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Start > Master's & postgraduate courses > Education > Master's degree in Restoration of Architectural Monuments
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Master's degree in
Restoration of Architectural Monuments
Participate in a real restoration project in a historical building supervised by interdisciplinary professionals.
Training Content
Request information or admission
Information 2022-2023 edition
60 ECTS (392 teaching hours)
Payment of enrolment fee options
The enrolment fee can be paid:
- In a single payment to be paid within the deadline specified in the letter of admission to the programme.
- In two instalments:
60% of the amount payable, to be paid within the deadline specified in the letter of admission to the programme.
Remaining 40% to be paid up to 90 days at the latest after the starting date of the programme.
- In four instalments, splitting the payment by direct debit:
The remaining 60% will be divided into 3 direct debit payments, which will be distributed equidistantly between the beginning and end of classes.
The student must have and be the holder of a bank account with IBAN ESXX
Notes 0,7% campaign
Registration open until the beginning of the course or until end of vacancies.
Wednesday: 3:30 pm to 8:30 pm
Thursday: 3:30 pm to 8:30 pm
Friday: 3:30 pm to 8:30 pm
Taught at
ETSAB - Escola Tècnica Superior d'Arquitectura de Barcelona
Why this master's degree?
The master in Restoration of Architectural Monuments has a long history in the study and analysis of historical monuments, as well as groups, subgroups and historical landscapes of Catalonia.
Throughout its editions, the master's degree has been able to adapt to new times and new technologies, offering students a program based on the experience and wisdom of the past three decades and the best of current technology.
There have been many student architects, technical architects, historians, art historians, archaeologists or restorers who have completed the master's degree, forming a community of more than 400 European and Latin American graduates. These former students and their works, deposited in the Graphic Archive of the ETSAB Library, and the publications and exhibitions carried out are our greatest pride and the basis of our commitment to the training of professionals in historical heritage and restoration.
We invite you to be part of this great family and to specialize in the discipline of architectural and monumental restoration.
Algunos ejemplos de los proyectos realizados en las diferentes ediciones del máster:
Ceramics: artisans and restorers
Plaster: artisans and restorers
Modelling: artisans and restorers
http://mrmbcn.net/mrmb
Provide technicians with criteria and professional skills to be able to assess the importance of monuments and monumental ensembles, in order to carry out the interior renovation of historical centres.
Recognise the identity of pathologies to be able to intervene respectfully in the restoration of monuments, using the most suitable techniques.
Previous Knowledge or studies on Historic, artistic or arquitectonic Heritage, from the point of view of History, History of art and architecture, Civil Engeneering or Restoration will be deeply appreciated.
List of subjects
Theory and History of Restoration I
History of technique
In the beginnings of the Architecture (of stone) in Saqqarah.
Mimesis, tekhné and metis in the formation of the classical order.
The architecture of the Greek temple: stone work and polychrome.
Transformation of the role of order, interior space and cohesive construction in Roman imperial architecture.
Against classical mimesis (I): Early Christian basilicas.
Against classical mimesis (II): Justinian architecture.
Crossed looks between Romanesque Europe and medieval Islam (I).
Crossed looks between Romanesque Europe and medieval Islam (II).
On the construction of the Gothic cathedral (I).
On the construction of the Gothic cathedral (II).
Restoration theory
The cultural construction of the Historical Monument.
Humanism before Antiquity. Genesis of the idea of monument and its restoration.
Illustration. Neoclassicism and Antiquity. The archaeological restoration of Valadier and Stern.
Revolution, vandalism. The management of inheritance and new institutions.
Romanticism and the discovery of the Middle Ages. The national monuments.
The "Conservation Movement" as a moral lesson in England. John Ruskin.
Stylistic restoration. Gothic as a synthesis. Viollet-le-Duc.
The modern city and the monument: hygiene and civic sense, progress and nostalgia.
The modern cult of monuments in fin-de-siècle Vienna.
The nature conservation movement. The natural monuments.
Diagnosis of Historic Buildings: Traditional Building Materials and Techniques
Analysis and diagnosis of historical structures
- Analysis of vertical structures:
Dry stone walls, masonry and ashlars.
Raw earth walls, rammed earth and adobe.
Brick and mixed walls.
- Analysis of horizontal structures:
Arches and vaults. Analysis.
Wooden roofs. Roofs, trusses and otherelements. Injuries.
Reinforced concrete ceilings. injuries.
Metallic structures. ceilings. Railings, carpentry and hardware. injuries.
Traditional construction detail redraw
Balcony or door redraw with all the elements that make up the carpentry:
Historical-constructive analysis of the elements treated in class.
Analysis of Historic Buildings in Barcelona
The architecture of Barcelona in history. Constructions and restorations
In this block, the history of Barcelona's heritage will be explained from a heritage point of view, emphasizing the restorations carried out over time and emphasizing the socio-historical-cultural features to understand history from a transversal point of view.
From Visigothic Tarraconense to Frankish Gotia (476-987).
The Romanesque and the County House of Barcelona (987-1213).
Apogee of a capital (from 1213 to 1400).
A long decline (1400 to 1714).
The city of mercantilism (1714 to 1824).
Of the liberalizing measures in the Renaixença (1824-1888).
The city of wonders (1888-1929).
Comment delivery of works.
Introduction to the keys to the urban evolution of Barcelona. The old City
This block will explain the keys to the urban evolution of ancient Barcelona, from the origins of the Roman foundation to the first reforms of the industrial city. It is complemented by field visits to different parts of the old town, such as the Raval neighborhood and the Born area.
The territory of the Barcelona plain and urban evolution of the pre-industrial city.
Scenarios of modern urban reform in the old city: the Pla de Palau and the Rambla.
The industrial city and the introduction of new urban instruments. The case of the neighborhood
of the Raval.
The architecture of Antoni Gaudi
Origin and formation. Between historicism and modernism.
The ornament in Gaudí's architecture.
Palau Güell and Park Güell. Restorations.
Urban Morphology
Introduction to urban form
a) Theoretical part. Concepts:
The territory as heritage. What defines urban form? Basic principles.
Methods of reading the city plan. The territorial-urban-architectural dimension.
Cerdà's basic ideology. Roads and highways.
Three methods of reading the map of a city: evolution, topography and modes of locomotion.
Urban categorization.
The urban dimension of architecture. Interdependence between the different scales, from the city and the plot to the type and construction systems.
b) Practical part (seminar/workshop):
The concepts and analysis methodologies introduced in the theoretical sessions will be applied to a specific case that will be related to the Built Heritage Analysis and Interpretation Workshop subject.
Topics will be covered:
Territorial evolution, urban evolution, historical chronology, urban elevation and heritage subsets.
City case studies
Between the city of the industrial age and the capital city. London, Paris, Athens, Florence and Rome.
The debates around the transformation of Paris. Between Haussmann and Viollet-le-Duc.
The conservation of urban environments: La Grande Place in Brussels and Bruges la Muerta.
Charles Bulls and Georges Rodenbach.
The Islamic City.
Buenos Aires, Mexico.
Heritage Analysis and Representation Tools I
Introduction to photogrammetry
The architectural survey.
Terrestrial photogrammetry and its geometric foundations.
Data collection instruments.
Lifting with a photograph.
Lifting with photographic pairs.
Orthophotography and laser scanner.
Point cloud survey.
Introduction to software for surveying planimetric
Cloud Compare (point cloud manipulation program).
MeshLab (three-dimensional mesh creation program).
Homograph and RDF (classical photogrammetry).
Other programs.
Practices.
Heritage Analysis Workshop
Architectural scale
In this block, the different measurement systems, the structural identification strategies of the building, as well as the heritage drawing bases will be explained.
The urban scale of the Morphology course project will be related to the architectural scale of the Workshop building.
Through workshop sessions, students will perform an architectural survey of an existing building within the study area.
Detail scale
Different types of traditional construction details such as lintels, overhangs, roofs, walls and arches will be explained.
The classification of mechanical and chemical pathologies in stone elements through the Italian NORMAL standard and the ICCROM, and in metallic and wooden elements will also be explained.
The hygrometric pathologies will be analyzed, and summary plans of the pathologies found and their causes will be made.
Theory and History of Restoration II
Renaissance: construction at the service of the project.
The difficulties of penetration of the Renaissance in Gothic lands.
Between the baroque party and the "nuova scienza" of Galileo.
Architectures of neoclassicism.
Architectures of the first Industrial Revolution: the factory and the house.
Theories for understanding the architecture of historicism (I).
Theories for understanding the architecture of historicism (II).
Destabilization of stylistic codes: fin-de-siècle architecture.
Modern Movement.
Reviews of the Modern Movement.
New conceptual bases of restoration in the 20th century.
scientific restoration. From object to context: Gustavo Giovannoni.
The construction of heritage in Spain, XIX and XX centuries.
Restoration as a critical act. Roberto Pane, Renato Bonelli and Cesare Brandi.
The impact of the destructions of the 20th century. The Venice Charter of 1964.
New heritage and universal values; confluences on a planetary scale.
Other assets. Social and intangible values, universal values. Cultural tourism.
The ideological construction of the landscape.
After the restoration, what do we do with the heritage? Cultural Management.
The interpretation of natural and cultural heritage from Freeman Tilden.
Current debates in the global context: heritage defense and its interaction.
Archeology in the restoration of monuments
Introduction to archaeological methodologies.
Stratigraphy and Harris system.
The management of the archaeological heritage in the city of Tarragona.
Intervention Techniques and Accessibility
Pathologies and intervention techniques
General concepts. Main causes of injuries.
Injuries and intervention techniques: Structural consolidation of walls. Intervention in domes and vaults.
Auxiliary means for the restoration of monuments: falsework, scaffolding and shoring.
Intervention in wooden ceilings: reintegrations and structural reinforcement.
Injuries to floors and roofs. Repairs, reinforcements, anti-xylophagous treatments, reintegration of lignite parts, insulation and protection.
Roof intervention.
