text:
Working 2050 is a speculative oral history.
Listen to Audio versions here.
Drawing on lessons from oral historians like Studs Terkel and science fiction writers like Adrienne Maree Brown and Octavia Butler, we interview people in 2020 about their work and ask them what they think everyday life will be like in 2050.
Those conversations, along with patterns in systems, history, and science, model one possible future, presented as fictional interviews with workers in the year 2050.
With the central question "who gets to imagine the future?" it explores identity, purpose, group dynamics, uncertainty, systems change, and the everyday decisions that make up meaningful work.
Wait who is Studs Terkel? What is "working"?
In the 50s, 60s, and 70s, radio journalist and personality Studs Terkel interviewed people around the country about their jobs.
This oral history project became the book "Working: People Talk About What They Do All Day And What They Think About It." You can read some of those interviews here. "Working 2050" is inspired by Studs Terkel -- a collection of conversations with workers of the future.
Is this world a utopia or a dystopia?
It depends. Do you believe in utopia? Do you believe in dystopia? A world where that isn't completely devoid of humans in 2050 is optimistic in some ways. Otherwise, we assume the world in 2050 is a lot like today: it depends on who you ask.
Check out "To Consider/Other Reading" for other ways to think about this.
Can I listen to these?
Can I do this in real life?
Yes! This is based on a writing workshop. We are also looking for writers, readers/actors, and interviewees. More soon.
To Consider/Other Reading:
Secession. Unions. Afrofuturism. Borders. Bots. Pandemics. Loneliness. Reparations. AI. Blockchain. "Are you in the right headspace to receive information that could harm you?" Ujamaa. Infrastructure. God is Change. Generations. The Weather . Snowpiercer. The 1929 War of the Worlds Broadcast. EdTech. Colonialism. Patreon. CRISPR. Eldercare. Emotion Analytics. Cooperatives. The Moon. Prisons. Fatphobia. Bellwether. Hopepunk. Zapatistas. SEO. Games as Work. Hormones. Billionaire Bomb Shelters. LA Earthquake. BreadTube. Bolivia. The Green New Deal. "The Great Dithering". ASMR. Internet Shutdowns. African Socialism. Recomposition. LARPing. Friends. "The Biological Revolution." Tenant Unions. Generational Trauma. Pleasure Activism. Progressive Revenue. Model UN. Tidying Up with Marie Kondo. The Confederate States of America. Circular Economies. Eko. Television. Self Actualization. Mental Health. Organic 3D Printing. Nostalgia. Basic Income. Ransomware. Amazon Ring. AR. Astrology. Mass Extinction. Luxury Space Communism. Polyamory. Mycology.
Self Sufficiency. 2 Factor Authentication. The 'Sharing' Economy. Hope as a discipline.
Listen to the Episode Here. Credits + Gratitude: 2020 Interviewee: Rabbi Menachem Cohen 2050 Interviewee: Ursula Delany, Pathfinder, pla...

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: import external js into only one component When I import external js into angular 4 one component, In every component it will load. How can I import that js file into only one component and how load it when only function call.
//custom component
import * as extjs from '../assets/extjs.js';

constructor(){
this.myfunction();
}

myfunction(){
extjs.extfunc();
}

A: The reason is when you import your module, it will be injected directly into the app.js file of angular. So, all module can use it.
For instance, when you do this to another component:
declare var extjs: any;
console.log(extjs);

Your extjs return exts api.
So I recommand you to use dynamic import, so your extjs will be ejected only when the component need to use it.
How to do it?
In the file tsconfig.app.json into your folder src, change the following line:
"module": "es2015"

With this line:
"module": "esnext"

It will allow you to make lazy loading script.
So in your component, just do this:
constructor(){
   this.myfunction();
}

async myfunction(){
  const extjs = await import('../assets/extjs.js');
  extjs.extfunc();
}

Check your network tab into your dev tool, load this component or inject it into another component and you will see the chunk of extjs is generated.
Hope it helps you.

A: You would need something like a dynamic import, so the import can be moved to the function and only executed when necessary. Currently, this is not really well supported, if at all.

redpajama_set_name: RedPajamaStackExchange


text:
Vérkhniaia Saldà (en rus: Верхняя Салда) és una ciutat de la província de Sverdlovsk, a Rússia, segons el cens del 2021 tenia 41.026 habitants.

Referències

Ciutats de la província de Sverdlovsk

redpajama_set_name: RedPajamaWikipedia


Mr Justice MacDonald has been appointed as the Family Division Liaison Judge for the Northern Circuit with effect from 1st February 2019 where he will succeed Mr Justice Hayden. This appointment has been made by the President of the Family Division, following consultation with the Lord Chancellor.
The Hon Mr Justice MacDonald was called to the Bar, Inner Temple, in 1995 and became a QC in 2011. He was appointed a Recorder in 2009 and a High Court Judge, of the Family Division, in 2015.


Lawrence O'CONNOR; Margaret O'Connor; Kathy Hecker; Mary Jane Vroman; Nicky Pelaez, On Behalf of Herself and All Others Similarly Situated; Laverne F. Barina, Mary Hillerstein; Sharon Grandinetti; Donald Reed; Terri Aungst; Ruby November 27, 2002 No. 00-56141.
DOAN v. IMMIGRATION AND NATURALIZATION SERVICE November 27, 2002 No. 01-56784.
FRANKLIN v. FOX November 27, 2002 No. 01-15052.
UNITED STATES v. FRANCO LOPEZ November 27, 2002 No. 00-50422.
CONESTOGA SERVICES CORPORATION v. EXECUTIVE RISK INDEMNITY INC November 27, 2002 No. 01-16693.
Eleanor STATON; Beverly Trotter; Kevin Biglow, Plaintiffs-Appellants, Solomon Williams; Shirley Miller; Deborah Woods; Wendy Kelly; Myron Knight; Michael Eckles; Donald Ballard; William Bell, Clarence Thompson; Doreen Ferguso November 26, 2002 No. 99-36086.
UNITED STATES v. ORTEGA BRITO November 26, 2002 No. 02-50114.
UNITED STATES v. HACKETT November 26, 2002 No. 01-30360.
UNITED STATES v. DOMINGUEZ BENITEZ November 25, 2002 No. 00-50181.
UNITED STATES v. SIERRA VELASQUEZ November 22, 2002 Nos. 00-50749, 01-50042, 01-50155, 00-50750, 01-50151, 01-50446, 01-50030, 01-50157, 01-50432.
UNITED STATES v. HOSOI November 22, 2002 No. 01-10604.
CANO MERIDA v. IMMIGRATION AND NATURALIZATION SERVICE November 22, 2002 No. 01-71423.
ESPEJO v. IMMIGRATION AND NATURALIZATION SERVICE November 22, 2002 No. 01-71568.
SOLIMAN v. PHILIP MORRIS INCORPORATED USA November 22, 2002 No. 01-15387.
ALFORD v. DCH FOUNDATION GROUP LONG TERM DISABILITY PLAN UNUM November 21, 2002 Nos. 01-56090, No. 01-56178.
UNITED STATES v. SESCHILLIE November 21, 2002 No. 01-10147.
UNITED STATES v. OCHOA November 21, 2002 No. 01-50324.
UNITED STATES v. NEIL November 20, 2002 No. 01-50459.
GONZALEZ v. GUTIERREZ November 20, 2002 Nos. 02-55079, 02-55120.
THRIFTY OIL CO v. BANK OF AMERICA NATIONAL TRUST AND SAVINGS ASSOCIATION November 19, 2002 No. 00-56159.
JEBIAN v. HEWLETT PACKARD COMPANY ERISA November 19, 2002 No. 00-56988.
COALITION OF CLERGY, LAWYERS, AND PROFESSORS; Haim Dov Beliak; Robert A. Berger; Kathryn S. Bloomfield; Erwin Chemerinsky; Ramsey Clark; Allen Freehling; Steven Jacobs; Harold S. Lewis, Jr.; Hugh R. Manes; Arthur L. Margolis; November 18, 2002 No. 02-55367.
UNITED STATES v. GONZALEZ TAMARIZ November 18, 2002 No. 00-10542.
CARDENAS v. ANZAI November 18, 2002 No. 01-15297.
BUI v. AMERICAN TELEPHONE TELEGRAPH COMPANY INCORPORATED SOS November 15, 2002 No. 01-35509.
MAJEWSKI v. St. Rose Dominican Hospital, Appellee. November 13, 2002 No. 01-15544.
Pravin D. PATEL; Aruna P. Patel; Sanjay Patel; Harivandan P. Patel; Hansa Patel; Amrut N. Patel; Sita Patel; Jayesh Patel; Suresh Patel; Mahesh Patel; Bhavabhai Patel; Vibhakar B. Patel; Mahendra Patel; Vimalaben V. November 13, 2002 No. 01-55280.
LAWSON v. CITY OF SANTA BARBARA November 13, 2002 No. 01-56150.
FLOWERS v. CARVILLE November 12, 2002 No. 00-17299.
MILLER v. COMMISSIONER OF INTERNAL REVENUE November 8, 2002 No. 00-71285.
QUINAULT INDIAN NATION v. GRAYS HARBOR COUNTY November 8, 2002 No. 01-35219.
FEDERAL ELECTION COMMISSION v. TOLEDANO November 7, 2002 No. 01-56762.
ESKANOS ADLER v. LEETIEN November 7, 2002 No. 01-56203.
THOMAS v. NAKATANI November 6, 2002 No. 01-16310.
SERVIN ESPINOZA v. ASHCROFT November 5, 2002 No. 01-16225.
HOLGERSON v. KNOWLES November 5, 2002 No. 01-15804.
BIODIVERSITY LEGAL FOUNDATION; Montana Native Plant Society-Flathead Chapter; Washington Native Plant Society-Northeast Chapter; Peter Lesica, an individual; Southwest Center for Biological Diversity; Bonnie Dombrowski, an individual; Ma November 4, 2002 Nos. 00-35076, 00-35089.
MIGUEL v. COUNTRY FUNDING CORP 1995 November 4, 2002 Nos. 00-17338, 00-17339.
LEAGUE OF WILDERNESS DEFENDERS/BLUE MOUNTAINS BIODIVERSITY PROJECT, an Oregon nonprofit corporation; Kettle Range Conservation Group, a Washington nonprofit corporation; The Lands Council, a Washington nonprofit corporation; Hells Canyon Preserva November 4, 2002 No. 01-35729.
SAN FRANCISCO BAYKEEPER INC v. TOSCO CORPORATION November 1, 2002 No. 01-15939.


