text:
Setting the VAR: Football's newest technology
And where better to shine than the 2018 FIFA World Cup
Gab Orlina
The 2018 FIFA World Cup is in full swing, with the last few matches about to take place en route to the Round of 16 on Saturday. While the world's greatest football players are taking center stage, another main attraction in the tournament is the football world's latest technology: the Video Assistant Referee.
The Video Assistant Referee or VAR has been adopted in sports like tennis and rugby, and recently by football leagues such as the English FA Cup and the Bundesliga in Germany. Ideally, the VAR helps make decisions for referees much easier and more accurate — especially for crucial, game-changing calls. But is the technology useful and helpful in every possible way?
Illustrations from FIFA.com
What is the VAR?
The VAR is a video system that feeds information to referees on the pitch through a wireless earpiece. Assistant referees gather the information away from the stadium and forward these to the referees when a call is contested. The VAR marks the huge step football leagues are taking to digitize football, and has been used since last year.
It utilizes a goal line technology that allows the cameras in the stadium to scan the pitch at every minute. With this technology, movement on the pitch is detected at all possible angles and calls can be made more precisely. Assistant referees inside a control room have access to all these cameras and they send live feed to the pitch via tablet or iPad should the referees want to look at the footage themselves.
The VAR reviews game-changing calls on the football pitch at the time a protest is filed. FIFA lists only four game-changing calls to be considered: goals, penalties, direct red card incidents, and mistaken identity. The VAR checks the validity of these calls and sends the information to the referees. Do note, however, that the referees themselves still have the final decision on what call to make.
The system made its debut in a FIFA Club World Cup in December 2017 between Atletico Nacional and Kashima Antlers. The referee rewarded Kashima with a penalty after reviewing a play inside the penalty box.
Putting the VAR to work
2017 also saw the VAR's debut in the English FA Cup, but it had its own set of controversies along the way. During a quarterfinal match between Tottenham and Rochdale, a goal by Tottenham was reversed for unclear reasons cited by the VAR. German football league Bundesliga also utilized the VAR during its latest season, but received mixed reactions from players and fans.
In the 2018 FIFA World Cup, the VAR takes center stage as a decision-making aide for referees in the group stages. The first instance was a non-call on a foul by Spain's Diego Costa in their 3-3 epic against Portugal. Costa would slice the Portugese defense to tie the game at 1-1 at the time, but did so while taking down Pepe from Portugal. After the review from the VAR, the referee stood by his decision to count the goal.
The second instance happened in the France-Australia game when French striker Antoine Griezmann was tackled inside the box, yet the referee called for play to continue. Griezmann received a pass from Paul Pogba, and virtually blitzed through the Socceroo's defensive line. Griezmann was awarded the penalty after reviewing footage from the VAR as the French went on to win, 2-1.
The third instance was in the Peru-Denmark game when another penalty was awarded to Christian Cuerva of Peru. Denmark's Yussuf Poulsen tackled the Peruvian in the box, yet the referee called for the play to continue until the incident was reviewed via VAR. However, Cuerva missed the penalty and Poulsen scored in another possession to give the Danish the win, 1-0.
A VAR too high or too low?
While the VAR has only been around for well over a year, it isn't exempt from both praise and criticism. Many people have shown their praises for the newest technology applied to the football world. The VAR now adds certainty and legitimacy to calls made by referees during matches, instead of them making the same wrong call every time. With football players and managers focusing on the tiniest of details to improve their game, information from the VAR becomes important.
The VAR provides an opportunity for football games to be fair and balanced. Referees now have different vantage points to look at when making calls that ultimately change the outcome of the game. People came to see a quality match wherein the players truly shine, but sometimes the referee's poor decisions hamper that. In this regard, there is no excuse for not making the right decision with all the video evidence available.
However, a lot of people also have strong feelings against using VAR. While the effort to make the right calls is appreciated, it gets in the way of what makes football so special. When referees call for the VAR — especially with contested goals — fans become anxious instead of jubillant. Usually, fans go into a frenzy the moment the ball goes through the net — no replays needed. It's as if the game feels all too unrealistic because of all the technicalities.
For football players and coaches, the VAR only adds confusion to fans. Because some football stadiums are built without any big screens, fans become unaware of what's happening when the referee calls for the VAR. Iran's coach Carlos Queiroz lambasted the use of the VAR for close, judgment calls — particularly the offside call on his squad in a loss to Spain. He believes that the VAR was put in place to correct obvious mistakes by referees, not debatable calls.
Photo from FIFA.com
The VAR is a fairly new technology introduced in the world of football, and surely, it's not perfect. It's a bold take on digitalizing football, keeping up with the technological demands of today. Because football is decided by people making the right calls at the right time, the VAR becomes an important part in establishing the basis for such calls. The VAR is a useful solution for referees to make the right decisions on the pitch.
However, we must be critical about how the VAR should play in during very crucial moments in the game. The VAR should help give fans a fair yet exciting football match without losing its spirit. With the Round of 16 coming up, all eyes will be on the VAR and whether it will help make the road to the finals interesting or not.
At the end of the day, football fans came to see the best players in the world do what they do best, and no amount of technology should get in the way of that.
Related Topics:FIFAFIFA World CupspecialsVAR
A phone's water protection plan: IP ratings explained
AI Facial Recognition continues to scare me
It doesn't give you the right to dunk it in water, though
Illustration by MJ Jucutan
If you plan to bring your phone to a beach trip with your friends, you normally bring a pouch with you. The main function of that pouch is to protect your phone from contact with any liquid while you enjoy the waves. Of course, it doesn't fully guarantee that water won't seep through it — especially when a big wave crashes on you and opens the pouch. But, it does give a sense of safety and security for your beloved smartphone.
That's the whole concept behind an IP rating that's given to most smartphones today. Nowadays, you hear a lot about these smartphones being advertised with IP68 ratings. But, what does an IP68 rating actually mean? Is it worth something to consider when buying a new smartphone?
What is an IP rating?
IP ratings are not new in the tech world. In fact, a lot of the electrical appliances and technologies you have at home come with it. An IP rating, or ingress protection rating basically tells you the level of protection any electrical device has against solid and liquid objects. It acts as a security measure to determine what objects the device can handle without malfunctioning.
The International Electrotechnical Commission (IEC) gives out these ratings to manufacturers as a safety measure for production. It consists of two numbers that describe its protection against a vast number of objects, even human touch. The first number denotes a device's protection against common solid objects and dust. Meanwhile, the second number denotes a device's protection against liquids, even steam-jet liquids. The higher the number, the more protection it gets!
IP ratings are not just present in most recent smartphones. Things like electrical sockets, cameras, even phone cases come with IP ratings, as well.
The reason it exists
Manufacturers and consumers see an IP rating quite differently. Those two numbers ultimately stand for how well your device can stand against, well anything. For manufacturers, an IP rating basically gives them a standard to follow when producing more devices. Before shipping their latest smartphones, they subject their devices to numerous tests to validate their IP ratings.
Also, it gives a more concrete way of stating that their devices are resistant to such objects. When you come across smartphones that claim to be water resistant, oftentimes you tend to ask just how resistant it is. With manufacturers, the IP rating gives a more definitive measure to that claim. For example, a smartphone with an IP68 rating is heavily protected against dust, and you can submerge it in waters deeper than a meter — perfect for beach trips.
Las Cabanas Beach Resort, Maramegmeg Beach, El Nido
For consumers, the IP rating just provides a peace of mind when buying a new smartphone. It's basically placed there to tell you that your phone can still be used even if you subject it to too much dust or water that's too deep. You see this in most YouTube videos or channels that basically bend, scratch, and dunk phones in buckets of water. In the end, you won't have to worry about destroying your phone that much when you go on that beach trip without a pouch.
Some manufacturers simply don't need the rating
However, there are manufacturers that simply found the rating unnecessary or simply just a marketing tool. Companies like OnePlus even did an entire ad that showed off their new flagship devices, the OnePlus 7 and OnePlus 7 Pro without an IP rating. The whole issue sparked debates on whether or not IP ratings do make sense, or companies could simply do without them.
OnePlus argues that one reason their new smartphones don't have an IP rating is because of the cost to get one. Even simply requesting for a phone for consideration costs a lot on the manufacturing side, which ultimately bumps up the phone's price. Pete Lau, one of the co-founders of the company estimated the cost for getting an IP rating is at US$ 30. Of course, it is entirely up to the consumer's view of its value to the overall product.
The other reason is because of the coverage of the device's warranty, particularly towards water damage. OnePlus claims that even if smartphones have IP ratings that show how resistant they are to water, water damage isn't fully covered by its warranty. This also furthers their argument on why they wouldn't want to spend on getting one in the first place. An IP rating is not a legitimate reason for people to have their phones fixed for free after dunking them in buckets of water.
To them, it does not make sense to simply attach an IP rating onto a phone even as a marketing tool. It gives off the wrong impression that the device is waterproof when the rating basically leans towards phones being water resistant.
Do we really need to know the IP rating?
The IEC created IP ratings for everyone's protection — from manufacturers to consumers. The whole purpose of having an IP rating is to provide a level of protection for anything electrical, smartphones included. It ensures the safety of everyone, but it's not a way to bail anyone out when they dunk their phones in water.
While some may argue that it helps to know what your device's IP rating is for better care, others just see it as a marketing ploy. It only seeks to sell a device perceived to be waterproof according to a standard. However, IP ratings were not meant to waterproof your phone by any means. It's there to tell you that your phone can handle water, just possibly not too much.
At the end of the day, we have to ask ourselves whether we truly see the value in having these IP ratings. Whether or not your preferred device has an IP rating, just remember: it's not a reason for you to exploit your phone.
Huawei vs the US: A timeline
An FAQ on Huawei's problems
Who's afraid of Huawei? Right now, everyone is. Does anyone really know why?
Since 2017, the US has dealt continuous blows against the Chinese company. More than two years later, the war is still in full swing. Both sides have fired multiple salvos against the other. Still, despite the conflict's longevity, most people are not really sure what's happening.