Intervention in concrete structures.
Injuries and intervention on facades: patinas, dirt, efflorescence, erosion, chipping.
Cleaning, consolidation, protection and reintegration of walls.
Intervention in metallic elements: carpentry, railings, fittings.
Technical report and project report. Methodology.
Accessibility intervention in historical monuments. People with reduced mobility, lifts, ramps, slopes.
Cases of heritage accessibility projects. Regulations and solutions.
Materials and construction techniques of the 19th century
Materials and techniques.
Building typologies and their evolution.
behavior over time.
Introduction of new materials at the beginning of the 20th century.
Post-war construction industry.
Lighting and heritage
Lighting of restored buildings and spaces.
Practical sessions on specific project cases.
Analysis of Interventions and Management of European Heritage
Block of 8 classes in which different interventions grouped according to common characteristics will be critically analyzed:
Interventions in the archaeological heritage and classic interventions.
Interventions on the skin of buildings.
Interventions after a catastrophe.
Interventions in the landscape.
Interventions in industrial heritage.
Interventions in modern heritage.
Interventions in theatrical heritage.
Introduction to monumental management.
Museum management.
Management of historic centers.
Industrial heritage management.
Writing and Management of Catalogues and Protection Plans
Theoretical block
The theoretical part has three large thematic blocks:
a) Definition of the two ways of protection (sectoral and urban planning) that can be directly promoted or generated by town councils to operationally ensure the legal protection of their local heritage. This block is presented in three sections.
Heritage protection through urban planning. Legislative Decree 1/2005, of July 26, of the revised text of the urban planning law.
Heritage protection through Law 9/1993 of September 30, on Catalan cultural heritage. BCIN and BCIL.
Environment for the protection of cultural property of national interest.
b) Urban and territorial structure. The delimitation of the intervention areas and units.
This thematic block is intended to convey the need to understand, recognize and value the cultural richness of the territory and urban morphology in any project exercise or drafting of catalogs or other planning figures aimed at the protection of architectural, archaeological, historical heritage. , environment of a municipality.
c) The Special Plan for the protection of architectural, archaeological and/or paleontological and environmental heritage. Presentation of the practice.
The objective of this block is to approach the figure of planning of the Special Urban Plan (PIE) and to know the direct applications on the protection of the immovable heritage.
Practical block
The theoretical block will be accompanied by a practical block. Each student must analyze the structure, content, operation and essence of a specific heritage protection document.
The student may freely propose a municipality and its approved and current document to analyze.
The delivery will be composed of a written part and a graphic part, in order to have all the possible expression strategies when presenting the analysis.
Heritage Analysis and Representation Tools II
Introduction to Computer Representation and Analysis Programs
QGIS.
Georeferencing of historical plans.
Introduction to GIS technology.
BIM.
Autodesk Revit.
Workshop on Intervention Projects
Current status: situation, surroundings, description and general assessment of the building to be intervened, attaching the file prepared in the Analysis Workshop.
Analysis of building materials and construction techniques and their changes over time (chronological chart of construction evolution).
Conservation status: determination and location of existing pathologies and their causes.
Justification of the aspects and areas to intervene (repair, consolidate, functionally replace, eliminate...).
General definition of the proposed use and justification of the concepts used from a heritage, technical, urban, social and regulatory point of view, among other possible ones.
Definition of the architectural proposal in plan, elevation and section, with memory or reflection on finishing materials.
Conceptual proposal of solutions for restoration, repair, consolidation.
Deepening in the aspects stated in the draft in general. Details, new interventions, construction details, forecast of facilities, etc.
Perspectives of study of the proposal, interiors and exteriors, showing its integration in the environment.
Executive Project
Detailed definition of the architectural proposal. Plants, sections, elevations. Specifications on materials, colors and textures. General justification of regulatory compliance.
Detailed definition of the constructive and structural solutions (structural system, system of enclosures and interior partitions, cladding system, etc.).
Schematic definition of the facilities and their fit into the project (hidden steps, registers, visual impact).
Design elements and accessibility for users with reduced mobility.
Final report: background, analysis of the current state, historical report, justifying report of the intervention, economic estimate, planimetry, bibliography.
In cases of students from fields other than architecture, personalized work proposals will be proposed according to the student's profile and always with the desire that they can be integrated with the rest of the work in a transversal way.
Special master's degree issued by the Universitat Politècnica de Catalunya. Issued pursuant to art. 34.1 of Organic Law 4/2007 of 12 April, amending Organic Law 6/2001 of 21 December, concerning Universities. To obtain it, is necessary to have an official university qualification. Otherwise, the student will receive a course completion certificate of the programme issued by the Fundació Politècnica de Catalunya. (See details appearing on the certificate).
The teaching methodology of the programme facilitates the student's learning and the achievement of the necessary competences.
Participatory lectures
A presentation of the conceptual foundations of the content to be taught, promoting interaction with the students to guide them in their learning of the different contents and the development of the established competences.
Practical classroom sessions
Knowledge is applied to a real or hypothetical environment, where specific aspects are identified and worked on to facilitate understanding, with the support from teaching staff.
Solving exercises
Solutions are worked on by practising routines, applying formulas and algorithms, and procedures are followed for transforming the available information and interpreting the results.
Real or hypothetical situations are presented in which the students, in a completely participatory and practical way, examine the situation, consider the various hypotheses and share their own conclusions.
These visits are to specialist centres, companies in the sector or outstanding and important locations in the sector, in order to obtain knowledge in situ of development, production and demonstration environments within the programme.
Students are given technical support in the preparation of the final project, according to their specialisation and the subject matter of the project.
Students are supported when undertaking group work, including theoretical sessions which provide the tools and knowledge needed to achieve a result. Ideas and results are exchanged between all the participating groups.
At least 80% attendance of teaching hours is required.
Solving exercises, questionnaires or exams
Individual tests aimed at assessing the degree of learning and the acquisition of competences.
Work out projects
Studies on a specific topic, by individuals or groups, in which the quality and depth of the work is assessed, among other factors.
Completion and presentation of the final project
Individual or group projects in which the contents taught in the programme are applied. The project can be based on real cases and include the identification of a problem, the design of the solution, its implementation or a business plan. The project will be presented and defended in public.
Work placements & employment service
Students can access job offers in their field of specialisation on the My_Tech_Space virtual campus. Applications made from this site will be treated confidentially. Hundreds of offers of the UPC School of Professional & Executive Development employment service appear annually. The offers range from formal contracts to work placement agreements.
The students on this master's degree will have access to the My_ Tech_Space virtual campus - an effective platform for work and communication between the course's students, lecturers, directors and coordinators. My_Tech_Space provides the documentation for each training session before it starts, and enables students to work as a team, consult lecturers, check notes, etc.
Academic management
Hostench Ruiz, Oriol
View profile in Linkedin
Architect by the Polytechnic University of Catalonia (UPC). Master's degree in Theory and History of the Department of Theory and History of Architecture and Communication Techniques of the Escola Tècnica Superior d'Arquitectes de Barcelona (ETSAB) of the UPC and currently, he is a PhD student in the same department. He has been an associate professor at the ETSAB in the subjects of History of Architecture I and II. Member of the research group of the Critical Archive of the Barcelona Model.
Bestraten Castells, Sandra Cinta
View profile in futur.upc
Architect, professor at the Escola Tècnica Superior d'Arquitectura de Barcelona, of the Universitat Politècnica de Catalunya (UPC), of the subjects: Housing and Cooperation, Low-cost technologies for cooperation. President of the Barcelona Demarcation of the College of Architects of Catalonia (COAC). Partner of Bestraten Hormias Arquitectura. President of the University Without Borders (USF).
Buill Pozuelo, Felipe
Doctor by the UPC. Professor of Photogrammetry at the EPSEB (UPC). Enginyer Tècnic en Topografia. Licentiate in Geography. Responsible for the photogrammetry laboratory of the EPSEB.
Casablancas Balazote, Carles Santiago
Architect ETSAB Barcelona and Rehabilitation MSc in Conservation of Built Heritage by UNESCO Regional Chair CUJAE-Caribbean and Diploma in Legal and Forensic Architecture UPF. He has developed his professional and academic practice in Cuba (Havana), Ireland (Dublin) and currently Spain (Barcelona) where exercising independent professional specializing in rehabilitation and restoration issues, having worked in heritage properties and BCIL BCIN level.
Costa Trost, Margarita
Doctor architect by UPC. Associate professor in the Department of Architectural Design, ETSAB and teacher in various Masters of the UPC. Co-author of the book "La protecció del patrimoni cultural immoble. Guia per a l'elaboració dels catàlegs municipals de béns protegits", Diputació de Barcelona, 2009.
Garcia Belmonte, Bàrbara
Architect by the Polytechnic University of Catalonia (UPC). Diploma of advanced studies of research sufficiency for the topic "Architecture and Memory: (re) presentation of the place", Department of Architectural Projects, UPC.
González García, Reinald
Doctor in Art History from the University of Barcelona (UB) where he has taught. He has also taught at the Autonomous University of Barcelona (UAB) and in the doctoral program in architecture at ESARQ. In recent years he has been an associate professor of the Master of Cultural Heritage Management at the UB. He is the partner and founder of Veclus, S.L., a company dedicated to the study and research of Catalan built heritage since 1987 and with more than a thousand buildings studied within the Catalan sphere and especially in the city of Barcelona. He has directly participated in different Bcin's restoration projects in Catalonia.
Graus Rovira, Ramon
Architect and technical architect from the Universitat Politècnica de Catalunya (UPC). Professor of the history of architecture and construction in the Department of Theory and History of Architecture and Communication Techniques at the UPC. His research has focused on the historical study of the interdependencies between technique and architecture during the 19th and 20th centuries. His doctoral thesis "Technical modernization and architecture in Catalonia, 1903-1929" (2012) received the IEC Prize for Theory and Criticism of Architecture Lluís Domènech i Montaner 2014 and the Extraordinary Prize for Doctorate UPC 2014.
