To serve our CUSTOMERS in a courteous, professional and kind manner. Our customers are valued and our goal is to promote that value through CUSTOMER SERVICE. To offer state of the art AUTOMOTIVE performance products at a competitive price. To promote good working RELATIONSHIPS with our VENDORS and provide value in our association. To have highly motivated and honest EMPLOYEES by providing an enjoyable, POSITIVE work environment. Taking care of our EMPLOYEES, our CUSTOMERS and our VENDORS are the ingredients to the SUCCESS of our company.


Upgrade your shoe collection with these Beston FA97 Women's Flat Sandals. Draw attention with your allure in these thong sandals. Featuring round toe, fabric upper, low heel, and ankle-wrap detail with hook-and-loop strap for easy on and off.


new courses and our first exhibition- hello 2015!
thank you for welcoming us into the neighbourhood!
Our first term is over, and we could not have done it without you.
We kicked off the first term with two courses, art101 and comics101, and ended with our debut exhibition here at manifesto13.
A big thank you to everyone who attended the exhibition. Through your support, our students managed to raise KD508 to Al-Bustan Hearing-Impaired Children's Nursery which is a part of the Women's Cultural and Social Society. This was the first of many exhibitions to come, where more students will be choosing different causes to raise awareness and funds towards.
The silent auction was a competitive success. Participants went on a bidding war on a few selected pieces, and of course the very popular group student effort of Picasso's "The Weeping Woman." Congratulations to our winner- we hope you found a good home for this extraordinary piece of art.


text:
La littératie numérique résulte de la juxtaposition des termes « littératie » et « numérique ». Elle se définit en deux temps. La littératie, est définie par l'OCDE comme étant « l'aptitude à comprendre et à utiliser l'information écrite dans la vie courante, à la maison, au travail et dans la collectivité en vue d'atteindre des buts personnels et d'étendre ses connaissances et ses capacités ». Le terme « numérique » est un terme polysémique. Il recouvre plusieurs notions : l'informatique, la technologie, l'information, le visuel et la communication.

La littératie numérique s'apprécie comme la capacité d'un individu à participer à une société qui utilise les technologies de communication numériques dans tous ses domaines d'activité. La littératie numérique se développe notamment par l'éducation au numérique, qui se distingue de l'éducation par le numérique.

Définitions

Quelques tentatives

Tibor Koltay a travaillé sur le concept de littératie numérique dans son article The media and the literacies: media literacy, information literacy, digital literacy. Il introduit la littératie numérique avec une définition de Paul Gilster (1997). La littératie numérique serait la capacité à comprendre et à utiliser l'information provenant de sources numériques sans se préoccuper des « listes de compétences», souvent critiquées comme étant restrictives. Ces listes de compétences comprennent les recherches sur Internet, la navigation hypertexte, le regroupement de connaissances et l'évaluation de contenu (Bawden, 2001).

Tibor Koltay aborde la définition de Martin (2006) selon laquelle « la littératie numérique serait la connaissance, l'attitude et la capacité à utiliser des outils et installations numériques pour identifier, accéder, gérer, intégrer, évaluer, analyser et synthétiser des ressources numériques, construire de nouvelles connaissances, créer des expressions médiatiques et communiquer avec les autres, dans le contexte de situations de vie spécifique, afin de permettre une action sociale constructive ; et de réfléchir à ce processus ». Cette définition renvoie au sens large de la littératie numérique en incluant le rôle des médias. La littératie numérique a aussi un sens plus restreint selon lequel elle désigne exclusivement l'utilisation efficace des technologies de l'information et de la communication (TIC).

La définition de David Bawden (2001) se concentre sur un trait distinctif de la littératie numérique. Selon lui, la littératie numérique englobe la présentation de l'information, sans nuire à l'écriture créative et à la visualisation de l'information. Elle concerne l'évaluation de l'information sans prétendre à une analyse systématique ni à une méta-analyse. Elle inclut l'organisation de l'information, mais ne revendique pas la construction et le fonctionnement des terminologies, taxonomies et thésaurus.

Pour Tibor Koltay, il est important de limiter la comparaison de la littératie numérique à la littératie médiatique et à la littératie informationnelle. La littératie numérique est composée de différentes littératies. Il n'y a donc pas de raisons de la comparer à d'autres littératies.

Béatrice Drot-Delange estime que la définition de la littératie numérique dépend des objectifs qui lui sont assignés. Il n'y a pas d'accord sur la définition. Les auteurs qui se sont penchés sur le sujet parlent de continuum de compétences, de métaphore ou de mode de pensée.

En définissant la littératie numérique comme étant un continuum de compétences, les auteurs distinguent deux extrêmes concernant les finalités de la littératie numérique. D'un côté, on retrouve le fait d'enseigner la programmation et de faire de l'informatique. De l'autre, on distingue soit l'acquisition de compétences critiques nécessitant une connaissance générale des ordinateurs et de leurs usages, soit les enjeux sociétaux de l'informatique, soit un mélange des deux, qui demande une connaissance et un usage de l'informatique en tant qu'aide à la résolution de problèmes tout en incluant des aspects sociaux.

Certains auteurs définissent la littératie numérique comme une simple métaphore. Ils considèrent l'informatique comme un savoir fondamental et universel, comme le sont l'écriture et la lecture. Cette approche est critiquée. Selon Harvey (1983), il n'existe pas de compétences informatiques universellement valables. Goodson et Mangan (1996) rejoignent Harvey dans le champ des critiques. Pour eux, la littératie numérique comme simple métaphore aurait davantage sa place dans un registre idéologique puisqu'elle formerait des consommateurs habiles à manipuler l'informatique plutôt que des citoyens.

D'autres auteurs considèrent la littératie numérique comme étant un nouveau mode de pensée. Ils supposent «qu'à l'instar de l'écriture qui amène de nouveaux modes de pensée, il en serait de même pour l'informatique". Dans les années 1990 à 2000, ce nouveau mode de pensée est à comprendre comme une pensée algorithmique, c'est-à-dire l'apport de l'informatique à la résolution de problèmes dans d'autres disciplines. Cette pensée algorithmique est au cœur du rapport du NRC à la fin des années 1990 qui considère la pensée algorithmique comme un atout pour les personnes éduquées, comme clé de la compréhension de plusieurs aspects des technologies de l'information et où l'écriture de programme est pédagogiquement incontournable. À partir des années 2010, ce nouveau mode de pensée est à comprendre comme une pensée informatique. Cette vision prend racine dans des textes plus anciens. Papert (1981) recommande l'apprentissage d'un langage de programmation comme moyen d'enseigner aux enfants à penser. Toutefois, « il déplore l'absence de réflexion sur les choix des langages de programmation, conçus par des industriels pour des professionnels, qui ne répondent pas aux besoins des enfants dans le projet pédagogique tel qu'il le conçoit, alors même que ce « langage utilisé colore fortement une culture informatique ». Le rapport du CSTA (2011) envisage la pensée informatique comme une approche pour résoudre des problèmes que l'on peut mettre en œuvre avec un ordinateur. Selon Wing (2010), la pensée informatique renvoie à un savoir fondamental pour tous, véhiculé par les technologies numériques. Elle dépasse la capacité à savoir programmer. Un rapport des industriels de l'informatique (BCS, Microsoft, Google et Intellect, 2012) envisage la pensée informatique comme de « nouvelles lunettes à travers lesquelles nous regarder ainsi que notre monde ».