Why are they fighting? Should we stay away from Huawei? Is it time to get rid of our Huawei devices as soon as possible? Should we really fear for our cybersecurity?
For ordinary consumers, the entire Huawei debacle is mired in political lingo and endless controversy. It's time to clear the air. What's up, Huawei?
How did this all begin?
Let's go back to where it all started. In late 2017, American lawmakers reviewed the businesses of ZTE, another Chinese tech company. Soon after, the investigation unveiled a flurry of shady business deals involving Iran. By law, companies operating in the US are not allowed to communicate with blacklisted countries including North Korea and Iran. Naturally, the violation caused monumental sanctions against ZTE. The US banned ZTE from American soil — effectively, the same ban on Huawei today.
At this time, Huawei was just a moderately innocent passerby stuck between two fighting giants. At most, Huawei was accused of spying on its customers. American lawmakers proposed a boycott of Huawei's products. The proposal drew from the emerging rise of Sinophobia. Still, at the time, the US government's eyes were firmly on ZTE.
Current restrictions prevent Huawei from providing 5G technologies to American consumers
In its infancy, the Huawei-ZTE issue was a product of a small fear. It still hadn't affected everyone. In fact, US President Donald Trump even tried to save both companies from utter destruction. Both companies enjoyed a reprieve from America's ire. However, this was short-lived.
In a surprising about-face, Trump started his controversial trade war against China. The American leader abandoned his salvific efforts. Instead, he adopted an incredibly aggressive push against Chinese companies. Unsurprisingly, ZTE already crumbled from the initial push, leaving Trump without a company to make an example out of.
Trump set his sights on Huawei, the world's second largest smartphone maker. His weapon: the same ban meant for ZTE. His motive: potential cybersecurity issues. This time, America means business. Recently, Trump finally pulled the trigger, enacting a total ban against Huawei on American soil. However, instead of just the US, Trump has been lobbying for a similar ban on other countries. Since then, Huawei has suffered a world of hurt.
What does the ban mean?
Naturally, a "total ban" sounds daunting. Banning Huawei smells like certain doom for the tech giant but what does the ban really mean?
When enforced, Huawei can no longer deal with American companies. To Huawei's dismay, the tech maker uses a fair number of American components in its products. Most notably, Huawei's smartphones come with Google's Android. The ban will prevent Huawei from using the operating system going forward. On paper, this is a huge deal. Android remains the world's biggest operating system. A lot of consumers trust Android. Huawei is losing a massive chunk of its package with the loss.
As if that wasn't enough, Facebook — and its slew of apps — have withdrawn from Huawei's products. The company's smartphones will no longer have Facebook, Messenger, Instagram, or WhatsApp installed out of the box. The threat is becoming real.
Huawei makes its own chipsets but relies on several American companies for other components
Additionally, Intel, Broadcom, and Qualcomm have blacklisted Huawei after Google's announcement. Huawei has also lost the support of the ubiquitous ARM chip architecture.
It's not looking good for the Chinese company. Huawei is slowly being dismembered. Faced with an army of bans, it's natural to worry about Huawei. Worst case scenario, Huawei will become a mere shadow of its former self, devoid of the components that helped its recent success.
Should we really worry, though?
Not just yet. Right now, Huawei is enjoying a temporary reprieve. Soon after the initial ban, the American government granted the company a three-month extension. Until around the end of August, Huawei can still operate with its current partnerships. Except Facebook, its devices will still ship with the same components we love. At least for the near future, Huawei is safe.
In the meantime, Huawei is hunting for adequate alternatives for its failing parts. This means a new operating system, new chips, and likely an entirely new package. To its credit, Huawei's development team is working around the clock. Only a month removed from ground zero, they are already promising optimistic developments for the future. Huawei remains confident in their future, launching a bevy of new phones amidst the controversy.
Likewise, some American companies are also lamenting the loss of business. Before the ban, Huawei was a loyal customer, delivering American components to a massive global audience. They aren't happy with Trump's ban. For one, Google has publicly defended Huawei. According to them, Huawei's — and subsequently, the world's — cybersecurity standards will collapse without a collaboration between international companies. With Android, Google can act as Huawei's checks and balances against potential cybersecurity threats from malicious forces. If anything, Huawei still has its share of public defenders.
The US ban will prevent Huawei from using Android as its operating system moving forward
Most importantly, Trump still has the power to reverse the ban before the 90-day extension runs out. If China and the US reach a meeting point, all might go back to normal. Though uncertain, it's too early to give up on Huawei just yet.
What will Huawei 2.0 look like?
Unfortunately, Huawei's future is muddled with uncertainty. This includes any potential iterations in the future. As far as we know, Huawei isn't bleeding from the multitude of losses. The company has reinforced its Kirin chipsets. Further, they are developing their own dedicated operating system codenamed Ark OS.
Other than that, there's not much to go on. Speculatively, the biggest changes will come from its app supports. If Google leaves, Huawei will be left without the Play Store's support and security. The Chinese company will have to rely on its own native software to power their phones. Unfortunately, an all-Chinese ecosystem is less than ideal for most. In fact, having one might even justify the American Sinophobia. But again, it's all up in the air.
I have a Huawei phone. Should I just sell it?
No, you still shouldn't. The grey market is already doubling down against the onslaught of Huawei returns. If you don't know a willing contact, finding a buyer will be difficult. If you do find one, you'll receive only a mere fraction of what you paid for.
At its current iteration, Huawei's phones are still on top. They are a delight to hold and use, and if anything, have challenged its competitors to offer better value to consumers over the years. Right now, it's best to play the long game. Wait and see what happens. If anything, Huawei — and its official partners — already has an insurance policy in place. Several retailers have declared a 100 percent refund policy in countries like Singapore. If Google cuts the cord, Huawei users can get their money back.
Similarly, Google has promised Android Q support for existing Huawei handsets. Just this week Huawei also announced the rollout of Android-based EMUI 9.1 to older models. If you already own one, a Huawei phone shouldn't be an immediate cause for panic.
So, should we really be worried about Huawei?
Understandably, uncertainty isn't an ideal for everyone. Huawei's troubles are an excruciating thorn for both businesses and consumers alike. Switching to another brand is a natural solution against the company's shaky future. However, if you're looking at the silver lining, worrying is likely a premature reaction. If you're not a Huawei user, the controversies shouldn't affect you. If you're already a Huawei user or looking to buy a Huawei device, it will likely pay off to play a longer strategy. After all, Huawei devices are still some of the best smartphones you can buy on the market.
Editor's Note: Looks like we really shouldn't worry after all. Not even an entire day has passed since this article was originally published but Huawei no longer banned in the US. Rejoice, Huawei users!
Explaining OLED screens and Dark Mode
Why that screen fits in the dark
Most of the applications you're currently using must have rolled out their own version of dark mode by now. The smooth transition from a light to dark interface can be done through a push of a button, or by sending the moon emoji on Messenger. A lot of people also find dark mode quite sexy, and that's probably because of the screen they're looking at.
A lot of newly released smartphones now have OLED screens, and dark mode seems to work best on such displays! But why is that? How do OLED panels allow dark mode to flourish?
Better, blacker, affordable screens
Organic LED (light-emitting diode) or OLED is essentially a kind of display technology. In a nutshell, OLED panels allow for better and clearer images and colors.
Thin layers of carbon fiber make up OLED screens. Because of these lightweight fibers, screens show brighter and more vibrant colors. Apart from that, OLED screens show deeper blacks and reduce instances of motion blur when navigating. The best part is that OLED screens are becoming gradually cheaper to manufacture. That explains why more and more of today's smartphones use this panel.
More colorful than the rest
In comparison to regular LED screens of the past, OLED promises more accurate colors by producing light from individual pixels, instead of relying on backlighting. Back then, LCD screens relied heavily on the backlight of the display to make colors pop. Although, such displays also make the colors seem washed, especially when compared to OLED.
Image credit: Denise Chan
However, OLED's colors don't always turn out better than on LED and LCD screens. One such case is when you turn your screen's brightness to its maximum, especially under strong daylight conditions. LED and LCD screens are designed to perform relatively better in color accuracy when your screen's brightness is set to max. OLED screens were not designed for maximum brightness, so colors at that point would be saturated.
Which OLED is best?
There are two types of OLED technologies that currently exist: AMOLED and PMOLED. A lot of people hear AMOLED tossed around a lot because lots of smartphones use it. Essentially, AMOLED uses a storage capacitor that controls how much light each individual pixel will give off. It's the one responsible for projecting all sorts of vibrant colors on most OLED smartphone screens. Apart from that, AMOLED screens do support wider resolutions at a more affordable and efficient rate.
PMOLED, on the other hand, does not have a storage capacitor and instead relies on user control. Essentially, the user will control lighting settings, and the individual pixels will adjust accordingly. You can find PMOLED screens on smaller devices like older iPods and pocket Wi-Fi devices. Take note that these screens use more power to implement such color changes.
Joining the dark side
Ever since dark mode rolled out for different apps and interfaces, people have been contemplating on switching to it — and for good reason. On normal LED or LCD screens, the new feature does not bode well with the technology. The depth of the black their dark mode possesses is not reflected well, to the point that the blacks look more gray than actual black. This is much more obvious when the screen's brightness is turned all the way up.
Image credit: Mike Enerio
Aesthetically, dark mode looks better on OLED screens because of the technology's emphasis on deeper blacks. Most OLED screens have capacitors that control light passing through each pixel, which also works for blacks and whites. As such, dark mode shows up deeper and blacker, which is the intended look compared to regular modes. But, there's actually more to just aesthetics for this mode.
It's also been proven that dark mode on OLED helps save your battery life. Google confirmed this at its Android Dev Summit, citing that on max brightness, blacks consume less power than all other colors. Individual pixels need less electricity to show blacks on screen, which results in lower power consumption through time. Note that Google got these findings through tests on their original Pixel smartphones and their own apps like YouTube.
What's left for OLED and dark mode
Apps and operating systems are now starting to embrace or consider incorporating dark mode into their software. While apps like Twitter and YouTube introduced such an option early on, others are beginning to take notice. Of course, you're gonna need the right screen to fully immerse yourself.
Image credit: Simone Dalmeri
It has been proven: OLED and dark mode are indeed a perfect match. But, it is entirely up to you whether you want to stay in the light or switch to the dark side.