Gueilburt Talmazan, Luis
Sculptor, painter and writer. He has exhibited his work in Reus, Mollet del Vallès, Vich, Moyá and Nagoya. A student of Catalan modernism and Antoni Gaudí, he has written several books on the subject.He was a professor at the Escola Politècnica Superior de Barcelona at the Universitat Politècnica de Catalunya (UPC).
Hormias Laperal, Emilio
Architect, lecturer at the Escola Politècnica Superior d'Edificación de Barcelona of the Universitat Politècnica de Catalunya (UPC). He teaches the subject Workshop 5: Diagnosis and Workshop 7: Rehabilitation, professor responsible for the subject Intervention Project of the master's degree in Diagnosis and Techniques of Intervention in Building. Partner of Bestraten Hormias Arquitectura. Project coordinator of the association University without Borders (USF). He has developed numerous studies and accessibility plans (Vilanova i la Geltrú, Tarragona, Barcelona and others) in collaboration with public entities and associations.
Maristany Carreras, Jordi
Doctor Architect by the Universitat Politècnica de Catalunya (UPC). Professor of the Department of Technology of Architecture of the UPC. He was director of the Department of Architectural Structures and is a member of the research group LITA (Laboratory of Innovation and Technology in Architecture). He is a professor of several postgraduate and master's courses. He has participated in outstanding projects such as the Catalan Institute for Water Research (ICRA) in the Science and Technology Park of Girona or the integral rehabilitation of the "Estación del Norte" in Barcelona.
Martín Nieva, Helena
Arquitect (2006), musicologist(2009) and Master in Theory and History of architecture (2009). Professor of history of architecture and architecture composition at the School of architecture La Salle. Author of Guia d'Arquitectura de l'Hospitalet: L'obra dels germans Puig Gairalt " (2004).
Martínez Díez, Pablo
Architect for the ETSAB (UPC). Co-founder of the 300,000kms / s study where transdisciplinary architectural projects are carried out, from territorial planning to industrial design through the lighting of spaces. His lighting projects include the Palau de la Música, the Cathedral of Santo Domingo de la Calzada and the Museu de Ciències Naturals de Barcelona, among others.
Menchón Bes, Joan Josep
Archaeologist, graduated in Ancient History and Archeology from the University of Barcelona (UB, 1989). Master in Heritage Management (1993), Medieval Archeology (1995) and postgraduate in Medieval and Post-medieval Ceramics (1996) from the UB. Technical chief of historical heritage of the Tarragona City Council. Specialist in Roman and medieval archeology, heritage management. Coordinator and director of archaeological works and heritage intervention.
Navarro Ezquerra, Antonia
PhD in Geological Sciences from the University of Barcelona (UB). Lecturer Serra Hunter, teaching in: Fundamentals of Materials, Chemistry and Geology, and Petris Materials from the Department of Architectural Technology of the Escola Politècnica Superior de Barcelona (EPSEB) of the Universitat Politècnica de Catalunya (UPC). Professor of Pathological Processes and Diagnosis, and Intervention Techniques II, from the master's degree in Diagnosis and Intervention Techniques in Building. Specialist in materials of petri origin from the Materials Laboratory of the EPSEB, and research member of the Interdisciplinary Group of Science and Technology in Building.
Navas i Ferrer, Teresa
Doctor in Geography and Graduate in History of Art from the University of Barcelona (UB). Associate lecturer at the Department of Theory and History of Architecture (THATC) of the UPC. His research has focused on urban history of Barcelona and its metropolitan area, history of Civil Engineering and Cultural Heritage Management. He works at the Center of Contemporary Culture of Barcelona (CCCB) as a cultural manager and, since 2015, is linked to the project of the European Prize for Urban Public Space at the CCCB.
Paricio Casademunt, Antoni
Doctor of Architecture and Technical Architect from the Polytechnic University of Catalonia (UPC). Professor of Technology in Architecture at the UPC. Professor of the Master of Rehabilitation of the COAATEEB, and of the Sert School of the COAC. Academic director of the postgraduate course in Pathology and Structural Study at COAATEEB. He has been responsible for the Ongoing Training area of ITeC. He has published Secrets of a Constructive System: the Ensanche (1st Edition 2001, 2nd edition 2008) and La casa de coso en el Maresme (2017). His research field has focused on 19th and 20th century architecture and construction.
Rosell Amigó, Joan Ramon
Doctor of Architecture, Technical Architect and Industrial Organization Engineer from the Polytechnic University of Catalonia (UPC). Professor of the Department of Architecture Technology of the UPC. He is a specialist in building materials, pathology of materials and an expert in the diagnosis of buildings. Professor of the subjects of Construction Materials, Diagnosis in Rehabilitation. Director of the Materials Laboratory of the Escola Politècnica Superior de Barcelona (EPSEB) of the UPC and member of the research group GICITED (Interdisciplinary Group of Science and Technology in Building). Author and co-author of different research works related to construction materials and diagnostic processes, published in different books and scientific articles.
Project manager in restoration of heritage in public administrations, in promoters and construction companies.
Consultant in professional offices.
Diego Méndez
master.mrm@upc.edu
Attending hours:
More information: http://mrmbcn.net/
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The Body of Text: Beverley Farmer's A Body of Water
Authors: {'first_name': 'Janice', 'last_name': 'Shaw'}
A Body of Water was written by Beverley Farmer as a notebook which would grow and evolve in an organic way, like a body, in conjunction with her body of writing. She kept this journal between 1987 and 1988 in order to comment upon her own process of composition and that of the writing of others which informed and influenced it. The metaphor of the text growing 'like a placenta in the womb' is a recurring one as the writer views her creativity in writing fiction as allied to the process of conception and gestation of a child.
Keywords: Article has no keywords
DOI: http://doi.org/10.16995/bst.118
A Body of Water, written by the Australian author Beverley Farmer, is sub-titled A Year's Notebook, but it is much more a unified body of work than a collection of notes, as its main title implies. Farmer's early writings from the 1980s include the short story collections Milk and Home Time and a novel, Alone, which has loosely autobiographical aspects. A Body of Water, which was published in 1990, comments upon these collections, her work in progress, and the process of writing as well as her perspective of its intrinsically autobiographical nature. Farmer's established reputation as a prize winning Australian writer gave a literary and cultural context to a book which is essentially life writing, since it is a series of diary entries based on her experiences in a particular time of her life. But while it consists of a writer's journal, extending from February 1987 to 1988, Farmer does not simply write of the events in that year: the book encompasses her thoughts and ideas on writing and life, excerpts from other writings, newspaper reports, poetry, and short stories which she includes along with comments about the way she has written them. So the book is a collage of her own and other's writings; but even when she includes the work of others, it is always with a focus of how this writing is special to her, what it means to her and her work. It is a very difficult text to classify, since it is not completely autobiography, not totally fiction, and not really documentary. This paper proposes that it is probably best viewed on its own terms, that is, using the metaphor which Farmer has introduced in both the title and the structure of the text, that it is a body of work, related to an organic body since it is a product of the writer's conception, but it grows and develops apart from her, while still being connected to her.
In A Body of Water Farmer presents fiction which has an autonomy and growth analogous to that of the physical body. In her own terms, she creates a 'notebook' which will 'grow side by side with the stories, like the placenta and the baby in a womb.' (Farmer, 1990a: 3) Despite Farmer terming A Body of Water a 'notebook,' it includes a range of diverse fictional and non-fictional forms, such as quotations, references, images and associations which have personal connotations for the writer, but which achieve a new set of meanings within the context of the book. A body of text is constructed which, like a baby, grows from and apart from, Farmer's conception.
Farmer reveals that the narrative underlying her work is directly related to her personal vision, and is a product of her life experiences. She presents herself as having learned to 'chant the cold dirges of the baffled' (Farmer, 1990a: 153) through a trope for the author writing herself into the fiction, which she introduces through this Walt Whitman quotation.
Don Anderson discusses Farmer's refusal to prioritise any position within the interrelated structure of writer, text and reader when he indicates she is a short story writer who has offered, in A Body of Water, 'not a novel, not a volume of short stories, but rather a volume that contains several short stories and a notebook account of their genesis, an account that privileges neither the stories nor the journal, but dramatically undermines any notion of primacy, of privilege' (Farmer, 1990a: 57). This development has involved Farmer incorporating herself into the narrative such that the agent of the writing, the author, becomes part of the narrative structure, and the process of writing becomes indistinguishable from the text. Farmer outlined her view of the writer's role in a paper given at the 1989 Warana Festival Writers' Week:
The writer is not, or not necessarily, just manipulating structures, patterns, sequences of events in time; these can embody psychic states, show them forth, and thereby free the writer of them. The structures, patterns and sequences, are metaphors, diagrams, mandalas. Maps of the island of the self. (Farmer,1990e: 391)
In A Body of Water Farmer is aware of herself constructing fiction, and this becomes itself the narrative basis. She writes, in Hutcheon's terms, 'narcissistic narrative,' or metafiction which 'is fiction about fiction—that is, fiction that includes within itself a commentary on its own narrative and/or linguistic identity' (Hutcheon, 1980: 1).
A Body of Water presents a commentary upon fiction through a collage of different narrative levels and forms. The confessional and autobiographical elements incorporate the agent of the writing into the narrative structure, and are associated with the author as self-conscious artist. This integration of personal experience and perspective is represented through a trope of the 'body' of text being related to the organic body. The writer constructs a space or site within which the reader may invoke the author. Since the narrative is implemented by the writer in reaction to, and as a product of, the writer's experience, the author acknowledges his or her function by the inscription of the body of text.
