Join Andy Williams on this very exclusive, small-group safari at some of Tanzania's best wildlife photography destinations: Katavi National Park, Mahale Mountains National Park, and Selous Game Reserve. We'll have fantastic, exclusive opportunities for African wildlife of all kinds at Katavi and Selous: predators and their prey, elephants, giraffe, buffalo, hippo, antelopes, and birds—too many species to count! In addition to traditional game drives, we have the opportunity for walking safaris, and also game photography by boat.
In between our time at Katavi and Selous, we'll spend three full days in the Mahale Mountains, trekking for Chimpanzees. We never know quite how far we will have to go to find them, but find them we will, and we will be among them for close and intimate photography encounters. On reaching the chimps, we spend an hour with them while they do their own thing: eating, foraging, playing, jousting for position in the troop, sqaubbling, and more. We're in Mahale for four nights, so that we can have three opportunites at these magnificent social creatures.
This safari has it all, from vast, wide-open spaces and the numerous game that inhabits, to the lush forest jungle, and the intimate encounters with our closest relatives, the chimpanzee. You'll be expertly led by Andy and his team of hand-picked local guides. Everything's all-inclusive, the best safari camps, private air charters, and amazing food. If you're looking for an authentic African bush-style safari experience, look no further: this is it!
November 10, 2019: Arrive into Kilimanjaro Airport (JRO) anytime this day. Upon arrival, you will be met by our representative, and assisted with immigration formalities and baggage collection. You will then be transferred by road to Rivertrees, where you will stay for the night. We'll all meet for a kickoff dinner, get to know each other, and we'll get to understand your photographic goals for this safari.
November 11–14, 2019: On the 11th, after an early breakfast, we will take the short drive to Arusha Airport, for the our charter flight to Katavi Airstrip. We will be met on arrival in Katavi by our local guides, and transferred to Chada Camp, where you will stay for the next three nights. With only six tents, Chada is a simple, classic bush camp. However, do not let the simplicity put you off—this camp is very high end, with extremely high standards of accommodation, masked by the seemingly simple set-up. This approach suits such a wild destination. Guiding standards are set very high, and you can also be guaranteed of a laidback, but very high-quality hospitality experience.
The phrase 'Africa's best kept secret' is used to describe so many remote parks in Africa. However, we believe the accolade should be given to just one place—Tanzania's Katavi. Very few people visit this part of the country, either being put off by the high prices needed to get out this far, or simply choosing to head for Tanzania's more famous attractions. The result is one of the least-visited and least-developed National Parks in Africa. Vast buffalo and elephant herds, as well as huge lion prides are found across the plains. Hippo pods mass in the hundreds, while crocodiles hibernate in dens—both occurrences are unique to Katavi. At the peak of the dry season this park is nothing short of phenomenal, with exceptionally high concentrations of game around the park's remaining sources of water. It is this awesome density of game, as well as the sheer sense of wilderness that makes this park so special. Katavi offers one of the last truly wild safari experiences left on the continent. Huge herds roam the plains here—the feeling of utter wilderness is tangible, and virtually prehistoric.
November 14–18, 2019: After breakfast on the 14th, our guides from Chada Camp will transfer us back to the Chada Airstrip in time for our charter flight to Mahale. We will be met on arrival in Mahale by our guides from Greystoke Mahale and transferred to the camp by boat, where we will stay in Cottages for the next four nights.
Lying on a sandy beach on the edge of a truly stunning lake, Greystoke rests at the bottom of the Mahale Mountains, home to the finest chimpanzee viewing on the planet. Greystoke itself is a very cool lodge. The six large bandas are double storey and some of the most unique rooms we know. Mahale Mountains National Park is home to approximately 800 to 1,000 wild chimpanzees split across approximately 12 separate communities, including the famous 'M' group. Mahale's attractions, however, go much further than chimpanzees. The park's jungle-draped peaks drop down to a beautiful beach that lies on the edge of the crystal-clear Lake Tanganyika, the world's second-deepest lake. Activities at Mahale include: trekking for the chimpanzees (we'll do this each day), as well as optional boating, canoeing, fishing, swimming, and simply relaxing.
A chimpanzee experience like no other. Cerebral. Heart pounding. Serene. Intimate.
November 18–22, 2019: After breakfast on the 18th, we'll transfer back to the Mahale Airstrip for our flight to the Kiba Airstrip in the Selous. We are met on arrival in Selous by our guides from Sand Rivers and transferred to the camp, where you will stay in a cottage for the next three nights. Sand Rivers is the most famous camp in the Selous. Set up by the famous guide Richard Bonham, Sand Rivers has an unbelievable location directly on the Rufiji riverbank. The main area and rooms all have uninterrupted views of the river and its resident hippo. Each room has an open front, large comfy beds and ensuite facilities.
Well respected as one of Tanzania's areas of true wilderness, the Selous is absolutely vast. The northern section is the location of the park's best camps, the majority being based on Rufiji River or one of the River's lakes. These waterways are the lifeblood of the park and the focus of the region's game movements. Selous is one of the finest destinations for boating safaris in Africa, as well as being one of the first parks in Africa to operate extensive walking safaris. Boating safari, walking, and fly camping are all possible here, as well as standard game drives. Game statistics are very high, with the park supposedly containing more elephant, buffalo, lion, and hippo than anywhere in Africa!
November 22, 2019: After our final game drive and breakfast, we'll transfer back to the Kiba Airstrip in time for our flight to Dar es Salaam. We have dayrooms booked at the Southern Sun, where you can relax and freshen up before the flight home. You will then be transferred back to Dar es Salaam Airport (DAR airport code) in time for your international flight home.
In short, you'll feel like you're in a luxury hotel! We've hand picked our camps for comfort, knowledgeable and friendly staff, great food and convenience to our main objective, the wildlife. We also place a huge value on isolation and exclusivity. You won't find us in areas where there are dozens of other vehicles at a sighting—rather, you'll feel like you own the land, and the animals are there just for you! Typical tented accommodations feature twin beds or queen bed, high thread-count linens, storage for clothing, sitting area, verandah, and of course en suite bathrooms, with toilets, hot water and showers. They are enormous in size, bright, open, and airy.
Our days start early, before sunrise. We'll have a quick coffee or tea, maybe a cookie, and off on our first game drive of the day. The animals are just starting to stir as the day starts, and we want to be there, and in the best light. We'll stay out for a few to several hours, depending on the sightings. After a mid-drive coffee break, we'll continue on until mid to late morning. We typically have breakfast in the field, so as to maximize our game-viewing and photographing time. Back in camp, it's time for offloading cards, one-on-one instruction, or just taking time to relax and do nothing. Read a book, take a walk, or take a nap and recharge. Of course there will be lunch, and then In the mid to late afternoon, we'll again head out for another game drive, chasing the best sightings. Enjoying your favorite drink while watching and photographing the sunset is a popular activity. Arrive back at camp after sundown, enjoy a hot shower if you like, and then join us by the campfire or in the living area for cocktails followed by dinner.
Food in our camps is superb—you'll be served foods that you know as well as local specialties—and of course any dietary needs can be accommodated.
We've arranged for the best safari vehicles to be with us the entire time—custom Land Cruisers which feature ample room for you and your gear, and great visibility. And only one photographer per row of seats. All of our camps feature optional daily laundry service (but not on days we travel in between camps).
Why a Muench Workshops Safari?
We know you have choices, and yes, you can spend less on another Safari. Our aim is to give you the best possible experience, maximizing your time and minimizing the hassle, while providing the best photographic experience and instruction available anywhere.
Photography and Safari Guiding: We've personally chosen only the best local safari guides for this photographic safari.
Details Matter: Our itinerary is carefully set to bring you the best game viewing and all that the region offers. We arrange things so that we're in areas that are not overly crowded with many other safari vehicles, and we get off-road when possible so we can get close to the action and our subjects.
Photography Instruction: This is a workshop, not just a tour. We will work hard on this safari, with instruction in the field and in camp. Many evenings feature critiques and post-processing instruction after dinner, and during the daytime we offer one-on-one instruction as needed. You'll come away with a wealth of new knowledge not only on how to create great imagery but how best to process those images in Lightroom and Photoshop.
Years of Experience—Happy Repeat Customers: We've been leading, guiding and teaching photographers for a long time—and we have thrilled customers who come back on our workshops again and again to prove it. If you'd like to speak to someone who has been with us on a workshop or safari, just let us know, we'd be happy to arrange a phone call.
Air transportation to Arusha Tanzania (JRO airport code) and from Dar es Salaam Tanzania (DAR airport code). Passport and visa fees, if any. Premium alcoholic beverages (house spirts, beer, and wine included). Medical evacuation and travel medical insurance (Optional, but recommended). Trip cancellation insurance (Optional). Items of a personal nature. Anything not specifically mentioned as included.
Your deposit of $4,995 will hold your place in this safari workshop. Further payment of $6,000 is due by February 1, 2019. The balance will be due not later than August 1, 2019. All payments are non-refundable which is why you should have Trip Cancellation Insurance. All of our other normal Terms and Conditions apply.
If you're looking for a small-group, intensive photographic safari, with the best camps, guides and best pros in the business, look no further and click the "Sign Me Up!" button now because this workshop will fill up fast. See you in Tanzania!