redpajama_set_name: RedPajamaCommonCrawl


text:
Henri Marie Raymond de Toulouse-Lautrec (Hôtel du Bosc a Albi, França, 24 de novembre del 1864 - Sent Andriu dau Bòsc, França, 9 de setembre del 1901) fou un artista pertanyent al moviment postimpressionista. Va dedicar la seva vida a l'art, fent tant cartells com pintures que reflectien l'elegància, la provocació i la decadència de la ciutat parisenca del .

Biografia
Al , els matrimonis de la noblesa es realitzaven normalment entre parents per tal d'evitar les divisions territorials i la minva de les seves possessions. Aquest fou el cas dels pares d'Henri Toulouse-Lautrec, Alphonse de Toulouse-Lautrec-Montfa i la comtessa Adèle Tapie de Celeyran, que eren cosins en primer grau. Henri fou el primogènit de la família. Quan tenia quatre anys, nasqué el seu germà Richard-Constantine, que morí un any després.

La incompatibilitat de caràcters d'ambdós cònjuges en motivà la separació el 1868 i Henri quedà sota la cura de la seva mare.

La seva infància fou feliç fins que, a conseqüència de la consanguinitat dels seus pares, Toulouse-Lautrec patí una malaltia que afectava el desenvolupament dels ossos anomenada picnodisostosi i que se li manifestà el 1874.

Aquesta malaltia feia que tingués les cames curtes i el cap gran en proporció al tòrax i l'abdomen.
El petit Henri va començar a estudiar a casa, tot i que un temps més tard va passar una temporada a l'escola, però la seva àvia, en veure que només feia dibuixos a les pàgines dels quaderns i llibres, va decidir portar-lo al camp i educar-lo ella mateixa.

Aleshores, als deu anys, la seva salut deixava molt a desitjar. La seva constitució òssia era dèbil i, entre el maig del 1878 i l'agost del 1879, patí dues fractures als fèmurs d'ambdues cames que li impediren créixer més; només pogué assolir una altura d'1,52 m. Van intentar cercar-li un remei a la malaltia mitjançant descàrregues elèctriques i posant-li una gran quantitat de plom als peus. Va trigar quasi tres anys a millorar i va haver d'anar sovint a diferents balnearis i a prendre aires hivernals a la Costa Blava.

El cineasta Joan Olivé i Vagué va recrear la vida del pintor en una de les seves obres fílmiques.

Primers anys
Va pintar el primer quadre als 13 anys, anomenat Artillers a cavall. Tres anys després, realitzà el seu primer autoretrat, en què es pinta assegut darrere una taula amb la cara coberta d'ombres i amagant les cames.

El 1881, Toulouse-Lautrec es trasllada a París, moment en què decideix ser pintor. Amb el suport del seu oncle Charles i uns pintors amics de la família, com en Princetau, John Lewis Brown i Jean-Louis Forain; és admès a l'estudi de Léon Bonnat, retratista de moda. Allà perfeccionà el dibuix però, en tancar-se el taller de Bonnat, Lautrec va haver de cercar un nou mestre, Fernand Cormon. A l'estudi de Cormon, va fer amistat amb en Vincent van Gogh, del qual aprengué molt.

Vida als bordells
El 1884, va obtenir el primer treball remunerat amb una col·laboració en la il·lustració d'obres completes de l'escriptor francès Victor Hugo. Aquest mateix any, Henri anà a viure a Montmartre, on tingué veïns com Degas. La fascinació que sentia pels locals de diversió nocturns el portà a freqüentar-los amb assiduïtat i a fer-se client predilecte d'alguns d'aquests, com ara el Saló de la Rue des Moulins, el Moulin de la Galette, el Moulin Rouge, Le Chat Noir, entre d'altres. Tot allò relacionat amb aquest món de cabarets, inclosa la prostitució, constituí un dels temes principals de la seva obra. En les seves obres dels baixos fons de París, hi pintava els actors, ballarins, burgesos i prostitutes (la seva gran obsessió). A voltes, les pintava mentre es canviaven, quan acabaven cada servei o quan esperaven una inspecció mèdica. El preocupava reflectir els seus sentiments, presentar-les com les altres dones.

Els propietaris dels locals li demanaven que dibuixés cartells per promocionar els seus espectacles, fet que entusiasmà Lautrec, ja que, en les seves
llargues nits als cabarets, dibuixava tot allò que veia i ho deixava per les taules. D'aquesta manera, arribà a vendre pintures i a ser reconegut. En aquesta època, va fer grans amigues com la ballarina Jane Avril, a la qual dedicà diversos quadres i cartells. Conegué també ballarins reconeguts, com en Valentí el sense ossos, que era notari de dia i ballarí de nit, pallassos i altres personatges de les festes i espectacles dels suburbis.

Tenia grans problemes amb l'alcohol, i va arribar a barrejar xampany, conyac i absenta en una mateixa copa i repetides vegades, fet que derivava sovint en follia. També va contraure la sífilis.

Criticava tot aquell que reflectia paisatges als seus quadres, ja que ell opinava que allò que veritablement pagava la pena era la gent, el poble. Es considerava un cronista social i es mesclà amb el poble, el pintà i fou com ell.

Nous rumbs
El 1886, abandonà l'estudi de Cormon i n'arrendà un de propi gràcies que la seva família li va donar diners per llogar un estudi.
A la dècada dels 90, viatjà fins a Londres, on conegué i retratà de manera sublim Oscar Wilde.

La vida noctàmbula i desordenada que portà durant anys, així com l'alcoholisme, li deterioraren la salut. A partir del 1897, patí manies, depressions i neurosis, a més d'atacs de paràlisi a les cames i a un costat. El 1897, va haver de ser recollit dels carrers a causa d'una borratxera i, poc després, en un moment de deliri, va arribar a disparar a les parets de casa seva creient que estaven plenes d'aranyes. Malgrat això, seguia pintant de manera ferma i ràpida. Però el 1899 va ingressar al sanatori de Folie-Saint-James a Neuilly per ser sotmès a un procés de desintoxicació. Només un mes després es va posar a treballar en una col·lecció de pintures sobre el circ per tal de demostrar que no estava boig.

Darrers anys
El deixaren marxar a casa de la seva mare, a les seves possessions a prop de Bordeus. Tenia la salut molt malmesa, la pell de color cendra i la cara barbuda. L'addicció per l'alcohol feu que arribés al punt de comprar un bastó amb la punta en forma de copa per poder beure d'amagat de la seva mare. El 9 de setembre de 1901, morí prostrat al llit, i reposa al cementiri de Verdelais.

Influències

Aprenentatge a París
Quan Henry va decidir ser pintor, va anar a la capital del bressol de la pintura postimpressionista de l'època. Allà va ser alumne de Léon Bonnat i, pocs anys després, va haver de buscar un altre mestre que l'emmirallés, aquest va ser Fernand Cormon; posteriorment, amb l'amistat de Vincen Van Gogh, va aprendre molt de les seves tècniques i obres.

Lautrec va viatjar a París, on coincidí amb diferents artistes dels quals també agafà idees i inspiracions per a la seva tècnica. Alguns d'aquests artistes són de la Ruedu Fauborg Sant-Honoré i Fernando del Boulevard Rochechouart.

Lautrec comença a pintar com a escapament de l'avorriment, la qual cosa fa que ajudi el seu tiet Charles, "dibuixo i pinto tot el que puc, fins a arribar al punt en què se'm cansa la mà".

Lautrec, en mudar-se al barri de Montmartre el 1884 va conèixer Degas, un dels màxims representants de la pintura impressionista, del qual també va aprendre molt.

Postimpressionisme
El postimpressionisme neix a principis del  i és una etapa posterior a la de l'impressionisme, el qual sorgeix a la fi del .

Aquest moviment artístic és una extensió de l'impressionisme i d'aquest agafa algunes de les característiques, com l'ús dels colors vius, el mateix estil de pinzellades i temes de la vida quotidiana que veien habitualment. Però la diferència rau que van procurar aportar més emoció i expressió en les seves pintures, encara que també volien representar el seu rebuig a la societat.

Moulin Rouge

Lautrec sentia una fascinació pels locals nocturns de diversió, un d'aquests era el Moulin Rouge, del qual es va convertir en client habitual. Aquest món incloïa la prostitució, que va ser un dels temes més reflectits en la seva obra. Un dels seus quadres més famosos que reflecteix un dels moments d'aquest món és L'inspection médicale.

Ja dins aquest món, Lautrec es va fer molt amic d'una ballarina anomenada Jane Avril, a la qual va dedicar grans cartells. Per a ell, el món del Moulin Rouge significava desconnectar de la seva constitució o discapacitat, ja que allà se sentia acollit per la gent. El fet que els propietaris dels bordells li encarreguessin cartells per promocionar els espectacles va ser un punt a favor que l'entusiasmà cada cop més.