Chris Wallace-Crabbe concludes an essay on autobiography in The Penguin New Literary History of Australia with the comment that 'an understanding of the role of the authorial subject in autobiographies sheds light on the construction and contractual obligations of all literature' (Wallace-Crabbe, 1988: 570). His definition of the elements of autobiography is interesting when applied to a work such as A Body of Water:
Autobiography seems to be a parody, or at least a black-and-white caricature, of other literary genres. It makes the same claim to refer to life as other genres do, but a good deal more crassly. It makes the same claims about truth and edification, but is more blatant about them. And it brings rapidly to the fore all those coarse, nagging questions about whether it is art—formal, aesthetic, beautiful and all that—or merely documentation. (Wallace-Crabbe, 1988: 560)
Farmer's text raises such questions as the boundaries of truth, art, and documentation through the foregrounding of the author-function, or in Wallace-Crabbe's terms, the authorial subject, and the repetition of episodes, so that they acquire the status of biographical information, while also being acknowledged as fiction. What Wallace-Crabbe terms the 'autobiographical contract' problematises the limits of 'fiction' by incorporating the experience of the writer in an obvious manner, inviting questions such as that posed by Ray Willbanks in an interview with Beverley Farmer, where he asks, 'I'm trying to separate autobiography from fiction. What about the story 'At the Airport?'' (Willbanks, 1992: 78). Farmer's reply, which discusses what she terms the 'self-reflectiveness of life and fiction' (Willbanks, 1992: 78), refers to the overlap between the episode as written and the experience which prompted it. Curiously, within this interview there is no questioning of the innate difficulty of separating 'fiction' from 'autobiography,' or the point at which they converge, and the function of the authorial voice in this process. The proliferation of collections of interviews such as Speaking Volumes, Rooms of Their Own, and the Yacker series further clouds the issue, since the writer is giving personal information which the reader is able to bring to the text to provide a different reading: one which is presumably more alert to autobiographical aspects. But the suggestion of biographical material is not confined solely to the situation where the reader has access to the writer's recollections, since in texts such as A Body of Water the author indicates that she is incorporating autobiographical aspects within the fiction.
To do this, Farmer self-consciously constructs fiction based on the role of fiction and writing in her life. She reveals the physical genesis of fiction, while simultaneously creating fiction from it. She emphasises the formulation of the work, its congruity with and meaning for the writer. Farmer reveals that the creation of fiction can itself become the narrative, a body of work distinct from the author, but connected to her. The role of the reader is depicted as the focus, and the creative process depends upon the reciprocal involvement of the reader as a nexus to draw together the elements of the fiction. As Farmer points out, there is
No point in fiction which doesn't in some way expand, at least redefine, the boundaries of what fiction has said and been (fiction is what it says). Fiction can make events take place convincingly in a dimension beyond or within the ordinary one we are accustomed to: … Perhaps the only factor that makes 'real' life different is the absence in it of a reader: there being no observer, no focus of attention, no witness. (Farmer, 1990a: 196-97)
A Body of Water explores the creation of fiction firstly though the narrative, so that the process of writing is itself the narrative. The writer then shows how experience creates ideas, which are then represented as short stories. The reader constructs the text through connecting the linear pattern of the writer's journal, as thoughts and ideas flow, to the creation of the stories presented within the work. The reader connects the comments Farmer explicitly makes upon fiction into the presented stories to create a new interpretation of the story, and this process is reciprocal such that multiple interpretation is possible for the larger body of work. In this manner, A Body of Water is also reinterpreted, giving the text a fluidity of meaning appropriate to the title metaphor of a 'body' of water.
This process extends not simply to the works detailed within A Body of Water—such as the story 'A Drop of Water,' from its original inception from a haiku, to the enlargement into a short story, and finally its relation to the title volume—but also between collections. The reference to the illness of Farmer's mother can be related to the short story 'Inheritance' in the anthology Milk, so both works possess further connotations relating to the confusion of ontological boundaries between autobiography and fiction. In A Body of Water the narrator details:
At the end of my first year at University Women's College she had an operation which revealed an early cancer of the colon: they decided not to tell me until after my exams (my results were good). After her colostomy she had twenty more years to live with plastic bags sealed to the hole in her side, leaking, farting, the great slit bulging out inoperable hernias. She had to give up eating fruit, it gave her diarrhoea. Bravely she went to the beach one or two times. That was enough. After her stroke eleven years later she had to stop smoking, and be taught to speak again. (Farmer, 1990a: 144)
This incident in the writer's life is echoed in her fiction by being included in Milk in the story 'Inheritance,' which has a shift of narrative form to a direct address to the narrator's mother. It therefore adopts a tone of accusation on the part of the fictional narrator, in contrast with the confessional mode of Farmer's own voice in the later A Body of Water:
You never got lung cancer. Eight years ago after your stroke the doctors made you stop smoking. My father and I weren't mean. We kept quiet.
When I rang from college, my father denied that it was cancer you had… .
But it was cancer of the bowel. You survived the colostomy and learned to fasten plastic bags to the new hole cut in your belly. You've had to do it for nearly twenty years. (Farmer, 1983d: 140-41)
The change in narrative voice and tone, while portraying the same biographical information, reveals the altered focus and connotations of the two pieces of writing. The reader can respond to this implicit commentary by a corresponding shift in interpretation.
So the concept of teleology in writing is implicitly being questioned. The notion that fiction shows a progression towards a defined and immutable end position, has given way to the potential formation of a multiplicity of readings and textual constructions. The mixture of genres subverts a monologic, authoritative truth and an authorcentric vision. A metanarrative forms a pattern through an acknowledgement of the writing as fiction, wherein the writer functions as both writer and first reader of the text. Through an overt acknowledgement of the writer functioning as reader by interpreting and representing experiences, an autobiographical level is strengthened. The term 'life writing' has emerged to define that which Gillian Whitlock describes as 'writing which tends to cross and recross the boundaries between biography, autobiography and fiction, writing in which there are multiple alternatives for the implicated 'I'' (Whitlock, 1992: 264). Whitlock describes feminist autobiography in this way, citing critics such as Joy Hooton, Dorothy Dinnerstein and Nancy Chodorow who 'theorise women's subjectivity in terms of relatedness rather than autonomy, multiplicity rather than singularity and process rather than teleology' (Whitlock, 1992: 264). The self created in A Body of Water is equally 'mixed, suspended and unresolved' (Whitlock, 1992: 264). The development of this is the author writing the self into the text, so that the body of the text functions as a trope for the writer. A Body of Water is a reflection, and extension, of self for the author.
The mixture of genres in A Body of Water both contributes to the acknowledgement of fiction as 'imaginary' through a constant foregrounding of narrative form and structure, and reveals the process of writing. The generic mix is a product of tracing the development of fiction from idea through successive drafts to the completed story, which itself comprises the larger fiction. The writer in this manner becomes part of the fiction, through the references to the creation and development of the original concept, and the fictionalisation into a story. In A Body of Water Farmer details both the life experience and the later sensory and aesthetic experience which prompts the writing of one of the stories within the text, 'Among Pigeons':
Just on thirty years ago I saw that boy fall. Impossible to forget his whooping sobs, his tears; and his mother's face (which he didn't see). The agony of others, nearly experienced … Has he forgotten it, I wonder—has he suppressed the knowledge of it? I won't do it from the point of view of the au pair girl. She won't even be there. The maimed man who was that boy—he has to tell the story. (Farmer, 1990a: 78-79)
Here Farmer makes explicit the selectivity involved in the fictionalising process, which is not simply a mimetic process of representation. She juxtaposes this against the detailing of the aesthetic experience which provides the catalyst for the story:
Many beautiful things here: a pair of woven wooden doors, mossy ferns and pines in courtyards, very old fine-papered books in the library, pale stone lining the sandstone of the cloisters like icicles, small-paned windows deep in the ivy leaves, the voices of pigeons in the silence … Ivy and pigeons: they creep into the smallest space and are hard to dislodge; they've crept into a story while I've been working on it, huddled over the radiator munching apples—a story about a boy of six whose father has just left home. He lives with his mother. One day a visitor, a man, an enemy, decides to teach him a lesson about what life is like. (Farmer, 1990a: 78)
As the development of the story is portrayed, so the larger fiction of A Body of Water is itself created, since the tracing of the creation of 'Among Pigeons' becomes a work of fiction. The generic collage of description, recollection, reportage and imaginative response forms a network to be connected and reinterpreted by the reader, and the main aspect which binds these disparate elements is the writer. Farmer writes herself into the text through the interweaving of fact and fiction, and an acknowledgement of the factual becoming fictional in the process. The 'real' life of the writer, and her experiences, are utilised for fiction which becomes a roman á clef involving 'real' people and events. This blurs the boundaries between fiction and a documentary detailing of actual occurrences. The 'truth' becomes one version of a fictionalising process since, as Farmer makes clear, the act of writing involves reinterpretation on a number of levels.
Farmer's writing is growth or accretion, rather than a forward and ongoing narrative momentum. It therefore produces a network through discerning potential connections. This is most apparent in the progression from the story 'A Drop of Water,' which forms part of the larger work, A Body of Water. The story is a development from a different, smaller fiction, as Farmer makes clear: 'The story about the monk is starting to take shape: 'A Drop of Water' is its name—from my haiku about the jewel in the lotus in the gompa window' (Farmer, 1990a: 54). Again, explicit reference is made to the relationship, both in terms of the writer's experience and within the fiction, to the genesis of the series. The details of the writer's stay in the gompa, which provoked the sequence of haiku and story, is itself fictionalised within the larger framework. Farmer makes clear the relationship between experience and fiction, through the fiction itself:
Now that I'm back I think I might put aside work on 'Red Fishes' for a story set at the retreat. The lake, the gompa, above all the lotus window—the physical setting in its silent stillness to be emblematic, a mandala. The main character will be a monk, a European but not P—a very different man, detached, solemn and remote. He will encounter and be disturbed by an irreverent young couple. The encounter = the story. (Farmer, 1990a: 52)
So a further network is created through the confusion of the boundaries within the fiction, where Farmer as author becomes storyteller, character, and, in the process, text. But the identity of the narrator is never at issue. It is made explicit that the autobiographical element itself constitutes the text through the experiences of the writer, and their relationship to the creation of fiction.
