy.
People who are critiquing fiction on the site are asked not to rate the books based simply on how much they may have liked or disliked the book, but rather how much work the piece needs before it's ready for publication. It's very much like the way agents and editors are looking at new work. We find that short reviews that are superficially positive but contain no specific feedback are far less helpful than a respectful, negative review that offers constructive criticism and concrete advice for tackling a writing problem.
Writers can ask for specific feedback in areas they feel they may need the most help with, like plotting, character development, voice, or setting.
We moderate heavily and don't tolerate disrespectful behavior on the site. We encourage civil debate and conversation, and we recognize members' rights to disagree with one another in the comments or forum threads. But we also expect each member to behave like an adult and frame his/her opinions in a respectful and polite way. Personal attacks aren't tolerated. Trust me when I say: I wield a heavy ban-hammer.
The thing that really makes Book Country stand apart from other sites is all the features we've designed to help readers find a writer's book! Chief among these features is our Genre Map, a groundbreaking visual mapping and discovery tool that helps writers better learn to categorize their genre and subgenre, and helps readers zero in on exactly the kind of story they're looking to read. We also have Top Lists like Book Country Community Favorite books and writers; these lists get feature placement in prime site locations and rotate every two weeks. New books that haven't yet received any critiques pop up in our Waiting to Be Discovered section. Book Country also has a robust faceted search function that readers can use to search books by genre, subgenre, tags, and more. And lastly, we have a crazy, wonderful tagging system based on genre, theme, setting, trope, and style. The more tags you use and the more specific you are ("vampires", "18th century", "London" "graphic violence", "first person POV"), the easier it will be for someone to find and read your book.
Charles: What made the Penguin Group decide to launch Book Country?
Colleen: The driving force behind Book Country is a real desire to help genre fiction writers learn more about the craft and business of writing, as well as to create a safe space for them to improve, better position themselves for a competitive commercial marketplace, connect with other writers, and to educate themselves about the various publishing paths available to them. We saw writers becoming frustrated with some of the other online writing sites that seem to provide little real guidance to writers.
Charles: What are the immediate plans and goals for the site? How about for the long-term? How does the Penguin Group hope to profit from this endeavor?
First, we're looking for fresh new voices and great genre fiction writers that we can bring into the traditional publishing model here at Penguin. Although we don't have the "Editor's Desk" aspect of Authonomy, we actually do have an active group of editors (both in-house and at other publishing companies) and agents reading and requesting material from the site. If an agent or an editor wants to get in touch with one of our members, he or she can write to us and we'll arrange an email introduction, if the author gives us permission to do so. Last week, we had two agent requests and four editor requests, so the system seems to be working!
In the Fall, we'll also be launching self-publishing services for those writers interested in pursuing a non-traditional publishing path. Book Country is building the system in-house; there are so many self-publishing companies offering expensive – and sometimes deceptive – services, services that were designed by engineers and technologists rather than publishers and people who love books. We really felt we could do better.
Those two revenues streams combined should serve to help us keep the Book Country community open as a free resource for aspiring genre fiction writers.
Our primary ongoing goal is to build the community and improve some of the site functionality. We've only been in public beta for since the end of April, but we already have almost 3200 members and more than 500 manuscripts posted.
We'd love to encourage more people to use the community to improve and workshop their writing. In the past two months, we've received so many emails, Tweets, and links to blog posts where writers tell us how much being a part of Book Country has helped them become better writers. It's gratifying to know that we're affecting real people in a tangible way.
Charles: How did you decide on the genres to focus on? Will your existing genres be expanded in the future?
Colleen: Genre fiction writers have always been pioneers when it comes to embracing and building online community. Years ago, when it became clear that print media had little to offer genre fiction writers in the way of reviews or promotional outlets, SF/F and romance writers created their own online spaces for reviews, interviews, and camaraderie. Mystery and thriller writers soon followed. We felt it was important to build on the genre community that already existed and create a new place where like-minded writers would feel comfortable reading, sharing work, and having discussions.
And let's all be honest: great genre fiction is really driving commercial publishing these days, in both print and e-publishing.
Charles: How did you get involved with Book Country?
Colleen: Wow, I think I had four different friends email me the job posting for the community manager position last May! I wasn't looking for a job, really. I was pretty happy at FinePrint, the literary agency where I'd been working since 2008, but eventually curiosity got the better of me and I reached out to Molly Barton, Penguin's director of business development and the mad genius who set this project in motion. Molly really wanted someone driving the community who had a.) substantial genre fiction experience, b.) a strong background in book publicity and marketing, c.) an agent's eye for commercial fiction, and d.) knew how to use online and social media tools to engage with and develop a community. In retrospect, it feels as though this job was custom made for me! I have to say, though, working with a group of people who are all so passionate about helping genre fiction writers has been an extraordinary experience so far.
Charles: How does your previous experience as an agent prove useful in being Book Country's community manager?
Colleen: My agenting background comes in handy both in keeping an eye out for work that is almost ready to publish, as well as being able to answer publishing questions for writers in the community forum.
Charles: What are your roles and responsibilities as community manager? What's a day in the life of Colleen Lindsay like?
Colleen: My role as the Book Country community manager is, like the site itself, a work-in-progress. When I started at Penguin, the site was still in the process of being built so my role was primarily an advisor. I was also tasked with finding a group of 500 beta testers to put the first few versions of Book Country through the ringer. Now that the site is live, I'm more active in actually running the community.