Littératie numérique et ses composantes
Allan Martin et Jan Grudziecki (2006) ont constaté que la littératie numérique s'est développée parallèlement à l'essor de différentes innovations technologiques et des relations que les individus entretiennent avec ces dernières. Les besoins, les compétences et les domaines d'application des individus varient suivant l'évolution continue des innovations technologiques. Ils identifient plusieurs sous-catégories de la littératie numérique en fonction des besoins des individus vis-à-vis des innovations technologiques.

Littératie informatique
Également connue sous le nom de IT ou computer literacy en anglais, elle a été identifiée comme un besoin depuis la fin des années 1960. Cette littératie est passée par trois phases d'évolution. Premièrement, la phase de maîtrise, correspondant au début du développement des sciences de l'informatique.  L'ordinateur est considéré comme une machine puissante destinée à des initiés. Concernant la littératie, l'accent est mis sur les connaissances et les compétences pour pouvoir la maîtriser. Ensuite vient la phase d'application, à la fin des années 1980, avec le développement des interfaces graphiques permettant un usage de masse des ordinateurs, pour le travail, mais aussi pour les loisirs. La littératie se concentrait sur l'utilisation de ces nouveaux logiciels et la définition de la littératie informatique portait davantage sur des compétences que des savoirs de spécialistes. Enfin, la phase réflexive s'est développée après l'émergence de jeunes étudiants ayant amené des innovations technologiques majeures depuis les années 1960. Il y a eu une prise de conscience que les pédagogies devaient avoir une vision plus large que la simple maîtrise technique et qu'il fallait se doter d'une approche plus critique, réflexive et basée sur l'évaluation. La notion de méta-compétence est introduite dans le concept de la littératie informatique.

Littératie technologique
Cette forme de littératie a émergé dans les années 1970 en réponse à deux enjeux différents. D'un côté, la prise de conscience du danger associé au développement des technologies pour les individus et l'environnement. De l'autre, certains se sont rendu compte de l'avantage comparatif pour les travailleurs de pouvoir évoluer avec les connaissances technologiques à travers les différents pays. L'ambivalence de ces deux enjeux a donné naissance à une définition floue, issue d'un mariage entre une approche basée sur les compétences, alors que l'autre approche a une portée plus académique.

Littératie informationnelle
La littératie informationnelle a émergé aux États-Unis à la fin des années 1980. Dans un contexte pré-digital, de nouveaux besoins en termes de bibliographie sont apparus dans les bibliothèques académiques. Cette littératie a influencé de nombreux bibliothécaires à travers le monde, à tel point que l'UNESCO a organisé une réunion avec des experts pour mettre l'accent sur les nouveaux besoins dans une société de l'information.

Littératie visuelle
Ce type de littératie s'est développé en lien avec les critiques d'art, l'éducation artistique. La littératie visuelle se concentre sur la manière dont les artistes utilisent des connaissances techniques basées sur la communication visuelle. Le développement de nouveaux outils permet l'émergence de nouveaux talents visuels plus instruits. Ces processus sont également appropriés par des non-initiés.

Littératie communicationnelle
La littératie communicationnelle souligne l'importance de la communication entre les humains. La communication est considérée comme une activité humaine basique et comme un attribut personnel, que ce soit de manière orale ou digitale.

Formes de la littératie numérique
Selon Yoram Eshet-Alkalai, la littératie numérique implique davantage que la simple capacité à utiliser des dispositifs numériques. Elle englobe de nombreuses compétences : cognitives, motrices, sociologiques et émotionnelles. Celles-ci sont nécessaires pour évoluer efficacement dans des environnements digitaux.
Yoram Eshet-Alkalai propose son propre cadre conceptuel de la littératie numérique. Selon lui, ce cadre théorique permet une meilleure compréhension des compétences requises et fournit des directives précises pour créer des environnements digitaux orientés vers l'apprenant.

Il propose 5 types de littératie numérique.

Photo-visual literacy
La photo-visual literacy permet de décoder et comprendre facilement les messages visuels. Les personnes qui développent la photo-visual literacy ont une bonne mémoire visuelle et un mode de pensée intuitif-associatif. La littératie synchronique est une littératie sous-jacente à la littératie photo-visuelle. Il existe des environnements multimédias interactifs où du texte, du son et du mouvement sont représentés de manière synchronisée. Ce type d'environnement a permis le développement de la littératie synchronique, basée sur la stimulation synchronisée de l'apprenant par différents moyens multimédias.

Reproduction literacy
La reproduction literacy est la capacité à créer un travail ou une interprétation significative, authentique et créative en y intégrant des informations existantes indépendantes (Gilster, 1997 ; Labbo, Reinking & McKenna, 1998). Depuis l'invention de l'imprimerie (Gutenberg, 1455) et des logiciels de traitement de textes numériques (Benjamin, 1994), la capacité humaine à reproduire et distribuer de la connaissance a évolué. Au fur et à mesure des évolutions, de nouveaux horizons pour les chercheurs et les artistes ainsi que de nouveaux critères d'originalité, de créativité et de talent ont vu le jour, ce qui suscite le débat autour de la question du plagiat et de l'originalité.

Branching literacy
La branching literacy est la capacité à développer un système de pensées multidimensionnel, ce qui induit un bon sens de l'orientation dans le cyberespace. Ce type de littératie a vu le jour à la suite de l'évolution de l'environnement informatique. L'environnement moderne hypermédia a offert aux utilisateurs beaucoup de liberté concernant leur navigation dans l'environnement informatique. Ce changement a conduit la nécessité de construire de la connaissance à partir de beaucoup d'informations indépendantes, accessibles de manière non linéaire.

Information literacy
L'information literacy englobe les compétences cognitives utilisées par les consommateurs pour évaluer l'information de manière instruite et efficace. L'information literacy fonctionne comme un filtre (Glister, 1997 ; Minkel, 2000). D'une part, elle permet l'identification des informations biaisées, erronées et non pertinentes. D'autre part, elle prévient leur infiltration dans les systèmes de considération des apprenants.