Farmer uses the metaphor of her writing as 'a web' when discussing A Body of Water. This work is explicitly in diary form, but it is a journal relating to the development of the fiction, in conjunction with the thoughts of the writer:
… they're being published as a whole, the diary entries and the quotations and the readings that led to a particular story's germination and development. Then you get the story. All the threads are there linking it to the other stories and to other experiences. So it doesn't have a narrative line. It's all in the shape of a web. There are poems in it and recurring symbols. People who are interested in the process of stories coming into being might be interested in seeing how these stories came into being for me. (Willbanks,1992: 85)
Again, this provides an invitation to relate the author subject, the 'me' in the writing, with Farmer. But as John and Dorothy Colmer point out in their introduction to The Penguin Book of Australian Autobiography, autobiography is 'both a form of literary striptease and an archaeology of the self' (Colmer, 1987: 1), and as such is simultaneously 'the art of confession, revelation and self-discovery' (Colmer, 1987: 1). The web-like structure of A Body of Water applies not simply to the narrative form: it also allows it to incorporate different generic forms, such as those autobiographical elements detailed by Colmer, without being categorised strictly as autobiography, and similarly, without being restricted to one 'self' in the discovery process. The author of a semi-autobiographical text such as A Body of Water is not necessarily to be equated with the author-function, but by introducing autobiographical and confessional material the author is creating a space where a range of his or her possible 'selves' can be inscribed by the reader. The idea of the self is a trope for the body of text the reader constructs.
In addition, in A Body of Water Farmer interweaves the personal force of words to explore their impact within the individual and fictional framework. The reference to the power of words for the writer is a further means by which the author is written into the text, for the words themselves are evoked as possessing associations for the writer:
So the relation of a work of art to its material, in Gass's thought, is the relation of a fossil to the living creature; of opalised wood to the tree whose place it takes in the cosmos. (Walt Whitman has a patent on that word. Whenever I use it his voice intones, 'Walt Whitman am I, a Kosmos …' (Farmer, 1990a: 167)
The mixture of quotation, reference, image and association reflects the power of words to convey a multitude of connotations. The 'world of the word' is the world constructed by Farmer in the fiction, and she makes explicit that she, in writing the text, in the process writes herself into the text through the personal connotations she includes. Like Walt Whitman, she is the Kosmos of the text.
The power of language and fiction to structure the writer's world is similarly exploited by Farmer in her detailing of its effect on her as writer:
The first time I read 'The Lady of Shalott' (I remember it was in a classroom, idly reading ahead in the Eighth Book, when I was twelve) I recognised myself in her:
Seeing all his own mischance …
… Even at that age, reading the poem, I knew that I lived, and would always live a tangential, vicarious life: the web on her loom (for me) was fiction and disabling daydream. I was in thrall to the mirror between me and the real. (Farmer, 1990a: 219-20)
Here, the power of fiction subverts the boundaries between the writer's 'real' and the writer's represented life. The structure is therefore as disjointed and non-linear as memory and association. Farmer is enslaved, such that experience has continually to be embodied in language. Anderson points out in Real Opinions that
… while Farmer's volume might appear to juxtapose stories with notebooks, she further exacerbates this relationship by offering, at times, a notebook 'within' a story 'within' a Notebook. The 'story'/'notebook' relationship becomes vertiginously Escheresque. At other times the Notebook is characterised by multiple reflection, by adjacency, by collage, by bricolage. Just as the title of Farmer's book is ambiguous—A Body of Water like a bay, or a deliquescent physical entity?—so the relationship between 'stories' and 'journal' is one that privileges neither, awards precedence to neither, but insists on the equivalence between both. (Anderson, 1992: 58)
Farmer manipulates the structure of the text itself, and in such a way as to allow her to 'play' simultaneously with genre. She is presenting and representing the crafting of writing through offering the bricolage of multiple narrative levels, and in the process is creating a metanarrative concerning the creation of fiction. Anderson characterises this process as one which deconstructs boundaries:
East/West; body/soul; emptiness/plenitude. Like the M. C. Escher drawings that Farmer cites, and upon which Helen Daniel based her study of contemporary Australian fiction Liars (1988), the self-imposed task and the achievement of A Body of Water is to render such dichotomies (at least momentarily) meaningless. In Farmer's quest for form, subject is object, object subject. (Anderson, 1992: 57)
Both reader and writer as reader are drawn into a fiction where the differences between the fictional and the real are as unclear as the frame of the print depicted on the dustcover of the book, which fails to delineate the boundary of the art, as Farmer traces in the included story 'Vase With Red Fishes.'
A Body of Water reverts to the postmodernist issue of state of being, that is the ontological dimension of linguistic utterance and its reflection of and within fiction. The body of text is analogous to the physical body, emphasising the developing and evolving nature of Farmer's writing. She crosses boundaries by writing herself into the fiction, so the author becomes a part of the body of the text. The text itself is a metaphor for the process of reading. This allows Farmer to exploit a potential for unity from disunity through the structure of A Body of Water on a number of levels, most explicitly the chronological. Despite a superficially linear narrative structure through the presentation in journal format, the generic variation subverts a simple chronological progression. The structure is most obviously related to the title, A Body of Water, and the fiction has an autonomy and growth analogous to a physical body. In Farmer's terms:
This new writing: I want it to be an interweaving of visual images—more open, loose and rich, and free of angst. And if I keep a notebook this time as I go, it will grow side by side with the stories, like the placenta and the baby in a womb. (Farmer, 1990a: 3)
The analogy of the body of work to the placenta is curious, since the 'notebook' itself becomes the body of fiction. The body of the text is like an organic body in terms of achieving a life of its own.
The text, for Farmer, has a legitimacy and authority quite apart from the author, then, despite its growth as a result of the writer's experiences. The author, in writing herself into the text, becomes part of the network which the reader constructs. The author's fictional presence is therefore presented as being epistemological, as much as an ontological, force. The growth of fiction is interwoven with the growth in the writer, the writer's vision of the 'real' world, and attempts to integrate and relate the two through fiction:
Every tentatif I make in the direction of a new story brings me up face to face again with the mirror. The impulse withers. What is ahead lies beyond—that is, behind—the mirror, inaccessible, invisible, unknowable. Walking forward, all I see is myself loom larger, embedded in the vista of all that is behind me.
How thick is the mirror? (is only the glass thick?) Is there anything behind it? Is the past all I am, or at least all I can know of what I am? If my new stories can't reach into the new time, grow from the new self, better to be writing none. (Farmer, 1990a: 166)
Farmer questions her ability to 'grow' beyond the past, by progressing beyond fiction, which is an endless reinterpretation and re-presenting of previous experience. But she still acknowledges the role of the reader through a structure which foregrounds the connections and associations involved within constructing fiction. The process of creating fiction is emphasised as both a product of the discourse used to convey experience, and the writer's presence as interpretive medium. The analogous act for creating fiction as Farmer presents it is not a search so much as a growth process, an accretion of associations to form a network to be connected by the beholder, so that the body of text, like a body of water, may continually be renewed and renewing, and, like amniotic fluid, sustain and connect other life.
Janice Shaw
Janice Shaw is a lecturer in Romantic and Victorian literature at the University of Newcastle, Australia. She has a PhD in Australian discontinuous narrative and an MA in eighteenth century literature, as well as postgraduate qualifications in education. Her research interests are Australian short story, Romantic novel and popular culture. She is currently writing a chapter in a book on American popular culture.
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Colmer, John and Dorothy Comer, eds. (1987) The Penguin Book of Australian Autobiography. Ringwood: Penguin.
Ellison, Jennifer. (1986) Rooms of their Own. Ringwood: Penguin.
Farmer, Beverley. (1990a) A Body of Water: A Year's Notebook. St Lucia: U of Queensland P.
---. (1980b) Alone. Carlton South: Sisters.
---. (1985c) Home Time. Fitzroy: McPhee.
---. (1983d) Milk. Fitzroy: McPhee.
---. (1990e) 'Preoccupations.' Australian Literary Studies. 14 (1990): 390-92.
Hergenhan, Laurie, ed. (1988) The Penguin New Literary History of Australia. Ringwood: Penguin.
Hutcheon, Linda. (1980) Narcissistic Narrative: The Metafictional Paradox. Ontario: Wilfred Laurier U P.
Wallace-Crabbe, Chris. (1988) 'Autobiography.' Ed. Laurie Hergenhan. The Penguin New Literary History of Australia. Ringwood: Penguin. pp. 560-71.
Whitlock, Gillian. (1992) 'Recent Australian Autobiography: A Review Essay.' Australian Literary Studies 15 (1992): 261-69.
Whitman, Walt. (1959) Complete Poetry and Selected Pros. Boston: Houghton Mifflen, 1959.
Willbanks, Ray. (1992) Speaking Volumes: Australian Writers and their Work. Ringwood: Penguin.

redpajama_set_name: RedPajamaCommonCrawl


Paola Longoria has now won 9 of those 23 events in the Ladies Professional Racquetball Tour Pro Division.
Paola also played pro doubles in this tournament with Samantha Salas (and has won 5 times with 2 different partners). The finals is captured below in addition to Paola's singles matches that were broadcast during the event.
US OPEN 2018 Women's Pro Quarters Paola Longoria vs Natalia Mendez Erlwein. Maurice Miller and Troy Warigon on the mic! Leave some comments, they'll get back to you!
US OPEN 2018 Women's Pro Singles Final Paola Longoria versus Samantha Salas Solis. Leave a comment for our broadcasters (Stewart Solomon & Tj Baumbaugh), they will respond LIVE!
US OPEN 2018 Women's Pro Doubles Final Paola Longoria & Samantha Salas Solis versus Montse Mejia & Alexandra Herrera.


text:
Justia › US Law › Case Law › Federal Courts › Courts of Appeals › Fifth Circuit › 1990 › United States of America, Plaintiff-appellee, v. Noble Lee Simpson, A/k/a Levi, A/k/a Mike Bashara,...