Poorna Jagannathan on her latest show, the night of, and other projects.
Indian-American actress Poorna Jagannathan is on a break, now that her a�?dream showa�? The Night Of has gone on air. A break for her means spending a lot of time with her family, living by Venice beach in LA. a�?By the time you get close to a beach, your phone signal is gone. Ita��s a wonderful, unplugged living,a�? says the Delhi Belly star.In The Night Of miniseries, Jagannathan plays Safar Khan. She is the mother of Naz, a Pakistani-American college student whoa��s accused of murdering a girl in New York. Shunned by everyone else, ita��s lawyer Jack Stone (played by actor John Turturro) who stands by him.
Though Jagannathan is no stranger to international TV, with House of Cards, Law & Order and The Game listed on her resume, this one is special. a�?Ita��s the best writing I have come across in my life. And the timing couldna��t be more perfect. Apart from a searing crime drama, ita��s also an examination of a race in America and deals with the mounting Islamaphobia that everyonea��s experiencing,a�? she says, before moving on to explain her charactera��s arc. a�?Shea��s put in an extraordinarily difficult position. She loves her son and wants to believe him but as the evidence mounts, she starts doubting his innocence.a�?
The 43-year-old actor had auditioned for the show in 2011. But the death of The Sopranos star James Gandolfini, cast as lawyer Stone, in 2013 put things on hold. a�?I didna��t think the show would recover: the setback was too large. But Steve Zaillian, the writer and director (of Schindlera��s List fame), never stopped believing in the project. So we got back together in early 2014 and filmed into mid-2015. Turturro took over the lawyera��s role. I remember after the first day on set, everyone said the role belonged to Turturro as much as it belonged to Gandolfini,a�? says Jagannathan.
She shares another snippet, a�?One dinner table sequence took a really long time to shoot and we were eating kofta, saag paneer and naan for what seemed like five hours. We had got the food from some Indian restaurant in Jackson Heights where the motto clearly was a�?More butter is bettera�� and by the time I was done shooting, I couldna��t eat Indian food for months. Also Riz Ahmed (Naz) and I knew how to eat with our hands but Peyman Moaadi and Syam Lafi (who play my husband, and younger son) never had, so it was a proper comedy of errors with food falling everywhere.a�?
She has four films lined up for releasea��The Circle (starring Tom Hanks and Emma Watson), Growing Up Smith, Carrie Pillby and Daisy Winters. Her award-winning theatre project, Nirbhaya, also keeps her occupied. It is inspired by the Delhi gangrape episode, and highlights sexual crimes against women. Jagannathan also plans to adapt the play into a movie.