Socio-emotional literacy
La socio-emotional literacy est la capacité à tirer profit des avantages de la communication digitale et à éviter les « pièges du cyberespace ». Elle implique les aspects sociologiques et émotionnels du travail dans le cyberespace. Le cyberespace est une jungle de communications humaines, regroupant une infinité d'informations, vraies et fausses, honnêtes et malhonnêtes, basées sur de la bonne ou de la mauvaise foi. L'activité dans le cyberespace peut être risquée pour des utilisateurs immatures et innocents qui ne comprennent pas son fonctionnement et les codes qui l'entourent.

Éducation

Inégalités (fracture numérique)

Lutter contre ces inégalités
Le concept de fracture numérique vient de l'expression anglaise digital divide développée aux États-Unis à la fin des années 1990 pour désigner l'écart des personnes qui bénéficient de l'accès aux technologies de l'information et des communications et ceux qui en sont privés. Notre époque est celle du numérique ; l'utilisation du numérique est une condition essentielle à une bonne intégration économique, sociale et culturelle. C'est dans ce contexte que la réduction de cet écart va devenir un enjeu important.

Au départ, les premières recherches considéraient uniquement la fracture numérique comme étant le fossé entre les individus qui n'avaient pas (matériellement) accès aux TIC et ceux qui y avait accès. À partir de 1998, les inégalités d'accès au niveau des connaissances et des compétences sont prises en compte. Comme le souligne Le Guel, la fracture numérique ne se définit pas uniquement en termes d'accessibilité numérique car il faut également considérer les inégalités d'usage, désignées comme les différences dans l'aptitude des individus à utiliser l'internet, encore appelées skills gap. Il existe donc diverses manières d'appréhender ce concept de fracture. Les « fractures numériques » désignent autant les inégalités d'accessibilité matérielle aux TIC que les inégalités sociales liées à l'usage des TIC.

La démocratisation de l'accès aux TIC n'engendre pas pour autant plus d'égalité. Malgré la tentative de pallier le manque d'accès matériel aux TIC, l'apparition de nouvelles inégalités surgit autour des modes d'usages de ceux-ci ; on parle alors de « fracture dans la fracture ». Réduire les inégalités sociales découlant des TIC nécessite une palliation du déficit en termes d'équipement et de connexion. Le manque de compétences et de connaissances cognitives des utilisateurs demande également de l'attention dans ce processus de démocratisation.

C'est dans cette optique que la question de la littératie informationnelle est devenue une priorité pour le développement au sein des organisations internationales afin de résorber cette disparité importante particulièrement entre le Nord et le Sud. Des recherches récentes en sciences sociales critiquent ouvertement la posture réductrice de la fracture numérique dont les théories sont fortement monopolisées par le discours académique des Occidentaux teinté de leur position privilégiée de natifs numériques. La fracture numérique résulte ainsi d'un modèle discriminatoire de la société d'information favorisant la domination du discours occidental. Comme l'explique également Bonjawo, la seule solution viable afin de contrer la fracture numérique sur le continent africain est d'adopter une approche plus inclusive ; où l'action des Africains ne se limite pas à celui de n'être que des consommateurs numériques. Ces derniers doivent impérativement s'approprier les TIC pour donner la possibilité aux particularismes locaux de s'exprimer.

Une autre dimension à prendre en compte est celle de la motivation (volontariat). Utiliser les TIC peut venir d'un intérêt ou non à ce domaine. Il y a donc des facteurs qui dépendent de variables socio-démographiques (âge, sexe, statut, niveau d'éducation).

Il faut pouvoir faire la distinction entre différences et inégalités au niveau de l'accès aux TIC et à leurs usages. Certaines personnes utilisent peu internet, car c'est leur choix (différence) et non parce qu'ils sont «victimes» d'une discrimination ou d'une exclusion sociale (inégalités).

Afin de lutter efficacement contre ces inégalités, il existe deux dispositifs centraux dans ce programme de lutte contre la fracture numérique : les espaces publics numériques (EPN) et les programmes de formation aux TIC.

En Belgique, un EPN est une structure d'accueil, d'accompagnement et d'aide à la réalisation de projet. Il s'agit d'endroits ouverts à tous, où se trouvent des ordinateurs, qui ont pour but la réalisation d'activités informatiques et la navigation sur internet, accompagné d'animateurs. Ce sont aussi des lieux initiateurs à l'informatique, de recherche (de logement ou d'emploi par exemple) et ouverts aux publics fragilisés. Les EPN sont différents des points d'accès publics à internet (PAPI) et des points d'accès commerciaux (les cybercafés par exemple).  Les EPN sont des lieux d'apprentissage collectif, des lieux de socialisation, etc. On y retrouve des activités variées et adaptées aux besoins de chacun. Des programmes individuels ou collectifs. L'objectif est d'acquérir des savoir-faire précis liés au quotidien des utilisateurs.

La Région wallonne est pionnière en la matière puisqu'elle lance en 2005 un programme de développement des EPN.  Une charte est établie en 2007 et accorde des labels aux EPN qui respectent certains principes comme la disponibilité, l'ouverture aux publics précarisés, l'organisation de l'accompagnement et de la formation, la participation aux activités du réseau.

On rencontre un problème en Flandre et à Bruxelles. Ces initiatives d'accueil, d'accompagnement et d'aide manquent de visibilité et ne sont pas assez exploitées. Soit ces lieux sont neutres, soit ils sont intégrés dans des structures associatives à vocation sociale.

Au-delà des EPN, on retrouve également les formations aux TIC. Il en existe différents types : les formations à vocation professionnelle (destinées à des travailleurs ou des demandeurs d'emploi), les formations préqualifiantes (permettant à des groupes défavorisés de s'intégrer dans quelque parcours de formation), les formations aux compétences numériques de base (intégrées au sein de dispositifs plus importants d'éducation permanente), les formations à destination de personnes qui utilisent déjà les TIC.

Au niveau des objectifs de ces dispositifs de formation, on constate deux grandes finalités : une finalité orientée vers le marché du travail. On y retrouve les formations dites qualifiantes, d'initiation et de remise à niveau. Dans le but de permettre aux participants de trouver leur place sur le marché du travail. Et une finalité de développement personnel des individus (on y retrouve des formations de tous niveaux. Pas de finalité professionnelle directe). Les TIC sont avant tout un moyen de rentrer en contact avec la société, de s'y intégrer.

Le vrai défi des formations aux TIC porte surtout sur l'acquisition de compétences structurelles et stratégiques.

Compétences
Il n'existe pas de définitions précises du terme « compétences », ainsi que de son champ d'application ; les différents auteurs l'interprétant différemment.

Ainsi, pour Martin et Grudziecki, une compétence se définit comme étant : « une combinaison de compétences, de savoirs, d'aptitudes et d'attitudes, et inclut les dispositions d'apprentissage du savoir-faire ». Selon eux, il existe 13 compétences dans la littératie digitale (l'énonciation, l'identification, l'accession, l'évaluation, l'interprétation, l'organisation, l'intégration, l'analyse, la synthèse, la création, la communication, la dissémination et la réflexion).