Obra

L'obra de Toulouse-Lautrec es caracteritza pel seu estil fotogràfic, al qual corresponen l'espontaneïtat i la capacitat de captar el moviment en les seves escenes i personatges, i té un estil propi. Cal afegir-hi l'originalitat de les seves composicions influenciades per l'art japonès (les estampes japoneses estaven molt de moda en aquella època), que es manifesta en les línies compositives diagonals i el tall sobtat de les figures per les vores. Lautrec posseïa una memòria fotogràfica i pintava de manera molt ràpida. No obstant això, la seva primera influència fou la pintura impressionista i, sobretot, la figura de Degas, de qui seguí la temàtica urbana allunyant-se dels paisatges que interpretaven Monet o Renoir. Fou l'avantguarda del modernisme i de l'Art Nouveau.

A més de la pintura a l'oli, Lautrec emprà altres tècniques i suports en la seva obra, en què destaca la producció de cartells. La seva obra en forma de cartells publicitaris es caracteritza per la presència de personatges del món bohemi i pel fet que, com que treballava com a il·lustrador publicitari, principalment per a cabarets, restaurants i bars de la zona de Montmartre a París, als seus cartells es pot veure reflectida la societat i els artistes que freqüentaven aquests ambients parisencs.

Entre les seves obres podem esmentar les següents:
 Autoretrat davant el mirall (oli sobre cartró, 1880).
 Servent de cavalleries amb dos cavalls (oli sobre cartró, 1880).
 El comte Alphonse de Toulouse-Lautrec condueix el seu cotxe de quatre cavalls (oli sobre tela, 1881).
 La mare de l'artista, comtessa Adèle de Toulouse-Lautrec, esmorzant al Castell Malromé (oli sobre tela, 1882-1883).
 El jove Routy a Céleyran (oli sobre tela, 1882).
 La grassa Marie (oli sobre tela, 1884).
 La bugadera (oli sobre tela, 1884).
 Retrat de Vincent van Gogh (pastel sobre cartró, 1887).
 Amazona al circ Fernando (oli sobre tela, 1888).
 A la Mie (oli i guaix sobre cartó, 1891).
 Mademoiselle Marie Dihau al piano (oli sobre cartró, 1890).
 L'actor Henry Samary (oli sobre cartró, 1889).
 Al Moulin de la galette (oli sobre tela, 1889).
 Ball al Moulin rouge (oli sobre tela, 1890).
 Moulin rouge: la Goulue (litografia a color, 1891).
 Reine de joie (litografia a color, 1892).
 Ambassadeurs: Aristide Bruant (litografia a color, 1892).
 L'anglès al Moulin Rouge (oli i guaix sobre cartró, 1892).
 Divan japonès (litografia a color, 1892-1893).
 Yvette Guilbert (guaix sobre cartró, 1894).
 Jardí de París: Jane Avril (litografia a color, 1893).
 Confetti (litografia a color, 1894).
 La passatgera de la cabina (litografia a color, 1896).
 La banyera (litografia a color, 1896).
 Passeig pel camp (litografia a color, 1897).

Pintura
Des de la seva infantesa, va mostrar una gran afició pel dibuix, especialment d'animals, per la qual cosa els seus pares li van posar un professor, René Princeteau, qui li va aconsellar inscriure's en l'estudi del pintor acadèmic Lleó Bonnat. Quan s'instal·la al seu propi estudi coneix Degas, que serà el seu referent més important.

En conseqüència, es va sentir atret pels mateixos temes que Degas, els cavalls, les ballarines… però entre tots dos hi ha diferències notables. Mentre Degas representa un món reiteratiu i monòton, Lautrec pinta moviments específics i fugaços. Ell, que sap que no es troba en harmonia amb la natura, li està negada l'alliberament que hi trobaven els impressionistes.

En una carta que va ser enviada durant la primavera del 1885, explica com en un període que va passar vivint al camp amb Anquetin, Grenier i altres amics, s'adona que no s'hi sent còmode. Per primera vegada, mostra la seva predilecció per la mirada entre bastidors.

Lautrec comença a freqüentar cabarets, cafès cantants i bordells de París. Aquell món torbador fou captat per Lautrec amb una aguda percepció del moviment, expressions i efectes de la llum i pels contorns de línies vibrants apreses de les estampes japoneses, les quals el marcarien notablement.

Toulouse Lautrec comença a desenvolupar una tècnica pictòrica en forma de dibuix o esbós, compostos per pinzellades curtes i enèrgiques que estan contingudes per contorns molt pronunciats. L'escena està tallada pels marges del quadre sense donar importància a la coherència o a la connexió significativa de les figures humanes; els personatges fragmentats marginats adquireixen una presència major que al centre, amb la finalitat d'aconseguir un efecte suggestiu al més fort possible. La impressió de moviment s'aconsegueix amb l'excentricitat del tall del quadre.

L'any 1888 té molta importància per a ell des del punt de vista artístic, ja que troba el seu estil específic. La suggestió d'una experiència espacial i de moviment integrada en l'elaborada estructura del quadre es potencia a favor de l'expressió amb reduccions exagerades i porcions en part deformades respecte a les figures de les ballarines; el color ha guanyat lluminositat.

Amb els contorns marcats, les figures se separen del fons clar, mentre que el dibuix interior està realitzat amb ombrejats d'amples pinzellades. Vistes des de baix, amb la perspectiva típica de l'artista i figures en primer pla, vistes de prop. D'aquesta manera, assoleix la característica pictòrica d'aplicar, sense base prèvia, les pintures diluïdes amb aiguarràs sobre el llenç o el cartró.

Cartell
Si l'art no és principalment comunicació, sinó creació, llavors els cartells, amb la seva funció prescrita de publicitat i propaganda, serien una forma secundària de l'art. Els cartells han mantingut una curiosa relació amb la pintura en els seus primers cent anys d'existència. Cal destacar que el cartell va aconseguir arribar al consumidor mitjà dels moviments artístics del . Això passa el 1870, quan el cartell acaba de néixer.

El 1866, Jules Chéret (1836-1933) va començar a produir a París cartells litogràfics en color amb la seva pròpia premsa. La litografia no era un procediment nou, llavors ja es podia imprimir fulls a raó de 10.000 per hora. El 1858, Chéret va realitzar el seu primer disseny litogràfic en color: Orphée aux Enfers. La seva veritable aportació a la història del cartell es va iniciar amb el seu retorn a París després d'una estada de set anys a Anglaterra. La raó per la qual Chéret va arribar a ocupar el primer lloc en la història del cartell va ser perquè ell pensava que els cartells no sols eren una bona manera de publicitat, sinó que també eren excel·lents murals. Els seus dissenys, a més de ser obres mestres de l'àmbit publicitari, són magnífiques obres d'art. Gràcies a l'èxit material d'aquesta exhibició pública de l'art, s'ha arribat a dir que els cartells són una galeria d'art al carrer. La gran aportació de Chéret va ser posar la seva indubtable mestria com a dibuixant al servei del llenguatge popular del seu temps. Portar l'art al poble.

Toulouse Lautrec va accentuar l'estil de Chéret, però el va utilitzar per a descriure les vides dels habitants dels carrers de París. Mentre els deixebles de Chéret, com Georges Meunier o Lucien Lefvrè, representaven els cabarets de Montmartre o escenes domèstiques a la manera de Chéret, l'aportació de Lautrec a l'evolució del cartell va ser un pas més enllà. Dramatitzar la seva pròpia existència personal i utilitzar el cartell com a mitjà per expressar-la. L'element caricaturesc, irònic i satíric, les formes senzilles i llises, la línia decorativa eren artificis que Lautrec podia emprar en un cartell. Lautrec elimina els elements tradicionals de l'obra de Chéret exagerant certs aspectes expressius, latents ja a les obres de Chéret.

Lautrec només va fer 31 cartells durant la seva curta vida de 37 anys. Constitueixen una important aportació a la historia del cartell. La contribució de Lautrec a l'art del  es reflecteix indirectament en tots els dissenys de cartells, perquè va ajudar a establir el caràcter directe del cartell com a forma artística.

Nom: La Goulue (Moulin Rouge)

Autor: Henry de Tolouse Lautrec

Any: 1891

Mesures: 191 x 117 cm

Material: tinta sobre paper (cartell)

Estil: Postimpressionisme

Ciutat: París

País: França.

Característiques de l'estil pictogràfic: volen pintar la concepció de la realitat, l'ésser humà canviant i la natura; el que va marcar aquest canvi va ser la ruptura de l'estil modern amb l'academicisme. Per altra part, representen el moviment de les figures humanes o geomètriques i no volen representar-ne l'estabilitat. Tenen un altre estil de pinzellada, anomenada pinzellada solta.

Característiques de l'obra: respecte als colors utilitzats, es basa en el negre i dos colors càlids, com són el groc i el vermell; tots els personatges de l'obra estan representats amb color negre excepte dos: un que està representat amb color gris i la Goulue, que està representada a color; tot i això seguint la norma dels dos colors càlids (groc i vermell).

Com a distribució, s'observa representada al centre la Goulue, una de les ballarines més importants de l'època. Tota ella està a color, ja que aquest cartell patrocina un dels seus espectacles. També apareix representat un home, que es creu que és un dels clients més freqüents del local.
Pel que fa a les lletres, estan en un to vermellós i sense realçar el contorn (aquest fet suposà una queixa cap a l'artista). La lletra M és la mateixa per a totes i està situada verticalment; al seu costat, apareix el nom del local on es representa aquest espectacle, en aquest cas el Moulin Rouge, i és una repetició de 3 en escala molt petita. Aquesta tècnica de repetició té l'objectiu de captar l'atenció.

L'amazona al circ Fernando (Do. P 312), 1888 (98 x 161 cm.).

The Art institute of Chicago

Toulouse-Lautrec, en aquesta obra, va agafar el moment en què el cavall blanc saltava a través d'un cèrcol cobert de paper mentre un pallasso el mantenia agafat. El que l'ha fet tant especial és la ruptura dels plans pictòrics tradicionals; això era una gran innovació de l'impressionisme.

Com es pot apreciar, el mestre de cerimònia és Monsieur Loyal i la model que està sobre el cavall és la seva amant, Suzanne Valadon.