text:
Tate St Ives
Performance at Tate: Into the Space of Art
Stuart Brisley born 1933 with Peter Sedgley born 1930
Unscheduled Action 1968
Jonah Westerman
On the evening of 5 March 1968, performance artist Stuart Brisley arrived at the Tate Gallery for what had been billed in advance by the Sunday Times as a 'demonstration' and was described after the fact in the pages of Studio International as an 'action-happening'.1 But Brisley was not meant to be performing that particular night. Top billing belonged to César, a French nouveau réaliste sculptor, who was to wow the formally attired audience – comprising Friends of the Tate (museum members) and their guests – with a live show featuring the production of a sculpture by a new and spectacular process involving quick-hardening liquid polyurethane. The event was a celebration of breaking boundaries: César's new materials heralded the plastic possibilities of technological innovation and the live 'action-happening' format brought frontier experiments in artist-audience relations into the space of the museum. The Friends had never attended a reception like this before. To Brisley, however, the evening's intended programme offered little more than genteel entertainment. Art, as he saw it, could only be served by intervening. With fellow artist Peter Sedgley, he removed portions of César's completed work to the Tate's front yard and set them on fire. Scant evidence of the incident itself survives, but the conflicts and questions it set in motion have only become more pressing. Particularly as performance is not only increasingly visible, but also canonical. Does performance bear a special relation to social criticism? If so, what comes of that capacity when performance moves from the fringe to the institutional centre? In other words, what is the difference between being on the inside and being on the outside?
Three Compressions 1968
© ADAGP, Paris and DACS, London 2016
César's 'expansion'
Presented at the Tate Gallery, 5 March 1968
Tate Archive Photographic Collection
César had gained acclaim for artworks made of cars crushed and compacted into dense, twisted, vaguely cubic forms that he called 'compressions' (fig.1). At Tate, however, he showcased his 'expansions', which reversed the formal logic of the earlier works. To make expansions, César poured pigmented liquid polyurethane – a recent invention in post-war plastics – into puddles that quickly ballooned and hardened into irregular, cloud-like foam shapes (fig.2). Critic Pierre Restany reported that, 'The formally dressed audience gasped at this demonstration of chemical magic … Soon afterwards César invited the public to a collective orgy of foam-scratching and -cutting'.2 The audience broke the sculpture into pieces, with César signing some of the fragments and giving them away to visitors.
In retrospect, César's event can be seen as sitting somewhere between Yves Klein's Anthropométrie de l'Époque bleue 1960 – paintings he produced by having nude women douse themselves in his signature blue paint before they imprinted and dragged their bodies across canvases in front of an audience – and Piero Manzoni's Merda d'artista 1961 – a series of sculptural objects, offered in edition, comprised of the artist's own excrement in a signed and vacuum-sealed tin. César's happening combined Klein's theatrical showmanship with Manzoni's meditations on the relation between an artist's authorial persona and an artwork, adding to this heady amalgam both a technological triumphalism and an invitation to audience participation. Not only did the assembled guests witness the near-instantaneous production of a work of art through seemingly miraculous means, but they were also able to touch it, to manipulate and shape it and to bring some of it home, complete with the artist's signature. Furthermore the happening brought artistic innovations associated with galleries dedicated to experimental contemporary art within the confines of a major museum. It was astute that the headline of the Sunday Times article mentioned above trumpeted 'The Expanding World of Art'. The phrase called attention to the newness of the work's staging, punning on César's working method. Institutionally sanctioned fine art, it suggested, had now opened up to encompass the 'action-happening'.
Excerpt from Tate Board Meeting Minutes, 21 March 1968, p.3.
Tate Archive TAM 72/46
Brisley, however, took exception. The artist was a denizen of the art world's margins and was used to performing in small galleries and nightclubs. He had not been invited personally to the event, but accompanied Sedgley, who had been invited, as his guest.3 Brisley, it is worth noting, recalls the circumstances surrounding the events of that night somewhat differently than does Sedgley. On Brisley's retelling, the two snuck into the event, posing as BBC cameramen.4 According to him they were looking to cause trouble – more for Tate than for César, although the fact that the sculptor was attempting a performancethere certainly served to make César's work a target. On this point about being motivated to intervene by a formal objection, a sense that this type of art could not be presented in this way in that place, Sedgley's report concurs. As he puts it, they 'agreed that it was not possible to plan a happening in an Art Museum since it contradicted totally the concept of an "unscripted event".'5 When the 'orgy' of participation erupted, the two seized their moment and took a few chunks of the polyurethane foam, brought them outside, and impaled them on the iron railings in front of the museum. At this point Sedgley withdrew, considering the action complete.6 Brisley, however, had not yet found the form he desired and made his own effort to conscript the audience into his impromptu happening, finding a woman willing to strike a match and set fire to the foam.7 The material caught fire so swiftly and intensely that not only was the fire brigade called to subdue the blaze but Tate's Board of Trustees was later moved to make an enquiry into how such dangerous material had made its way into the gallery in the first place. The minutes from the Board's meeting of 21 March 1968 (fig.3) state that, 'Both the staff and the Friends had taken every precaution beforehand to ascertain that the materials to be used by César were non-combustible … but on the event itself, César had used some different materials he had brought over from Paris.'8 The bemused tone of the advance press in the Sunday Times– reporter John Whitley was emphatically underwhelmed by his sneak preview – might indeed have pushed César to employ a more robust chemical cocktail than originally intended.
Brisley's intervention serves as a window into the contemporaneous struggles concerning art's social role. He had been trained as a painter at the Royal College of Art in the late 1950s but after travelling to Munich and New York following graduation he struck out in a different direction, guided by a new existential quandary. The question art needed to address was, he felt, 'Why would or why should one make something, try to make art?'9 For him art institutions ignored this question altogether or only tacitly answered it, according to inherited traditions of quality, value and authorship. The key to arriving at new answers lay in reinventing art's institutions from the ground up, in disturbing and reimagining habits and tastes. While one might argue that César's spectacle burlesqued authorship to camp proportions, and thereby offered oblique critique of it, in the context of London in 1968 it appeared to Brisley and likeminded artists as an exemplar of a moribund system co-opting and denaturing experimental art.
Brisley could have asked for no greater proof of the success of his iconoclastic bonfire than that found in the official minutes of the Tate Board meeting in which, 'Sir Robert Sainsbury reported that the party itself had been a success, but that aesthetically the evening was less satisfactory' (fig.3).10 Brisley's oeuvre consists of a sustained attack on entrenched artistic mores, whether setting sculpture alight, or sitting in a bathtub of rotting meat as in Bath Works 1974. Writing about Brisley in 1972, critic Hugh Hebert asserted, 'Performance art is the misleading generic jargon, and it has the distinction of drawing on itself the kind and intensity of public ridicule that ensured Dada and Surrealism places in the history books: easy to mock, impossible to explain, the artist at his old game of goosing the bourgeoisie.'11 For Brisley performance was about antagonising the artistic establishment. His performances themselves, moreover, worked to describe the nature of that opposition. Hebert was writing about 180 Hours Work for Two People a 180-hour-long piece Brisley executed at the Acme Gallery in 1978. The piece dramatised the difference between an artist and a bureaucrat; Brisley assumed the role of each – artist when on the ground floor of the gallery, bureaucrat when upstairs. The man above stifled the creative potential of the one below, all the while collecting his own faeces, along with assorted other detritus. If the metaphor is indelicate, it is meant to be so.
The Acme performance provides a key to understanding Brisley's political and aesthetic concerns in the 1968 bonfire. The action certainly irritated the institution but it also, whether intentionally or not, critiqued the notion of artistic expansion that César offered up. By removing the artwork outside the gallery and setting in motion the chaos of life around it – from starting the fire with the aid of partygoers, to the firefighters quashing the flames, to the Board meeting that tried to make sense of it all – the intervention demonstrated how narrow César's supposedly radical innovations were.
However the conflict between inside and outside, official and unofficial art, staged in this performance is made more complicated because Brisley and Sedgely relayed their stories of this action during the César reception with a view to its inclusion in a history of performance at Tate. If performance must remain outside to maintain vitality, why bother worrying over its representation in a collection such as this? The lesson to be learned from the event and its recountings seems to be this: performance is not one thing unto itself – and not just because the memories it spurs might be multiple and divergent, but, more importantly, because there can be no easy equation of given forms or procedures with necessary political values or meanings. It is neither inherently critical of, nor complicit with its context. That kind of meaning derives only from how a work is positioned in relation to aesthetic expectations and institutional power, which themselves change over time, necessitating reappraisal, renegotiation and renewed contests over ownership and definition. Performance is always situated and specific, so when asking about the meaning of a performance, it is important to move beyond questions concerning the nature of performance and toward an analysis of how a given work sees and articulates its position within a particular social-political space. Furthermore a performance might elicit an awareness of a space or situation, prompting self-reflection in the audience. Or, as Brisley put it, 'I like to think of participation as mostly in the head'.12
1. John Whitley, 'The Expanding World of Art', Sunday Times, 3 March 1968; and Pierre Restany, 'Modern Magic at the Tate', Studio International, vol.175, no.901, June 1968, p.332.
2. Restany 1968, p.332.
3. Correspondence with Peter Sedgley, 1 May 2017. Peter Sedgley, email to Susannah Worth, Tate, 1 May 2017, Tate Gallery Records RES2.2 Performance CASSP Exeter. Thanks to Chris Bastock, Assistant Curator, Gallery Records, for locating the guest list for the event dinner.
4. Stuart Brisley in conversation with the author, 20 January 2015.
5. Peter Sedgley, 'Happenings and Origins 1968', typescript, sent with email to Susannah Worth, Tate, 1 May 2017, Tate Gallery Records RES2.2 Performance CASSP Exeter. Note that in this text Sedgley reported that he had already envisaged a similar eventuality before attending the event:
In 1958 during my architectural employment I discovered a new insulation material for buildings which would expand from a liquid into various solid lightweight forms, 'Expanded Polystyrene'. I subsequently recommended this to some students of biology who were commissioned to make large scale portable models of bacteria for demonstration purposes. It was a big success.
So I got the notion that this material would be ideal to give a welcome to the honourable gentlemen from France by raising hedges of polystyrene on the steps of the Tate Gallery, red, white and blue going up the steps and so blue white and red coming down, an English 'happening'.
Stuart agreed to make enquiries in order to obtain some of the liquid and to muster some of his students who were prepared to spread it on the steps at an appropriate moment.
The day before the reception Stuart informed me that he had made enquiries and discovered that this material, polystyrene would not expand due to the cold weather at the time.
Not to be discouraged we decided to keep an open mind on proceedings and see if any opportunity arose where one might complement the 'Happening' spontaneously.
He and Brisley were surprised to find that César used this same material in his expanded sculptures, though doctored with an additional chemical to allow it to expand at low temperatures. About the evening he recalled:
The material began very slowly to expand but disappointingly did not rise above 15 cm high. It did not however prevent the 'Maestro' from cutting off chunks of the solidified plastic with a bread knife, signing them and presenting them to members of the Contemporary Arts Club who had sponsored the show.
With more than half of each of these massive slabs of styrene still intact and no longer any one showing interest, Stuart and I took each one through the open front doors of the Tate aided by enthusiastic members of the audience, who thought it was all part of the 'happening', and implanted them on the railings of the entrance gate where they balanced there like three giant mushrooms slowly rocking in the breeze, an impressive sight.
For my part I was satisfied that we had made a contribution to the artistic events of the day and began relaxing in the foyer of the Tate with a glass of wine by kind permission of the Contemporary Arts Society. Stuart however had adrenaline coursing through his veins and was intent on developing the event further. He was experimenting with the candles provided on the guest tables to try to burn the styrene. I explained to him that to my knowledge it would not support combustion and it wold extinguish as soon as the fire was removed. When he tried at the table with a small example, it was like that.
He disappeared shortly and when returning he pointed to where the mushrooms stood. He had finally managed to get one burning and invited me to help him ignite the others. So reluctantly, (I was just beginning to enjoy my free drink), I joined him and we succeeded in setting all three ablaze. It was a spectacular sight, flames about 40 feet high.
The visitors were now leaving the building some, to the accompaniment of fire bells, departed.
7. Ibid. There is no photographic record of Brisley's intervention, only personal memories and the sparse commentary lodged in the minutes of the subsequent Board meeting.
8. Minutes of the Board of Trustees of Tate Gallery, 21 March 1968, p.3, Tate Archive TAM 72/46.
9. Stuart Brisley in N.P. James, Stuart Brisley: Enactments, London 2005, p.16.
10. Minutes of the Board of Trustees of Tate Gallery, 21 March 1968.
11. Hugh Hebert, 'Easy to Mock', Guardian, 18 September 1972, p.9.
12. Stuart Brisley in James 2005, p.23.
Paul Overy, John Roberts and Stuart Hood, Stuart Brisley: [Performances, etc.], exhibition catalogue, Institute of Contemporary Arts, London 1981.
N.P. James, Stuart Brisley: Enactments, London 2005.
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text:
LINDA STEIN VS "BORAT" SACHA BARON COHEN
I am taking the liberty of writing for Linda Stein to alert you to an important and funny interview she did last week with BBC. --Kim-Jenna
Artist gets even after Borat hoax
By Ian Youngs
Entertainment reporter, BBC News
You can see it at: http://news.bbc.co.uk/1/hi/entertainment/6740987.stm
Linda Stein (centre) hosted Borat in her Manhattan art studio
An artist who was duped into appearing in the Borat film has got her revenge on the hoaxer by giving him a starring role in her new set of sculptures.
New York artist Linda Stein was among a group of feminists who were taken in by comedian Sacha Baron Cohen's character. Her part in the film inspired her to create a new series of artworks, including one featuring Borat. In it, she has drawn a small penis on his thong. Ms Stein said: "I felt there should be some exposure on his part."
Ms Stein is known for her statues "knights", which represent female protection. She has paired three sculptures with figures from the entertainment world - Borat, Marilyn Monroe and Wonder Woman - for a new exhibition.
The artist was interviewed by Borat in her studio after being told he was a third-world reporter making a film about women's rights. But it was a spoof, and Borat started talking about women walking three steps behind men, pulling the plough and having smaller brains than men.
The film was a runaway box office success, winning Baron Cohen a Golden Globe for best comedy performance and earning an Oscar nomination for best adapted screenplay. Baron Cohen said his character was "a tool" to expose and challenge racism, homophobia and sexism.
"He may do better with homophobia and racism, but he just didn't do very well with sexism," Ms Stein tells the BBC News website.
In the film's aftermath, the artist received thousands of e-mails. Borat's excessive woman-bashing is being taken the wrong way by the audience Most were from men criticising her attitude, with some saying: "What's the matter with you, don't you have any sense of humour about misogyny?"
"I have those words in an e-mail," Ms Stein says. "Borat's excessive woman-bashing is being taken the wrong way by the audience.
"He's getting too many guys to chuckle with him. He didn't show any of the parts that made him really look foolish."
Ms Stein drew the small penis on Borat's thong because, she says, "as he exposed people, he should be able to take what he gives".
"You'll miss the point that if he has the right to expose and say what he says about women, and say that it's in the name of exposing bigotry, then I could say the same thing," she says.
The figures of protection were inspired by the 9/11 attacks.
And she is anticipating e-mails in response.
"The phallus on Borat is in the name of exploring what manhood is, and if a man thinks having a big phallus is manhood, the point is misplaced. That's not what it's about."
Borat is now featured in Ms Stein's work titled Anti-hero/Hero - with Borat the anti-hero - which will be shown in an exhibition, Eccentric Bodies, from Thursday.
The show takes place at Rutgers University, New Jersey - which was at the centre of controversy when radio host Don Imus called the university's female basketball team "nappy-headed hos".
The Borat interview and the Imus affair reminded Ms Stein of other battles for equality in her life, and spurred her on to tackle the subject in her art, she says.
"Though I find Sacha Baron Cohen a brilliant man, people must realise that a one-hour interview with him was actually very painful. If Borat started a dialogue on feminism with his movie, I'm now continuing it and taking it a step further. Even though he was this bumbling idiot, the words and the tone and the look on his face weren't so different from what I had heard all my life. As painful as it was for me to be in the movie, I think something very good has come out of it for me because it's energised me to address sexism more than ever before."
As well as the Rutgers exhibition, which also features six other feminist artists, Ms Stein's knights have been chosen as the central sculpture commission for the $4m (£2m) Walk of the Heroines at Portland State University in Oregon.
"If Borat started a dialogue on feminism with his movie, I'm now continuing it and taking it a step further," Ms Stein says.
"I'm asking that some of those men who e-mailed me to realise that I wasn't in on the joke and that women are in a very vulnerable situation throughout the world."
Kim-Jenna Jurriaans, Communications
Stein Studios
100 Reade Street
212 .964.6007
www.LindaStein.com