Pour Ferrari, il faut distinguer 5 aires des compétences digitales, comprenant chacune des compétences précises. Il y en a 21 au total. Les 5 aires et leurs compétences se regroupent comme suit :

L'aire de l'information c'est parcourir, rechercher et filtrer des informations. Évaluer l'information, les stocker et les récupérer.
L'aire de la communication c'est interagir à travers les technologies, partager des informations et du contenu, s'engager dans la citoyenneté en ligne, collaborer via les canaux numériques et la gestion de l'identité numérique.
L'aire de la création de contenu c'est développer du contenu, intégrer et re-élaborer, les copyrights et licences et programmer.
L'aire de la sécurité c'est protéger des dispositifs, des datas personnelles, la santé et l'environnement.
L'aire de la résolution de problèmes c'est résoudre des problèmes techniques, identifier les besoins et les réponses technologiques, innover et utiliser créativement les technologies et identifier les lacunes en compétences digitales.

Pour Brotcome et Valenduc, maîtriser l'information numérique demande des compétences spécifiques, telles que pouvoir évoluer dans un monde conceptuel complexe, trier et synthétiser les informations. Ces compétences se sont vues nommées comme « nouvelle culture numérique » ou « alphabétisation numérique (digital literacy) ».

Il existe trois types de compétences :

 Les compétences instrumentales qui sont la manipulation du matériel et des logiciels, autrement dit le savoir-faire de base. ECDL= programme de formation et de sensibilisation aux TIC.
 Les compétences structurelles ou informationnelles qui concernent la façon de rentrer dans du contenu en ligne. Ces compétences prennent de l'importance depuis ces derniers temps à la suite du développement des contenus d'information et des services en ligne.
 Les compétences informationnelles formelles qui sont relatives au format. La capacité à comprendre la structure et la construction du numérique derrière la façade que nous voyons.
 Les compétences informationnelles substantielles qui sont relatives au contenu de l'information. Savoir comment chercher l'information en ligne.
 Les compétences stratégiques, savoir manipuler l'information de manière proactive. Elles requièrent des comportements orientés vers un but. Les médias écrits et audiovisuels incitent déjà à savoir maîtriser ces compétences. Mais les médias interactifs en ligne ont démontré l'importance et l'urgence de savoir les maîtriser actuellement.

Les trois compétences ci-dessus sont hiérarchiques. Les compétences stratégiques nécessitent la connaissance des deux autres qui lui sont donc inférieurs.

Le plan éducatif et culturel joue un rôle dans l'accès aux TIC. La prédominance de l'anglais reste un facteur d'exclusion par exemple. Les ressources en temps, les ressources sociales et les ressources culturelles soient des facteurs distribués de manière illégale dans la population. Ce qui freine cet apprentissage.

Processus dynamique
La «fracture numérique» doit être considérée comme étant un processus social plutôt que comme un état. Les inégalités numériques sont à considérer dans une perspective dynamique. Tout usager est susceptible de « perdre » son niveau de maîtrise des TIC. Il est donc impératif de se mettre à jour continuellement et régulièrement. L'évolution des TIC est constante et donc les compétences sociotechniques qui s'y rapportent sont en constante mutation également.

Initiative européenne
Le DigEuLit Project est un projet lancé par l'Union Européenne, dont le but est de développer une structure commune européenne pour le développement de la littératie digitale.Cette dernière est définie, dans le DigEuLit Project, comme étant la conscience, l'attitude et la capacité qu'ont des individus à utiliser de manière appropriée les outils digitaux. Elle permet une facilité pour identifier, accéder, diriger, intégrer, évaluer, analyser et synthétiser des ressources digitales, construire des nouvelles connaissances, créer des médias d'expression et communiquer avec les autres – dans les situations de tous les jours – afin de permettre des actions sociales constructives.

Le DigEutLit Project a pour but de proposer une structure et des outils pour faciliter le développement éducationnel européen, ainsi que de proposer une compréhension commune (des éducateurs, formateurs et étudiants) de ce qu'est la littératie digitale, et l'introduire dans l'éducation européenne, tant pour le développement scolaire que personnel.

Subséquemment, le DigEuLitProject propose un modèle (le modèle des 3 interfaces), qui a pour but d'améliorer les compétences de littératie digitale d'un apprenant. Ce modèle a été mis en application à l'Université de Glasgow. Son but était de proposer un nouveau modèle éducationnel afin d'améliorer les techniques d'enseignants.

Le DigEuLit Project propose  trois niveaux du développement de la littératie digitale :

 Compétence digitale (concepts, approches, skills): s'expriment lorsque dans un contexte spécifique, chaque individu va mobiliser ses compétences digitales – formées en fonction de sa vie et de ses expériences, pour répondre à ce contexte spécifique le mieux possible.
 Utilisation digitale (application professionnelle des compétences): se développe quand les usages digitaux emmêlent les compréhensions et les actions d'une même  community of practice, – grâce à leurs apprentissages quotidiens. La communauté est donc amenée à évoluer, et devient une community of learning.
 Transformation digitale (innovation/créativité) : est atteinte lorsque les utilisations digitales développées permettent de l'innovation et de la créativité, et lorsqu'elles stimulent un changement significatif, dans le domaine professionnel ou de la connaissance.

Le modèle des 3 interfaces a été mis en application à l'Université de Glasgow. Son but était de proposer un nouveau modèle éducationnel afin d'améliorer les techniques d'enseignants. Le premier modèle d'interface était celui de l'enseignant qui permettait de prévenir ses apprenants sur les compétences digitales nécessaires pour la bonne compréhension et réussite du cours. Le deuxième était celui de l'apprenant qui lui permettait de s'auto-évaluer dans la maîtrise de ses compétences digitales, et ainsi découvrir un possible manque dans certaines compétences. Le modèle d'interface de l'apprenant permettait également de tracer une ligne directrice sur ses envies d'apprentissage, et appréhender ses futures acquisitions. Et finalement, le dernier modèle d'interface est celui de support qui touchait plus à la maintenance du système, ainsi que des prévisions sur les possibles compétences qui vont être nécessaires dans un futur proche.

La complémentarité des trois interfaces doit permettre une progression constante des compétences de l'apprenant, ainsi qu'une anticipation de ses futurs besoins en littératie digitale. La littératie digitale est considérée comme un attribut d'un individu dans un contexte socio-culturel.

Influence numérique dans l'enseignement
L'émergence du numérique et des outils technologiques conduisent l'enseignement à se remettre en question.

Selon Jean-Pierre Véran, il faudrait réinventer la forme scolaire pour s'adapter à cette évolution des outils technologiques et faire face à l'apparition de nouvelles compétences essentielles en littératie à l'ère du numérique. L'enseignement devrait aussi intégrer ces outils à ses modes de fonctionnement dans un but de service à l'apprentissage, mais il existe plusieurs freins.