text:
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What is the EU Single Market?
With the European Union preparing for the United Kingdom's departure, looking at how we got to this agreement is important in understanding what might happen when the UK leaves. The EU Single Market is an agreement far along the scale of free trade agreements and further than most, so in many senses it is an interesting yet well-thought-out experiment in free market economics.
A single market is a trade bloc where almost all trade barriers have been lost, such as restrictions on the mobility on goods, services, capital and labour. The process of becoming a single market was lengthy with many hindrances which needed to be overcome by the politicians of the time.
The European Union was first established after the end of World War II with the aim of establishing peace among the six founding members: Belgium, France, Germany, Italy, Luxembourg and the Netherlands with Denmark and the UK joining in 1973. In July 1968, the members came to form a customs union, which is when countries agree to free trade between them and the same levels of protectionism to outside countries.
The single market was achieved in 1993 despite the aim being established in the Treaty of Rome signed on 25 March 1957. Even though the single market hadn't been achieved by the late 1980s, there was gradual liberalisation, partially due to the fact that the European Coal and Steel Community had begun to unite the European countries economically and politically.
Progress was being made until the oil crisis of 1973 and the subsequent recessions across the European countries. This led to the emergence and adoption of more nationalist and protectionist policies, such as increased tariffs on traded goods and the implementation of quotas. Another obstacle was the effect of the differences in tax legislation between the European Union member states.
Countries with lower corporate taxes gave the companies which produced there a competitive advantage over those from countries with higher corporate taxes due to their lower operating costs. By the 1980s, there was little progress being made towards the objective of a single market and even some movement away from it because of the contemporary economic climate.
Establishing a single market
In the 1980s, the European Economic Community had just started to fall behind the rest of the developed world in terms of economic growth. Margaret Thatcher, the prime minister of the United Kingdom from 1979 to 1990, decided that the European Community should focus once again on the goal of a single market.
She sent the Baron Arthur Cockfield to the Delors Commission, the European Commission under the administration of the President Jacques Delors, who wrote a White Paper in 1985 pinpointing three hundred measures he deemed necessary to reach a single market. This White Paper led to the adoption of the Single European Act in 1986: a six-year programme aimed at sorting out the issues with free trade across borders, fundamentally reforming the decision-making process and setting a deadline on the goal.
Broad-based Progress
In the process of moving towards a single market, individual freedom of movement went from being just for employed workers and businessmen to including students, pensioners and those on annuities. Customs formalities were eliminated on 1 January 1993 as well as product manufacturing norms being established recognising the basic health and safety standards necessary.
Although free trade in goods happened relatively quickly, services took a lot longer which was an especially significant obstacle considering the service sector was often the largest in these developed economies. Competition policy was strengthened to prevent issues across member states: there was the monitoring of mergers, prohibiting worrying agreements and forbidding state aid. However, there were still tax disparities which led to members reducing taxes just to attract businesses.
The Picture Today
In theory, the movement towards a single market and free trade in general can have a multitude of benefits. Free trade in goods and services led to business being exposed to more competition means that companies are more likely to operate at lower prices and more efficiently, which can only be good for the consumer as real incomes would increase.
They may also benefit from economies of scale from producing a higher quantity of goods leading to lower production costs. However, if companies aren't as competitive or efficient as overseas competitors, this may lead to them producing a lower quantity or going out of business. Freer mobility of labour may cause lower unemployment overall as areas with an excess supply of workers can move to areas with an excess demand.
Free movement of capital allows for cross-country business alliances and ventures, increasing dynamic efficiency and competitiveness. Intra-EU trade is clearly important, as it accounts for 17-28% of the world trade in goods and services, suggesting that free trade may be beneficial.
There are, as to be expected, issues with a single market. The EU is in a semi-permanent recession as many countries have persistent slow growth with high levels of national debt and fiscal austerity. There is also a severe jobs crisis which many believe has partially resulted from the single market.
Even with these issues, a study by Kommerskollegium found that there was been a generally positive effect on GDP primarily through the free movement of goods and services but there are no signs of increased competition in the service sector, which may become more of a problem in the future as more countries increase their reliance on services.
Do you have a keen interest in Economics or International Relations?
If you are intrigued by the functioning of EU and you would like to learn more, you should attend our award-winning International Relations or Economic Summer School where you will explore the main concepts and ideas in the field and learn about development and financial economics.
Something about Susan Xu Monday marked the first day of formal lessons for our participants. Everyone got stuck in, with our philosophers thinking about the big questions surrounding moral ethics
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text:
The Irish Society has been active in the greater Ottawa-Gatineau area in various forms since 1957. On March 6, 1995, The Society was re-organized and officially incorporated in the Province of Ontario as The Irish Society of the National Capital Region as a non-profit charitable corporation (Ontario Corporation Number 1119278).
Irish Society Constitution Revised on September 18, 2018 at the AGM.
The focal point for everything Irish in the National Capital Region
To strengthen the Irish/Irish-Canadian community
To promote Irish culture and heritage
To promote the interests of the Irish/Irish-Canadian community
To create a greater awareness of the Irish Society within the college and university community
To provide appropriate financial support to members of The Society, as required.
The Society's main objectives are the promotion of Irish / Irish-Canadian culture and heritage, and the strengthening and support of the Irish / Irish-Canadian community in the Ottawa region.
The Irish Society's activities include:
Members Christmas Party
Ottawa Irish Festival (previously Irish Week) held annually in mid-March, featuring a variety of cultural and social events, including the annual St. Patrick's Parade and Party
publication of our members' newsletter - Irish Society / NCR Newsletter
operation of the Irish Society's website (www.irishsocietyncr.com)
Celtic Cross Memorial commemoration
other cultural, social and fundraising events


text:
Extracorporeal membrane oxygenation (ECMO) for acute heart failure in adults
Interventional procedures guidance [IPG482] Published date: March 2014
2 Indications and current treatments
4 Efficacy
5 Safety
6 Committee comments
This section describes efficacy outcomes from the published literature that the Committee considered as part of the evidence about this procedure. For more detailed information on the evidence, see the interventional procedure overview.
4.1 A register including 3065 adult cardiac failure and cardiopulmonary resuscitation (CPR) patients reported survival to discharge or transfer in 39% (891/2312) of cardiac failure patients and in 27% (207/753) of CPR patients. A non-randomised comparative study of 79 patients (61 treated by extracorporeal membrane oxygenation [ECMO] compared with 18 treated by miniaturised percutaneous ventricular assist device [mp-VAD]) reported in-hospital survival in 49% (30/61) of ECMO patients and 50% (9/18, p>0.999) of mp-VAD patients.Three case series of 81 patients (with acute refractory cardiogenic shock), 295 patients (treated by ECMO-supported CPR), 219 patients (with refractory postcardiotomy cardiogenic shock) and 1 systematic review of case series of 1150 patients (with cardiogenic shock postcardiotomy) reported survival to discharge in 42% (34/81), 27% (79/295), 24% (52/219) and 34% (386/1150) of patients respectively.
4.2 A case series of 47 patients with refractory postcardiotomy cardiogenic shock who were discharged from hospital after ECMO reported an overall survival rate of 59% at 10 years.
4.3 A non-randomised comparative study of 79 patients (61 ECMO compared with 18 mp-VAD) reported 31% (19/61) of the ECMO group and 28% (5/18, p>0.999) of the mp-VAD group were successfully bridged to long-term support or transplant. A systematic review of case series of 800 patients reported that 4% (29/800) were bridged to transplant. Seventy-six per cent (22/29) of these patients survived to discharge. The case series of 219 patients reported that 4% (8/219) of patients were bridged to a long-term ventricular assist device. Five patients subsequently died, 2 had a successful transplant and 1 was successfully weaned from ECMO.
4.4 The case series of 81 patients (28 patients available for quality of life evaluation) reported significantly better scores in physical component (p=0.0001), general health (p=0.01) and vitality (p=0.02) domains of SF-36 quality of life scores in 14 patients who were followed up for 325 days or more than 14 patients who were followed up for fewer than 325 days.
4.5 The specialist advisers listed key efficacy outcomes as survival (to discharge from hospital, at 28 days, at 6 months, to definitive therapy, and long term), successful bridge to recovery, functional capacity and quality of life in the long term.


Discussion in 'AV Stands, Cabinets, Seating & Furniture' started by Elppin, Dec 29, 2006.
Saw these whilst searching for cabinets earlier, and thought they didn't look too bad at all. (Also available in Beech).
As usual, no connection with vendor etc, just wondering if anyone else had one?
Ooh, that's rather nice! Not bad price either, since it says it includes the bracket for the TV (though at that price don't expect it to have been within a hundred miles of an actual walnut tree, it'll be chipboard or MDF).


Healthcare Recruitment UK understand how important it is and how hard it can be when finding and securing the next best step in your career – There are many potential opportunities out there to look at, so we aim to make the whole process of finding your new dream job as efficient and easy as possible.
When you Send your CV into Healthcare Recruitment UK you can be sure that the consultant who you speak with is specialist and will be able to add value to your job search.
Our approach is individually tailored to each and every candidate we work with as you all have very different skills and career aspirations. We listen to exactly what you are looking for in your next position and then proactively work on your behalf, putting you forward to the positions that most match your requirements.
Due to our established network of relationships across a wide range of companies in the industry, we have the advantage of knowing what the current and upcoming opportunities are available in your area before others. To view a list of all of our existing vacancies please visit our Jobs page.
Working with us is completely free so if you are a qualified healthcare professional who is looking for that next position, Healthcare Recruitment UK can assist you in finding that perfect job you have been looking for.