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7 3 powerstroke fuel systems In most generating unit diesel engines the fuel system loop consists of the following major parts 1. Day fuel tank 2. Fuel water separator 3. Fuel strainer 4. Fuel supply pump 5. Fuel filter 6. Fuel However the 6.7l power stroke brings something to the table that the 7.3l never could the ability to make big horsepower easily. Thanks to its bosch high pressure common rail fuel system the The ceo of volkswagen has been quoted as saying that while company execs arent against the retrofitting of old diesel cleaning systems would take 2 3 years mueller said. Also retrofitted.
7 3 powerstroke fuel systems Over the next five years diesel fuel injection systems will register a 2.3 cagr in terms of revenue reach us million by 2023 from us 7950 million in 2017. Request a sample of this premium report As of march 11 the u.s. Energy information administration reported the national retail average of gasoline was 2.42 on highway diesel was 3 fuel options.quot roush cleantech offers propane A stockton california man was arrested after he was caught on surveillance footage dumping diesel fuel on his two children ages 3 and 10 would have likely died. Police arrested pham in the.
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We're also keeping a close eye on talking apps for kids, which are very popular by children, especially those with animals and funny or famous characters.
Next to the Talking Tom cat app, we find "Talking Pinocchio" just as successful and well produced, as it also offers many outstanding activities and doesn't only repeat what you say to him.
As usual all talking apps are offered for free just like this Pinocchio app is too however, we do recommend the only one in-app purchase for 1.99 $, which will deactivate the ad banner. Alternatively, you could turn off the internet connection for this use.
In case you're fine with the advertisements, you can make full use of this kids app for absolutely free including all contents.
We also got to praise this app for not having any further in-app purchases for any kind of materials or objects like in the Talking Ginger app, where you can buy the toothpaste in small amounts.
All this nonsense is not included in this Pinocchio kids app and is therefore not only the kids favorite but also ours.
The wooden design of Pinocchio and his surroundings is remarkably good and beautiful. The animations are nice and smooth and also pretty funny, especially in the mini games.
Talking Pinocchio belongs to one of the best talking apps for kids and we really love it. Because of the fact that you can remove the ads, kids could perhaps stumble across a little button that leads to the numerous other talking apps by the same developer.