Les programmes scolaires ne sont toujours pas pensés en termes d'éducation aux médias. Certaines compétences en français par exemple le sont, mais ce n'est pas le cas pour tous les enseignements disciplinaires. Cela pose donc problème à la mise en place de ce genre de dispositif, notamment aux professeurs soucieux de respecter le programme à la lettre ou non. Cela revient à s'engager à éduquer aux médias seulement sur base de leur bonne volonté. Il faudrait également que cette progression des outils technologiques à l'ère du numérique amène à remettre en question le système scolaire actuel et par exemple mettre en place des outils au service de l'apprentissage, avoir de nouvelles manières de penser , privilégier l'apparition ou l'amélioration de compétences multimodales en littératie, réaliser des études scientifiques de terrain, etc. Cependant, ce n'est pas chose facile, car cela demande énormément de temps et d'investissement pour arriver à optimaliser au mieux l'enseignement afin qu'il corresponde à cette nouvelle société du numérique. Les enseignants doivent changer de posture pour favoriser cette éducation aux médias. Il faudrait qu'ils passent du modèle de « détenteur du Savoir » à celui d'accompagnateur du Savoir des apprentissages connectés, afin d'encadrer de la manière la mieux adaptée  possible les élèves à l'heure du numérique. De plus en plus, la formation des enseignants encourage et prône cette posture d'accompagnateur bienveillant des apprentissages, quels qu'ils soient.

La capacité de résistance au changement de l'enseignement est également un frein notable. Les pratiques d'enseignement où que ce soit sont bien ancrées. Comme pour tout changement, modifier ce qui a déjà été mis en place précédemment demande beaucoup de temps et d'investissement. Par exemple, il faudrait repenser la formation des enseignants, donner des moyens supplémentaires, donner accès à toute une sorte d'outils, etc.

Repenser le système scolaire
Le fait de repenser le système scolaire, demande la réalisation d'études parallèles à prendre en compte afin d'amener des pistes d'amélioration. Par exemple, des observations de terrain comme l'a réalisé  Martine Pellerin pour l'un de ses articles.

Les compétences numériques s'acquièrent au sein de la classe, dans l'ensemble des cours disciplinaires et non pas dans un cours spécifique aux technologies numériques. Cette notion d'interdisciplinarité est très importante. Les objectifs en termes d'éducation aux médias et à l'information rejoignent en effet les objectifs initiaux du système scolaire fondamental. Cela permet donc de poursuivre l'apprentissage dans tous les enseignements scolaires en y intégrant les compétences numériques essentielles. La littératie numérique couplée aux enseignements fondamentaux est une plus-value au niveau pédagogique.L'usage des technologies numériques permet donc la mise en œuvre de nouvelles possibilités contribuant à l'émergence de multiples modes d'expression, de représentation de la pensée et de multiples modes d'action et d'engagement de la part de l'élève. Ces multiples modes permettent le développement de compétences essentielles en littératie (parler, écrire, lire). En 2017, Martine Pellerin parle des technologies numériques comme d'une mise en œuvre de « possibilités » (tant cognitive, physiques, sensorielles que fonctionnelles). Ces nouvelles possibilités d'apprentissage engendrent une plus grande motivation des apprenants, via un ciblage précis des besoins particuliers de chaque élève. La méthode de Pellerin est basée sur 3 grands principes : fournir de multiples moyens de représentation, fournir des moyens d'action et d'expression nombreux et variés et fournir de nombreux moyens de participation et d'engagement.

Cette progression des outils technologiques à l'ère du numérique amène à remettre en question le système scolaire actuel. Ce n'est toutefois pas chose facile, car cela demande énormément de temps et d'investissement pour arriver à optimaliser au mieux l'enseignement afin qu'il corresponde à cette nouvelle société du numérique.

Notes et références

Voir aussi

Bibliographie

Articles
 Pool C. R., «A New Digital. A Conversation with Paul Gilster", dans Educational Leadership, 1997.
 Koltay T., «The media and the literacies: media literacy, information literacy, digital literacy", dans Media, Culture & Society, (2), 2011.
 Bawden D., «Information and digital literacies: a review of concepts", dans Journal of Documentation, vol. 57 (2), 2001, .
 .
 .
 .
 Brotcorne P., Valenduc G., «Les compétences numériques et les inégalités dans les usages d'internet. Comment réduire ces inégalités?» , dans Les Cahiers du numérique, vol. 5, 2009.
 Véran J.-P., «Compétences numériques des élèves : de quoi parle-t-on?» , dans Administration & Éducation, vol. 146, 2015, .
 Pellerin M., «L'usage des technologies numériques pour le développement de compétences multimodales en littératie au 21e siècle» , dans Éducation et francophonie, vol. 45, 2017, .

Articles connexes
 Habileté numérique
 Littératie
 Littératie des données

Lecture

redpajama_set_name: RedPajamaWikipedia


text:
Premium New & Rare, Showa (Koi) Swordtail
Above: This picture shows a very nice premium quality mature male Showa Koi Swordtail, gliding across a beautiful aquarium with live plants.
Showa is a name originally applied to Koi with certain colors and patterns.
To people with too much imagination these Swordtails resemble Showa Koi.
These Swordtails are a highly sought after variety, rarely seen in the hobby, and not available in most pet fish stores.
Comments: This is a Premium Pet Fish, and we never see Premium Swordtails like these in any of the live fish stores or in the online stores that we visit.
Click here to learn more about Premium Pet Fish.
Origin: Swordtails are one of the most colorful and most popular aquarium fish.
Their ancestors originally lived in southern Mexico and the east coast of Central America, but Swordtails are now found living in aquariums throughout most of the world.
There are many color varieties for sale in our store.
Maximum Size: In aquariums, Swordtails can grow to be about 5" long, including their tails.
Behaviors: Most Swordtails are very active swimmers, and chase each other, but are rarely too aggressive.
Female Swordtails release live baby fish about once a month when kept in good water and fed lots of premium food.
Compatibility: Some recommended tank mates include Corydoras Catfish, Danios, Barbs, Rainbowfish, Plecostomus Catfish, Mollies, Gouramis, and other medium sized fish.
Temperature: Swordtails can live pretty well from about 70 to 82 degrees F., but they're probably most comfortable at about 78 degrees F.
Feeding: Premium Fish Food Flakes when small, and Premium Pellet Food when larger.
Water Conditions: Swordtails seem to be tolerant of a wide range of water conditions.
Probably a pH of about 7 with moderate hardness is best.
Aquarium Size: It's probably best to house these fish in at least a 30-gallon aquarium, but bigger is better.
Keep at most one Swordtail per gallon, when they're small. Larger Swordtails need up to 5-gallons per Swordtail.
Decor: Swordtails do not need gravel, and a layer of gravel more than 1/4" thick will usually fill with bits of uneaten food that will contaminate the water.
Live Plants are beautiful, improve the water quality, and are enjoyed by Swordtails and baby Swordtails.
Water Sprite and Java Ferns are very good plants for Swordtails. Non-toxic driftwood is also very good.
Click here to shop in this store for live plants.
A Penguin 100B Filter in an aquarium with 10 to 20-gallons of water OK when they're small, and a Penguin 200B Filter is the right size for a 20 to 30-gallon aquarium.
Life Span: Swordtails live for a few years. In the meantime the next generation of Swordtails have usually been born.
Gender: It's easy to tell the males from the females even at a very young age.
Males develop long swords on the ends of their tails and females do not.
Females are slightly less colorful, plumper, and have a dark spot on the rear of their abdomens.
Breeding: You do not need a male! Even a very small young female is pregnant, and will release babies in a few months, provided the water is good, and she is fed plenty of premium fish food flakes.
A female Swordtail will release live babies and not lay eggs like many other fish species.
The babies start eating bits of food shortly after being released.
In her abdomen the female usually has many more fertile eggs, that will soon become live babies, and then be released about a month after the previous bunch was released.
This process can continue for about 5-months without a male anywhere in the aquarium.
Popularity: For a long-long time Swordtails have been one of the most popular aquarium fish.
Names: The scientific names for Swordtails is Xiphophorus hellerii.
Variations: There are many-many color varieties that will interbreed to produce even more color varieties.
Click here for a lot more information about keeping and caring for Swordtails, including a picture gallery.