El que va pretendre representar Toulouse-Lautrec és el moviment, però també hi destaca l'interès per la línia i el dibuix. El cartell estava penjat al Moulin Rouge el dia de la seva inauguració.

L'anglès al Moulin Rouge, 1892 (86 x 66).

The Metropolitan Museum, Nova York.

Lautrec va dibuixar aquest cartell perquè estava molt interessat a representar obres sobre la seva vida nocturna i les situacions amb què es trobava.

Al cartell, trobem representades tres persones; en destaca una, en aquest cas Wiliam Tom Warremer, un actor i empresari anglès d'uns 32 anys, que està flirtejant amb una jove prostituta de luxe que se solien trobar al Moulin Rouge i, de fons, una persona no gaire definida visualment.

Cal destacar la manera en què Lautrec deixa parts del cartró sense pintar, com en aquest cas, la imatge de la noia jove de l'esquerra i la persona que hi ha al fons i destaca, donant-li més color, el protagonista del cartell.

Ambassadeurs, 1892 (255 x 120).

Musée d'Albi.

El cartell va ser dissenyat per anunciar un esdeveniment en què actuava el cantant Aristide Bruant al club nocturn d'Ambassadeurs a París. S'hi pot observar la imatge del cantant que ocupa tot l'espai per destacar-lo, la combinació de colors foscos per representar-lo i colors vistosos que fa servir Lautrec per destacar les lletres.

Reine de joie, 1892 (149.5 x 99 cm.)

Aquest cartell era el títol d'una novel·la de l'escriptor Victor Dobrski. Es pot veure com la protagonista de la novel·la fa un petó al financer Olizac, que representa l'estereotip d'un jueu.

El que fa Toulouse-Lautrec és recórrer a la composició de dividir la superfície en dos meitats. A més a més, també utilitza la juxtaposició de colors primaris, la importància del dibuix i la línia són inspiració de l'estampa japonesa.

Le petit Trottin, 1893 (278x189 cm)

 Le petit Trottin va ser una obra creada l'any 1893; el motiu pel qual es va fer fou per fer propaganda i donar a conèixer Desiré Dihau i Achille Melandri, diferents locals nocturns.

Respecte al color, es tracta de tinta plana amb un cert grau de color pastel per a destacar els elements i les persones protagonistes. Paral·lelament a això, la línia és tancada i molt definida, ressegueix el contorn dels personatges; amb una línia més gruixuda per a allò que vol destacar i una de més fluixa intensitat per allò que no s'ha de veure tant.

Le Coiffeur, 1893 (36x27cm).

Col·lecció privada.

 Aquest cartell es va crear per encàrrec, per patrocinar una obra de teatre.

Destacant la protagonista amb el cabell groc per centrar-hi els ulls de l'espectador, aquesta escena es desenvolupa en una sala de maquillatge.

En aquest, l'element que aporta la profunditat són les cortines del fons, ja que fa sensació de verticalitat.

Divan japonais, 1892-93 (80,8 x 60,8 cm).

El cartell Divan Japonais és un dels molts cartells que fan referència als cafès concerts de la darreria del r, freqüentats per Toulouse-Lautrec.

El que representa el cartell és mostrar com són les nits a Montmartre. Aquí podem observar com la Jane Avril és una espectadora i no una representant de la funció i que està asseguda al darrere amb Édouard Dujardin, que era un home escriptor que anava molt habitualment als clubs de nit. A la cantonada de dalt a l'esquerra, podem observar l'escenari amb el cos de Guilbert, que es reconeix perquè porta un guants llargs negres que n'eren característics.

Carnot malade, 1893 (236x177 cm).

Museu d'Albi.

Aquest cartell és un cas molt peculiar que Tolouse reflectirà pocs cops més. En aquest, va voler representar un esdeveniment polític que afectarà la vida de la població francesa de l'època. Carnot era el president de la República francesa i va caure malalt; Tolouse, en conseqüència, va crear aquest cartell per anunciar-ho a la població francesa.

Es pot apreciar la profunditat del cartell amb la bandera i els coixins del llit que tapen part del cos del president. Respecte al color, hi destaquen el blanc, blau i roig de la bandera francesa i el color verdós per a representar la malaltia del president. La línia de l'obra és una línia contundent i forta que vol transmetre serenitat.

Caudieux, 1893 (114 x 88).

Museu d'Albi

Es tracta d'un cartell publicitari per a promocionar l'actuació de Caudieux, un dels cantants més famosos de les nits de París, al Petit Casino.

S'hi pot observar la imatge del cantant en primer pla, destacat amb colors foscos i ombres, probablement en un dels seus concerts, ja que fa un gest enèrgic com solia fer.

Cal destacar-hi els efectes de moviment que hi va afegir Lautrec al dibuix en un color blanc, però el que més fa destacar en aquest cas és el rostre del personatge.

Au pied de l'echafaud, 1893 (73 x 59).

Col·lecció privada

Aquest cartell anuncia la publicació de les memòries del sacerdot abbé Faure al diari francès Le Matin.

S'hi poden veure representats una fila de soldats a cavall i un presoner que és portat a la guillotina acompanyat pel sacerdot amb una Bíblia i un home amb barret de copa.

La imatge representa una de les trenta-vuit execucions a les quals va assistir el sacerdot.

S'hi poden destacar les tres imatges principals que són el presoner, el sacerdot en un segon pla i l'home amb el barret de copa perquè estan representats amb colors més vistosos i, en un pla més llunyà, trobem els soldats sobre els cavalls en colors foscos i, per últim, cal destacar la guillotina que, en aquest cas, està en un color vermell igual que les lletres del nom del diari on són publicades les memòries del sacerdot.

La modista, 1893 (17 x 10,8).

Museu del Louvre, París.

En aquest cartell, trobem representada una noia jove, la model Croquesi-Margouin, que està col·locant barrets que tenen la mateixa forma que el seu cabell ros-vermellenc; la podem observar en una habitació amb una finestra i unes prestatgeries al fons.

En aquest cas, destaquem la semblança de la forma dels barrets que té la noia a les mans amb la dels seus cabells.

Jane Avril dans les Jardins de Paris, 1893 (128,3 x 94 cm).

Aquest cartell està inspirat en una de les ballarines més populars de París. La ballarina apareix sobre l'escenari i en primer pla trobem el coll d'un violoncel i la mà del músic.

En aquest cartell, es pot veure certs aires modernistes, perquè com bé es pot veure, en posar les lletres a la part alta, després amb el terra pot crear una sensació de profunditat i, per tant, la gent que observa el cartell es fixa molt més en la ballarina.

L'Artisan Moderne, 1894 (898 x 634 cm).

Tolouse va rebre un encàrrec d'una botiga de mobles moderns de l'època i va fer un cartell en honor del seu nom.

Està representat per una noia que, a primera vista, sembla que pertany a la classe alta. Amb això es vol dir que aquest estil de mobles només se'ls podien permetre els d'aquesta classe.

La perspectiva ens l'aporta la cortina de fons, ja que està fugada. Els colors que hi destaquen són el groc i el verd, que aporten calidesa i naturalitat al moment.

Babylone d'Allemagne, 1894 (150 x 97 cm).

Aquest cartell va ser dissenyat per patrocinar la segona novel·la de Victor Dobrski.

El que es veu al cartell és l'entrada de Babylone a cavall, observat per un guarda i una parella de vianants que resulta atractiva als espectadors.

El que ha aconseguit és crear una sensació de moviment i la perfecta representació de les expressions, que són: el domini de l'home, l'admiració de la dona i el respecte de la gent. Els colors són plans i uniformes, i recorden la pintura japonesa.

Confetti, 1894 (57 x 39 cm)

És d'estil neoimpressionista. Aquest cartell va ser encarregat per la fàbrica de caramels britànica J. E. Bella. Va ser encarregat per fer publicitat dels seus productes.

La noia que es pot veure al cartell és Jeanne Grenier. El resultat d'aquest cartell és una de les seves obres més innovadores perquè combina la importància de la línia i el color, creant un cert aspecte vaporós per la tinta espolvorada que té.

May Belfort, 1895 (80 x 62 cm)

El vertader nom de la cantant que surt interpretada al cartell era maig Egan. Aquest cartell, Toulouse-Lautrec va fer-lo amb motiu de la seva actuació al local Petit Casino.

La relació que tenien tots dos era molt bona i molt estreta, tot i que maig no era massa popular entre els seus amics perquè tenia una personalitat estranya. A més a més, la cantant era lesbiana i va tenir relacions amb Jane Avril i Mai Milton, ambdues amigues de Toulouse-Lautrec.

En aquest cartell, es pot observar com porta una túnica que en ella era típica, simbolitzava una nena petita perquè tenia una veu suau i a més a més interpretava cançons infantils amb lletres que tenien doble sentit. També es veu com porta un gat negre agafat, que és un animal que l'acompanyava a tot arreu on anava, incloses les actuacions.

La figura de la cantant és molt plana i es pot observar molt bé el caràcter japonès dels seus cartells.

May Milton, 1895 (78,5 x 59,7 cm).

May Milton va encarregar a Toulouse-Lautrec que fes el cartell perquè ella volia retornar als Estats Units a actuar. maig era ballarina i cantant i va arribar a París gràcies al ballet. La relació de maig i Jane Avril va ser sempre molt estreta. El cartell és una excel·lent mostra de l'avanç de Toulouse-Lautrec, perquè es veu com enllaça el modernisme i afegeix grafies al conjunt de manera encertada, mentre també es veu el dinamisme de colors separats per una línia diagonal. La seguretat de la línia torna a destacar davant la plenitud de tonalitats i colors de cartells.

Floréal, 1895 (41,9 × 32,1 cm).

Aquest cartell de Toulouse-Lautrec està protagonitzat per Jean Richepin I Désiré Dihau, va servir per a patrocinar una actuació que feien a París.