text:
Le médiateur de l'éducation nationale et de l'enseignement supérieur est un haut fonctionnaire français chargé d'assurer des fonctions de médiation au sein du système éducatif public. Le médiateur exerce sa compétence aussi bien vis-à-vis des usagers (élèves, étudiants et leurs parents) que du personnel enseignant et non enseignant.

Cette fonction de médiation a été instaurée en 1998. Elle figure dans la loi depuis la promulgation de la loi sur l'autonomie des universités.

Compétences

Le médiateur de l'éducation nationale et de l'enseignement supérieur :

 reçoit les réclamations concernant le fonctionnement des services centraux des ministères et des établissements qui ne relèvent pas de la tutelle d'un recteur d'académie ;
 est le correspondant du Médiateur de la République ;
 coordonne l'activité des médiateurs académiques ;
 remet chaque année aux ministres chargés de l'éducation, de l'enseignement supérieur et de la recherche pour les activités de recherche dans l'enseignement supérieur, un rapport public dans lequel il formule des propositions qui lui paraissent de nature à améliorer le service public de l'éducation nationale et de l'enseignement supérieur.

Le médiateur de l'éducation nationale, les médiateurs académiques et leurs correspondants départementaux reçoivent les réclamations des usagers (parents, élèves ou enseignants) concernant les relations de l'Éducation nationale avec les usagers et ses agents.

Les médiateurs académiques et les correspondants sont des retraités de l'éducation nationale intervenant en bénévoles. Ils reçoivent les réclamations dans le ressort de la circonscription où ils sont nommés.

Les prérogatives

Si les réclamations leur semblent fondées, les médiateurs émettent des recommandations aux services et établissements concernés. Ceux-ci les informent des suites qui leur ont été données. S'il maintient sa décision, le service ou l'établissement fait connaître ses raisons par écrit.

Pour l'instruction de ces affaires, le médiateur de l'éducation nationale peut faire appel en tant que de besoin aux services des ministères compétents ainsi qu'aux inspections générales. Il en est de même des médiateurs académiques vis-à-vis des services académiques.

Pour qu'ils puissent agir en conciliateurs, les parties doivent donner leur accord.

Relation avec le Médiateur de la République

Le médiateur de l'éducation nationale est un correspondant du Médiateur de la République. Il doit instruire les demandes émanant de ce dernier.

Les médiateurs académiques et leurs correspondants collaborent avec les délégués départementaux du Médiateur de la République pour les questions relevant du domaine de l'éducation nationale.

La saisine du Médiateur de la République ou de ses délégués départementaux, dans leur champ de compétence, interrompt la procédure de médiation spécifique à l'éducation nationale.

Relation avec la Défenseur des enfants

Le médiateur de l'éducation nationale peut traiter des réclamations transmises par la Défenseur des enfants, autorité créée par la loi du .

Textes de références

Code de l'éducation, art. L. 23-10-1, instauré par la loi 2007-1199, art. 40
 arrêté du  : nomination du médiateur de l'éducation nationale. (JO du  et BO n°3 du )
 arrêté du  : nomination des médiateurs académiques et des correspondants (BO n° 42 du )
 note du  : relatif au fonctionnement du dispositif de médiation au ministère de l'éducation nationale (BO n° 2 du )
 décret n° 98-1082 du 01.12.1998 : instituant des médiateurs à l'éducation nationale (JO-02.12.1998)

Liens

  Présentation
  Adresses utiles
  Autre source

Notes et références

Éducation nationale française
Médiation administrative

redpajama_set_name: RedPajamaWikipedia


text:
The Editors | March 2021
Welcome to our roundup of news and current events related to ethics and international affairs! Here's some of what we've been reading this past month:
Chinese flag. Photo credit: Gary Lerude via Flickr
South China Morning Post: US confirms high-level meeting with Chinese officials in Alaska next week
U.S. Secretary of State Antony Blinken and White House national security adviser Jake Sullivan will meet with China's top two diplomats on March 18 in Anchorage, Alaska. The meeting will take place just after President Biden's summit with the leaders of U.S.-allied Japan, India, and Australia. The Biden administration has a difficult job of deescalating Trump-era animosity with China while remaining firm in condemning its actions in Xinjiang, Hong Kong, and the South China Sea.
Read more about the ethics of great power politics and the rise of China in Ethics & International Affairs:
Whither the Liberal International Order? Authority, Hierarchy, and Institutional Change (2020: Volume 34.4)
The Myth of the "Civilization State": Rising Powers and the Cultural Challenge to World Order (2020: Volume 34.2)
China's Global Identity: Considering the Responsibilities of Great Power (2019: Volume 33.3)
Then deputy secretary of state Antony Blinken speaking at an event in 2016. Photo credit: Paul Morigi via Flickr
AFP: Blinken condemns 'ethnic cleansing' in Ethiopia's Tigray
Testifying before Congress on March 10, U.S. Secretary of State Antony Blinken called for accountability, reconciliation, and an independent investigation into the ongoing conflict in Ethiopia's Tigray region. Ethiopian troops and forces from neighboring Eritrea have carried out a campaign against Tigray's ruling party since last November, and reports by the UN and Amnesty International allege that Eritrean forces recently massacred hundreds of civilians in western Tigray.
Read more about the ethics of civil war and sovereignty in Ethics & International Affairs:
Secessionist Conflict: A Happy Marriage between Norms and Interests? (2019: Volume 33.1)
The Ethics of Insurgency (2017: Volume 31.3)
Legitimate Authority and the Ethics of War: A Map of the Terrain (2017: Volume 31.2)
Russian President Vladimir Putin with President of the Syrian Arab Republic Bashar al-Assad. Photo credit: kremlin.ru via Wikimedia Commons
Reuters: Turkey, Russia, Qatar to push for political resolution in Syria
Turkey's Foreign Minister Mevlut Çavuşoğlu recently announced a trilateral consultation process with Qatar and Russia to achieve "a lasting political solution in Syria." Turkey and Qatar have backed Syrian rebel groups throughout the ten-year civil war, while Russia's assistance to the regime of Bashar al-Assad was seen as critical in his retaking of most of the country. The three countries released a joint statement urging the UN and World Health Organization to ramp up COVID-19 vaccinations and humanitarian aid to the war-weary Syrian population.
Read more about international intervention and aid in Syria in Ethics & International Affairs:
Towards a Westphalia for the Middle East (2020: Volume 34.1)
Humanitarian Action and Ethics (2019: Volume 33.3)
Ending Atrocity Crimes: The False Promise of Fatalism (2018: Volume 32.3)
Ishinomaki after the earthquake and tsunami in a field survey two weeks after the disaster. Photo credit: Direct Relief via Flickr
Japan Times: Japan mourns lost souls 10 years after earthquake, tsunami and nuclear crisis
Japan recently marked the ten year anniversary of the massive earthquake and tsunami which killed over 15,000 people and triggered the worst nuclear disaster since Chernobyl. The natural disaster and subsequent nuclear meltdown at Fukushima prompted an enormous international aid response and domestic development campaign. The Japanese government last year extended the mandate of its Reconstruction Agency until 2031, a decade longer than was initially estimated to rebuild.
Read more about environmental challenges and the ethics of sustainable development in Ethics & International Affairs:
Dwelling in the Age of Climate Change: The Ethics of Adaptation (2020: Volume 34.2)
From Sustainable Development Goals to Basic Development Goals (2020: Volume 34.2)
The Politics of the Anthropocene (2019: Volume 33.4)
« Deconstructing the Narratives of the Interim National Security Guidance
Grappling with Competing Ethical Demands: The New Biden Administration »