Uptown Jazz Dallas Organization - A diverse community for all musicians, venues, fashion, film & arts enthusiasts!
The Official social network of Uptown Jazz Dallas International Jazz Festival Org. North Texas' largest jazz movement! Free membership!
Hello everyone and welcome to my first Blog of 2019.


by Tony Schick Follow OPB Nov. 8, 2016 9:56 a.m. | Updated: Nov. 8, 2016 8:32 p.m.
Oregon's highest voter turnout in recent years was in 2004, with 86 percent of eligible voters casting ballots.
In Washington, election officials are also planning for a record-breaking turnout.
By Election Day, more than 2 million ballots had been returned, accounting for more than half of ballots that had been sent out, according to the Washington Secretary of State's office.


Hi, friends! I was rummaging around in a drawer in the craft room, and came across some Stampin' Up rub-ons that I didn't know I had, so decided to use them. That's the thing - I've got so much because my husband is generous and understands my passion for creating, but I know I've overdone it, and have way too much! When you find things you don't remember buying or being given, then it's time to purge, so things can be used and enjoyed. I guess my way of thinking is changing as I get older. Physical things are just that, and having more is having less of the things in life that are most important. How do you feel about it?
This is a multi-layered card, with five levels. The base cardstock is white, then a patterned floral sheet, the teal stripe, then the green and teal floral paper. The green flowers and swirls are the rub-on. On top of the strip is a verse from a vellum verse pack that I mounted with teal rhinestone brads onto green striped cardstock. This was adhered with foam dimensionals. The letter "T" for "today" is from a package of alphabet charms, and was adhered with a foam dimensional after tying on some green ribbon which was taped to the back of the base floral paper, then applied to the white card. I usually leave the inside of the card void of a sentiment so it can be tailored to a specific occasion, but I did put another flower rub-on inside.
This card is so cheery, and was left behind when she moved out a few months ago. I had neglected to take a picture of it, so it's a good thing she did leave it. The card shape is called a Double Display card. I purchased them already cut and scored like this, but there are patterns for them online too. It's a very fun card to make, and so many different colors, pattern and additions can be made to it!
This is the card opened, and so much can be added inside! Surprise! The verses are from Verve.
Thanks so much for checking in! Have a great day!
Hi! I hope you're doing well, staying cool, and enjoying the summer!
The discipleship (student) classes being held at my church have really helped me grow in Christ. One of the things we did was take a personal look at our strengths and weaknesses in many areas to determine what our spiritual gifts are. Mine turned out to be hospitality and encouragement. Whenever I hear of someone going through one of the dark valleys of life, I try to be an encouragement by sending them a card. Even my husband has asked me for a card periodically for a co-worker.
Speaking of encouragement, he has been my encourager! Mike has referred my blog to some of his friends and co-workers, and this has resulted in many orders. That is why I've been making so many pop-up box cards! Well, sometimes we need to be encouraged also, and I was told by a very smart and insightful woman that I should make a card for myself! That was an odd thing to think about, but the bible says we should love our neighbor as ourself, so if you need encouragement or cheering up for any reason, make yourself a card! I know you know how it feels to get a card in the mail from someone unexpectedly, and what a surprise when you send yourself one! I didn't recognize my own handwriting as first, so that gave me a laugh. Love and encourage yourself, as you do others!
This card is one that was so easy, but looks so elegant. I really liked how it turned out, so I'm going to have to go get some more of the Prima roses in varying colors to make more. The sentiment is from Our Daily Bread Designs. I added some fuchsia grosgrain ribbon, some vintage lace, and a little tan fancy trim. The cardstock was given to me, so I'm sorry I don't know what pad it came from.
Hello! I just had to make another one! The cheery, happy pop-up box cards! If you haven't tried one, they are not difficult, and will cheer you as you assemble it! You just can't help but smile as your put your own personal touch on it!
On this one, I used tan, burgundy, fuchsia, rose and a minty green cardstock over white. I mixed and matched the die cut flowers on the different papers, and used the green for the leaves. With the pearl centers, everything was brought together. The sentiment if from Justrite's With Sympathy stamp set.
Hello! It's never too early to start stocking up on cards for specific holidays, so I've started my collection for Halloween. Here are five recents. Enjoy!
and orange cardstock. The "h" and "g" are stickers.
print is from a cd I ordered from Twisted Papers.
whole appearance of this card from the previous one.
Don't you just love the print?
This little trick-or-treater is getting "tricked". The ghost coming out from behind a scary, pointy gothic fence. It looks like he's already been turned into the "Great Pumpkin!" This is another print from the Twisted Papers cd.
for the "Great Pumpkin Boy" and his cat.
Another ghosty. Love that black sparkle!
Hi, y'all! Using more of the cardstock a friend gave me that I've been bathing in (haha), this card is very cheery and colorful! I love the paisley pattern. The inside flowers are stamped with Heartfelt Creations Angel Trumpet Flower stamps, and hand-cut. Love that hummer flitting around! Very peachy!
The card is folded flat and ready to mail.
on when you purchase them). The flowers have artificial stamins applied.
Hi, again! Welcome back, and I think you'll like this new card!
I used to sew quite a bit, but haven't done so in a long time. I've machine sewn on a few cards, but haven't done a lot of hand stitching like this. I purchased a new die that punches all the little holes in oval shapes. Only one strand of embroidery floss was used, and was easy and quick to stitch by hand. Just put your needle in the next hole.
The floral-patterned cardstock is retired Stampin' Up, and I only had two sheets! I need more if anyone has any for sale!!! The flowers were stamped and punched from Heartfelt Creations stamps and dies, with Stampin' Up ink, and two rhinestones. The ribbon is from SU also. These colors are so bright and happy!
Enjoy your summer, and thanks for leaving a comment!
I can't say enough about Prima's flowers! These roses come 10 to a card, and in different shades. They are just perfect!
Thank you for taking a little time out of your busy day to stop by and peek at my card. This virtual "Thank You" is for you!
A friend gave me the most exquisite pad of 12" x 12" cardstock. I have been swimming in it, rolling in it, loving it! This is just one little sheet of it! The photo could have been better, but just so you know, the skeleton leaf is gold and the edges of the card elements were sponged with gold. They look gray to me in this photo. The white half-circle die cut is from the Spellbinders Grand Decorative Circles.
I hope you are well, and enjoying life! Please come again soon!
Bonjour! How are you today? I have been able to spend more time in the craft room, which I love. With babysitting my grandsons, I didn't have much time to create, but since I'm not doing that now, I have been able to get quite a few cards done. I went to dinner two weeks ago with my husband and his coworkers, and they ordered nine cards, so I've been busy.
I have a sympathy card to share with you today. A friend gave me some beautiful cardstock and I just had to dig right in! I haven't made too many "guy" cards, and need to. This one fits the bill.
The sentiment is from Stampin' Up, and the wing die is a new one for me from Spellbinders.
from the die, then it was mounted on a mat of gold.
The wings were adhered with sponge dimensionals.
Here's another cheery pop-up box card! I can't keep them in stock, so to speak! Stampin' Up's retired paper is so pretty, and I only had one or two sheets of each, so these boxes are truly one-of-a-kind!
I hope you're having a great and crafty summer!
so I will have to talk to my friend, Donna, who provided them for me. They are so pretty when the solid bases are covered in glitter!
"Faith is the light that guides us through the darkness". What a great sentiment! Life contains periodical darkness, but my faith has pulled me through. I'm still fascinated with the pop-up box cards, and have sold several recently. Truly an amazing pattern for a surprise in a box, that one can't help by smile at when opened! This one is particularly happy and encouraging!
and I was given just two sheets each of the double-sided paper.
I wish I knew the name and could get more of it, but it's been discontinued. Thanks so much for popping by! Stay cool out there in the summer heat!
Hi! I have been so inspired by the pop-up box cards, that I can't seem to stop making them! It was butterflies before - now it's seafaring and ocean that is popping up! Thank you for taking a quick look!
I have taken stamps and sentiments from two different stamp companies, with similar themes, and put them together to create this card.
and how He is the anchor of our lives.
The crab, star fish and shell images are from Stampin' Up.