On any given day I'm reading and critiquing chapters, moderating the discussion forums and engaging in conversations, working with our PR team on brainstorming marketing strategies, planning conference attendance, keeping an eye on the budget, traveling to writing conferences and genre conventions to talk about Book Country and give demos, commissioning pieces for the Book Country Industry Blog, talking nervous writers off the ledge, answering the odd technical question (thankfully we have an amazing group of patient developers and tech gurus who answer the bulk of these questions!), writing copy, writing more copy, re-writing copy, organizing our bi-monthly #bookcountry Twitter chats, liaising with in-house editors and tech people, managing our social media presence on Twitter, Facebook, and YouTube, drinking copious amounts of iced coffee, shoveling questionable food truck lunches into my mouth, and hoping that nobody notices all the cat hair down the front of my shirt.
None of this would be possible, however, if not for the tremendous amount of help I get from my colleague Danielle Poiesz, Book Country's editorial coordinator, chief task mistress and Person Who Makes Things Run On Time. Danielle came from Pocket Books, where she was a romance editor; she came aboard in November, just when we were ramping up to go into private beta.
Charles: What are you currently reading? Is there any specific title/chapter from Book Country that you would like to recommend to those not familiar with the site?
Colleen: I really enjoyed a hard SF dystopian called The Ravelled Sleave of Care by Kevin Haggerty as well as a superhero fantasy by Michael Underwood called Shield & Crocus.


The Geography Department awards a limited number of $250 travel grants to students presenting research papers or posters at professional meetings. Detailed information about the travel grants, including application procedures (PDF).
Dr. James J. Parsons was one of the world's most honored cultural geographers. He served on the faculty of the Geography Department at the University of California-Berkeley from 1945 until he passed away in 1997. During those 52 years, Jim Parsons conducted field research in over 40 countries, focusing much of his time in Latin America and Spain where he studied a wide array of topics within the "human/land tradition" of geography such as marine green turtles, coffee agroforestry, Miskito Coast pine savannas, acorns and hogs, cork oak forests, biodiversity of the Canary Islands, national parks, environmental conservation, and much more.
He chaired 38 PhD committees and countless master theses. Jim traveled and published extensively. His many honors and awards include a Guggenheim, AAG Honors, the Berkeley Citation, two gold medals for research from the government of Colombia, and the Trabajador de la Cultura medal from the Instituto de Integración Cultural in Colombia. Jim served as President of the Association of American Geographers and Chair of the Center of Latin American Studies. His research exemplifies the "Berkeley School of Geography" which integrates field work, historical geography, cultural geography, land tenure studies, biogeography, cultural landscapes, and conservation. This is not surprising since Jim's PhD advisor was Dr. Carl O. Sauer, founder of the Berkeley School itself.
In 1989, Dr. Jack Wright established the Parsons Award for Excellence in Thesis Research to recognize and honor the contributions of Dr. Parsons who served as his PhD advisor and became his dear friend. Full description of the award (PDF).
Dr. Richard D. Wright began his academic career as a classically trained cartographer, graduating with a Ph.D. in Geography from the University of Kansas in 1967. For the next 25 years, he served in the Department of Geography at San Diego State University (SDSU), teaching and advising in the areas of traditional analog mapping and cartography. In the late 1980s, Dr. Wright saw the major potential for the use of GIS and computer-aided cartography in helping advance graduate and undergraduate studies at SDSU and was one of the original founders of the Center for Earth Systems Analysis Research (CESAR). Over the next 15-20 years, he was instrumental in generating the external funds needed to build and grow the CESAR lab. In doing so, he brought a range of applied GIS projects to the lab, and these projects and Dr. Wright's guidance and support helped train two generations of applied GIS specialists at the graduate and undergraduate levels. For his many contributions to applied GIS he was awarded the James R. Anderson Medal by the Association of American Geographers Applied Geography Specialty Group in 2002. In 2009, Dr. Christopher Brown established the Richard D. Wright Award for Excellence in Applied GIS to recognize and honor the contributions of Dr. Wright and to also recognize excellence in students interested in similar applied work we conduct at New Mexico State University. Full description of the award (PDF).
In recognition of excellence in course work during students' time as Geography Majors, Robert Czerniak, Professor Emeritus and his wife Beth Czerniak have established two endowed scholarships that apply to graduate and undergraduate students. Each award recognizes excellence in coursework and progress towards earning either the Bachelor of Science in Geography or the Master of Applied Geography, with the intent to provide financial assistance to students. Each scholarship of $200 is awarded to students though the Financial Aid office at NMSU. The scholarships will be announced at the Spring Awards Reception when certificates will be awarded. Full description of the award (PDF).
GIS educational initiatives and curriculum research.
a substantial portion of material relevant to GIS Education and curriculum research, including study of spatial cognition, spatial learning, or teaching and delivery methods.
Full description of the award (PDF).


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El municipio de Carneys Point (en inglés: Carneys Point Township) es un municipio ubicado en el condado de Salem  en el estado estadounidense de Nueva Jersey. En el año 2010 tenía una población de 8,049 habitantes y una densidad poblacional de 175 personas por km².

Geografía
El municipio de Carneys Point se encuentra ubicado en las coordenadas .

Demografía
Según la Oficina del Censo en 2000 los ingresos medios por hogar en el municipio eran de $41,007 y los ingresos medios por familia eran $52,213. Los hombres tenían unos ingresos medios de $39,861 frente a los $26,773 para las mujeres. La renta per cápita para la localidad era de $19,978. Alrededor del 10.8% de la población estaba por debajo del umbral de pobreza.

Referencias

Enlaces externos

Municipios de Nueva Jersey
Localidades del condado de Salem


What's a good rule of thumb for getting new headshots?