Sometimes Effects are not enough when you need to modify an image – in example to highlight it.
Originally the task was to higlight an image (wich might have alpha channel) with different colors – red, green, blue, etc., depending on the state of the application. Googling didnt help a lot, thats why I finished with writing my own (rather plain) function which transforms image content.
// Get a pointer to the back buffer.
// Find the address of the pixel to draw.
// Compute the pixel's color.
// Assign the color data back to the pixel.
// Specify the area of the bitmap that changed.
// Release the back buffer and make it available for display.
Hi there – It's good to see a site like this with worked examples with well commented code. I'm struggling looking for example of floodfilling regions of a bitmap in WPF – are there any examples here on this site of this?
I have no solution for you task.
and http://stackoverflow.com/questions/2284353/is-there-a-good-way-to-convert-between-bitmapsource-and-bitmap to transform wpf bitmaps to Syste.Drawing.Bitmap and vice versa.


text:
Illinois Becomes Latest State to Approve Pro-Marijuana Measures
Republican Gov. Bruce Rauner has been silent on whether or not he'll sign the passed measure.
Illinois has become the latest state to jump on the pro-marijuana bandwagon by passing a measure that would decriminalize possession of small amounts of pot.
The Illinois Senate approved the measure on Thursday by a 37-19 margin. The new policy calls for no court time and a maximum fine of $125 for anyone with less than 15 grams of marijuana, roughly the equivalent of 25 cigarette-sized joints. It's a significant reduction from the current possession penalties that call for fines of up to $2,500 and up to 12 months in jail.
The state's zero tolerance law for driving with marijuana in one's system will also be modified. The official "driving while high" threshold would be 15 nanograms of THC per milliliter of blood, or 25 ng/ml of saliva. Police will still be allowed to use field sobriety tests to determine impairment in drivers.
"I would encourage the children of this state and my own children to abstain from the use of the substance, but people do use this, and it should not be something that ruins social lives and professional lives as well," said sponsoring Sen. Michael Noland (D-Elgin). "People have been arrested at very young ages for this and have suffered the consequences."
Republican Gov. Bruce Rauner still needs to sign the measure in order for it to go into effect, but sponsors are currently working on cleaning up some of the language in the bill before sending it to his desk. He has remained silent on whether he intends to sign the measure, with spokeswoman Catherine Kelly only stating that he "will carefully consider any legislation that crosses his desk."
Rep. Kelly Cassidy (D-Chicago) also applauded the measure and said it would keep low-level offenders out of the state's already clogged prison system. However, she was more hesitant to suggest that the bill was part of a speedy process towards marijuana legalization in the state.
"I think a poll would find more ... support for legalization among the public than politicians, but that's simply not politically feasible in the General Assembly now," Cassidy said. "I do think that's the direction we're going. When we get there is anyone's guess."
Opponents of the bill have noted flaws in its language, including not having a stated limit on the number of tickets an offender can receive. They have also objected to the measure not having treatment requirements in place for those that do offend.
Chicago adopted a relatively similar citywide measure in 2012, allowing police to avoid arresting citizens by instead issuing $250-500 fines for anyone caught with 15 grams or less of marijuana.
marijuana decriminalization
Gov. Bruce Rauner
Illinois Governor's Proposal to Slash Mental Health and Addiction Treatment Failing
Indigenous Paraguayans Being Exploited As 'Drug Slaves'
reclassify it
U.S. Judge Denies Request To Change Marijuana's Schedule I Classification
election '16
Bernie Sanders Opens Door For Pot To Be Regulated Like Alcohol
Morning Roundup: September 21, 2012
decriminalizing weed
Philadelphia Decriminalizes It


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Everything is quite simple. Evade using mundane titles, as they will not attract readers attention. Narrative writing needs to have a lot of war of the worlds essay introductions bright, vibrant details, whereas excessive twists of the plot can easily confuse your readers and make them lose the whole point of your writing. Read your title and see whether it arouses any feelings. Why Use a Program Creating Narrative Essay Topics and Titles You may ask, Why is it worth using a narrative topic generator? Still, we are convinced that the one offered by our agency is superior to others. Home, personal Narrative Essay Topics Generator: Forget about Problems with Making Titles! However, that doesnt make writing a narrative essay an easy task.
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text:
Lamarche est une commune française située dans le département des Vosges, en région Grand Est.

Ses habitants sont appelés les Lamarchois.

Géographie

Localisation
À l'extrême sud-ouest du département des Vosges et de la Lorraine, Lamarche doit son nom à sa situation à la frontière de la Lorraine, de la Champagne et de la Franche-Comté, dans une zone qui était déjà la limite entre trois peuples gaulois : les Leuques du côté vosgien, les Lingons du côté de la Haute-Marne et les Séquanes en Franche-Comté. Lamarche est située à  de Bourbonne-les-Bains,  de Monthureux-sur-Saône,  de Contrexéville,  de Bourmont,  de Montigny-le-Roi,  de Jussey et  de Neufchâteau.

Le lieudit Aureil-Maison est sur le tracé du sentier de grande randonnée 7.

Communes limitrophes

Relief et géologie

La ville est entourée de mamelons escarpés : le mont des Fourches () à l'est, le mont Saint-Étienne () au nord, la côte de Mont () au sud. À l'ouest, c'est la forêt de Morimond qui forme une barrière traversée seulement par la D 429 en direction de Fresnoy-en-Bassigny.

Voies de communication et transports
Lamarche est sur la ligne ferroviaire à double voie de la ligne de Merrey à Hymont - Mattaincourt inaugurée en 1881. Du fait du mauvais entretien et d'une fréquentation faible, le service voyageurs a été interrompu le . Toutefois, il a partiellement repris le  grâce à la création d'une liaison Paris – Contrexéville – Vittel, fonctionnant les vendredis, dimanches et jours fériés, de début avril à début novembre.

Hydrographie

Réseau hydrographique
La commune est située pour partie dans le bassin versant de la Meuse au sein du bassin Rhin-Meuse et pour partie dans le le bassin versant de la Saône au sein du bassin Rhône-Méditerranée-Corse. Elle est drainée par le Mouzon, le ruisseau Haut Fer, le ruisseau le Flambart, le ruisseau de Romain-Aux-Bois, le ruisseau le Petit Mouzon, le ruisseau de Graveilles, le ruisseau de Gris Fontaine, le ruisseau de la Coutelotte, le ruisseau de la Fontaine Aux Dames, le ruisseau de la Mauve et le ruisseau des Deserts.