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Time Pilot Review
July 3, 2018 ReviewsArcade, Arcade Games, Atari 2600, Coleco, Colecovision, Game Boy Advance, Konami, MSX, Nintendo DS, PlayStation, retro games, Retro Gaming, Time Pilot, Xbox 360thedeviot
Time Travel. It is a widely used theme in fiction, and video games have been no exception. It was a plot device in Chrono Trigger. It was used it Timesplitters. It was used in Time Slip. It has even been used in multiple Final Fantasy games, including the first one. So it should be no surprise that even in the golden age of arcade machines, developers would take a crack at the idea. Today's game was one of Konami's efforts. Before Contra, and Castlevania there was Frogger. Somewhere in between these franchises came Time Pilot.
PROS: Tight controls. Nice visual details.
CONS: Cheap A.I.. Home versions missing features.
GREAT SCOTT: There are no DeLorean cars, but there are space ships.
Released in 1982, with ports following a year later, Time Pilot is both original, and derivative. It came at a time when many games were about blowing up ships, for big points, and the high score. However it is also a game where the enemies change vastly between waves. Something that, while simple, seems to add some variety.
So what do you do in Time Pilot? You destroy enemies for points. But there are some nuances about it. Each wave of enemies takes place in a different era. When you first begin the game, you'll be in the year 1910. So you'll be smack dab in the middle of early biplanes. Upon seeing you, they'll swarm you, and do their best to shoot you down. So you'll go along, blowing up planes. Once you've destroyed enough of them, a boss will appear. The first boss is a giant zeppelin. If you can manage to take it down, your ship will flash, and warp ahead in time.
Wave two takes place in the year 1940. So you'll be taking down biplanes in the midst of World War II dogfights. These planes also drop bombs in addition to shooting bullets at you. So the game's difficulty inches upward as a result. If you can survive long enough, and destroy enough planes you'll be attacked by the boss: a bomber. Manage to shoot it down, and you'll again warp ahead.
Wave three gets you to 1970, and you'll be going up against a ton of helicopters. These have much wilder flight patterns than the planes you were going up against, and so you can again expect things to get a bit tougher. You'll face an even bigger helicopter in a boss fight. If you can defeat the boss you jump ahead again.
Wave four jumps ahead twelve years to 1982, and so the enemies change to what was contemporary. Fighter jets. The jets are faster than anything you've faced at this point, and like the helicopters, have heat seeking missiles! If somehow you can take down enough of these you'll go up against a B-52 bomber. If by some miracle you survive all of this, you'll jump ahead.
The final wave takes you to 2001. So naturally you'll be going up against extraterrestrial U.F.O.s. This stage has so much random craziness in its attack patterns. You'll fight a mothership of course, and taking it down is quite the challenge. If you manage to do so the game starts over, and each wave the difficulty amps up even more. You can also get big points by rescuing other pilots in each era who can be found parachuting. Just fly over them, and nab the bonuses.
Time Pilot had a few official ports although there were unofficial clones on home computers like the Commodore 64, and ZX Spectrum. As far as the officially licensed ones go, they appeared on the MSX computer in Japan, and in North America on the Atari 2600, and Colecovision. The 2600, and Colecovision versions were published by Coleco. The game has been included in several compilations, and services for the PlayStation, Xbox 360, Gameboy Advance, and Nintendo DS.
Visually, Time Pilot is pretty nice, and the 8-bit sprites hold up pretty well. the clouds , planes, and bosses all scroll around smoothly, and the performance is pretty good. Every version looks pretty good, with the Colecovision running neck, and neck with the MSX version. The Colecovision includes most of the features found in the arcade version albeit with less detailed sprites, and animation. The paratroopers are there, the erratic patterns of enemy waves, and all of the firepower. However, it is missing the 2001 UFO wave which seems to be a glaring oversight.
The 2600 version looks better than you might expect, however there aren't multiple flight paths for the enemies. So every enemy wave member flies in the same pattern. The enemies also don't have any secondary weapons, and the bosses can be taken out in a single hit, making this the easiest of the home versions. It also doesn't have the paratroopers. It's still a pretty solid effort though, and even includes the 2001 wave the Colecovision version omits. It's also an uncommon game on the Atari 2600 so it's one of a handful of VCS games you'll pay more than the usual $5 for.
The compilation on the PlayStation, and the Xbox 360 probably have the best way to play the original game, as the arcade ROM displays nicely on a TV. The Gameboy Advance port on the Konami Collector's Series: Arcade Advanced , is also worth looking into though. Because although it switches around the orientation for its smaller screen, it also includes a prehistoric stage not seen in any other version of Time Pilot. If you have a way to play it on a TV through a Gamecube GBA player or the Retrobit GBA Adapter cartridge console for the Super NES, you may just want to track it down. The DS Konami Classics Series: Arcade Hits compilation is also a nice option if you like to play old school games on the go. The 3DS family also plays the DS games so it's another option if you have the newer handheld.
All in all, this is a wonderful game that often gets overlooked in the realm of classics. It's arguably deeper than other Konami classics like Scramble, or Super Cobra, and yet it doesn't seem as fondly remembered as either of those classic games. It's a shame because Time Pilot really is an addictive action game that will please anyone who enjoys high-score challenges, or any form of shoot 'em ups. Whether you play the original arcade version or any of the ports, Time Pilot shouldn't be missed. It can be short, and one could argue repetitive. But the change in time periods, enemies, and strategies go a long way in keeping things fun, and interesting. Which is probably why the idea was revisited in Time Ace.
← Splatoon 2: Octo Expansion Review	Intermittence. →


Welcome to the Forest School section!
The school has developed it's Forest School area and children enjoy going to this area to learn outdoor survival skills. Mrs Lisa Desmond is a qualified forest school leader and takes small groups to the area on a regular basis. Class teachers also access this area regularly.
This area enhances the outdoor learning curriculum.
This page will be updated with news and events that occur in the Forest School.
Please see below all the articles written about what we have been up to! How busy we have been!
A huge big thank you to Mrs Desmond for all her efforts on this! The Forest School looks amazing!


MechTech talks to Sarel Froneman of SKF about the global group's redirection towards its core strength in bearings and the role of engineering services and customisations in resolving bearing reliability problems, optimising asset management and minimising the maintenance and ownership costs of rotating machinery.
"With the retirement of Tom Johnstone as president and CEO of SKF in December 2014, his successor, Alrik Danielson has set up a new management team with a fresh and strong direction," begins Froneman. Danielson worked for SKF between 1987 and 2005 and held a number of executive positions, including president of the group's Industrial Division.
"For the past nine years or so, we have been focusing on the services side, but we have sometimes forgotten that bearings are the central core of all our offerings. So Danielson has asked us all to raise the profile of SKF bearings, regardless of whether we are involved with seals, lubrication solutions, condition monitoring, engineering services or mechatronics," he explains.
Describing a local condition monitoring success, Froneman says that a coal mine in Limpopo has installed 78 condition monitoring systems – based around the SKF IMx multi-log online condition monitoring unit – which are being used to protect the mine's critical rotating equipment assets. "And this is only the initial installation phase. We expect over 100 systems to be onsite by the time the mine is fully operational," he says.
"While the mine has standardised on this SKF based system, several different OEMs are onsite, installing crushers, conveyors, etc, which may or may not use SKF bearings. Each system can monitor vibration and temperature from up to 16 individual inputs. A gearbox, for example, might have five monitoring points from which we can pick up vibration and temperature data and analyse it to determine the state of health of the gearbox, its bearings and/or its lubricants," Froneman adds.
"This project has a focus on bearings because rotating machinery is involved and we are confident that this will lead to ongoing bearing business. But this is not always the case. SKF IMx units have also recently been used in a much bigger project in the oil and gas industry to monitor valves and piping. In this case, the plant uses very few bearings and while it is a successful contract, several SKF engineers had to be onsite installing a system that offered no long-term benefit in our specialist bearing products. Contracts such as these do not help us to become the undisputed Number 1 in bearings," he argues.
From an application engineering point of view, SKF sees its offering as an integrated range of products designed to support the integrity of rotating machines, with bearings as the most critical components. While bearing selection is at the starting point, application engineering tends to deal with the more complex requirements, those that need a little engineering – upgrades, customisations or non-conventional applications.
"If a bearing load is excessive or a shaft diameter is too big for a standard bearing, we can do an investigation, a redesign and, in consultation with the client, develop a solution. If a mill, crusher or fan is 50 or 60 years old, for example, and the pinion or drive needs to be replaced, then we can do that. We have the industry knowledge to design and manufacture a custom-fit solution that will be as good or better than the original.
"In these cases, we strive not to simply copy the system we are replacing. We strive to put an optimised solution on the table that, while using as many standard components as possible, is engineered to better suit the real application requirements of the machine being refurbished.
"Having done a customised drive-train design for a mill, crusher or fan, we can also do the mechanical installation, shaft and/or geometric alignment, balancing, lubrication and condition monitoring. Then we stand alongside our customers to measure and monitor how the machine actually responds and we make sure that the solution is successful. For all practical purposes, this is what our engineering offering is about. We have been calling this service 'Solution Factory', but this can be confusing to some customers and the name is likely to be changed in the near future," Froneman reveals.
As the manager for the SKF Services and Solutions team in Southern Africa, Froneman reminds MechTech that seals, lubrication, condition monitoring and asset management services all need to be underpinned by SKF's bearing offering. "Bearings are our number 1 priority, but not in the sense that we want to sell as many bearings as possible. It is more about building partnerships where companies are unwilling to buy anyone else's bearings, because SKF's optimised offering results in the best uptime and the lowest total costs of ownership. Long-term machine life is most important for us and this is summarised in the new SKF Group vision – a world of reliable rotation.
At the pinnacle of this approach is the SKF asset management service – "and we are currently involved in the biggest contract in our local history".
"With rotating machinery as the core focus, we develop maintenance solutions based on asset criticality, to most cost effectively maximise uptime and minimise failure risks and ownership costs.
"At the start of implementing an asset management solution, we bring in the client's top management along with the buyer, production and maintenance manager and, together, we analyse the plant's operation philosophy. Based on the mandate received, we break production processes further down with the engineering and maintenance teams. What happens if a production line stands idle because of a pump breakdown? If it is critical, then we do what we can to prevent failures and/or to react to them in the fastest possible time.
On the other side of SKF's applications solutions are problem-solving services. "Typically a product fails prematurely, sometimes repeatedly, and we are called in to find out why. We would then do a root cause analysis and re-engineer, change the bearing or seal specifications, lubrication strategies, installation routines or maintenance procedures to prevent a repeat failure.
"Our field services teams might be tasked with regularly monitoring the machine – taking infrared images, ultra-sound, vibration or temperature readings or even oil samples – to see how the solution performs under real conditions and how it is being treated in the field. And 90% of all this effort focuses on helping the bearings achieve the longest operating life possible," Froneman reiterates.
Describing some of the specific services offered by the application engineering/solutions factory team, he says that all modifications to standard products – manufacturing of special sealing arrangements, bore-size changes on standard couplings, inspection or service opening modifications, even entrances for condition monitoring or lubrication systems – are all accommodated by his team.
"Bearing remanufacture is also a key activity. The protective coating on a new bearing left on a shelf, in its original factory packaging, will only last for three to five years depending on humidity and temperature fluctuations. Generally we say that it then has to be scrapped. But a large spare bearing can be a substantial investment – anything from R100 000 to R800 000 – so nobody wants to be throwing it away," he suggests.
Through SKF's bearing remanufacturing process, unused bearings that have reached their shelf life can be restored using SKF's basic level of remanufacturing service to 'as-new' at around 15% of the cost of a replacement. "And for a bearing that has been in operation, we can offer a full Level 4 remanufacturing service that could include the replacement of rolling elements and cage components, where necessary. Remanufacture of the bearing can be done for significantly less than a new replacement cost," he points out.
As well as cost, Froneman cites lead times as a significant advantage of remanufacturing as opposed to replacing bearings. "Also, there is an environmental benefit. Reusing significant percentages of high-quality machined steel in a used bearing results in a carbon footprint reduction because less new steel has to be smelted and machined," he explains.
Another highly specialised capability of SKF's application engineering team is spindle remanufacture, customisation or redesign for machine tools such as lathes and milling machines. "Globally, SKF has 140 bearing factories so you can imagine how many spindles we are using to manufacture our bearings. The capability we have developed remanufacturing our own spindles over the years is now part of the global offering and our largest spindle remanufacturing centre has 14 full time spindle technicians.
"In South Africa, we focus mostly on belt driven spindles and those with mechanical drives that are not electrically integrated. We can also do root cause failure analysis and customisations to better meet changing application needs – with super-precision bearings as the core focus, obviously," Froneman concludes.