redpajama_set_name: RedPajamaCommonCrawl


It's the time of year to slow down, reflect & get some much needed down time with the familia over a not-so-lucky Turkey.
But what if, this year you don't have a traditional Thanksgiving dinner in the works? Maybe you aren't able to fly out & see the family. Maybe you're not feeling up to waxing politics with relatives you've only seen twice in the year. Or maybe you're vegetarian/vegan and don't want to answer questions on "but what will you eat?" or "how do you get your protein?". Maybe you don't want your parents or relatives reminding you, you're not getting younger, when is the boyfriend/girlfriend/marriage/kids thing happening? Hey, whatever your reason, I get you. It never hurts to switch things up.
If for whatever reason, you can't hang with the family….
Go on, make new memories with your crew, fellow partner in crime-ers.
Here are a cheat sheet for an awesome Thanksgiving drinking game.
What To Eat Instead: Oh the choices!!
Might we recommend this Roasted Stuffed Poblano with Basil Cashew Crema? Or this Butternut Squash Risotto? Or this Moroccan Lentil Soup? These are just as fancy pants as a Turkey, and ridiculously savory, buttery, delicious & filling. I'm giving thanks for these, alright.
Flannel jammies. Thick, fuzzy socks. Toasty fireplace. Warm cup of hot chocolate. Blanket. Your couch. Snuggie optional. You get whatimsayin'?? There's no better time of year to to chill & binge watch movies/TV shows. Here are 10 Mindblowing TV shows for a head start.
If you want to avoid Black Friday….
Here's shopping on Black Friday…. OR this….
Did you know entrance to the National parks is free on Black Friday?? So if you aren't feeling up to walking like a zombie in a mall and mindlessly filling your shopping cart… get outdoors! I'd take a Snowboarding/Skiing trip over Black Friday any day.
What To Do Instead: Pineapple Upside Down Cake & Chocolate cake, anyone?
It is hard to resist Pumpkin pies, Apple pies & Pecan pies.. I will shamelessly crash Thanksgiving dinners just for this! But if you're itching for alternates, might I interest you in some Pineapple Upside Down Cake or Molten Lava Chocolate Cake? Ain't never a bad time of year for these babies. Come to Mama….
What To Do Instead: Travel!
Flights are super cheap this time of year, even international flight deals are great this time of year. And it's skiing/snowboarding season! So hello, mountains.
If you're tired of social media….
With everything that's happened the past few months, you'd be hard pressed to come across some good news in social media. Take a break from the negativity & recharge your batteries with a good book. Here are some recommendations. We just wrapped up reading "The Book Thief", an incredibly poignant & beautiful read.
Call you bestie from high school or college. The best thing about these kind of relationships is, even if it's been ages since you've talked, you can pick up right where you left off.
Whatever you end up doing, there's so much to be grateful for! Here's to the gift of life & all the wonderful people in it, who help us find Mojo everyday.