This question appeared on a singer's discussion board recently. GREAT QUESTION!
if you go from waist-length hair to a pixie cut (or vice versa!), or have a significant color-change, it's time. If you change your hairstyle a lot, consider doing multiple sessions across several months with different looks so you're covered for a couple of years.
most people are fine +/- a size or two, but more than that – or if it particularly shows in your face – you need a new headshot.
If your headshot is more than 1-2 years old (actor) or 4-5 years old (singer), you likely need a new one. If it's more than 7-10 years old (or still in black and white), you DEFINITELY need a new one! Kidding aside, even if it's still a good likeness trends in fashion and photography do change, and if your shot is noticeably out of date it can subtly impact how those who are doing the casting perceive you (and usually not in a good way).
While a headshot should never be specifically costumed, subtle hints of the kinds of roles you sing or characters you play through styling and expression can be appropriate and helpful to those who are casting. A soubrette may want to show she can be perky; a dramatic soprano to show some gravitas. Similarly, a Macbeth needs a different vibe than somebody looking for boy-next-door roles on TV. Hair and wardrobe styling are part of this, but it's also about expression. Think about what you want to project as well as the essence of who you are – both personally and as a performer – and what you want to look like.
If you don't have a range of shots, it may be time to add some new looks!
Singers and actors should have a range of shots which they can match to the opportunity being sought, or just the way the photo is being used. For actors, this may mean commercial/theatrical/bodyshot all with a range of looks and expressions; this can also cover various hairstyles if you're somebody who changes up your look a lot, or beard/no beard for the guys. For singers, this may mean a more casual look as well as formal-styled diva; a lot of singers like to have different shots for opera, concert, and website needs. It's very rare that a single shot covers everything, and in this digital age there's no reason it should have to!
In the section below are some then-and-now shots colleagues have share, as well as some from my own archive. In some cases, the difference is simply keeping up with the years. In others, there's a definite difference in vibe that has changed their look or shifted what they want to project in their images.
Do YOU have old and new shots, or contrasting looks, to compare? Share and leave a comment below!
The shot on the left was taken only about 18 months before the one on the right, but this singer had made a big change in look and career focus.
Same guy, similar suit, even similar lighting, but very different vibe and expression.
Although these are older shots the singer no longer uses, they perfectly demonstrate how you can need an updated shot to reflect a new vibe and look just a couple of years later. These were shot about three years apart.
Here's a young singer with a foot in both the operatic and theater worlds; even though these are from the same session, he needed two very different looks.
The exception that proves the rule: talk about somebody who knows herself and what she wants to project! These three shots are all taken years apart, yet despite the changes in styling and hair colour, there is a clear consistency of expression and intention.
← Divatography in DC on February 13th!


text:
Team North America
Team Europe
Team Latin America
Team Asia
Team Australasia
Team Africa
Transnational Team
IP Glossary
IP Dictionary
IP Ontologies
ICA MAT
Terminology Home
integrity [English]
InterPARES Definition
n. ~ IP2 · The quality of being complete and unaltered in all essential respects. With identity, a component of authenticity.
Other Definitions
IP2 Dictionary (†242 ): n. ~ The integrity of a record refers to its wholeness and soundness: a record has integrity when it is complete and uncorrupted in all its essential respects. [Archives] n., The preservation of programs and data for their intended purpose. [Arts] n., A digital entity has integrity when it is whole and sound or when it is complete and uncorrupted in all its essential respects. [Arts] n., The accuracy and completeness of data, particularly after it has undergone transmission from one system to another. [Computer and Information Sciences] n., Resistance to alteration by system errors. A user who files data expects that the contents of the files will not be changed by system errors in either hardware or software. Since such errors inevitably will occur from time to time, the prudent system manager maintains a system of protective dumps, organized in such a way that there always exists a valid copy of a recent version of every file on the system. [Computer and Information Sciences] n., Integrity refers to the protection of information from unauthorized access or revision. [Computer and Information Sciences] n., The quality of being whole and unaltered through loss, tampering, or corruption. [General Dictionaries]
IP2 Glossary (†386 s.v. integrity): n., The quality of being complete and unaltered in all essential respects. With identity, a component of authenticity. [General Dictionaries - Preservation of the Integrity of Electronic Records , Page: 29 ]
NIST FIPS 199 2004 (†735 p. 7): Guarding against improper information modification or destruction, and includes ensuring information non-repudiation and authenticity. [44 USC 3542]
SAA Glossary 2005 (†241 ): n. ~ The quality of being whole and unaltered through loss, tampering, or corruption. Notes: Integrity is a relative concept that assesses whether the essential nature of a record has changed. As a record ages, its ink may fade or bits of the paper may be chipped from edge without any significant loss of integrity. Contrawise, loss of a page from a record, especially one bearing authorizing signatures, has a significant impact on the record's integrity. ¶ In the context of records, integrity relates to the potential loss of physical or intellectual elements after a record has been created. It is distinguished from completeness, which refers to the presence of all required physical and intellectual elements when the record is created.
Wikipedia (†387 s.v. integrity): The quality of being honest and having strong moral principles; moral uprightness... The word integrity evolved from the Latin adjective integer, meaning whole or complete [American Heritage Dictionary, 2000]. In this context, integrity is the inner sense of "wholeness" deriving from qualities such as honesty and consistency of character. As such, one may judge that others "have integrity" to the extent that they act according to the values, beliefs and principles they claim to hold.