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Outdoor Notes
Ed Wall, Special to the Sun Journal
Aug 8, 2013 at 12:01 AM Aug 8, 2013 at 3:00 PM
Public can comment on waterfowl seasons online
The N.C. Wildlife Resources Commission is inviting the public to provide input on regular waterfowl hunting seasons through an online comment system on its website. Regular waterfowl seasons may begin in late September and include various seasons for ducks, Canadageese, snow geese, brant and tundra swans. The public can comment on proposed dates for the seasons by visiting www.ncwildlife.org and clicking on the icon, �Regular Waterfowl Proposed Season Comments,� located at the bottom of the page. Comments on the proposed season dates will be accepted through Aug. 21. Comments can also be mailed to: NCWRC, Proposed Regulations Comments, 1701 MailServiceCenter, Raleigh, NC27699-1701.
Hunting Seasons
Dove: Sept. 2 � Oct. 5; Nov. 25-30; Dec. 13 � Jan. 11
Rails, Gallinule and Moorhens: Sept. 7-28; Oct. 5 � Nov. 21
Deer (eastern region): archery Sept. 7-27; muzzleloader Sept. 28 � Oct. 11;
gun Oct. 12 � Jan. 1
Canada goose (statewide): Sept. 2-30
Teal (east of U.S. 17): Sept. 7-25
Aug. 13 � The Twin Rivers Paddle Club will hold their regular monthly meeting at the Commissioners� Room in the Craven County Administration Building in New Bern beginning at 7 p.m. Information is available online at www.twinriverspaddleclub.org.
Aug. 16-17 � The 22nd Annual Sneads Ferry Rotary King Mackerel Tournament will be held out of New River Marina in Sneads Ferry. Registration will be at the marina from 2to 8 p.m.on Aug. 16. Fishing will be from 6 a.m.to 5 p.m.on Aug. 17. More details are available by phone at 910-327-0710 or online at www.SneadsFerryKMT.com.


Thomas J. Pappas, age 82, of Lake Zurich, father of Thomas and Joan M. (Robert) Bell; survived by many family and friends who shall miss him. Born in Chicago on Sept. 12, 1919. He went home to the Lord on Monday, July 1, 2002 at the Veterans Administration Hospital in Seattle, WA. A good, honorable man who fought for 20 days at Iwo Jima before sustaining serious injuries. A double Purple Heart recipient and real hero, humble, unselfish, long suffering man who dedicated himself to helping others. To know him was to love him. Tom held local, state, national positions with the D.A.V. and was a member of the Lake Zurich Lions Club. Visitation at Ahlgrim & Sons Funeral Home, 415 S. Buesching Rd., Lake Zurich, from 3 to 9 p.m. Wednesday. Funeral Thursday, July 11, 9:30 a.m. to St. Francis de Sales Church, 11 S. Buesching Rd., Lake Zurich. Mass at 10 a.m. Interment St. Michael the Archangel Cemetery, Palatine, IL. Info, 847-540-8871 .


By contrast, UK society comprises 14% non-white ethnic groups. Below CEO Today hears from equality, diversity & inclusion specialist, Paula Whelan who works for Righttrack Learning, and discusses the damaging impact unconscious bias is having on the leaders of tomorrow.
With decades of campaigning, policy review and focus on creating a society inclusive of its rich diversity, how can this still be the case? The answer, unconscious bias!
We all have unconscious biases which influence our decision-making processes and therefore, the rapport we build with some people over others, the way we recruit, promote, mage and even the opportunities or limitations we place on ourselves.
Unconscious bias can often show up as micro-behaviours – the little things that we say and do which show how we regard those around us. Even these very small behaviours can make people feel excluded and can have long term affects. The everyday verbal, nonverbal, and environmental slights, snubs, or insults, whether intentional or unintentional, can communicate hostile, derogatory, or negative messages to target people based solely upon their marginalised group membership. At work, these micro-behaviours can have an enormous impact on whether to what extent we feel valued and included, and therefore how productive and loyal we are.
If you take a step back and reflect on yourself, you will find that you too are guilty of unconscious bias in some way or another. Don't beat yourself up about them, it's natural. Once you identify how they impact on your behaviour, relationships and decision-making, you can learn to question or mistrust first impressions or to review the decisions you make about people to ensure that you are being as objective as possible and relying on facts instead of your 'gut feeling' or quick assumptions.


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Q: What causes an indexer to get marked as "Scheduled" in EE Something causes my Solr search index to drop and slowly reindex over and over throughout the day making products disappear.
If the Magento indexer is running on every cron run, how does it decide to mark an indexer as "scheduled" even though my Index Management settings are set to "Update on Save" for search.
Seems to be based on the changelog. Is there a magic number of changelog entries in catalogsearch_fulltext_cl that triggers the scheduling? It's not any sort of event that i can tell. Nothing i edit and save triggers the schedule; it just seems to happen randomly.

A: I finally found the issue. I was running a price reindex from the cron every 3 hours and i found this event in the Enterprise/Search code:
app/code/core/Enterprise/Search/etc/config.xml:
<after_reindex_process_catalog_product_price>
    <observers>
        <enterprise_search>
            <class>enterprise_search/observer</class>
            <method>runFulltextReindexAfterPriceReindex</method>
        </enterprise_search>
    </observers>
</after_reindex_process_catalog_product_price>

Which will reindex search after a price reindex.

A: Going through the setup for Magento 2 it has you set the cron to run every minute. once every three hours might not be frequent enough.
I think the cron jobs get run constantly but only when they hit designated events or time slots do they actually reindex the various indexes.


Once again here I am, sad and alone. Just bought a bottle of wine and Im putting sad songs on spotify. It feels like it never ends, I can have 3-4 months where I feel okay and I think life could be worth living. But nope. I always come back to this, to spend days avoiding people, feeling useless, binge eating, wasting my best years. I dont know what to do with my life.