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(-) Wisconsin (1)
National Wildlife Federation / New York City (NYC) Eco-Schools (1)
Natural History Museum of the Adirondacks / The Wild Center (1)
Research Foundation of the City University of New York / Queens College (1)
(-) 2011/2012: ELG for Formal K-12 Education (1)
2015: ELG for Community Resilience to Extreme Weather Events and Environmental Changes (1)
2010: NOAA Broad Agency Announcement for FY 2010—2011 (1)
2007: ELG for Free-choice Learning (1)
Exploring Earth Systems: Expanding Data Visualization Experiences for Museum Learners
American Museum of Natural History offsite link · New York, New York
The American Museum of Natural History, in association with several NOAA entities, will be creating a suite of media products employing visualization of Earth-observation data as well as associated professional development programs to expand educational experiences in informal science institutions nationwide. Interactive versions of the visualizations will also be disseminated via the AMNH website. Visualization assets will be distributed to NOAA for utilization on climate.gov and Science on a Sphere.
The American Museum of Natural History, in association with several NOAA entities, will be creating a suite of media products employing visualization of Earth-observation data as well as associated professional development programs to expand educational experiences in informal science institutions nationwide. Interactive versions of the visualizations will also be disseminated via the AMNH website. Visualization assets will be distributed to NOAA for utilization on climate.gov and Science on a Sphere. The creation of training programs and educational materials for informal education professionals will enhance the experience and efficacy of the data visualizations as tools to understand and build stewardship of Earth systems.
PI: Vivian Trakinski
State: New York County: New York District: NY10
Partners: Institute for Learning Innovation · Museum of Science and Industry (MSI) Chicago · New York University (NYU) · NOAA Earth System Research Laboratory (ESRL) · NOAA National Weather Service (NWS) / Climate Prediction Center · NOAA Research · NOAA Atlantic Oceanographic and Meteorological Laboratory · NYU Center for Advanced Digital Applications ·
Into the Woods (ITW)
Research Foundation of the City University of New York / Queens College offsite link · New York, New York
Queens College's Into the Woods (ITW) project is an environmental literacy program for New York City Elementary School Teachers enhancing content knowledge about the Earth System and extending their classrooms outdoors into Nature. The classrooms continue to evolve into school stewardship and service learning in partnerships with parks and environmental organizations. The ITW project starts with five Elementary Globe books that link science, math and literacy.
Queens College's Into the Woods (ITW) project is an environmental literacy program for New York City Elementary School Teachers enhancing content knowledge about the Earth System and extending their classrooms outdoors into Nature. The classrooms continue to evolve into school stewardship and service learning in partnerships with parks and environmental organizations. The ITW project starts with five Elementary Globe books that link science, math and literacy. Fiction becomes reality during field training that uses GLOBE books as blueprints for how teachers can guide their students to conduct their own research to enhance understanding of the environment. The project trains teachers to design and supervise grade-appropriate research projects using GLOBE protocols in local parks; support them during those projects; and host annual research symposia during which students present their results. The project's template of immersing teachers and students in environmental research is becoming a national model for improving environmental literacy in all school systems. The NYU Wallerstein Collaborative for Urban Environmental Education works in partnership with Into the Woods to connect teachers to the resources, materials, and strategies required to successfully implement environmental education, outdoor learning, service learning and hands-on experiences across all grade levels and curriculum areas.
PI: Peter Schmidt
Partners: Center for Educational Innovation · Cornell University / Cornell Lab of Ornithology · New York City (NYC) Department of Education (DOE) · New York University (NYU) · National Sea Grant College Program / New York Sea Grant College Program · Bronx River Alliance · Coastal Research and Education Society of Long Island, Inc. · Bronx River Art Center (BRAC) · New York City (NYC) Urban Park Rangers · Cornell University / Institute for Resource Information Sciences (IRIS) ·
Empowering Rural Youth for Community Climate Resilience in New York State
Natural History Museum of the Adirondacks / The Wild Center offsite link · Tupper Lake, New York
Empowering Rural Youth for Community Climate Resilience in New York State is a three-year project led by The Wild Center in partnership with the Finger Lakes Institute at Hobart and William Smith College and the Alliance for Climate Education, which builds on the achievements of Convening Young Leaders for Climate Resilience, a project previously funded by NOAA. Today's youth are deeply concerned about the impacts of climate change in their communities and increasingly demand positive action and a role in decision-making.
Empowering Rural Youth for Community Climate Resilience in New York State is a three-year project led by The Wild Center in partnership with the Finger Lakes Institute at Hobart and William Smith College and the Alliance for Climate Education, which builds on the achievements of Convening Young Leaders for Climate Resilience, a project previously funded by NOAA. Today's youth are deeply concerned about the impacts of climate change in their communities and increasingly demand positive action and a role in decision-making. The proposed collaboration will support the development of leadership skills for rural youth by creating programming that demonstrates best practices for students and teachers to engage and partner with local municipalities on climate resilience planning. The project will also increase awareness of the NY State Climate Smart Community (CSC) program, a national model. Over the next 3 years the project will: 1) Develop pathways for young people--specifically in rural areas--to effectively partner with decision-makers in their home communities through partnering with the NY State Climate Smart Community (CSC) program; 2) Increase climate literacy, education and action among high school students through place-based Youth Climate Summits and intensive Youth Climate Leadership Retreats; 3) Increase teacher comprehension and confidence to prioritize climate change education instruction and mentor students; and 4) Formalize the NY State Youth Climate Summit network by establishing a community of practice centered on sharing best practices and actions that align with NY State climate change adaptation and resilience planning. This project aligns with NY State's climate resiliency planning by building on successful and current partnerships with the NY State Office of Climate Change, NY State Energy Research and Development Authority (NYSERDA) and NOAA's Climate Program Office to connect project participants with cutting edge science, hazard assessments, and established community climate resilience programs. The project will serve 700-800 high school students, 60-80 high school teachers, and 60 youth leaders in New York State. The project is also designed to reach a much wider audience, including 30 rural decision-makers and community members, as well as 50-60 formal/informal educators. Project documentation includes a Guide to the NY State Climate Smart Community Program for Students and Educators, and a Youth and Local Government for Climate Resilience Workshop Module, which will benefit other Youth Climate Summits and be disseminated through the online toolkit and through the national network of youth climate summits. Additionally, the project will support a community of practice for informal and formal educators across NY State who are working on new and existing Youth Climate Summits to provide the opportunity to align with the CSC program, collaborate on best practices, and co-create strategies for engagement.
PI: Jen Kretser
State: New York County: Franklin District: NY21
Partners: NOAA Climate Program Office (CPO) · National Wildlife Federation (NWF) / Northeast	Regional	Center · Alliance for Climate Education · New York State Energy Research and Development Authority (NYSERDA) · New York State Department of Environmental Conservation (DEC) / Office of Climate Change (NYSOCC) · Finger Lakes Institute at Hobart and William Smith College · Ecology & Environment, Inc. · WSP New York ·
The Resilient Schools Consortium (RiSC) Phase II: Connecting Schools to Coastal Communities
National Wildlife Federation / New York City (NYC) Eco-Schools offsite link · New York, New York
With a three-year $450,000 grant from NOAA, the National Wildlife Federation (NWF) and partners will implement Phase II of a climate and resilience education program, The Resilient Schools Consortium: Connecting Schools to Coastal Communities. Building on the previously funded Resilient Schools Consortium (RiSC) Program, (2016 - 2019), NWF will work with 200 students and 10 teachers from eight New York City Department of Education public schools.
With a three-year $450,000 grant from NOAA, the National Wildlife Federation (NWF) and partners will implement Phase II of a climate and resilience education program, The Resilient Schools Consortium: Connecting Schools to Coastal Communities. Building on the previously funded Resilient Schools Consortium (RiSC) Program, (2016 - 2019), NWF will work with 200 students and 10 teachers from eight New York City Department of Education public schools. The students will adopt-a-shoreline in Coney Island, Brooklyn—a frontline community battered by Superstorm Sandy in 2012 and threatened by sea level rise, coastal erosion, and inequitable exposures to flooding. Through field trips to local beaches, community engagement events, dune plantings, and public art installations, this project will connect students—who live or attend school in the Coney Island area—to residents and community partners. Together, they will increase their awareness of future climate impacts and develop strategies for building climate resilience and equitable adaptation to sea level rise. The Phase 1 RiSC curriculum for grades 6-12, designed by NYC STEM teachers, will be streamlined into a one-year product focused on coastal hazards, natural and built solutions that increase ecological resilience, and civic participation. Adaptable by schools in other coastal communities, the curriculum will continue to offer a strong foundation in climate science. Complete with user-friendly slide decks, handouts, and direct links to NOAA resources and digital tools, it will guide teachers and students through project-based activities during the school year. Key program partners, New York Sea Grant, and American Littoral Society (ALS), and advisors from the Science and Resilience Institute at Jamaica Bay (SRIJB) will provide community science expertise and lead shoreline ecology field trips. An "Adopt-a-Shoreline Field Trip Guide" will help students monitor the shoreline. ALS will lead professional development workshops for teachers and dune-planting activities that will increase shoreline resilience. The Coney Island Beautification Project, a core community partner, will lead public engagement and outreach, and recruit residents with historical knowledge of local weather events for student interviews. Students will build sea level rise markers and install them in suitable public spaces. Culminating Open Houses will bring Coney Islanders together to view student work and provide a platform to discuss flood risks and solutions. Knology will evaluate the project's impact.
PI: Emily Fano
Partners: North American Association for Environmental Education (NAAEE) · NOAA Climate Program Office (CPO) · National Sea Grant College Program / New York Sea Grant College Program · New York City Public Schools / John Dewey High School · New York City Public Schools / Rachel Carson High School for Coastal Studies · New York City Public Schools / IS 228 David A. Boody · Science and Resilience Institute at Jamaica Bay (SRI@JB) · New York City Public Schools / J.H.S. 088 Peter Rouget · Federal Emergency Management Agency (FEMA) / Region II · New York City Public Schools / J.H.S. 223 The Montauk · New York City Public Schools / P.S. 288 the Shirley Tanyhill · New York City Public Schools / Abraham Lincoln High School · New York City Public Schools / I.S. 303 Herbert S. Eisenburg · Regional Plan Association · Coney Island Beatification Project · American Littoral Society · WE ACT for Environmental Justice · Brooklyn Community Board 13 · Coney Island History Project · New York University (NYU) / School of Global Public Health · United Federation of Teachers · American Federation of Teachers · Environmental Advocates NY (EANY) · New York City Mayor's Office of Climate Resiliency · New York City (NYC) Office of Emergency Management · New York City (NYC) Department of Education (DOE) / Community Schools · New York City (NYC) Department of Parks & Recreation ·