Berman 2008 (†586 p.55): The condition when data is unchanged from its source and has not been accidently or maliciously modified, altered, or destroyed. (†1179)
CNSS-4009 (†730 p.38): The property whereby an entity has not been modified in an unauthorized manner. (†1737)
Cohen 2008 (†652 p. 174): In most cases, the integrity of content is most important to its utility because, even if it is available and kept confidential, properly audited, and under use control, if it is wrong, its utility is poor. If it is wrong in specific ways, it can be very harmful. Integrity is often broken down into the integrity of the source, protection from inappropriate or unauthorized changes in the content, and assurance that the content represents an accurate reflection of reality suitable for the purpose. (†1483)
ISACA Glossary (†743 s.v. integrity): The guarding against improper information modification or destruction, and includes ensuring information nonrepudiation and authenticity. (†1783)
NIST 2013 (†734 p. B-12): Guarding against improper information modification or destruction, and includes ensuring information non-repudiation and authenticity. [44 U.S.C., Sec. 3542] (†1832)
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In a new paper accepted for publication in The Astrophysical Journal, astronomer Laura Schaefer of the Harvard-Smithsonian Center for Astrophysics (CfA) and her colleagues examined the question of what would happen to GJ 1132b over time if it began with a steamy, water-rich atmosphere.
Orbiting so close to its star, at a distance of just 1.4 million miles, the planet is flooded with ultraviolet (UV) light. UV light breaks apart water molecules into hydrogen and oxygen, both of which then can be lost into space. However, since hydrogen is lighter it escapes more readily, while oxygen lingers behind.
"On cooler planets, oxygen could be a sign of alien life and habitability. But on a hot planet like GJ 1132b, it's a sign of the exact opposite — a planet that's being baked and sterilized," said Schaefer.
A "magma ocean" would interact with the atmosphere, absorbing some of the oxygen, but how much? Only about 10 percent, according to the model created by Schaefer and her colleagues. Most of the remaining 90 percent of leftover oxygen would stream off into space, though some might linger.
"This planet might be the first time we detect oxygen on a rocky planet outside the solar system," said co-author Robin Wordsworth of the Harvard Paulson School of Engineering and Applied Sciences.
The magma ocean-atmosphere model could help scientists solve the puzzle of how Venus evolved. The planet probably began with Earth-like amounts of water, which would have been broken apart by sunlight. Yet Venus shows few signs of lingering oxygen. The missing oxygen problem continues to baffle astronomers.
The work is available online .
GJ 1132 b is a nearby Earth-sized exoplanet transiting an M dwarf, and is amongst the most highly characterizable small exoplanets currently known. In this paper we study the interaction of a magma ocean with a water-rich atmosphere on GJ 1132b and determine that it must have begun with more than 5 wt% initial water in order to still retain a water-based atmosphere. We also determine the amount of O2 that can build up in the atmosphere as a result of hydrogen dissociation and loss. We find that the magma ocean absorbs at most ~10% of the O2 produced, whereas more than 90% is lost to space through hydrodynamic drag. The most common outcome for GJ 1132 b from our simulations is a tenuous atmosphere dominated by O2, although for very large initial water abundances atmospheres with several thousands of bars of O2 are possible. A substantial steam envelope would indicate either the existence of an earlier H2 envelope or low XUV flux over the system's lifetime. A steam atmosphere would also imply the continued existence of a magma ocean on GJ 1132 b. Further modeling is needed to study the evolution of CO2 or N2-rich atmospheres on GJ 1132 b.


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wildsound festival review
Interview with Festival Director Jacques Paisner (Santa Fe Independent Film Festival)
March 8, 2016 March 8, 2016 festreviews festival deadlines, Festival Interview, film festival, film festival reviews, Interview, interviews, matthew toffolo wildsound, Q&A with the Artistic Director, Uncategorized, wildsound festival review	festival director, festival interview, festival reviews, film festival review, interview, Jacques Paisner, moviemaker top 50 festivals, Santa Fe Independent Film Festival
The Santa Fe Independent Film Festival was named Moviemaker Magazine's "50 Festivals Worth the Entry Fee in 2014 & 2015". Santa Fe Independent Film Festival is invested in Santa Fe as a destination for film. Bringing cutting edge programming, the latest independent films and directors, Native cinema, New Mexico and Student films, and masters discussions with visiting artists and professionals in their field, all in the setting of downtown Santa Fe.
Interview with Festival Director Jacques Paisner:
Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?
Jacques Paisner: While exposing their pictures to a discriminating and unique audience here in Santa Fe, filmmakers also get accommodations, chances to interact with celebrity guests, and peerless artists, plus access to all films and events at the festival, and place in a highly selective program amongst the best international and independent films of the year each season.
Matthew: What would you expect to experience if you attend the festival this year (2016)?
Jacques: You can expect exciting world cinema, top independent films, flawless projection in a little city with some of the best theaters in the world. You can attend epic parties, and rub elbows with people like Shirley Maclaine , And George RR Martin, and even the legendary Gena Rowlands.
Matthew: What are the qualifications for the selected films?
Jacques: We're really looking for films that tell a unique story, a film that invites you into a world all its own, captivating films from all over the world that push the boundaries of the imagination, that are on the cutting edge of what a film is or what a narrative is or what a documentary is, films that reinvent the genre, or more importantly allow an artistic medium to come face to face with itself.
Matthew: Do you think that some films really don't get a fair shake from film festivals? And if so, why?
Jacques: There are some very good films every year, and there are many not very good films every year, and the same goes for festivals. There are some really good ones that put a lot of time and attention and professional efforts into their programs, and there are some really bad ones too.