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About MIRA
HOW TO SHARE OUR ADVENTURE
Mutual Images 7th International Workshop
UNIVERSITY OF VIGO, PONTEVEDRA CAMPUS (VIGO, SPAIN)
3-4th June 2019
Painting East: Artistic relations between Japan and the West (Artists, aesthetics, artworks)
ORIGINAL CALL FOR PAPERS
Nowadays, intense influences between cultures are commonly associated with new technologies and globalisation. However, when it comes to art, the new millennium is but the last step in a long process of hundreds of years of artistic interaction and cultural exchange between artists from countries all over the world. The relationship between Japan and Europe, strengthened after the Meiji Restoration, richly exemplifies how artists and their production benefit from outside influences, which ultimately permeates between different artistic and cultural manifestations such as cinema, photography, fashion, graphic design, comics or contemporary art. This workshop aims to gather researchers and practitioners who wish to discuss the mutual influence between Japan and Europe on artists, their works and styles. The discussions are open to all periods and artistic media (including fine arts, cinema, photography, graphic design, manga, anime, fashion, etc.). We invite papers that consider individual artists, collectives, artistic movements or specific artworks.
CO-ORGANISER
Ana SOLER BAENA – University of Vigo, Spain
José Andrés SANTIAGO IGLESIAS – University of Vigo, Spain
Tatiana LAMEIRO GONZÁLEZ – University of Vigo, Spain
Aurore YAMAGATA-MONTOYA – Independent Researcher, Lithuania
PANEL CHAIR
Roman PADIN – University of Vigo, Spain
Imen BOUZIRI BOULLOSA – Complutense University of Madrid
Techno-embodied Japanese media texts and techno-orientalist western readings
This research paper explores the relationship between technology and its diverse embodiments in Japanese popular culture and audio/visual media in the last decade, especially in cultural products and media mix franchises pertaining to the science fiction genre (with a special focus on the cyberpunk subgenre). The main purpose of the study is to demonstrate how technology is both thematically represented and materially embodied in certain audiovisual artworks in a way that allows for a transcendence of the textual/semiotic (representational and discursive) aspect of such works and begs for the development of a new theory of technological materiality (or techno-embodiment) in the academic field of new media studies. This material manifestation of technology has been particularly present in contemporary Japanese media texts which has led some western scholars to offer techno-orientalist readings, whether based on a western Eurocentric gaze or on the essentialist theory of a supposed Japanese cultural specificity. The unstoppable encroachment of technology in our lives is dramatically changing our normative, and institutional understanding of very complex concepts such as identity, subjectivity, memory, or consciousness. Japanese popular culture -especially contemporary science fiction texts- has largely contributed to emphasize the increasingly profound human anxieties and desires towards technological progress, speculating on both utopian and dystopian techno-future-scapes. Through a brief analysis of the three following examples, each pertaining to different media: All About Lily Chou-Chou (Dir. Iwai Shunji, 2001), Serial Experiments Lain (Dir. Nakamura Ryutaro, 1998) and Silent Hill 2 (Dir. Tsuboyama Masashi, 2001), we will trace a rhizomatic map of links that will help us determine how technology does not merely appear in these artworks as a theme or topic but also in a performative way where the artwork itself integrates technological elements, transforming into a sort of technological device or hybrid.
Emily COLE – University of Oregon (USA) and University of Tokyo (Japan)
Photographic Encounters during the Allied Occupation of Japan
My paper examines cross-cultural encounters between Japanese and Western photographers during the Allied Occupation of Japan (1945-1952), asking how these encounters influenced Japanese photographic trends, as well as how photographic images and discourse shaped postwar Japanese cultural identity. Building upon research framed by theories of contact zones, cross-cultural encounters, and hybridity (see Mary Louise Pratt, Melissa Miles & Kate Warren, Homi Bhabha), I argue that photography magazines functioned as contact zones by providing spaces for exchange between Western and Japanese photographers. These photographic contact zones facilitated cross-cultural encounters through multiple platforms: interviews and round table discussions of photographic trends; articles on and photo series by Western photographers; and images by both Western and Japanese photographers depicting Western cultural material and landscapes, such as photographs of Western-style fashion, domestic space, and daily life in European and American cities. Such encounters directly influenced photographic trends in Japan. Features on Henri Cartier-Bresson, Robert Capa, and Ernst Haas, for example, contributed to the postwar popularity of humanism. Further, these encounters provided a conduit through which photographers and readers confronted or embraced Western cultural material at a time when Japan underwent a cultural identity crisis brought on by the devastation of defeat and foreign occupation. In this way, photographic contact zones simultaneously functioned as spaces that mediated what exactly "Japanese culture" meant in Japan's new postwar world. An analysis of photographic media during the Allied Occupation reveals ways in which Occupier and Occupied encountered each other outside strict social hierarchies imposed under occupation regimes. Photography magazines in particular provided spaces for consistent contact, interaction, and cultural exchange between Japanese and Western photographers, as well as for the magazines' readership—encounters that went beyond simply influencing Japanese photographic trends to shape postwar constructions of Japanese cultural identity, especially as it was formed vis-à-vis the occupying 'Other.'
Karim EL MUFTI – Sciences-Po Beirut (Lebanon) and Saint-Joseph University (Lebanon)
Influences and Success of the Japanese Grendizer in the Arab World, Mirror of Violence and Expectations for Generations of Arabs
The UFO-Grendizer Japanese manga was introduced in the Arab world in the mid-1970s in an Arabic dubbed version and met a gigantic success. Its main dubbing artists, mainly Lebanese (among whom M. Jihad El Atrache) and Palestinian, as well as the singer of the credits song (M. Sami Clark) were among the makers of this particular success within the Arab cultural scene. Indeed, the Japanese manga quickly became a cultural phenomenon for an entire generation in Arab countries, from the Gulf to the Levant. Today, many Arab artists, studios and underground circles continue to refer to the Grendizer myth, an object that has transformed into a cult object, symbolizing both humanistic and alternative (or left-wing) values. The latter have been formulated in the Arabic lexicon by the term "progressive" and shaped political, cultural and artistic trends going back to the 1980s. A recent mural illustration of the robot-hero produced in Beirut in 2014 by the Ashekmon group claiming in Arabic: "A people with Grendizer by its side cannot die", has created a real buzz on the Internet and confirmed the great appeal of the manga character within the Lebanese society. This communication suggests exploring the reasons behind this success in a region commonly cursed by war and destruction. In the 1975-1985 phase which coincides with the screening of the show towards the first generation of fans, no less than three wars agitated the Middle East: the Israeli-Palestinian conflict, the neighboring Lebanon which will experience a bloody fifteen years civil war (1975 to 1990), in addition, from 1980 to 1988, to the first Gulf War struck between Iraq and Iran. From there, it would be interesting to understand how the Arabic Grendizer, Japanese story of an invasion against Earth and battles successively won by an invincible robot piloted by the hero Daysuki / Duke Fleed (Dayski/Doq Fleed in Arabic), has impacted a region familiar with this type of narrative, ultimately forging a stature of myth and legend at the hands of Arab artists. The themes of war, justice, peace, occupation, resistance, forgiveness and comradeship brought by the Japanese manga Grendizer have struck a deep cord across generations of Arab fans, hence mirroring the violence and the expectations of an whole era.
Damaso FERREIRO – Hiroshima University (Japan)
Painting the West in the 20th Century Japanese Modern Literature: Akutagawa´s Attitude Towards the Modernization of Japan Seen Through the Works of Gauguin and Renoir
By the beginning of the 20th century, when Japan took the West as a model for its own modernization, Western artists, especially painters, played an important role in this process. This presentation explores the ontological ways of understanding the works of Gauguin and Renoir seen through the eyes of Akutagawa Ryūnosuke, a famous writer of Taishō period who wrote his poetic testament before committing suicide in 1927. In this last essay titled Bungeitekina, amarini bungeitekina, Akutagawa goes further a mere description of the works of both French painters and chooses them in an attempt to universalize the two possible ways of facing the psychological pain modernity causes to humankind. Of course conflicts between culture and nature, education and instincts, tradition and modernity are tackled by several different authors of the same period and they are visible even in some of Akutagawa´s earlier works such as Yoshinakaron. However, the fact of giving an ontological dimension to Gauguin and Renoir in order to explain his own conception of modernity is something completely innovative. In this presentation I would like to clarify the following two main questions: by conferring that dimension to Gauguin and Renoir is Akutagawa falling into contradiction within his own poetry? If Shiga Naoya is the model Akutagawa proposes to follow in literature and Gauguin the one to follow in painting, what can be the possible connection between them?
Oscar GARCÍA ARANDA – Pompeu Fabra University (Spain)
Representations of Europe in Japanese Anime: An Overview of Study Cases and Theoretical Frameworks
My paper consists in a literature review about the different academic sources that have been written discussing and theorizing the iconographic representations, settings and visions of Europe in Japanese anime. Understanding "Europe" as a cluster of cultural elements related with nations, cities and historical periods, the project compiles and analyzes a dense field of theories, concepts and multidisciplinary approaches related with the representation of those contents in anime that, actually, are still on work and development. Following this aim, a chronological overview of the question has been developed arguing different theoretical frameworks, such as the condition of anime as a transcultural media, Koichi Iwabuchi's (2002) concept of "mukokuseki", the media pilgrimage phenomena and different theories regarding the representation of Western contents in relation with the internationalization of the media. Through these approaches, the European cultural baggage has been identified and studied as an eclectic source to create fictional imaginaries (settings based on the Middle Ages or an steampunk Industrial Revolution, among others) while being an useful resource to develop other narrative meanings and themes in the case of 1970s shōjo series and the Nippon Animation "meisaku genre". On the other hand, some other particular studied cases as Hayao Miyazaki's films show us the accurate depiction of European settings through an intense fieldwork by their artists and producers, a case that exemplifies the viability of the media pilgrimage framework to the development of future researches that would like to deepen in other particular cases and related issues. This presentation will be based on my final degree project for the University of Barcelona's Art History degree, submitted and defended in June 2018.
Elettra GORNI – Independent Scholar and Artist (Italy)
Representation Methods Between Europe and Japan: Exchanges and Experimentations rossing Japanese Xylography (Mokuhanga) during the XVIII and XIX Centuries