United States of America, Plaintiff-appellee, v. Noble Lee Simpson, A/k/a Levi, A/k/a Mike Bashara, and A/k/ajohn Strudevant, Defendant-appellant, 901 F.2d 1223 (5th Cir. 1990)
Jeffrey W. Hurt, Dallas, Tex. (Court-appointed), for defendant-appellant.
Merv Hamburg, Atty., Dept. of Justice, Washington, D.C., Marvin Collins, U.S. Atty., Dallas, Tex., for plaintiff-appellee.
Appeal From the United States District Court for the Northern District of Texas.
Before GOLDBERG, REAVLEY, and HIGGINBOTHAM, Circuit Judges.
PATRICK E. HIGGINBOTHAM, Circuit Judge:
Noble Lee Simpson raises several issues to attack his conviction of various narcotics offenses. We reject all of his claims, except his contention that his sentence was improperly enhanced. Our decision is for the most part directed by the panel opinion in United States v. Goff, 847 F.2d 149 (5th Cir. 1988), reviewing appeals of Simpson's co-defendants. We hold that Simpson was properly convicted of participation in two separate conspiracies rather than a single larger one; that he is not entitled to a new trial based on prosecutorial misconduct; that the evidence was sufficient to support his conviction; and that his trial counsel's performance was not constitutionally defective. The government concedes that the district court improperly enhanced Simpson's sentence because of prior convictions, even though the government had not complied with the procedures for seeking enhancement. We therefore affirm Simpson's conviction, but remand for resentencing without reference to his prior offenses.
A federal grand jury charged Simpson and 26 others with various narcotics offenses in a twenty-nine count indictment. Count 14 charged Simpson with conspiracy to import marijuana from Belize to Texas; count 15 charged him with aiding and abetting that importation; count 20 charged him with conspiracy to possess that marijuana with intent to distribute it; count 21 charged him with possession of the marijuana with intent to distribute; and count 25 charged him with conspiracy to import cocaine from Columbia to Texas. After a joint trial with all several codefendants, a jury convicted him on each count. The district court sentenced him to concurrent 30 year sentences on counts 14, 15, 20, and 21, and to forty years on count 25, to run concurrently with the thirty year sentences. The district court fined Simpson $20,000 on each count, assessed the mandatory $50 special assessment on each count, and ordered Simpson to serve a special six-year parole term on counts 15 and 21.
On the day of sentencing, Simpson's counsel moved to withdraw, and the district court granted that motion a week later. Counsel did not file a notice of appeal before withdrawing, and the time for filing the notice lapsed. A magistrate later recommended that the district court authorize Simpson to take an out-of-time appeal, which the district court did on October 3, 1988. In the meantime, this court resolved the appeals of several of Simpson's co-defendants in United States v. Goff, 847 F.2d 149 (5th Cir. 1988).
The indictments and convictions of Simpson and his co-defendants culminated the government's efforts to break a large drug importation ring operating in Texas. The indictment charged several different conspiracies to import drugs from Columbia and Central America into Texas. Simpson was charged with participation in only two of these. The opinion in Goff explains the full scope of the ring's operations.
Counts 14, 15, 20, and 21 were based on Simpson's alleged participation in the "Granbury Conspiracy." This was a plan spearheaded by co-defendant Stephen Barrington to fly marijuana from Belize in Barrington's plane and drop it over a site near Odessa, Texas. The government's evidence at trial indicated that Simpson was part of the "ground crew" for this operation--those who were to pick up the marijuana dropped from the plane.
The government's evidence further indicated that co-defendants Terry Drewes and James Goff flew the plane to Belize and picked up 45 bales of marijuana, which they dropped over the Odessa site. Simpson, Weldon Eugene Wyatt, and Tom Spratlen strung lights to mark the site. Simpson stayed in touch with the plane via a ground to air radio, and directed Spratlen, who was secretly a government informant, to turn on the lights as the plane approached.
Count 25 charged Simpson with participation in the "Maraquita Conspiracy." This was Barrington's plan to import a big load of cocaine from Columbia to Texas in June 1985, using some of the $170,000 proceeds from the sale of the Cessna Titan aircraft used in the previous ventures. Barrington also used some of these proceeds to purchase a Merlin turbo-prop plane for the trip.
Originally, the plan was for the plane to depart from Oklahoma City and fly to a spot in Columbia to pick up the cocaine. In May 1985, Simpson took several supplies for the operation to Oklahoma City, and also took the pilot there later that month to meet with Barrington and Spratlen. Simpson was to be part of the flight crew for this venture, so someone recruited new ground crew members, including Simpson's brother-in-law David Duke.
Simpson took off with three others from Oklahoma City in mid-June. Several hours into the flight, the plane's instruments began to malfunction, so they returned to Oklahoma City. The conspirators changed plans, deciding the plane should leave from New Orleans instead. Simpson, believing the Merlin was unsafe, refused to fly in it again, and, according to the government's evidence became part of the ground crew in Odessa. The flight crew took off from New Orleans on June 24, but made an abortive landing in Maraquita, Columbia, where they were arrested. According to the government's witnesses, Simpson remained with the ground crew for several days, trying to ascertain the fate of the flight crew.
Simpson argues that his conviction on the conspiracy charges was defective in three respects. First, he says the government's proof showed the Granbury Conspiracy and the Maraquita Conspiracy were actually parts of one large conspiracy. Thus, he argues, he could not have been convicted of separate participation in each, consistently with the Double Jeopardy Clause.
His co-defendants made this argument more broadly on the previous appeal, contending that all of the conspiracies charged in the indictment were shown at trial to have been merely parts of a larger conspiracy. Indeed, the government did attempt to paint all of the drug smuggling ventures as part of Barrington's efforts to import one big load of cocaine from Columbia into Texas. The court therefore analyzed all of the charged conspiracies in relation to one another, in terms of the factors set out in United States v. Marable, 578 F.2d 151 (5th Cir. 1978), to determine exactly how many conspiracies the government proved. The court determined that the government proved only two. The first incorporated the Granbury Conspiracy and another charged conspiracy known as the Tye Conspiracy. The second was the Maraquita Conspiracy. United States v. Goff, 847 F.2d at 166-167. As these were the only conspiracies with which Simpson was charged, this argument fails.
Simpson's second argument is also based on the Double Jeopardy Clause. He says that he should not have been charged with conspiracy to import the Granbury marijuana in Count 14, and with conspiracy to distribute that marijuana in Count 20. In Goff, Simpson's co-defendants made the same argument about Counts 9 and 11, which charged them with these same offenses with respect to the Tye marijuana. As the court there pointed out, it is well settled that the government can impose a separate punishment for each statute a conspirator has agreed to violate, even if there is only one agreement, provided Congress has authorized such punishment. Congress elected to do this with 21 U.S.C. §§ 846 and 963, the statutes involved here. 847 F.2d at 169 (citing Albernaz v. United States, 450 U.S. 333, 101 S. Ct. 1137, 67 L. Ed. 2d 275 (1981); United States v. Kalish, 690 F.2d 1144 (5th Cir. 1982), cert. denied, 459 U.S. 1108, 103 S. Ct. 735, 74 L. Ed. 2d 958 (1983)).
Finally, Simpson points out that in Goff, the court remanded for resentencing of the defendants convicted separately of the Tye and Granbury Conspiracies. The court said that, to comply with the Double Jeopardy Clause, the government must elect to have them sentenced only on either the Tye Conspiracy (counts 9 and 11) or the Granbury Conspiracy (counts 14 and 20), not both. The government chose to have them sentenced on the Tye Conspiracy, and dismissed the Granbury Conspiracy counts. Simpson argues that this means the government had to dismiss counts 14 and 20 against him as well. This argument fails because Simpson was not charged with the Tye Conspiracy.
Simpson points to five asserted instances of prosecutorial misconduct in the closing argument which he says entitle him to a new trial. They are: (1) improper bolstering of Tom Spratlen's testimony; (2) improper attacks on the defendants' attorneys; (3) improper bolstering of the government's case by emphasizing the prosecutor's position and by asserting the views of other government agencies concerning the defendants' guilt; (4) the prosecutor's expression of his opinion as to guilt and his reference to all of the defendants as "crooks;" and (5) misstating the evidence about Simpson's departure from Belize during an unrelated drug venture. Simpson also argues that, even if none of these errors alone warrants reversal, their cumulative effect requires it. Simpson's co-defendants raised the first four instances in Goff, so only the fifth is new.
When a defendant objects to closing argument, the trial court commits reversible error in overruling the objection only if the portion of the argument objected to is both inappropriate and harmful to the defendant. United States v. Iredia, 866 F.2d 114 (5th Cir. 1989). Improper argument harms the defendant if it affects his substantial rights. United States v. Lowenberg, 853 F.2d 295 (5th Cir. 1988), cert. denied, --- U.S. ----, 109 S. Ct. 1170, 103 L. Ed. 2d 228 (1989). To determine whether the argument affected the defendant's substantial rights, we examine (1) the magnitude of the statement's prejudice, (2) the effect of any cautionary instructions given, and (3) the strength of the evidence of the defendant's guilt. Id. at 302. As we will not set a conviction aside if the prosecutor's conduct did not contribute to the guilty verdict, this analysis is equivalent to review for harmless error. United States v. Cardenas, 778 F.2d 1127 (5th Cir. 1985); United States v. Beckett, 706 F.2d 519 (5th Cir. 1983).
If the defendant has not objected to the portion of the closing argument he challenges on appeal, we review only for plain error. Plain error is obvious, substantial, and so basic and prejudicial that the trial lacks the fundamental elements of justice. United States v. Davis, 831 F.2d 63 (5th Cir. 1987).
In Goff, the panel noted that the district court and the parties agreed that an objection by one defendant would be considered an objection by all, unless expressly disavowed. 847 F.2d at 162, n. 15. The court determined that the first four instances of prosecutorial misconduct were improper and prejudicial, and that the district court gave no curative instruction on the misconduct objected to at trial (instances (1), (2), and (4)). 847 F.2d at 161-166. The court determined, however, that the misconduct objected to was harmless in light of the evidence against the appellants, and that the unobjected-to misconduct (instance (3)) did not constitute plain error. 847 F.2d at 178.