Es pot veure com l'home agafa la dona amb el braç que té a la seva cintura i que s'estan mirant mútuament i, a més a més, es pot veure una bicicleta que està al fons a l'esquerra.

El que podem observar en aquest cartell és que, a diferència dels altres, és en blanc i negre i, per tant, el que és més important és la línia i el volum.

Troupe de Mlle Églantine, 1896 (61,5 x 77,5 cm).

Aquest cartell va ser encarregat expressament per a la funció que es va fer a Londres.

Va utilitzar una foto de les ballarines de fons, on es destaca la línia perquè és un tipus de línia corba que es posa en relació amb el modernisme.

Aquest cartell va ser un èxit a Londres per la seva composició i pels colors cridaners i plans.

Paul Sescau Photographe, 1896 (61 x 80 cm).

Aquest cartell va ser un regal de Toulouse-Lautrec a Paul Sescau perquè pogués fer la publicitat del seu estudi, que estava situat al número 9 de la Place Pigalle.

En primer pla, podem veure com una jove posa mentre que el fotògraf s'amaga sota la tela de la màquina, i apareixe al fons una dona despullada amb mitges negres acompanyada d'un gos.

La plenitud de les tonalitats, el dinamisme de la composició i la línia ocupant el paper de manera determinada era el que feia característic Henri.

La passagère du 54, 1896 (30,1 x 58,4
cm).

L'estiu de 1895, Lautrec es va embarcar en un viatge que anava de Le Havre cap a Bordeaux amb la senyoreta Maurice Guilbert, al vaixell anomenat Le Chili. Durant el viatge, Henri va descobrir una jove a la cabina núm. 54, que estava ajuntada amb un colonial oficial de Senegal.

Estava fascinat per la seva bellesa i va decidir quedar-se al vaixell quan aquest va arribar a Bordeus. No va ser fins a arribar a Lisboa quan el seu amic va aconseguir que Henri tornés al vaixell. Seguidament, el van portar a Madrid i Toledo, a un balneari i el viatge va acabar a la fi de l'estiu a prop de Bordeus.

Lautrec va crear aquesta gran impressió a partir d'una fotografia que va fer a la dona que estava dalt del vaixell. La versió posterior de la impressió va ser encarregada per la revista La Plume i va ser utilitzada per a l'anunci d'una exposició internacional.

La Vache enrageé, 1896 (790 x 577).

Aquest cartell serviria per a la publicitat de la revista "La Vache Enragée", el primer número de la qual va sortir publicat l'11 de març del 1986. L'assumpte escollit per Toulouse Lautrec per al cartell té relació amb el títol de la publicació, en escollir una vaca rabiosa corrent rere un home atemorit, perseguits a la vegada per un gendarme. Feia al·lusió a les penes que passaven els artistes de l'època. L'expressió "Manger de la vache enragée" es refereix a "morir-se de gana". La sensació de moviment que produeix el cartell està relacionada amb el dinamisme del mateix cartell. La fermesa de la línia ocupa el lloc destacat de la composició mentre els colors estan aplicats amb tintes planes. Segueix l'estampa japonesa i anticipa cartells modernistes.

Elles, 1896 (575 x 465).

La dona serà per a Lautrec un dels motius més significatius per a fer-li aflorar la inspiració. El cartell està protagonitzat per una dona pèl-roja, les dones pèl-roges, de nas arromangat i pell blanca eren les favorites de l'artista. La dona està d'esquena, tocant-se els cabells mentre que, en un primer pla, contemplem un barret de cop, que indica la companyia masculina que no és visiblement apreciable, oculta possiblement entre els llençols de l'esquerra.

Débauche, 1896 (242 x 320).

La litografia original fou titulada Le Débauche (El corruptor) i posteriorment va ser utilitzada com a coberta de catàlegs d'Affiches Artistiques. En aquest cas, el corruptor és amic de Lautrec, Maxime Dethomas (1868-1928); es mostra pessigant el mugró d'una dona parcialment desvestida.

La Chaine Simpson, 1896 (805 x 1.200).

El ciclisme és un esport de moda des que Dunlop creés les rodes de goma i els velòdroms es convertissin en punts de trobada de la societat elegant. En una de les cartes de Lautrec a la seva mare, cita: "Tinc dos o tres encàrrecs per a grans companyies de bicicletes, tot va molt bé". Per encàrrec d'un constructor, Simpson, Lautrec creà un cartell per fer publicitat d'unes cadenes noves de bicicleta. Posteriorment, el cartell és acceptat com a publicitat per a la filial Parisenca. La proposta es fa en colors grocs, vermells i blaus obscurs, que representen el campió Constant Huret, els seus entrenadors en un tàndem i les dues persones que han encarregat el cartell, al fons.

Au Concert, 1896 (318 x 253).

Art Institute of Chicago.

El més petit cartell policromàtic, realitzat per una fàbrica nord-americana de tintes i en el qual figuren Émilienne d'Alençon i Gabriel Tapié al Cabaret des Déscadents.

La Gitane, 1899 (912 x 635).

El drama en quatre actes La Gitane, de J. Richepin, fou estrenat al teatre Antoine el 22 de gener del 1900. Lautrec es va encarregar del cartell de publicitat, i en va escollir com a model l'actriu Marthe Mellot en primer pla, mentre que al fons posà un gitano allunyant-se de la protagonista per reforçar el dramatisme de l'obra. Les dues figures se situen davant un fons monocromàtic, reforçant la diagonal que manifesta un moviment amb la capa del gitano. Un cartell en el qual ha fet servir tonalitats fredes.

Museu
Com a conseqüència del gran èxit de l'artista en la història del cartellisme, pintura i fotografia, l'any 1922 s'inaugurà al palau de la Berbie les galeries Toulouse-Lautrec. Això fou possible gràcies al llegat dels seus pares de més de 1.000 obres, que convertiren en realitat poder conèixer més profundament i de manera documentada l'artista, mostrant totes les seves etapes.

L'any 2001, es va dur a terme un programa de renovació de l'estança, i es crearen nous espais sota el palau. Entre aquests espais, trobem un auditori amb capacitat per a 156 persones, on es projecten pel·lícules dos cops al dia de la vida i obra de Toulouse-Lautrec, una sala d'exposicions temporals d'obres de petita grandària i una sala destinada a realitzar treballs pedagògics per a infants.

Avui dia el museu Toulouse-Lautrec rep visites de més de 160.000 visitants i es considera un dels millors museus contemporanis de França.

Referències

Enllaços externs
Museu Toulouse-Lautrec
 Museu Toulouse-Lautrec

Pintors francesos del segle XIX
Albigesos
Pintors del Postimpressionisme
Morts de sífilis
Alumnes del Liceu Condorcet
Morts a Nova Aquitània
Pintors francesos del segle XX
Artistes de la regió d'Occitània
Artistes occitans
Pintors occitans

redpajama_set_name: RedPajamaWikipedia


When selecting new door handles for your home, you should put careful thought into the process. Along with thinking about how the door handles will work with the overall aesthetics of your home, you also need to think about how they will function. Regardless of whether you are choosing a handle for an interior or exterior door, there are three important factors that you need to consider. These include how the door handle looks, how it feels to use, and how much it costs. The section below takes a closer look at some of the most common styles of door handles that are available. It also provides helpful tips on how to choose the ideal door handles for your property.
One of the most important things to remember when you begin shopping for new door hardware is that there is a distinct difference between a doorknob and a door handle. Although people often use these terms as if they are the same, they actually refer to completely different types of hardware. When you visit a store and talk to an expert, it is important to understand this difference so that you can accurately describe exactly what you are looking for.
Doorknobs feature a unique and easily distinguishable design. As you might guess from their name, they consist of distinct knobs that stick out on either side of the door. These knobs are usually round, although they can be other shapes, as well. Using them is a simple matter of grabbing the knob and rotating it to one side or the other to open the door.
One important thing to note about doorknobs is that they are not considered accessible for people with disabilities according to the ADA. Although residential properties aren't required to incorporate accessible design, you still may want to think about accessibility when choosing door hardware. Not only are doorknobs harder for people with disabilities to use but they can also be more difficult for people with conditions like arthritis or tendinitis to manage.
Lever door handles comply with the accessible design standards put forth by the ADA, making them a better choice for anyone who may have difficulty operating a standard doorknob. Even if you can use a doorknob without any difficulty now, you may want to choose your door hardware with an eye toward the future. As you age, it may become more and more difficult to turn a knob. If you are going to be living in your current home as you grow older, you may want to choose lever-style handles now so that you don't have to replace them when you get older.
Door handlesets are usually designed for exterior doors. They consist of a handle that has a thumb latch that needs to be depressed in order for the door to open. Again, this can be challenging for people who are dealing with issues that affect their mobility or manual dexterity.
With handlesets, the door handle and the lock are separate units. In most cases, they are sold together as a matching set. Some stores do offer the option to mix different handles and locks, allowing you to create a custom look for your home.
There are several factors that you should take into account when deciding which handles to purchase. These include the way that the handles look, the way that they feel when you use them, and the amount of money that they cost.
Even though they seem like a relatively minor accessory, door handles actually play a key role in how your home looks. There are a ton of different styles available, making it difficult to know which ones will look best when installed in your home. Don't just look at the door handle on its own. Instead, think about how it will look after it is in place. Does the style work with the architecture of your home and with your overall decorating style? For instance, if you have a modern home that features clean lines, an ornate antique-inspired door handle probably won't look right in your home.
You also need to think about the overall style of the doors where the handles will be installed. Some houses have identical doors leading into every room while others have a variety of different door types throughout the space. If all of your doors are the same, you should probably go with matching door handles to create a sense of uniformity. On the other hand, you can always mix and match different handle styles to create a unique, eclectic look. One of the best parts about decorating is that you can break the rules if you want to.
Even though it may seem like a relatively minor thing, the way that the door handle feels when you use it is well worth considering. It is easy to understand why when you think about how many times you will open and close a particular door over the course of your life. Look for a door handle that is easy and comfortable to use. Additionally, try to choose a handle that is designed with accessibility in mind so that anyone who visits your home can make their way around without running into difficulty.
When buying new doors, most people mistakenly believe that the doors come with the necessary hardware. In fact, however, most doors are sold without hardware. Instead, you have to buy the hardware on its own, looking for pieces that will complement the overall style of the door. This not only includes the handle but also other accessories such as hinges and door latches.
Although door hardware is sometimes sold as a set, the pieces are often sold separately, as well. If you are adding new handles to your existing doors, you can probably get by using your existing hinges and latches. If you are purchasing new doors, however, you will need to buy a complete set of hardware for each door. Make sure to keep that additional expense in mind when deciding whether or not you can afford a particular door.