Matthew: What motivates you and your team to do this festival?
Jacques: Well I guess the first motivation is that it's our job, but beyond that I think there's a real sense of responsibility and purpose and decency that runs throughout the organization, with this greater common goal of Santa Fe as this Mecca for independent films and filmmakers. Our office is above the Jean Cocteau theater and George RR Martin is her landlord, and we have coffee and pizza, young interns, and really spend a lot of time talking about movies, so it's fun work and I think there's also a sense that what we're doing is dynamic and important and cutting edge, and also sort of sticking it to the Man in a creative way.
Matthew: How has the festival changed since its inception?
Jacques: The festival started as a fringe fest in a community center, now the biggest festival film festival for hundreds of miles in every direction, with five theaters, over 10,000 attendees anuli annually, and called "a young Sundance" by IndieWire, The festival has grown into a top art event in Santa Fe.
Matthew: Where do you see the festival by 2020?
Jacques: We would like to expand the attendance to about 50,000 people, with about 30,000 of those traveling here from out of town. We want Santa Fe to be a top destination for films and filmmakers and to host more and more screenings and more special events each season.
Matthew: What film have you seen the most times in your life?
Jacques:I don't think I've seen it the most times but I know I have seen "My Life as a Dog" many times.
Matthew: In one sentence, what makes a great film?
Jacques: Orsen Welles said "A film is never really good unless the camera is an eye in the head of a poet" however, I think a film, or any piece of art, really succeeds or fails based upon the standards that it creates for itself.
Matthew: How is the film scene in your city?
Jacques: We are now one of the top movie theater cities on the planet with Violet Crown, the historic Lensic Performing Arts Center, George R.R. Martin's Jean Cocteau Cinema, the Center for Contemporary Arts programmed by "Sembene" director Jason Silverman, and The Screen at the Santa Fe University Film School chaired by Chris Eyre.
Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Fesival held in downtown Toronto on the last Thursday of every single month. Go tohttp://www.wildsound.ca for more information and to submit your work to the festival.
Interview with Denise Gossett, Festival Founder/Director for the Shriekfest Film Festival
January 15, 2016 January 15, 2016 festreviews Festival Interview, film festival, film festival reviews, horror, Interview, interviews, screenplay festival, Uncategorized, wildsound festival review	Denise Gossett, festival reviews, film festival, film festival review, horror film festival, matthew toffolo wildsound, Shriekfest Film Festival & Screenplay Competition
Heading into their 16th year, the Shriekfest Film Festival & Screenplay Competition is one of the top Horror Festivals in the world today. Founder Denise Gossett was voted number 5 out of 13 Most Influential Women In Horror History!
Go to the website and find out about the 2016 season.
http://www.shriekfest.com
I recently sat down with Denise Gossett to talk about her festival.
Matthew Toffolo: Bottomline, what are you attempting to accomplish (and obviously succeeding at) with the Shriekfest Festival?
Denise Gossett: Well, my goal has always been to help get exposure for all of these talented filmmakers and writers that people may not know about. We are all about the indie filmmaker.
Matthew: Why do you think there is such large fan base for Horror Films? Why do so many people like being frightened and scared when watching something?
Denise: I think it's the same reason people look at a car accident, we are curious, however, we like to experience it when it's not a life or death situation..that's where horror films come in. Being frightened is fun and exciting, it's a visceral experience. Same reason people love roller coasters. The thrill of it all.
Matthew: What motivated you to start this festival?
Denise: I had starred in a horror film & realized that there weren't any horror festivals in the U.S to help promote it, horror seems to be the ignored step child of the industry and I wanted to change that.
Matthew: What have you learned the most running a successful festival for over 16 years?
Denise: You have to be kind, you have to help people and you have to enjoy it and be passionate….these creatives are trusting me with their babies, whether it's a script or a film, and I should treat that baby with the utmost care and love.
Denise: The main passion and caring has remained the same, of course, but, now we get submissions from every country out there, Shriekfest wins all kinds of awards, and we have regular fans that attend every year. Also, if you have a win at Shriekfest, it does seem to open doors for people.
Matthew: How many films do you anticipate showcasing at your 2016 Film Festival?
Denise: We will screen approximately 45 films!
Matthew: Can you give us a sneak peak of what to expect for the 2016 Festival?
Denise: Hmmm, we are discussing that right now….ways to make our "Sweet 16th" birthday extra special. New trophies, bigger, better parties, some new categories.
Matthew: Where do you see your festival in 5 years?
Denise: Oh goodness….well, I may not be running it by then. I am an actor as well and my career is really taking off and it's making it very difficult for me to do both. We'll see. 🙂 As long as Shriekfest is around, I will be involved in some way. It's my baby and like I said earlier, I want it treated well. So, in 5 years, it will be extremely hard to get tickets to any of the screenings. How's that? LOL
Matthew: What film have you seen the most in your life?
Denise: Grease 🙂 I was obsessed with it when I was younger.
Matthew: Is there a country that consistently makes great horror films that you show at your festival year after year?
Denise: Spain really produces some amazing films.
Matthew: Has there ever been a case where a film that you watch that gets submitted to your festival is just too violent or just too gory?
Denise: Well, there are some, but I have an audience that loves that stuff, so, it doesn't affect decisions.
Matthew: In one sentence, what makes a great horror film?
Denise: A great horror film has a great story with some new or unique ideas, great acting, great filming, great sound, great editing, basically, a complete package.
Thank you so much for the interview. I'm honored.
Interviewer Matthew Toffolo is currently the festival director for the WILDsound Film & Writing Festival.