A method of representation always brings a system of thought, a specific notion of space: through the dissemination of the treatise "Perspectiva pictorum et Architectorum" by Andrea Pozzo, operated by the Italian brother Jesuit Giuseppe Castiglione in the East, two worldviews, two ways of representation of reality meet and compare. In 1735 Castiglione edits the first chinese-language book on the mechanics of perspective entitled SHIXUE (Visual Learning), adapting some sections of the first volume of the Pozzo's "Perspectiva Pictorum et Architectorum". The publication of SHIXUE represented the first formal dissemination of techniques and mechanisms used in western art at the Qing court to the Chinese public. In Japan, the treatise was probably imported by the Jesuits or by the Western merchants who traded in southern areas such Nagasaki and Kobe. The contact with the western techniques of representation and painting arouses interest among Japanese artists, especially the mokuhanga artists, who are open to comparison with the representation of the third dimension, that seems an interesting method to give more realism to their prints. Starting around 1740 mokuhanga artists embark on study and interpretation of the perspective technique: the effort leads to uki-e prints by Okumura Masanobu and Utagawa Toyoharu and to megane-e prints by Maruyama Oukyo. During the first half of XIX Century Western realism and perspective are investigated with a new sensibility by ukiyo-e masters Hokusai Katsushika and Utagawa Hiroshige: their prints went over realism, resemblance and Western works copy. They clearly show an interiorization of the perspective view of the landscape that is completely different from Western art and its imitation, and at the same time they also deeply renew Japanese tradition. It's singular that these prints – synthetizing a perspective view introduced into Japan one Century before – are so deeply influencing Western art when it is trying to get free from tradition – specially impressionists and post impressionists – during the second half of Nineteenth Century. Van Gogh's paintings depicting the prints of Hiroshige witness the final step of a journey there and back of the influences and the knowledge.
Linet HEREDIA OTERO – University of Vigo (Spain)
[ A E S T H E T I C ] Iconography: Appropriation of Japanese Pop Culture Images Through Vaporwave Music
Vaporwave is an electronic music genre that firstly emerged around 2010. As an internet-based music genre, it has been acknowledged as an underground and subcultural product, created and mainly consumed by anonymous people; however it has recently caught the eye of many music labels. When we talk about Vaporwave we have to take into consideration both sound and image, since vaporwave music heavily depends on its imagery — popularly known as "A E S T H E T I C"— in order to build the atmosphere that has ultimately become the genre's signature. Whereas the sound involves slowed down samples (a portion of music cut and reused, often in looping ways) of aging 80s and 90s hits (pop, jazz and elevator music) remixed with retro synthesizers, the aesthetics mainly feature a deliberately awkward mixture of visual tropes, such as 3D rendered objects, grainy VHS footage, Japanese characters, late 90s popular entertainment and technology, anime, neon signs and cyberpunk Tokyo- inspired landscapes. This aesthetic is often seen in cover artworks and fan-made videos on youtube channels, and has spread throughout the internet, becoming a code that defines a recognisable and unifying identity to this genre. Vaporwave has recently become an object of study for critics and academics as an issue that is still open for discussion. So far, it has been linked to an ambivalent attitude towards consumer capitalism, longing for the past and a quite new manifestation of techno-orientalism, based on the assumption that it deals with elements of Japanese pop culture that embody escapism, nostalgia and a sense of strangeness (the new) and familiarity (the old), striving to create a distorting and ethereal atmosphere, almost mesmerizing and fairly bizarre. Regardless of the socio-political readings, Vaporwave is but another example of how Japanese pop culture (J-pop, manga, anime, technology, video games, etc) continues to impact the West to a significant level, creating openings and new possibilities in terms of artistic creation.
HIRABAYASHI Mariko – University of York (UK)
Albert Moore and Ukiyo-e: Aesthetic Japonism in Britain in the Late 19th Century
Albert Moore (1841-1893), a Victorian Aesthetic artist, depicted Japanese artefacts and ancient Greek-style women in paintings famed for their beautiful colour harmony. This paper will explore the influence of ukiyo-e (Japanese prints) on Moore's paintings, emphasising the formal, political, and art historical significance of Moore's Greco-Anglo-Japanese style in the broader context of British Japonism. Following the Great Exhibition in 1851 and the International Exhibition in 1862, interest in Japanese art in Britain quickly grew, and collections were built up by both museums and individuals, particular of ukiyo-e. Among artists, James Abbott McNeill Whistler played a central role in British Japonism, collecting ukiyo-e by Katsushika Hokusai and Torii Kiyonaga. Whistler was a close friend of Moore's, whose enthusiasm for ukiyo-e directly affected him, although Moore preferred Kiyonaga's harmonious beauty to Hokusai's bold and eccentric prints. Examining the connection between Moore and ukiyo-e further, I reveal clear parallels between Moore's paintings and ukiyo-e by Kiyonaga, whose depictions of 'the Venus[es] of the Edo era' draw them together, and draw into alliance British, Japanese, and Greek art. In so doing, the paper will deepen our understanding of Moore as the only British artist who integrated Japanese, British and Greek styles, and as a key player in British Japonism besides the better-known Whistler and Dante Gabriel Rossetti.
Tatiana LAMEIRO GONZÁLEZ – University of Vigo (Spain)
Bilateral Influences in Graphic Design between Japan and the West: Shigeo Fukuda, a case study
Taking the bilateral influences in Graphic Design between Japan and the West as a starting point, in this paper we will try to highlight how the Swiss International Style has deeply influenced some of the most prominent graphic designers and artists within the Japanese sphere. In order to do so, we will analyse Shigeo Fukuda's remarkable posters designs. Fukuda is now acknowledged as one of the most distinguished and influential designers of his time, ambassador of a world-spread artistic movement which still remains broadly referred and deeply influential within the contemporary artistic scenario. Graphic design —understood as a discipline of its own— was born in the mid 20th century, but its origins can be traced back much further. As culture changes, different cultural movements arise, in literature, painting, etc. Likewise, over time graphic design has undergone a similar transformation giving birth to myriad of different styles. One of the most important and characteristic movements in graphic design is the Swiss International Style, which emerged (mostly) in Switzerland after the Second World War. The Swiss International Style grew in Switzerland and Germany in the 1950s and was on the rise until the 1970s. Many of the distinguishing theories from the Swiss International Style —especially when it comes to typographic form and grid composition— are still broadly applied in todays design schools. Moreover, these formal parameters played an important role in Shigueo Fukuda's artworks. Fukuda developed a style of his own, communicating complex ideas through simple images, which is one of the key premises in contemporary's graphic design. Therefore, in this presentation, we will try to trace a multidirectional formal relationship between Europe and Japan, by analysing — through various graphic works — the influence of European design in Japan in he second half of the 20th century. Ultimately, we will also highlight how these Japanese references became an important part of contemporary graphic design.
Loreto LARRAÑAGA ABAJAS – NaArt – Nature-Garden & Landscape Research Institute
Nature as Art, a space of memory. The Japanese garden: poetic chance and spatial reason. Its imprint on Visual Arts since the 20th century
This study has investigated the garden as a respected work of art and aims to give birth to the hermeneutics of the Japanese garden as a nature created by man included in the field of architecture as a pictorial three-dimensionality combining literary components which are a synthesis of art and nature and thus the principal idea behind this project, entitled Nature as art, a space of memory. On contemplating the evolution undergone by the Japanese garden over the great cultural epochs I have been witness to the introduction of a diversity of techniques and design elements, which have gradually become incorporated into a design corpus and, together with aesthetic principles, have smoothed the way for creators to centre the point of interest of their works of art. I have considered necessary to analyzing some paradigmatic gardens in order to cover the coexisting aesthetic-visual and interdisciplinary elements, and including a re-reading of its visual dimensionality, coupled with the aesthetic derivatives arising in relation to the projection of these works in the West -in both the discourse of visual arts and the work of significant artists in the international context since 20th Century- especially from the end of the Second World War onwards. However, on combining the above with Japanese aesthetic concepts relative to the vitality of art, this study has erred on the side of the contemporary Japanese garden selecting the figure of Mirei Shigemori (1896-1975), an erudite, solidly-trained artist, whose work represented the complexities of combining the wisdom of the ancient traditions of Japanese art with the skill and courage to bring about a vanguard metamorphosis in the art of the Japanese garden. His work shows us the birth and evolution of what could be called the modern Japanese garden and looks to the future being a source of inspiration in the design of the post-modern landscape.
Sara MARTÍNEZ PÉREZ – University of Vigo (Spain)
Mutual Influences Between Japan and Europe Across Fashion. Pattern Design Making as Constructive Thinking
The research work presented focuses on the mutual influences between Japan and Europe through Fashion, from the end of the Meiji period to the 90's decade of the past XX century. The speech will focus on fashion as a social and cultural phenomenon that reflects the interconnection between both cultures, deepening the idea of the pattern as constructive thought that reflects the way in which each culture develops itself and how they have influenced each other. Due to the changes that have been experienced from the Meiji period to the 90s decade of the last century, the evolution of the pattern has been influenced by Japan in Europe and vice versa, so that we have witnessed a mutual interest between both cultures, exporting and transferring patterns and uses from one culture to another with different adaptations, transformations and hybrids; Firstly, westernizing Japanese fashion and at the same time orientalizing European fashion, adapting clothes from one culture to the other. Secondly, through the transformation of patterns, new uses of fabrics and creating new types of garments, and thirdly creating a new language that will bring fashion to art, understanding fashion as a plastic language, where Japanese designers have transformed the concept of fashion in a radical way. In this way, an understanding could be made in relation to how both cultures have been mutually influenced throughout the 20th century, creating a language that has transformed the concept of contemporary fashion, transcending its own limit as a discipline.
Laura MESA LIMA – Higher School of Art and Design Fernando Estévez (Spain)
From Archipelago to Archipelago. The Japan that draws in the Canary Islands
The Japanese and Canarian archipelagos are separated by 12,369 km. The influence of Japanese art in the Spanish islands has never gone beyond a theoretical relationship, mental, ideal if we want. Historically, there have been no departures or arrivals of works from overseas in any of the ways. Japan has been a conceptual reference, but not a palpable and close plastic influence on techniques or expressions. However, and this is where the confluence is found, there is a special relationship between our ways of looking and letting ourselves be enlightened. Unwittingly, modeled by an insular medium man have been character building with a certain way of being, as García Cabrera would say. both geographies and architectures share similarities in the treatment of light, and this has made Canarian artists especially comparable to Japanese aesthetics. Contemporary creators such as Gonzalo González, Julio Blancas, Davinia Jiménez Gopar, Laura Mesa and Marco Alom show these similarities in their drawings in a latent way. In their works the importance of darkness, the treatment of light close to the concept of the recently discovered liquid light, the use of the concept of space -empty- or the austere use of compositional resources, go hand in hand with the complex concepts wabi, sabi, yûgen or shibumi. From the assumption of a geographical-conceptual positioning in both cases determined by an insular spatiality, many artists from both archipelagoes construct parallel narratives strongly based on the intention of dominion, that is, containment, of light and space. In this way, the most representative works of these Spanish artists in this sense will be analysed, relating them directly not only to the most theoretical aspects of Japanese aesthetics, but also to authors such as Michiko Kon, Misato Kurimune, Reiko Tsunashima, Hiraku Suzuki or Satoru Aoyama.