We are of course bound by the plain error determination, and the determinations that the prosecutor's misconduct in these instances was improper and prejudicial. Therefore, we need only determine whether the objected-to misconduct was harmless as to Simpson. We conclude that it was. In addition to Spratlen, several witnesses placed Simpson at the scenes of the crimes with which he was charged. The evidence overwhelmingly indicated that he was more than a minor player in both conspiracies, if not indeed a major player.
The fifth alleged instance of misconduct refers to a remark the prosecutor made about a trip Simpson and his co-defendant Goff made to Belize. This trip was not a part of either of the conspiracies charged. In February 1985, they flew from Sweetwater, Texas to Belize in Goff's plane, planning to pick up 1,555 pounds of marijuana to bring back to Texas. Belizean law enforcement officials arrested them at the pick-up point. Another co-defendant, Drewes, told George Gantt, a government informant, that he paid someone in Belize more than $100,000 to release Simpson and Goff. The D.E.A. dispatched an agent, Reina, to Belize to question Simpson and Goff. Reina held one meeting with them, but when he returned the next day, they were gone. They apparently left without official approval, as the government of Belize has since convicted them in absentia and issued commitment warrants against them. Simpson complains about the prosecutor's paraphrasing of Reina's testimony, in which the prosecutor said Reina saw them in custody one day "and when I [meaning Reina] went back the next day and [sic] they were gone. And wasn't anytime during business hours that they left." Simpson's counsel did not object. Simpson claims this was an improper hint that he had escaped from jail in Belize. He does not contend the remark was irrelevant.
We are not persuaded the remark was improper. It was a permissible summary of the evidence given by Gantt and Reina. Even were we persuaded the remark was improper, it would not constitute plain error under the Davis standard.
Simpson complains of two alleged instances of prosecutorial misconduct in other phases of the case. He first claims the prosecutor permitted Spratlen, the government's chief witness, to commit perjury. Second, he claims the prosecutor failed to disclose exculpatory evidence, by failing to provide him with certain hotel receipts.
His first claim is based on an alleged conversation involving Simpson, his brother-in-law David Duke, their attorneys, Spratlen, the prosecutor, and others. According to Simpson, Duke told the prosecutor that the statement in the indictment that Simpson had recruited Duke and another man to be part of the ground crew for the Maraquita Conspiracy was incorrect. Simpson says the prosecutor promised to withdraw the statement from the indictment but did not, and later allowed Spratlen to testify to this alleged falsehood. We are unable to locate a reference to this incident in Spratlen's testimony, or in anyone else's. Simpson points us to none. His argument therefore fails.
Simpson's second claim involves some photos the D.E.A. took of him at an Odessa hotel about the time of the Maraquita conspiracy. The agent who took the photos testified that he took them on May 28, 1985. David Duke testified he did not remember having seen Simpson in Odessa in May, so the photos must have been taken in June. Simpson claims that the government had hotel receipts that would have confirmed Duke's testimony, and would in fact have shown that he was only at the hotel after the flight crew had been arrested in Columbia.
Simpson claims the hotel receipts were exculpatory because when he refused to fly to Colombia, he withdrew from the conspiracy, and the D.E.A. photos were the government's only evidence to the contrary. He assumes that the conspiracy ended with the arrest of the flight crew, and says the hotel receipts would have helped him show his presence at the hotel was unrelated to the conspiracy.
We think the evidence was not exculpatory; indeed, it tended to inculpate Simpson. As the Goff panel pointed out, a conspiracy does not end with the arrest of some of the conspirators. United States v. Kalish; United States v. Michel, 588 F.2d 986 (5th Cir.), cert. denied, 444 U.S. 825, 100 S. Ct. 47, 62 L. Ed. 2d 32 (1979). Thus, proof that he was at the hotel only after the arrests does not itself tend to exculpate Simpson. Further, Spratlen testified that Simpson, while at the hotel, made efforts to ascertain the fate of the flight crew, and Johnny Letcher, a Maraquita ground crew member, testified Simpson was also a member of the ground crew. Therefore, his presence at the hotel, whenever it occurred, tends to inculpate him.
Simpson argues that the evidence was insufficient to sustain his conviction. We think the evidence was sufficient on all counts. There was specific testimony from Spratlen and others that Simpson was part of the ground crew of both operations, and had originally planned to be part of the flight crew of the Maraquita conspiracy. Spratlen testified that Simpson directed the ground crew operations in the Granbury conspiracy, and that he brought supplies to Oklahoma City for the Maraquita conspiracy. Spratlen and Letcher testified he was involved in the Maraquita conspiracy long after his claimed withdrawal. Simpson offered little to contradict this testimony.
Simpson next argues that his trial counsel rendered constitutionally ineffective performance, entitling him to a new trial. Under Strickland v. Washington, 466 U.S. 668, 104 S. Ct. 2052, 80 L. Ed. 2d 674 (1984), a defendant claiming his trial counsel was ineffective must demonstrate that counsel's performance fell below objectively reasonable standards, and that the deficiency caused him actual prejudice (i.e., that the result of the proceeding reasonably might have been different).
Simpson points to several alleged failures by his counsel. Counsel failed to investigate Duke's claims that the D.E.A.'s Odessa photos were taken in June, not May. Counsel was absent at certain points in the trial and at sentencing. He failed to object to a photo of Simpson sitting on bales of marijuana in Belize. He failed to object to the presentation of evidence of Simpson's criminal activities other than the charged conspiracies, specifically the trip to Belize. He failed to object to the district court's jury instruction regarding evidence admitted under Fed.R.Evid. 404(b) and was not present during reinstruction on this point. He failed to object to any of the instances of prosecutorial misconduct set out above. Finally, he failed to object to the special parole terms.
First, we are persuaded that, as to most of these instances, counsel's performance was not deficient. His failure to investigate Duke's claim was not, because, as we have said, Simpson's presence at the hotel, even if only after the arrests, inculpated him rather than exculpated him. This is so even if he was present only after the arrests. Counsel's absences do not constitute deficient performance. He was absent only four times: during a bench conference that had nothing to do with Simpson; at the beginning of one day of trial, while the court conferred with another attorney about problems with an interpreter; at the beginning of another day, when he and two jurors were delayed by inclement weather, and no testimony was given in his absence; and during the 404(b) evidence reinstruction, concerning evidence that had nothing to do with Simpson.
Goff's counsel objected generally to any evidence about the trip to Belize. As we have said, the district court agreed before trial to accept objection by one counsel as having been made on behalf of all other defendants, unless expressly disavowed. There thus was no need for Simpson's counsel to object. This of course applies to all of the objected-to instances of prosecutorial misconduct as well, and to counsel's failure to object to the original jury instruction on the 404(b) evidence. Indeed, because the 404(b) evidence had nothing to do with Simpson, his counsel had little if any reason to object.
The unobjected-to prosecutorial misconduct--the improper emphasis of the prosecutor's position and the references to other government agencies' opinions of defendants' guilt--did not prejudice Simpson in light of the evidence against him. The failure to object to certain aspects of sentencing is moot, as the government has conceded to a remand for resentencing. See below.
The government concedes that the district court enhanced Simpson's sentence based on prior convictions, even though the government did not comply with proper procedures for seeking an enhancement. The government indicated at oral argument that remand for resentencing was appropriate. We agree. We vacate Simpson's sentence and remand for resentencing without reference to his prior convictions.
AFFIRMED IN PART, VACATED IN PART AND REMANDED.


text:
Q: how to create token file from grammar file in antlr I am creating a DSL using antlr. Lexer and Parser are written in one grammar file(say layout.g). Tree grammar is written in another grammar file (say layoutTree.g). Now Tree parser is not properly parsing. I printed the AST output from parser, and its correct. I walked through the generated tree parser code, and found that token value declarations assign different values in tree parser and parser.Below is the sample output from parser and tree parser.
Parser output
public static final int ARRAY_MEMBER_TOKEN=4;
public static final int ARRAY_TOKEN=5;
public static final int DECLARATION_TOKEN=6;

Tree Parser Output
public static final int EOF=-1;
public static final int DECLARATION_TOKEN=4;
public static final int IDENTIFIER=5;

As you can see DECLARATION_TOKEN has different value in parser output and tree parser output. Because of this tree parser is not working as expected.How can I correct this problem?
Is it a problem with generated token file(say layout.token)? This file is empty in my project.How can I generate this file?

A: Do you have something like this in your tree grammar?
options
{
  tokenVocab=layout; //NOT layout.g or layout.tokens
  ASTLabelType=pANTLR3_BASE_TREE;
}

redpajama_set_name: RedPajamaStackExchange


text:
Tim Hortons UK
Tim Hortons UK/
Tim Hortons announces Cumbernauld opening date
Iconic Canadian Café and Bake Shop chain, Tim Hortons®, has announced it will be opening the doors to its latest drive thru restaurant, in Cumbernauld, on Tuesday 10th December at midday.
Located on the new Cumbernauld Retail Park, the location will offer both a comfortable restaurant, as well as a drive thru lane for everyone to enjoy Canada's favourite coffee*.
There will also be an early Christmas present for Tim Hortons fans too, the first 100 customers at the new restaurant will receive a free lunch combo meal to celebrate the opening.
The lucky, early-bird customers can treat themselves to a Tims ® Crispy Chicken Sandwich, or any Grilled Wrap, with a portion of potato wedges and a small drink all free of charge.
In addition to this festive treat, the very first person in the queue for the restaurant, and the queue for the drive thru, will receive a VIP card entitling them to two free drinks every day for a year! That's 730 free Lattes, French Vanillas, or Frozen Lemonades to really quench that thirst.