Short Film Movie Review: GREECE (Canada, 16min. Drama)
January 13, 2016 January 13, 2016 festreviews acting, actors, Amanda Lomonaco, audience feedback festival, mother/daughter, movie, Movie Review, pictures, Uncategorized, wildsound festival review	Amanda Lomonaco, greece short film, movie review, sarah deakins, Short Film Movie Review, WATCH Audience FEEDBACK Video, wildsound feedback film festival, wildsound review
GREECE, 16min, Canada, Drama
Directed by Sarah Deakins
On a rainy afternoon in a British nursing home, a woman struggles to make a last connection with her seemingly catatonic mother.
"A tribute to the complicated relationships between parents and children with moving dialogue and expressions…A deeply personal journey with beautiful cinematography."
– Best Shorts Competition
Watch the Audience FEEDBACK Video of GREECE from the FEEDBACK Film Festival:
Movie Review by Amanda Lomonaco:
This film hits near and dear to my heart. With many family members who have suffered from Alzheimer's and dementia, I am all too familiar with the struggles and frustrations the disease can cause on victims, family members, and caretakers alike. Sarah Deakins has done a fantastic job in portraying these struggles through an incredibly simple, yet equally powerful screenplay.
I suppose my personal experience with this illness creates an obvious bias towards this film, but it wasn't so much the subject matter that drew me to this film so much as the way the subject matter was treated. I felt that Deakins did an exceptional job in portraying a very realistic, emotional scenario without dipping too far into cliché. It was all very believable, very clear, and very close to the reality of what families can experience when a loved one is suffering from Alzheimer's.
The performances contributed greatly to sharp sense of realness of the short. This is particularly surprising for a film supported almost entirely by a monologue from one of the characters. Deakin's superimpositions of the fantasy images that are going through each of the character's heads only magnify the already brilliant cinematography of Greece, luring you in further.
Greece is not an excessively dramatic film, though it speaks of quite a terrible tragedy. It doesn't take you on a crazy emotional journey, but it still tugs, ever so gently, at your heart. It's a warm cup of tea on a quiet, melancholy, cold day. It might make you tear up a bit, it might make you appreciate your parents or your grandparents more, it might bore you or not affect you at all. Still it's worth a watch, a thoughtful, reflective watch, when you're in the mood for some more serious pondering. If nothing else I hope it reminds you to enjoy your life and appreciate it for all it is and for all you can do within it, because one day you might not be able to anymore.
Short Film Movie Review: MOUSSE (Sweden, 40min. Comedy/Crime)
January 13, 2016 January 13, 2016 festreviews acting, actors, Amanda Lomonaco, audience feedback festival, Festival Interview, film festival, film festival reviews, movie, Movie Review, Short Film Movie Review, shorts showcase, Uncategorized, wildsound festival review, winning stories	Amanda Lomonaco, comedy short film, crime short film, john hellberg, mousse short film, movie review, Short Film Movie Review, sweden short film, wildsound feedback film festival
MOUSSE, 38min, Sweden, Comedy/Crime
Directed by John Hellberg
MOUSSE is a medium length droll and blackly comic tale of an honest criminal and police ineptitude.
MOUSSE was the winner of best film at the 2014 FEEDBACK Film Festival.
Watch the Audience FEEDBACK Video of MOUSSE:
Absolutely brilliant. I've seen this movie 3 times already and I can't get enough of it. After watching it the first time at WILDSound, I could not stop thinking about how great it was, I even hunted parts of the soundtrack down, until finally I had to hunt down the film itself. This is especially surprising considering this film is one of the longer selections I've seen at WILDSound, standing at 41 minutes. Even if you're not a lover of subtitles, I would give this film a try.
To begin with, the acting in this film is exceptional, particularly for a film with such a wide diversity of cast, and an equal diversity of languages. Every character in Mousse is meticulously developed and well rounded, and every performance throughout the film feels nothing but genuine. The casting of the elderly policemen could equally not have been more perfect as it added a surprising element of hilarity to the film.
It's hard to call John Hellberg's picture a "short film" given its ambiguous length, standing somewhere between a feature and a short film, but at no point during the film do you find yourself disengaged or uninterested. Hellberg propels the story forward through a series of juxtapositions that intertwine seamlessly into the main story line, and prevent any semblance of boredom. Moreover, the production quality gives no sense of cutting any corners, giving Mousse an almost feature like quality.
Between the odd translations and awkward pauses in communication, the age and attitude of the policemen, & the jokes the actors tell each other, it's hard to say what part of Mousse isn't hilarious. It's almost as if Hellberg is trying to cover all his bases in the humour category, from visual, to verbal, he even throws a couple of fart jokes in there just in case.
If you haven't caught on by now, I think this film needs more visibility. Heck, if it were a part of a DVD collection I would buy it right away just to show others. It will take a little more of your time than most short films, but you'll be laughing so hard the whole time you'll hardly notice it passing. This is the first of Hellberg's films that I've ever encountered, but I hope to come across many more in the future.