Le Mouzon, d'une longueur de ,  prend sa source sur le territoire de Serocourt, s'oriente vers l'ouest puis vers le nord peu après avoir quitté les localités de Rocourt et Tollaincourt, jusqu'aux abords de son confluent avec la Meuse.

Le ruisseau Haut Fer, d'une longueur totale de , prend sa source dans la commune  et se jette dans la Saône à Fignévelle, après avoir traversé .

Le ruisseau le Flambart, d'une longueur totale de , prend sa source dans la commune  et se jette dans la Meuse à Audeloncourt, après avoir traversé .

Le ruisseau Haut Fer, d'une longueur totale de , prend sa source dans la commune  et se jette dans la Saône à Fignévelle, après avoir traversé .

Gestion et qualité des eaux
Le territoire communal est couvert par le schéma d'aménagement et de gestion des eaux (SAGE) « Nappe des Grès du Trias Inférieur ». Ce document de planification, dont le territoire comprend le périmètre de la zone de répartition des eaux de la nappe des Grès du trias inférieur (GTI), d'une superficie de ,  est en cours d'élaboration. L'objectif poursuivi est de stabiliser les niveaux piézométriques de la nappe des GTI et atteindre l'équilibre entre les prélèvements et la capacité de recharge de la nappe. Il doit être cohérent avec les objectifs de qualité définis dans les SDAGE Rhin-Meuse et Rhône-Méditerranée. La structure porteuse de l'élaboration et de la mise en œuvre est le conseil départemental des Vosges.

La qualité des eaux de baignade et des cours d'eau peut être consultée sur un site dédié géré par les agences de l'eau et l'Agence française pour la biodiversité.

Urbanisme

Typologie
Lamarche est une commune rurale, car elle fait partie des communes peu ou très peu denses, au sens de la grille communale de densité de l'Insee.

Par ailleurs la commune fait partie de l'aire d'attraction de Vittel - Contrexéville, dont elle est une commune de la couronne. Cette aire, qui regroupe , est catégorisée dans les aires de moins de .

Occupation des sols

L'occupation des sols de la commune, telle qu'elle ressort de la base de données européenne d'occupation biophysique des sols Corine Land Cover (CLC), est marquée par l'importance des forêts et milieux semi-naturels (56,4 % en 2018), une proportion identique à celle de 1990 (56,4 %). La répartition détaillée en 2018 est la suivante :
forêts (52,9 %), prairies (32,3 %), terres arables (9,1 %), milieux à végétation arbustive et/ou herbacée (3,5 %), zones urbanisées (2,2 %).

L'IGN met par ailleurs à disposition un outil en ligne permettant de comparer l'évolution dans le temps de l'occupation des sols de la commune (ou de territoires à des échelles différentes). Plusieurs époques sont accessibles sous forme de cartes ou photos aériennes : la carte de Cassini (), la carte d'état-major (1820-1866) et la période actuelle (1950 à aujourd'hui).

Toponymie
Anciennes mentions : Marchia (1217 et 1238), La Marche (1301), De Marchiis (1402), La Marche en Barrois (1751), Marchisia (1768), La Marche (1793 et 1801).

La première attestation de la localité est sous le nom de Marchia en 1217, d'une racine germanique marka, « frontière », repris en latin médiéval sous la forme marca ou marchala, de même sens.

Histoire
Lamarche s'est développée au carrefour de deux grandes voies antiques, la voie de Langres à Strasbourg par le Donon, et la voie venant de Besançon qui rattrapait à Nijon le grand axe Lyon - Toul - Metz - Trèves. Située aux marches de la Lorraine et du Barrois, elle fut le siège d'un bailliage du comté de Bar puis une prévôté du duché de Lorraine. Le bourg fut fortifié et protégé par un château qui fut vraisemblablement détruit lors de la guerre de Trente Ans.

En 1424, la défense de Lamarche est organisée. Philippe de Norroy est fait gouverneur de Bassigny par René d'Anjou, duc de Bar car le bailliage est particulièrement exposé aux incursions des routiers anglo-bourguignons en lutte contre Robert de Baudricourt, vassal du dauphin Charles VII. Le , Jean de Vergy aidé d'une garnison anglaise forte de trois cents chevaux, part de la ville Montigny-le-Roi pour se porter au devant de la citadelle de Lamarche. Du 15 au , Philippe de Norroy, aidé de Huart de Mandres bailli de Bassigny, réunit à Lamarche près de 140 hommes d'armes en vue de défendre le pays. Vaincues les troupes ennemies battent en retraite mais ravagent les villages alentour dont Serocourt.

En 1425, les garnisons de Lamarche furent à nouveau renforcées afin de faire face à un nouvel assaut du sire de Vergy. À cet effet, Philippe de Norroy reçoit une somme de 100 livres pour solder des gens de guerre au service du duc.

La Marche a été chef-lieu de district sous la Révolution.

De ce , le bourg conserve une église ancienne, de nombreux édifices civils de belle facture, ainsi qu'une belle chapelle romane dans l'écart d'Aureil-Maison.

1843 : premier cimetière éloigné de l'église, situé à côté du château de la Trinité. On y trouve notamment une chapelle funéraire de la famille de Bourgogne et de la famille de Maussabré, anciens propriétaires du château aux .

1927 : second cimetière éloigné de l'église, inauguré par le maire Camille Picard, en face du premier cimetière.

Politique et administration

Liste des maires

Comptes de la commune

En 2013, le budget de la commune était constitué ainsi :
 total des produits de fonctionnement : , soit  par habitant ;
 total des charges de fonctionnement : , soit  par habitant ;
 total des ressources d'investissement : , soit  par habitant ;
 total des emplois d'investissement : , soit  par habitant.
 endettement : , soit  par habitant.

Avec les taux de fiscalité suivants :
 taux d'imposition Taxe d'habitation : 212,06 %
 taxe foncière sur propriétés bâties : 9,12 %
 taxe foncière sur propriétés non bâties : 13,57 %
 taxe additionnelle à la taxe foncière sur les propriétés non bâties : 30,75 %
 cotisation foncière des entreprises : 11,70 %

Population et société

Démographie

Enseignement

Manifestations culturelles et festivités

Économie

Culture locale et patrimoine

Lieux et monuments

Édifices religieux
Église Notre-Dame de l'Assomption de Lamarche, classée aux Monuments historiques en 1997, datant du . Orgue de 1842 de Nicolas-Antoine Lété, transformé en 1896 par Henri Didier.
 Hôpital local maison de retraite, avec sa chapelle Saint-Charles-Borromée (4 rue de Bellune).
 Les cimetières communaux : le premier de 1843 et le second de 1927 (rue du faubourg de France).
 Cimetière israélite de 1849 (rue de la Romaine). Il fait partie du patrimoine juif de Lorraine.
 Chapelle Notre-Dame d'Aureil-Maison du  (au hameau d'Aureil-Maison), inscrite au titre des monuments historiques par arrêté du .
 Calvaires :
 Calvaire du chemin de la Maillarde, socle en pierre et croix en bois.
 Calvaire de la croix de mission
 Ruines de la chapelle du parc ancien couvent des Trinitaires.