text:
Home Entertainment Is "Rick and Morty" leaving Hulu following its HBO Max deal?
Is "Rick and Morty" leaving Hulu following its HBO Max deal?
Ben Hornery
Photo: Netflix
WarnerMedia's upcoming streaming platform HBO Max has released its lineup of series. This includes both originals and widely popular shows. One of which is the cult sci-fi animated series, Rick and Morty. While fans were excited that they'll be able to stream the show in yet another platform, they couldn't help but wonder if the series will be pulled out from Hulu.
Well, now we have the answers. According to a report from Comicbook.com, Hulu has struck a deal with Rick and Morty's home network, Cartoon Network. The arrangement grants Hulu distribution rights to existing seasons and 70 more upcoming ones. In addition, the deal will allow ad-free subscribers of the streamer to download episodes.
Rick and Morty will be available for streaming in both Hulu and HBO Max for the foreseeable future. This begs the question about the show's sustainability for both providers, noting that the pace in which the seasons are released could be an issue.
With that being said, this is still good news for audiences who stay tuned on both Adult Swim, Hulu and soon-to-be subscribers of HBO Max. The streaming deals mean that showrunners will be creating new episodes for as long as they are demanded.
Creators Justin Roiland and Dan Harmon are hard at work on the show's upcoming season. It stars voice actors Justin Roiland, Sarah Chalke, Chris Parnell, and Spencer Grammer. Rick and Morty is slated for a series return on Cartoon Network's Adult Swim with its 4th season on November 10.
Ben is is a senior journalist and sport columnist for Best in Australia. He previously worked for the BC and other radio stations.
bestinau.com.au
Previous articleBest Oncologists in Gold Coast
Next articleGame of Thrones show runners drop out from future Star Wars trilogy
Make a living by raising chickens: An Interview with Blue Star Ranch
Steven Soderbergh boards HBO Max with overall deal
HBO's Chernobyl is IMDB's highest rated tv show of all time
John Travolta defends his Gotti biofilm


text:
Swig Equities quietly shopping 110 William Street
Eastdil Secured brokers have been gauging interest in FiDi office tower
Aug.August 27, 2013 07:55 AM
By Katherine Clarke
Investment and development firm Swig Equities, headed by embattled developer Kent Swig, is seeking a buyer for a 900,000-square-foot office property it owns in the Financial District, The Real Deal has learned.
Swig has tapped Eastdil Secured to market the property, at 110 William Street, sources said. Adam Spies, senior managing director at Eastdil, would not confirm or deny that he was marketing the building, but sources said Eastdil brokers were shopping the property off-market. A Swig spokesperson declined to comment.
Swig acquired the property from Trizec Properties in 2004 for $164.5 million, public records show, and completed a major capital improvement program, including renovations of the building's lobby and façade, soon after. He refinanced using a $161.5 million loan from UBS Real Estate Securities and Barclays Capital last year. Pearlmark Real Estate Partners also provided a new $20 million mezzanine loan on the property at that time.
While it was not immediately clear how much Swig is asking for the 32-story commercial office tower, recent transactions in the neighborhood suggest that deals for Class A office buildings have been closing for between $300 and $400 per square foot, which would bring a purchase price of $270 million to $360 million.
Based upon recent comps, Nick Petkoff, a director of sales at Massey Knakal Realty Services, who was not involved with the listing, said he was confident that the property could trade for more than $335 per square foot.
When Northwood Investors, the owner of the New York Palace Hotel, bought an office building at 100 Broadway last month, it paid slightly under $400 per square foot, as previously reported, and California-based private equity firm CIM Group closed on a 25-story, 330,000-square-foot building at 5 Hanover Square for just over $300 a foot earlier this week. Office buildings at 2 Rector Street and 180 Water Street sold for $300 per square foot and $296 per square foot in June and July, respectively.
Eric Anton, a managing partner at commercial brokerage Brookfield International, who was unfamiliar with the listing for 110 William Street, told The Real Deal that demand for Downtown office buildings has increased in recent months, particularly for Class B and Class C properties. Investors are beginning to see the potential of the Financial District, he said, particularly in the run up to the opening of the World Trade Center and the unveiling of the new retail spaces at Brookfield Place at 250 Vesey Street.
There's an enormous potential for rent growth as the neighborhood begins to come into its own, he said, particularly as there's still a major discrepancy between office rents in the Financial District, where low floors in Class A buildings might only command $30 per square foot, and in buzzed-about areas like Midtown South, where you see rents ticking up to $60 a foot.
For instance, the Pacific College of Oriental Medicine relocated to 110 William Street last month in order to slash its monthly rent by more than $20 per square foot, as previously reported. It moved from 915 Broadway in Noho, where rents were reportedly in the $50s per square foot, to Swig's property, where the asking rent was in the low $30s per square foot.
"It's getting to the point where you can envision [the future of the neighborhood,]" Anton said. "We're getting close."
Swig's building is currently 99 percent leased, according to data from CoStar Group. The building's largest tenants include agencies like the New York City Housing Development Corporation and the New York Liquidation Bureau, which lease 64,000 square feet and 116,500 square feet, respectively.
eastdil securedKent Swig
Here's what tenants are paying at Brookfield & Swig's Grace Building
Eastdil Secured makes staffing cuts
Rockwood looks to get nearly $600M for Grand Central office tower
These were the biggest broker comings and goings of 2019
Top Eastdil broker in LA heads to NY to boost capital markets team
Blackstone looks to sell Park Ave Tower for more than $800M
Newmark poaches Eastdil Secured sales team
Rudy Giuliani and wife list Palm Beach condo amid nasty divorce


When Private Companies Hire Off Duty Police Officers as Security; Who is Liable When Things Go Wrong?
Physical Security Online > Security > Legal > When Private Companies Hire Off Duty Police Officers as Security; Who is Liable When Things Go Wrong?
Should Campus Security and Safety Officers Be Armed?
The practice of private businesses hiring off duty police officers as security officers is nothing new. All across the country you can find public police officers (municipal police officers, deputy sheriff's , etc.) working during their off duty hours for private businesses as private security personnel at sporting events, shopping malls, hotels, banks, and other private events. Many private companies like hiring off-duty police officers for security because they believe a police officer in uniform will demand more respect from the general public and have more of a deterrence effect than that of a private security guard. They also feel that an increase in uniform police presence results in an overall increase in real or perceived safety.
Sometimes these off duty cops are wearing the official uniform of their agency and carry the equipment issued by their respective agency. Most of the time the general public has no idea these officers are there to protect the private interests of the company they are "moonlighting" for and are actually getting paid by the private business.
Because working security can involve stopping and apprehending persons suspected of committing crimes and intervening in incidents, sometimes things can go wrong. Someone believes they were unlawfully deprived of their liberty, personal property gets damaged, or someone gets injured or even killed. When things go wrong, the aggrieved party often sues. Typically, the tort action names the private employer and the public police department as defendants.
Over the years there have been a number of Federal and State court decisions addressing the issue of who is liable for the torts of public police officers working secondary employment for private employers. As it might be expected, there is no bright line rule with courts in different states rendering different rulings and liability always hinges on the particular facts of each case.
Respondeat Superior and Agency Law.
While there are a number of legal doctrines under which an aggrieved party can seek to recover damages, in general terms, plaintiffs often seeks to recover damages on the legal doctrine of Respondeat Superior and traditional Agency Law. This article is the first in a series of articles and will examine a leading cases regarding liability of off duty "moonlighting" officers and their private employers under the doctrine of Respondeat Superior. A second article will discuss liability under traditional Agency Law.
The doctrine and application of Respondeat Superior can sometimes get complicated and law students often spend many hours exploring it, but in very simple terms it is a legal doctrine that holds an employer or principal (i.e., "master") legally responsible for the wrongful acts of an employee or agent.
In Melendez v. City of Los Angeles, 63 Cal. App. 4th 1 (1998) two off-duty Los Angeles Police Officers were hired by a private company to guard money collected from ticket sales for an "underground" warehouse concert. The concert was subsequently broken up by on-duty police and some ticket purchasers requested refunds. When the ticket sellers refused to make refunds and a crowd formed, the two officers working security ordered everyone to "be on their way." When the crowd did not leave the officers identified themselves as Los Angeles police officers and displayed their police badges and "police approved" guns. From this point on the facts in the case were disputed. Suffice to say, a confrontation between one of the persons seeking a ticket refund and the off-duty officers followed and one of the officers ended up shooting and paralyzing the person.
Plaintiff brought actions against the City of Los Angeles under the theories of: Respondeat Superior for the actions of the officer, failure of the City to adequately supervise the officers, and violation of the Civil Rights Act under 42 United States Code Section 1983.
After trial, the jury found the City liable under the respondeat superior doctrine and awarded a $9,250,000 judgment against the officers and the City of Los Angeles. The City of Los Angeles appealed. On appeal, judgment against the City of Los Angeles was reversed with directions to enter a new and different judgment in favor of the City of Los Angeles.
1. Who was the "Master" of the officers at the time of the incident – the City of Los Angeles or the private employer?
2. When the tortuous acts occurred, were the officers acting within "the scope" of their employment as Los Angeles Police officers?
If the City of Los Angeles was the Master of the officers at the time of the incident and if the tortuous acts of the officers occurred within the scope of their employment, the doctrine of respondeat superior would be applicable. If not, the officers were merely performing a private contractual duty at the time of the incident and there can be no respondeat superior basis for City liability.
if force is intentionally used by the servant against another, the use of force is not unexpectable by the master.
After lengthy analysis, which included examining various California statutes pertaining to the authority of off-duty officers, the court concluded that the officers retained their statutory police authority while off-duty, even though they were working for a private employer. However, that fact alone was not determinative. Additionally, the fact that the officers verbally identified themselves as police officers, displayed their police badges and police "approved" handguns, was not sufficient to persuade the court that the officers were acting on behalf of the Los Angeles Police Department.
Under the totality of the circumstances: (1) no exercise of control or ability to control the physical conduct of the officers; and, (2) officers primary intent was to benefit the private employer; the court concluded that at the time of the incident, the officers were serving the interests of the private employer via a private contractual duty. The officers were, therefore, acting outside the scope of their employment with the Los Angeles Police Department and there can be no liability under the doctrine of respondeat superior.
When a private entity hires an off-duty public police officer for security, depending on the circumstances, the police officer, the police department, the private employer, or a combination of the three may be held liable for the officer's tortuous acts. Liability often hinges on whether the tortuous act occurred within the scope of employment.
° Who had control over the officer's actions? The right to control is not necessarily as important as the principal's exercise of control over the agent.
° The fact that an officer was off-duty, in or out of uniform, or using police department equipment, is not controlling. It is the nature of the act performed, which determines liability.
INVESTIGATIVE HYPNOSIS: Is it effective or completely bogus?