Movie Review: CHICKLAND (Short Film) 2015
January 4, 2016 January 4, 2016 festreviews 2015 movies, acting, actors, Amanda Lomonaco, audience feedback festival, comedy festival, film festival, film festival reviews, movie, Movie Review, Short Film Movie Review, shorts showcase, Uncategorized, wildsound festival review	2015 movie reviews, Amanda Lomonaco, chickland short film, movie review, Short Film Movie Review, stanislav graziani, WATCH Audience FEEDBACK Video
CHICKLAND played to rave reviews at the November 2015 FEEDBACK Film Festival
Watch the Audience FEEDBACK Video from the Festival:
CHICKLAND, 11min, France, Comedy/Sci-Fi
Directed by Stanislav Graziani
Bubu and Toufik think they are the next Steve Jobs and Martin Zuckerberg… They have implanted a chip in their brain, which gives them access to the web… giving them instant access to universal knowledge. For their first experiment, they test it on picking up girls…
Review of the Short Film by Amanda Lomonaco:
Chickland left me a little bit on the fence. With the growing dissemination of devices like the Google Glass, and the expansion of Virtual Reality technology Chickland is a bit of a terrifying reminder of a reality that we could all soon be living in. Nevertheless, director Stanislav Graziani did a good job at balancing out the miracles of new technology, with the limitations of our own human psyche, providing a slightly less dystopic view of the future.
The hardest thing to understand about the film was the age range of the actors involved. The male actors seemed far too young to be approaching the girls they were trying to pick up, although perhaps this was done on purpose, considering the end result of their experiment. The end of the film itself is also a bit reassuring, emphasizing the humanity of even the most technologically oriented minds.
There isn't much that can be said about Chickland without revealing much of the film's plot. It's a peek into the future, into what life might look like if Google Glass ever really catches on. Of course there are certain differences. It's not likely that the Google Glass "victims" of the future will have no suspicion of the tactics being used on them. Then again perhaps this was what Graziani was indicating in his depiction of the boy's interaction with the math student.
Students of art might also find this film a little insulting in how easily the one boy was able to fake being a literary connoisseur, while his counterpart struggled to prove his math prowess. Nevertheless both the boys' reactions to "completing the task" at the end of the film showed a lot of emotional sensitivity, one that most young boys of that age would normally not be so ready to admit or expose.
Chickland is an interesting experimental look into what our future might look like, how our grandchildren might date, find partners, or explore their sexuality. It sparks a lot of thinking about where our technological pursuits are heading, what it might truly bring us in the future. This wasn't by any means one of my favourite short films to watch, but it certainly carried some interesting ideas that will inspire you to consider how natural human emotion is able to coexist with the calculated patterns of digital technology.
Movie Review: THE LAST POST (Award Winning Short Film) 2015
January 4, 2016 January 4, 2016 festreviews 2015 movies, acting, actors, Amanda Lomonaco, audience feedback festival, comedy festival, movie, Movie Review, Short Film Movie Review, Uncategorized, wildsound festival review	2015 movie reviews, adam preston, Amanda Lomonaco, comedy short film, film festival review, movie review, Short Film Movie Review, the last post, WATCH Audience FEEDBACK Video
THE LAST POST played to rave reviews at the November 2015 FEEDBACK Film Festival
THE LAST POST, 15min, UK, Comedy/Social Media
Directed by Adam Preston
A halfwit is invited to speak at the funeral of a girl he only knew through the internet.
Hilariously cringe-worthy. There's no other way to describe this one. We all now a girl like her; updating her social media constantly, her life seems near perfect, everything she does is amazing, and fun, everything she eats is delicious, and if you wanted you could find out everything about her. Well, almost everything. As we all know social media and online profiles only give us little peeks into a person's life. No matter how often you update it, how much content you add to it, it's hard to know the real truth of who a person really is purely through their social media profiles.
Adam Preston has somehow managed to perfectly balance the tragedy and comedy of our excessively interconnected lives. Using the knowledge you can typically gather from a person's social media accounts Preston writes a hysterical eulogy for one such social media star. This is certainly one film where credit needs to be highly awarded for performance. The Last Post's main character had me tearing up with laughter non-stop.
Admittedly Preston could have added to the comedic value of his short by having the funeral attendants accept the eulogy as a sincere tribute to the deceased. Nevertheless his actual choice of direction didn't detract from the hilarity in any way. I also feel obliged to question Preston's choice of the social class of the deceased and her family. It seems a little reductionist to have her and her family be from a region with a certain reputation for ignorance, simplicity, and poverty. It might have been a little more interesting if they had been from a posh family. However, part of the reason for this could have been to increase the threatening demeanor of the two bully brothers.
The Last Post is more than just a hilarious short film; it's a commentary on today's modern, digitally centered society. I had a very odd feeling as soon as the film was over because after having laughed the entire way through the film, I found myself pondreing deeper issues as soon as it was over. Comedy is for everyone, and comedy that is pertinent to current issues is all the more worth it. It kind of suits all flavour preferences; if you're up for something more serious, this movie will work for you, if you're up for a good laugh, add this to your list, heck it even has a little violence if that's your cup of tea! I think you can see where I'm going with this one. Definitely give The Last Post a watch, whatever your inclination. It will be worth it.
Movie Review: SHOOT GRANNY (Short Film) 2015
January 4, 2016 January 4, 2016 festreviews 2015 movies, Amanda Lomonaco, audience feedback festival, film festival, film festival reviews, movie, Movie Review, Short Film Movie Review, Uncategorized, wildsound festival review	2015 movie reviews, Amanda Lomonaco, comedy short film, musical short film, Olivier Kowalczyk, shoot granny, Short Film Movie Review, WATCH Audience FEEDBACK Video
SHOOT GRANNY played to rave reviews at the November 2015 FEEDBACK Film Festival
SHOOT GRANNY, 5min, Spain, Comedy/Musical
Directed by Olivier Kowalczyk
Shoot Granny or when an ordinary tea time between three friends turns into an improvised Gymkhana. On a music of Todd Terje.
Shoot Granny garnered a really good laugh from the audience, with great reason. It's common to hear complaints about loud, partying teenagers, but what happens when those loud partiers are actually your grandparents?