Teresa PÉREZ CONTRERAS – University of Granada (Spain)
Japanese Graphic Design: Cultural Identity in a Global World
In a globalized and increasingly "Japanized" world, new aspects of design culture need to be studied from an academic perspective. In terms of graphic design theory, there is a void, being Western countries the ones that have traditionally led the discourse on research into this discipline. Little is known about Japanese graphic design, a recent and creative field of Japanese visual culture that is extremely fascinating to the outside world due to the ability of the designers to absorb new developments without denying the heritage of the past, constantly renewing it. This nostalgia for tradition coupled with constant reinvention is what makes it unique, a fusion of a religious tradition based on concepts such as simplicity and Zen Buddhism with more contemporary trends such as kawaii culture and manga. Although Japanese graphic designers have been influenced by Western culture, they will produce a steady stream of masterpieces that reflect the living heritage of the traditional and distinctive forms of Japanese art. A journey through Japanese Graphic Design images is the best way to know the evolution of a society and its culture: from ukiyo-e woodblock print that had a strong communicative appeal to the masses and opened the way for a commercial graphic communication within Japan, to a revision of the work of some of the most experimental authors up to the present day. Simultaneously, Japanese design culture has permeated the work of some European graphic designers enriching the recent history of graphic design. This paper aims to offer a more inclusive and renewed perspective of Graphic design history valuing the role of Oriental design and its different approaches to design thinking, methodology and practice. This difference in perception is important to understand graphic design culture from a global perspective and the power of images to communicate and forge bonds between cultures.
Iria ROS PIÑEIRO – University of Valencia (Spain)
Undressing Japonism: The True Dresses of European and Japanese Fashion
After the Great London Exposition in 1862 European art was overwhelmed by what would later be considered "Japonism", affecting all its facets: painting, design, illustration, and fashion. London and Paris were the main centers of dissemination of Japonism, artists from all over Europe illustrated what they believed was Japanese art, creating a new vision of it that affected the European dress design. The illustrations and designs of James McNeill Whistler, Vincent Van Gogh, Henri de Toulouse-Lautrec, Aubrey Beardsley – among others – had idealized the image of traditional Japanese costumes, such as the kimono. In these illustrations the cut of the dresses idealized the figure of the woman, and created sinuous forms covered by endless kimonos, creating a mixture between fantasy and reality regarding the possibility of clothing in Europe. Thanks to the opening to imports from the West in Japan, the fabrics really arrived in Europe and began to be used in the fashion of that time. The bustles began to be sewn with these fabrics, and although it did not change their form in structure, it did in the combination of fabrics, colors and designs. In some cases, even real kimonos were used to transform them into bustles. At the same time, the bustle arrived in Japan in dresses and patterns. Therefore, the idealized image that is given in the plastic arts is somewhat removed from the real dresses that could be seen both in the streets of Japan and in European cities. Thus, I intend to show these differences with a reconstruction of European clothing inspired by Japan, and its counterpart in the painting of the late nineteenth century. As well as the relationship between the bustle and the kimono at the end of the 19th century.
Alejandro M. SANZ GUILLÉN – University of Zaragoza (Spain)
The Perception of Japan in Seventeenth-Century Europe: Illustrated Books and the Construction of an Image
At the beginning of the seventeenth century, after more than fifty years of relations between European nations and Japan, the first images about the Japanese archipelago were created in Europe. These images evolved during the century but were conditioned by the traumatic persecutions of the Catholics at the end of the sixteenth century and the isolation of the country from 1639. These illustrations were based on the reports published before the closure of the Japanese borders, mainly written by Iberian missionaries, and by the information of the workers of the Dutch East India Company, who will be the only Westerners in contact with the Japanese until the mid-nineteenth century. The objective of this communication is to analyse the prints in the books about Japan published in Europe during the seventeenth century. With this research, we can determinate how the first images of Japan and its inhabitants were built in Europe. As well, we can study how these illustrations changed considering some factors as the relations between both territories. For this proposal, we will present several analyzes of the different illustrated works. From the publication of Beschryvinghe vande voyagie, (Amsterdam and Rotterdam, 1601) with the voyages of the Dutch navigator Olivier van Noort in, to the most richly illustrated title on Japan in this period, Gedenkwaerdige Gesantschappen (Ámstredam, 1669), written by the pastor Arnoldus Montanus. Furthermore, we will prove the importance of these images in the influence on other prints of the eighteenth and nineteenth centuries.
José Andrés SANTIAGO IGLESIAS – University of Vigo (Spain)
Manga à la Mode. Exploring Lastman from a Mangaesque Perspective
In 2001 Frédéric Boilet unveiled his 'La Nouvelle Manga' manifesto and claimed a new space halfway between the French bande dessinée and the Japanese manga, bringing together the best of both worlds. However, for many readers those works were far from what an 'European manga' should be. To a certain extent, La Nouvelle Manga was but a commercial label intended to gather different independent works under the same umbrella term. In a similar fashion to what happened with the Impressionist artists and Japonisme, the manga label plays an important role within La Nouvelle Manga as a marketing tool, since this artistic movement aestheticises manga without seeking a deeper understanding of the medium. Created by Bastien Vivès, Balak and Michaël Sanlaville, Lastman was never born with Boilet's ideas in mind, nor with high conceptual expectations, but as a mainstream product. However, within the last few decades, it has become —in many regards— the French comics series which has best managed to capture manga's essence. Surprisingly, unlike other works often labelled as manfra, Lastman does not mimic manga aesthetics and formal features but manga marketing and production. Defined by its authors as a "French-style manga", Lastman is inspired by manga as a product, printed in kanzenban sized volumes with dust-jacket, and rendering in colour the first pages of each (otherwise monochrome) volume. Moreover, this series relies heavily on manga's mediamix potential, with several products such as a prequel animated series, video-games, and merchandising products. Ultimately, in this paper I will try to explore the mangaesque elements within Lastman, pondering the strong authorial perspective, with the distinguishing features that are popularly perceived as "manga style".
António João SARAIVA – CEMRI Universidade Aberta (Portugal)
Pine Journey
In Japan, Pines (Matsu) expressively/ impressively mark different spatial-temporal places with high symbolic power in the Japanese landscape mental construction. The pine tree is a symbol of longevity. It is also considered a warrior who fights against adversity, resisting against the cold, the wind and the snow. The Japanese place the pine at the top of the tree hierarchy. we travel through the virtues of the pines, inseparable from the virtues of the gardeners who care for them. We listen to their voice. How did the episteme represented by the Pine impact Japanese culture? In view of this question the presentation will address the question concern with a milieu/ mindscape which is a specific ground of human experience within a geographical setting. We presented a photo essay with four spatial-temporal points of observation. Point 1: Mountain Landscape Point 2: Wenceslau de Moraes Point 3: Namban Screen Point 4: The Garden is also a Picture.
Ana TRUJILLO DENNIS – Universidad Pontificia Comillas (Spain)
Advancing Japan. Photomontage as Propaganda in the Context of Japan's Diplomacy in the 1930s
When studying how Japan has been perceived from a foreign lens, it is also important to understand the different efforts by which Japan has tried to consolidate an image of itself outside its borders. In this regard, Japan's cultural diplomacy, in its efforts of self-representation in different historical moments, has used art as a visualization of Japaneseness. These efforts can be related to ideas of Orientalism and Self-Orientalism. This proposal for the Mutual Images 7th International Workshop focuses on the efforts carried out by Japanese diplomacy in the 1930s to promote abroad a positive image of a modern Japan, and more specifically, in the use of photomontage as a tool for self-representation. Attention will be placed on Japan's participation in international fairs, such as the International Exposition of Art and Technology in Modern Life organized in Paris in 1937, or the New York World's Fair, in 1939, analysing how photomontage was used in the Japanese pavilions, as a vehicle to communicate with images specific ideas that can be considered propagandistic. This practice was not exclusive to the Japanese organizers. In the Japanese case, the use of these photomontages has to be contextualized in the background of Japan's rising imperialism in the 1930s, a moment when the use of photomontage was very important, not only in international exhibitions, but also in multiple magazines published at the time with clear propagandistic intentions, under the guidance of organizations such as Kokusai Bunka Shinkokai. Furthermore, the style of these photomontages reveals the influence of European trends, for example, the Bauhaus.
Jami WATSON – University of Minnesota (USA)
Writings of Contemporary Japonisme
In 1914, Japonisme was divided into two eras—the traditional era pre World War I and the contemporary era post WWI. This past year, Paris organized a grand festival entitled: Japonismes 2018 to celebrate the 150th year of French-Japanese relations. This season featured many sponsored events and exhibitions including art, music, and theatrical performances but didn't include events within the role of literature in Japonisme. In celebrating the beginning of French-Japanese relations since the Meiji restoration, some of the most influence of Japonisme is portrayed in literature—fictional works written by French, Japanese, and biracial writers. While the influence of Japanese culture on French writers isn't a new idea, the influential effects of Japonisme has made a lot of impact over this era. It is not uncommon to read subtle mentions of Japan in French fictional writing, along with stories based on fictional characters of different races and nationalities featured within a French and Japanese backdrop. A few of these current writers including: Reiko Sekiguchi, Elisa Shua Dusapin, Sébasiten Raizer, and Maëlle Lefèvre, have undertaken the role of publishing their fictional works based off their personal and imaginative experiences within the Occidental and Oriental worlds. In my paper, I will discuss the importance of literature in the field of Japonisme and the intersectional influence of French and Japanese worlds within in the works of the writers mentioned above. By analyzing the role of their writings within contemporary Japonisme, I will address how these writers portray themselves within French and Japanese contexts. Through an analysis of a selection of these writings, my paper will explore contemporary French-Japanese literature and engage in scholarship on Orientalism and Japonisme by Edward Said, Gabriel Weisberg, and Pamela Genova to better express the role of French and Japanese writers and their literary role within contemporary Japonisme.
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An international multicenter psychometric evaluation οn Peyronie's disease.
Home / Medical Publications / An international multicenter psychometric evaluation οn Peyronie's disease.
Dr. Franklin E. Kuehhas, Medical Director of International Andrology London, explains the recent findings on his latest multi center publication on patient related outcome measures, following surgical correction of Peyronie's disease. The major conclusion of this study is that grafting surgery ('Egydio' technique) as well as penile prosthesis implantation, are superior to a conventional 'Nesbit' Technique.