Warning! From now on you need to be very careful as incorrect action can cause DL/DU – if you unsure how to perform it STOP at this point!
This can be fixed in many ways but there must be no LUN with id 0 in VPLEX Storage View.


text:
Discover how to deliver high-quality experiences at NAB 2019
Broadcasters and content providers not prepared to deliver video at the TV-quality users expect, regardless of the device they're using, run the risk of lost viewership and revenue. By partnering with a single provider with an integrated platform, you eliminate complexity and are better positioned to deliver high-quality media experiences to every device worldwide.
Our integrated platform is the simplest way to prepare, deliver, display, and monetize your content. Built for the future of media with a comprehensive streaming service, it meets consumer-demand for speed, reliability, and TV-quality viewing. The platform is built on the world's largest, most connected delivery network, ensuring high-quality, instant-on viewing of digital content on every device, every time, everywhere.
Three ways our platform delivers quality experiences
Every aspect of our platform is designed to improve the quality of the user experience. Here are three areas that set us apart.
1. High-quality video streaming
Our streaming technologies deliver high-quality video to global viewers. It's the simplest way to stream quality linear, live and on-demand video to every device, worldwide. Thanks to a single, integrated workflow, we've solved multiple workflow challenges, including ingest and encoding, dynamic ad insertion, and delivery; backed by engineering service and support teams with a 97% customer satisfaction rating.
2. High-quality connections with viewers
Smartplay, our personalized session management technology, a native part of our platform, creates a direct connection with every viewer that empowers you to monetize more effectively. We enable personalized ad experiences by stitching ads natively into the VOD, live or linear stream, bypassing any ad blocker that may be installed on the device. This gives viewers more relevant ads and a high-quality viewing experience that is indistinguishable from traditional TV. While you experience more control, and deliver more securely with low latency, resulting in guaranteed high-quality viewer experiences.
3. High-quality data for high-quality insights
Our video streaming service provides data on live, on demand and everything in between. You can monitor viewership trends by time, device and country – and it all comes free and is included in our platform. We make the raw data available to you (also for free). You'll never be stuck waiting for us to create a new report. Analytics are measured in hours instead of GB, and handled server side, so you can reach new platforms much faster. Plus, we're fully compatible with any third-party analytics provider, so you don't have to stop using the technology you love, to get even richer data.
Meet us in booth SU3605 at NAB 2019, April 8-11, to learn more about all we're doing to improve video quality.
Check back next week for further insight into our platform and how it makes it simple to deliver quality video experiences to users around the world.


Including built-in seating. Patio and garden designs incorporating built-in seats with pergolas and outdoor fireplaces look very posh and transform the patio and garden into an outdoor room. It is also a great way to make use of all readily available space in a very small garden. This solution is convenient if you don't want to shuffle around with garden furniture. Nevertheless , the position of the seating can be fixed and restricts how one can use the patio. The space is much less flexible as seating cannot be varied to turn a eating out area into a lounging region.
Gugara - Creekside construction nw idaho premium contractors. You were a pleasure to work with positive, honest and delivered everything you said you would! phillip and nancy porte transitioning from a vacation home to a retirement home came with it's share of trepidation almost immediately we were put at ease by the creekside team, a comfort that lasted during the entire construction process. Creekside construction and remodeling guys mills. Creekside construction and remodeling may complete each of your requirements when it comes to kitchen remodeling and improve your property's appearance the skilled and knowledgeable community of technicians at this agency thoroughly featuring reliability you can count on. Creekside concrete, llc. Creekside concrete delivered quality workmanship and they delivered it on schedule our goal as construction professionals is to associate with able and skilled contractors we selected creekside concrete because of their experience, knowledge and they fit well with others on our construction team. The 10 best siding installation contractors in creekside. Curtain installation deck construction deck repair drywall and plastering flooring gutter cleaning handyman services heating and cooling insulation interior painting install a toilet install kitchen cabinets install crown molding install an air conditioner wallpaper removal. Creekside net zero house documenting our journey to. It was during marc's class that i started focusing on using a 12 inch double wall construction for creekside net zero below is the sketch that illustrates the initial design concept that todd campbell and ty allen at new energy works started with as they developed the detailed drawings. Creekside elementary d org. Preliminary construction work will begin this month, and the project is on schedule to open the new building august 2017 to make room for the new school, part of the southwest wing of the existing building will be demolished before demolition can occur, asbestos containing materials need to be removed from this area of the building. Creekside construction services by stonemill log & timber. For customers who wish to construct their stonemill log home package with a local sub contractor or a crew of their own, creekside construction offers on site consultation and technical support. Construction crews work under 24 hour deadline to install. Now in twenty four hours construction crews have been working around the clock to install am underground tunnel at the school. Contact us creekside concrete, llc. Creek side played an important role in the concrete slab work for both slabs on grade and elevated slab construction their pricing was competitive, and their local presence and availability of manpower and equipment was a big benefit to the project i hope we get to work with them again in the future. Rayford road safety and mobility project diamondhomesrealty. This is to allow crews to safely install the new storm drainage system these massive 7 foot boxes will be installed along rayford all the way to the new bridge over the railroad once complete crews will work work to complete the westbound lanes of the bridge hooray!! the construction of the new traffic signal at elan boulevard.


text:
Arts + Life » Culture
Student Media Consolidation at SMC
by Tyler Machado
St. Michael's College is served by a pair of student news publications: The Defender, a traditional print newspaper, and The Echo, an online magazine (for which I served as tech editor this past semester). Both publications publish weekly or biweekly, ranging from 7-10 issues per semester in recent years. They also both cover many of the same stories when it comes to on-campus events. Journalism majors at St. Mike's have traditionally had to spend two semesters writing stories for both publications as part of the two Writing for Media classes (typically sophomore year), and then spend at least one semester working as an editor on the staff of one of the two (typically one semester junior year). This is about to change, though, as the spring 2009 semester will see The Defender and The Echo produced by one merged staff.
Defender advisor Paul Beique and Echo advisor Marybeth Redmond will co-teach the combined class, and both have been adamant that neither publication is going away or getting folded into the other — this is very much a merger of equals. Two of the student staff editors from each publication are returning next semester to help lead the merger experiment, as well (including me, again — I'll be the editor of The Naked Opinion, which is sticking around and becoming cross-platform).
The move is largely designed to provide journalism majors with the wide range of media experience they need to graduate into today's journalism world. No longer is it good enough for a reporter to know how to take good notes and write a print story on deadline. The trend now is for "backpack reporters" — journalists who can write, record audio, take pictures and video, and craft a full media package for a story for a print setting and for the Web. While The Defender does have a Web site and multimedia components, it's clear that those elements take a back seat to print stories, in all honesty. Conversely, Echo staff members never have to learn print design. A glance at the Web sites for NPR or The New York Times will quickly reveal just how converged media forms are getting.
So is the merger of our publications at St. Mike's ultimately a good thing? I say yes, but with some qualifications. I personally love new media and multimedia (and that's why I'm a part-time blogger!), so it's good to see my department validating my interests as legitimate. For the journalism majors who aren't as dorky as me and thus aren't as excited to delve into multimedia storytelling, it'll be good to have the department pushing them in that direction. And from a purely practical standpoint, our campus has just 2,000 students, and two publications to cover a campus this small can get redundant. Prominent sources will surely be thrilled to no longer have two reporters begging to interview them about the same story.
At the same time, though, there is something I'll miss about having two wholly separate publications. Though they would both cover major campus events, I always liked how The Defender covered the campus more in-depth, while The Echo tended to gravitate towards more off-campus stories in Burlington or elsewhere in the area. While the publications themselves remain, I wonder how a merged staff will change story-gathering trends. And plus, it never hurts to have an extra voice in the discussion of campus issues. It'll be fun next semester to find out for sure what's gained and what's lost in our student media.
Speaking of College Blog
Burlington Bands 101
It's Tour Group Season
What's Good: Year 2
Move Out Madness
Naked Ultimate Frisbee Team Causes Uproar in Oregon
Culture Web/Tech college blog