As the season of goodwill is nearly upon us, diners can also enjoy the new festive goodies; Rudolph the Reindeer Donuts, Gingerbread Lattes, Frozen White Hot Chocolate and the Christmas Spiced Caramel Brownie.
The Tim Hortons® brand was founded in 1964 by its namesake, a top professional ice hockey player, who wanted to create a space where everyone would feel at home. Fast forward to 2019 and nearly eight out of 10 cups* of coffee sold across Canada are served at Tim Hortons® restaurants and more than 5.3 million Canadians – approximately 15 percent of the population – visit the café daily.
As well as the famous Donuts, Timbits® and range of beverages, customers will have on offer hearty breakfast options, as well as a variety of lunch items such as sandwiches, wraps, paninis and toasties, all fresh and made-to-order using quality ingredients.
Kevin Hydes, Chief Commercial Officer of the Tim Hortons® franchise in the U.K. said: "We're delighted to have secured a fantastic location in Cumbernauld for our new drive thru restaurant. We're very much looking forward to becoming part of the local community and serving their food and drink needs."
The first Tim Hortons® in the U.K. opened its doors in Glasgow in June 2017 to huge fanfare, with fans travelling from across the country and queuing overnight to sample the brand's famed coffee and baked goods. As Tim Hortons® rolls out nationwide, a further 24 restaurants are now serving guests in and around Birmingham, Glasgow, Cardiff, Manchester, Leicester and Belfast with excitement levels showing no signs of dropping.
- ENDS –
Tim Hortons® Overview
TIM HORTONS® is one of North America's largest restaurant chains operating in the quick service segment. Founded as a single location in Canada in 1964, TIM HORTONS® appeals to a broad range of consumer tastes, with a menu that includes premium coffee, hot and cold specialty drinks (including lattes, cappuccinos and espresso shots), specialty teas and fruit smoothies, fresh baked goods, grilled Panini and classic sandwiches, wraps, soups, prepared foods and other food products. TIM HORTONS® has more than 4,700 system wide restaurants located in Canada, the United States, and around the world. To learn more about the TIM HORTONS® brand, please visit the TIM HORTONS® brand website at www.timhortons.com or follow us on Facebook, Twitter and Instagram.
Tim Hortons® in the UK
In 2017, the iconic Canadian brand made its way to the United Kingdom, bringing premium coffee, freshly baked goods, delicious sandwiches & wraps, and other food products to Brits. The first restaurant opened on Argyle Street, Glasgow, in June 2017.
There are currently 24 restaurants in the UK with a flagship location in Leicester city centre.
Website: www.timhortons.co.uk
Facebook: @TimHortonsUK
Twitter: @timhortonsuk
Instagram: timhortonsuk
*Based on single brewed coffee servings in Canada QSR (The NPD Group/Crest for the year ending Jan 2018).
Megan Trimble
pressenquiries@timhortons.co.uk
At Tim Hortons, we believe that you shouldn't have to compromise. Whether you want a hot freshly-prepared breakfast on the way to work served with our smooth, delicious coffee; a great choice of freshly prepared sandwiches & wraps or one of our famously irresistible donuts for a sweet afternoon treat, Tim Hortons is the place to visit. However, there's more to Tim Hortons than great-tasting fresh food and coffee. We work hard to deliver the highest quality products and services and strive to be a leader in everything we do. An iconic 50 year-old brand in Canada, Tim Hortons opened its first UK site in June 2017 in Glasgow.
Scotland offer Drive Thru TimHortonsUK New Store Openings Free Drink Cumbernauld


At Robco, we build custom vinyl fences using the highest quality materials. Our high grade vinyl will never rot, rust, chip or fade. And since no long-term maintenance is required, you'll save money by avoiding repairs and upkeep. Vinyl fences are also highly customizable. We offer several different styles, from picket fencing to privacy fencing, and can design yours as the perfect complement to your home.
At Robco Fence and Deck, your satisfaction is our number one priority. Not only do our trained experts handle all construction and installation, each vinyl fence we build is also backed by our 2-Year Workmanship Warranty.


If you need help for the Shakespeare Passport, use this contact form to submit your request.
If you need support for the Shakespeare app, click here to visit our support department and submit a request.
I can't find the Shakespeare Passport in my app. Where is it?
Make sure you have downloaded a version of the Shakespeare or Shakespeare Pro apps after December 23, 2010. Only versions released after this date have the Shakespeare Passport included. On the iPad, you will see the Shakespeare Passport icon in the left column. On the iPhone or iPod, go to the More section to find the Passport if you don't see it along the bottom icons. On Android devices, find the Passport in the top menu icon.
What's the number displayed on the screen?
It's a unique 12-digit number based on the unique ID number generated by your device. No two people have the same number so this may be used by venues to identify you and your usage of the Shakespeare Passport at their venue.
What kind of barcode does the Shakespeare Passport use?
The passport uses the Universal Product Code barcode (UPC-A), which is commonly used in retail systems. It consists of a 12-digit number displayed below the barcode lines.
Just download the Shakespeare app on your new device and log in using to your existing account.
I forgot my password. How can I retrieve it or change it?
If you forget your password or username, click one of the links in the right column to reset it. You can also click the links in the app, which will take you to this website in order to reset it.
I represent a Shakespeare venue. How can I update my offer?
If your offer changes, you can log in to this site and update it whenever you need.
I'm having a problem with my app. Who can I contact?
Visit our Shakespeare app support department to get app support or report a bug.


Sea-level rise, driven in large part by climate change, threatens our state's coastal communities and ecosystems. To provide context for understanding the changes our planet and our state is undergoing, I am one of a group of scientists at Rutgers that studies past sea-level changes, both globally and here in New Jersey. Our New Jersey sea-level research has been the subject of misleading attacks, as in Tom Brown's Sept. 10 letter to the editor in The Daily Targum titled "Rutgers should not sacrifice environment for research projects." My collaborator, Professor Gregory Mountain, has provided specific responses in "Criticism of University marine research project misinformed, unfounded." Here, I provide the scientific impetus for our studies.
We use two primary tools. One is acoustic imaging of the ocean floor, which provides sonograms of rock layers (often called "seismic profiling" since it involves propagating sound waves). The sonograms reflect large-scale patterns in the way higher and lower sea levels laid down sediments in the past. The other is the collection of sediments by drilling and recovering cores that provide a history of past oceanic and coastal environmental changes.
We undertake our research with great care for the marine environment. Our acoustic imaging employs air guns, a tool used for decades to explore below the seafloor. Our expeditions include several independent observers who carefully watch for marine mammals and turtles — if any are in the area, we suspend operations until they depart.
Over the past 24 years, our studies have included five seismic cruises and the coring of 17 onshore and 12 offshore sites. We have engaged students in this work through the signature course "Sea Change: The Rise and Fall of Sea Level and the Jersey Shore" and through research experiences. Through these activities, we have reconstructed sea level over the past 100 million years and leveraged knowledge of past changes to inform local projections of future sea-level changes. In our recent paper, we showed that sea-level rise in New Jersey over the last century was higher than in any century in over four millennia.
We take especially strong exception to claims that our acoustic imaging (in an area known to contain no oil and gas) has anything to do with oil and gas exploration. To the contrary, our National Science Foundation-funded research is intended to help understand the physical response of the Jersey shore to climate change, one of the largest environmental challenges of our age.
Kenneth G. Miller is a distinguished professor of Earth and Planetary Sciences.


text:
Argentina to Italy, Students Spend Summer Abroad
Home Newsroom 2019 August Argentina to Italy, Students Spend Summer Abroad
Brooke Shannon studied in Ireland.
Amanda Mitchell studied in France.
Jaran Smith studied and interned in Argentina.
From Argentina to Italy, a number of adventurous Eastern students studied abroad this summer, honing second languages and immersing themselves in new cultures.
Psychology major Amanda Mitchell '19 traveled to Provence, France, to study French at Aix-Marseille University. Speaking to her progress with the French language, she said, "I was able to communicate with and make friends from all over the world. I began to really learn a new language and use that language every day." She added, "This trip put into perspective how many people there are whom I would never get the chance to meet otherwise."
Business administration major Lucinda Davis '20 traveled to Sorrento, Italy, to study global business at the Sant'Anna Institute where she attended a five-week course called "Competing in the Global Environment: Business in the European Union." Highlights of her trip included traveling outside of her studies and visiting Mount Vesuvius, Capri, Pompeii, Pisa, Milan and Venice.
Spanish major Jaran Smith '19 traveled to Argentina for an internship with Buenos Aires International Students, a non-governmental organization based in Buenos Aires that facilities study abroad trips. "The internship combined both of my main focuses at Eastern — Spanish and economics," said Smith. His role dealt with collecting data and helping to organize travel packages to different areas across Latin America.
"Of everything I did during my time abroad, going to Calafate was the most exciting," he said of the southern Argentina locale. "We traveled to the Patagonian glacial region and witnessed breathtaking views of the Perito Moreno Glacier and the Andes Mountains. The memories I made during my stay in Argentina are ones I'll keep with me for the rest of my life!"
Ashley Smith studied in Spain.
Lucinda Davis studied in Italy.
Elementary education major Brooke Shannon '19 studied abroad in Ireland, learning about Irish society and culture. Speaking of a course she took on Irish film and literature, she said, "I learned how Ireland is portrayed in movies and literature, and which portrayals were accurate and which were stereotypical."
Noting the differences in culture between Ireland and the United States, she said, "I loved being in a culture that's different from that of America. It's a culture that doesn't have such an emphasis on being successful and making money. They're not worried about having the nicest cars or houses; they just want to have fun, no matter what age they are."
Elementary education and Spanish double-major Ashley Smith '20 traveled to Barcelona, Spain, to practice her Spanish and study art and culture. "This trip definitely helped me to feel more confident and comfortable speaking Spanish," she said, "as well as gave me an inside look of life in a Spanish-speaking country. This experience made me more independent and broadened my perspective of the world and other cultures."
Categories: Study Abroad