The director Olivier Kowalczyck says he was inspired by his work as a doctor; disappointed by how they seemed to perscribe anti-depressants to help seniors sleep rather than provide them with any real psychological support. He claims to have felt like more of a drug dealer than a doctor, and this thought led him to create the storyline for Shoot Granny.
Thankfully Kowalczyck has managed to turn this upsetting subject matter into quite a hilarious repartie. With the background knowledge of this film in mind it might be easy to reprimand Kowalczyck for his comedic approach, but in actual fact what he has done by injecting comedy into this topic is open it up to a much wider public that might otherwise want to ignore the issue. Kowalczyck also manages to add a stronger element of agency to the elderly, allowing us to relate to them as people who like to enjoy themselves, just as we all do, rather than as victims with no control over their ailments.
Some members of the audience seemed a little put off by the loud music, or by the fact that the film didn't carry subtitles, but Shoot Granny could very well be played on mute and still get its message across. Someone once told me that a film is only truly good if it is able to be played in black and white, and silently while still achieving the same level of emotional impact. Despite the fact that its bright, psychodelic patterns and blaring music adds greatly to the story, I still believe this film would achieve the same purpose without these elements. I think anyone would benefit from watching Shoot Granny, who knows, it might help you approach and understand again, or your elderly loved ones, with just a little more affection and care.


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Rabble News - CRTC complaint filed for reporting on Laibar Singh
I have been thinking for some time that the news coverage of Laibar Singh's case has been biased. I know, however, I am somewhat sensitive to Canadian coverage of Sikh community matters in general and thought perhaps my perceptions were a bit jaundiced. Evidentally, I am not the only person finding the coverage unfair. I found this press release and am sharing it with you. For those who may n ot know - OK, I had to look it up - CRTC stands for Canadian Radio-Television Commission.
CRTC complaint filed for reporting on Laibar Singh
A group of journalists, academics, and media-watch groups have filed a CRTC complaint stating that news coverage of the case of Mr. Laibar Singh was not accurate, full, and comprehensive. According to the complainants, this inaccurate and incomplete coverage breached the broadcasters' ethical codes and betrayed the public trust, while negatively impacting the public perception in the case of Mr. Laibar Singh.
This complaint has been filed against CBC TV, CBC Radio, CKNW, CTV, and Global TV on the grounds that – despite numerous clarifications including by legal experts - broadcasters failed to provide accurate, comprehensive, fair, full, and unbiased coverage when they reported falsely that Laibar Singh "came to Canada illegally" or that he "was illegal" in Canada prior to taking sanctuary in July 2007. This decontextualized and/or inaccurate information has fuelled ignorance in the public sphere and has negatively influenced perceptions of Mr. Laibar Singh and all asylum seekers to Canada.
The complaints have been filed as a group by:
- Ann Simonton, Coordinator and Founder, Media Watch
- Judy Rebick, Professor of Communications and Culture, Ryerson University
- Isabel Macdonald, Communications Director, Fairness and Accuracy in Reporting- New York (FAIR)*
- Dr. Fiona Jeffries, Instructor, Communications Department, Simon Fraser University
- Dr. Jenny Burman, Assistant Professor, Communication Studies, McGill University
- Avi Lewis, Filmmaker and broadcaster
- Naomi Klein, Author and syndicated columnist
- Steve Anderson, Coordinator, Campaign for Democratic Media
- Dr. Yasmin Jiwani, Associate Professor, Department of Communication Studies, Concordia University
- Derrick O'Keefe, Editor, rabble.ca
- Marshall Soules, Media Studies Department Chair, Malaspina University-College
"By inaccurately stating that Laibar Singh 'entered Canada illegally,' when in fact he came under a prescribed channel that many asylum seekers choose, and by leaving out essential context about laws pertaining to asylum seekers, broadcasters have used the public airwaves to fuel ignorance rather than to inform the public," stated Macdonald.
Soules added, "The media must be held accountable for reporting misleading, incomplete, and inaccurate information. This is especially important when that reporting contributes to biased perceptions of refugees and immigrants who contribute so much to Canadian society. The media are failing in their duty to the public trust, and the CRTC has a clear responsibility to investigate this failure."
"The repetition of an inaccuracy in the media is one of the worst examples of how media framing can impact on legal proceedings. The impact of the falsehood that Laibar Singh entered Canada illegally cannot be overestimated. This error must be corrected and the media held accountable. A man's life may be at stake," stated Rebick.
"The biggest problem with media inaccuracies has to do with situations such as this, when real humans are being hurt by what the media says," Simonton agreed.
Klein, who has already lent her support to the campaign to allow Mr. Singh to remain in Canada on humanitarian and compassionate grounds, stated, "Public perception has been informed by often careless reporting. Letters to the editor, web comments, and callers on radio shows have argued that Laibar Singh's deportation should proceed based on a perceived 'illegality,' a claim fuelled by inaccurate news reports. The media is responsible for informing the public in an accurate, full, and fair way, and they have betrayed that trust, while contributing to false public perceptions of Mr. Singh."
Jeffries concluded, "The news media has an enormous influence on framing public debates and it is vital that it adheres to its own stated commitment to accuracy and responsible reporting of the facts. This complaint seeks to hold the news media to its public responsibility."
WHY TRY TO FIT IN?
YOU WERE BORN TO STAND OUT!
Posted by Mai at 2:56 AM
Labels: Biased Reporting, CBC, Laibar Singh
Rabble News - CRTC complaint filed for reporting o...