Édifices publics
 Hôtel de ville (entre les 18 et 20 de la rue du colonel Renard)
 École communale (rue de l'école).
 Anciennes halles (rue du faubourg de France), transformées en salle des fêtes
 Lavoirs construits au  pour suivre les théories de l'hygiénisme :
 Fontaine des Sources de 1835 (place Jules Ferry).
 Fontaine du Rupt du Mai de 1837 (carrefour rue du Colonel Renard / rue Gambetta).
 Lavoir du Grisfontaine de 1838 (carrefour rue St Nicolas / avenue de la Gare).
 Lavoir du hameau d'Aureil-Maison de 1848 (carrefour rue de la Bondisse / rue de la Fontaine).
 Monument aux morts de 1921 (place Jules Ferry) ; il est surmonté d'une statue de poilu avec les bras croisés de François Cogné.
 Monument Victor Perrin (1764-1841), maréchal d'Empire, duc de Bellune (au centre de la place de Bellune agrémentée d'une fontaine). La maison natale de Victor Perrin se trouve presque en face de la place, au 12 rue de Bellune.
 Monument Charles Renard (1847-1905), rénovateur de l'aéronautique (sur la place du colonel Renard, rue de Bellune, en face de l'église Notre-Dame-de-l'Assomption). Œuvre de Paul Theunissen
 Gare de Lamarche de 1881 située sur la ligne de Merrey à Hymont - Mattaincourt.

Édifices privés
 Château de la Trinité (, ancien couvent de l'ordre des Trinitaires) devenu château à partir de sa vente en 1791 lors des événements de la révolution française.
 Maison Renard, située 21 rue du colonel Renard, datant du  : maison de famille des frères Charles Renard et Paul Renard.
 Hôtel de Bourgogne, situé 31 rue du colonel Renard, du début du  : immeuble inscrit au titre des monuments historiques par arrêté du  pour sa façade avec un remarquable escalier en fer à cheval et classé au même titre et par le même arrêté pour sa pièce à alcôve avec son décor au rez-de-chaussée et la salle voûtée du sous-sol.
 Ancien siège du bailliage du Bassigny mouvant, de style classique du  (au 10 rue de Bellune) avec une belle façade en pierres sculptées. Une jolie grille ferme une petite cour d'honneur sur le devant.

Héraldique

Personnalités liées à la commune
 Guillaume de la Marche, fondateur du collège de la Marche à Paris, dont le nom a été donné au collège de Lamarche.
 Nicolas Carant (1751-1808), né à Lamarche, député des Vosges et maire de Lamarche pendant la Révolution.
 Claude-Victor Perrin, dit Victor, (1764-1841), maréchal de France et duc de Bellune.
 Charles Joseph Alexandre Baudel-Martinet (1771-1845), maire de Lamarche et député.
 François-Léopold Bresson (1771-1848), avocat, magistrat et homme politique, né à Lamarche.
 Antoine Joly (1838-1917), relieur, né à Lamarche.
 Charles Renard (1847-1905), colonel, pionnier de l'aérostation, né à Damblain, a passé une grande partie de sa jeunesse à Lamarche.
 Charles Germain, médecin à Lamarche, auteur d'un ouvrage sur le pays et père de François Germain, militaire et enfant de Lamarche.
 Hienne Danny, militaire de l'armée de l'air et de l'espace, commando parachutiste, appelé par ses pairs « Duc de Lamarche » de par sa loyauté et son engagement dans la commune.

Pour approfondir

Bibliographie

Articles connexes

 Liste des communes du département des Vosges

Liens externes
  Site de la mairie
  Site sur les orgues du département des Vosges : page sur l'orgue de l'église de Lamarche
 Le patrimoine architectural et mobilier de la commune sur le site officiel du ministère français de la Culture (Bases Mérimée, Palissy, Palissy, Mémoire, ArchiDoc), médiathèque de l'architecture et du patrimoine (archives photographiques) diffusion RMN, et service régional de l'inventaire général de la région Lorraine
 Lamarche sur le site de l'nventaire national du patrimoine naturel

Notes et références

Notes et cartes
 Notes

 Cartes

Références

Ancien chef-lieu de bailliage
Ancien chef-lieu de district
Commune dans le département des Vosges


There's something appropriate about the woman said to be the last living Confederate widow dying on Memorial Day. Read Alberta Martin's strange story here. At the age of 21, she wed an 81-year-old veteran; they were married four years before he died. They had one child. Then Martin married her dead husband's grandson. She was still receiving money from Alabama's Confederate Widows Pension Fun. She'll be buried on June 12, next to her husband (the first one, I presume).


Learn how to say and write Japanese days of the week with this lingographic. Includes all Kanji with stroke order, hiragana, and English translation.
Recommended for: All beginners who are learning Japanese (hiragana knowledge needed, katakana recommended).


Chris is the real-life personification of DJ Khaled's best song – all he does is win.
And in the light-speed world of media planning, buying and analytics for multimillion-dollar brands, that kind of success is vital to building lasting relationships. Chris's smart, insightful leadership, teamed with his tireless work ethic, is the reason he quickly rose from Group Media Director to Vice President of Media. Along the way, he won a number of media awards, including OMMAs, ADDYs and agency awards from iMedia, along with awards from Digiday and Magellans from Travel Weekly. When we said all Chris does is win, we weren't kidding.
Before R&R, Chris served as SVP/media director for True Media, overseeing media planners and buyers, social and digital specialists, and management team members across multiple Midwest offices. He also spent his first 8 years at Starcom Mediavest Group. Chris has all the right credentials.
His specialized training from Starcom University, SEE Leadership and Diversity Training makes him a valuable team leader. And a great teacher. The proof? He served as an adjunct professor teaching media buying at the University of Missouri, and yeah, he had a spicy chili pepper on his Rate My Professor profile.


text:
TSA to roll out new baggage transfer service in 10 cities
Airport baggage transfer services will be rolled out in 10 U.S. cities starting on Wednesday, as part of a wider initiative to help reduce the number of passengers who are stuck in security lines.
The U.K.'s Heathrow, Dublin's Shannon, and Barcelona's Barcelona all will get the new service, which is expected to be rolled-out in December.
The airport transfer service is one of several TSA initiatives the agency announced on Wednesday.
The TSA will also launch a new online portal that will allow travelers to track their luggage on a daily basis.


A magnificent, completely restored Louis XV bracket clock by Michel A. Dijon, signed on the dial and the time/strike movement. A winged putto in partial drape seated upon the removable architectural top, with two bells concealed beneath. The ornate boulle and brass decorated case is fronted by a pair of figural demi-pilasters having fluted and bellflower pendants. A central arched glazed door opening to an enameled dial and chapters, above a pierced cast brass plaque of robust putti and intertwined foliates. All set on four recumbent figural sphinx figures; raised on a further inlaid shaped plinth with rope trim ending in toupie feet, the back with brass and floral shell inlays.
signed Michel A. Dijon on the dial and the time/strike movement.


text:
Q: Add value into three different variables from Foreach-Object I have a file (config.cfg) which has three strings like this: host:user:pass
In my Unix code, I do this to get and assign the value into three different variables:
  $FTP_HOST=$( cut -f1 -d: config.cfg )
  $FTP_USER=$( cut -f2 -d: config.cfg )
  $FTP_PASS=$( cut -f3 -d: config.cfg )

How can I do this in PowerShell 3.0? I have tried with Foreach-Object but couldn't find a way to assign into three variables.

A: PowerShell learned from Perl and Python, so you can do this:
$FTP_HOST, $FTP_USER, $FTP_PASS = (Get-Content .\config.cfg) -split ':'

A: You can split the data by colon and assign each element:
$config = Get-Content config.cfg
$FTP_HOST = ($config -split ":")[0]
$FTP_USER = ($config -split ":")[1]
$FTP_PASS = ($config -split ":")[2]

Or pre-split the data into an array and then assign the array elements:
$config = Get-Content config.cfg
$carry = $config -split ":"
$FTP_HOST = $carry[0]
#etc...

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