The Man Who Negan Was Based On Auditioned For The 'WALKING DEAD' Role!
Singer, and sometimes actor, Henry Rollins just revealed that he auditioned for the role of Negan in AMC's massively-successful THE WALKING DEAD series. He didn't get the role, which is something that happens all the time in Hollywood, but what makes this story interesting is that the role was- technically- him.
The response to Negan's reveal in the season finale of THE WALKING DEAD was divisive- with many fans loathing the cliffhanger ending- but very few people seemed to have a qualm with Jeffrey Dean Morgan's portrayal of the character. Still, it would've been interesting to see what Rollins might have done with the role. His public persona has always been icy, detached, and quietly menacing.
It's got to be strange to not get a role after the artist that created the character's look tells you he based it on you. But hey, those are the breaks.
What do you think? Was Morgan the right guy to play Negan in THE WALKING DEAD, or would you have rather seen Rollins get the part?


The Greek Foreign Ministry released an announcement regarding the demolition of properties belonging to members of the Greek National Minority in Dhermi, Himara in southern Albania.
"Greece is in favour of the European perspective of the Western Balkans, including that of Albania. But a condition for this European course is these countries' adherence to European regulations and the principles of the rule of law. The violation of these principles by a candidate country means that, in reality, this country does not want its European course.
We stress that building rule of law and protecting minority rights – which is expressly linked to protecting the property rights of the members of minorities – have been set by the EU Council of Ministers as a sine qua non for the opening of Albania's accession negotiations.
Unfortunately, violating every sense of the rule of law, the Albanian authorities today began demolishing tourism properties in Drymmades, Himara, owned by members of the Greek National Minority. This demolition was carried out in deviation from the provisions of Albanian law and before the final court rulings had been issued.
Greece and the EU have made clear the European demand that the rights of the indigenous National Greek Minority be safeguarded. The consolidation of the rule of law and the protection of the fundamental rights of minorities, including property rights, have been set by the EU as clear prerequisites for the opening of accession negotiations with Albania."


Video footage of a South African politician assaulting a journalist outside parliament today is being shared online.
The two men have been identified as the Deputy Leader of the Economic Freedom Fighters party Floyd Shivambu and Adrian de Kock – a reporter for Afrikaans language website Netwerk24.
Other journalists at the scene say the scuffle broke out when Mr de Kock tried to take a photograph of Mr Shivambu. Mr de Kock told a reporter from the Mail & Guardian that he had also asked the politician a question about the opposition. He says the politician then "grabbed" him "by the throat", saying "you don't have my permission" to take photographs.
Mr Shivambu has not yet commented.
But it has been condemned by a group which represents journalists which has issued a statement on Twitter saying "any journalist has the full right photograph and ask questions of any public representative".
The Parliamentary Press Gallery Association adds that it will seek an apology from Mr Shivambu and pursue disciplinary action.


Ketogenic diets are hardly new, but they've become increasingly popular in the last few years for weight loss and much more. As a Registered Dietitian Nutritionist, I have used modified ketogenic diets for some patients over the past year and have found some positive outcomes, mainly improvements in cognition.
My overall position is that any form of a ketogenic diet is a therapeutic one. Meaning, I only recommend it when I feel the benefits outweigh the risks and other dietary protocols haven't proven optimal. Among their drawbacks, ketogenic diets can be tough to follow. They may require patients to go as low as 30 grams of carbohydrates per day, which limits variety within meals including an array of colorful and dark leafy green vegetables. Our food provides much more than macronutrients (fat, protein, and carbohydrates). The plants we eat give us so many of our micronutrients (vitamins and minerals) and various phytochemicals that protect our cells. They also provide a good portion of fiber that is critical for good elimination and detoxification and also nourishes gut bacteria. A healthy gut microbiome (the balance and amount of microorganisms in the gut) dramatically impacts overall health.
The original ketogenic diet was first developed in the 1920's to help reduce seizures in children with epilepsy, where other treatments had failed, and was found to be quite effective. Since then, the research has been expanding to evaluate the potential benefits in other neurological conditions and in many areas of health. Today there are 115 registered clinical trials examining various ketogenic protocols for diseases including cancers, Alzheimer's, migraines, and autism. Researchers also have looked at the impact of the ketogenic diet on athletes to improve performance and its potential to help people lose weight.
If you're curious about a ketogenic diet, here is a quick overview. They are very high in fat— typically about 70% of total calories, low to moderate protein, and very low in carbohydrates. While many modified versions of the ketogenic diet exist, their end goal is the same: to push the body into a state of ketosis. That means rather than using glucose from carbohydrates as its main energy source, the body uses ketones, a byproduct of fat metabolism. Ketones appear to be the preferred source of energy by the brain: one of the mechanisms by which they appear to provide therapeutic benefit for neurological conditions.
Two main areas of the research have focused on cancer and Alzheimer's. For cancer, being in a ketogenic state will deprive cancer cells of glucose, their preferred fuel. Ketosis can also mimic fasting, which can reduce the oxidative stress load on the body and protect cells from damage. Numerous variables impact this research and make conclusions difficult, but ketogenic diets do show potential for cancer patients. With neurological conditions like Alzheimer's and dementia, the research has been more promising, especially when MCTs (medium chain triglycerides—a type of fat derived from coconut oil) have been added to the study protocols. MCTs are more efficiently used as calories than other fats.
When it comes to athletic performance and weight loss, the more your body can use fat for energy the better. Athletes can go longer before fatiguing and those who want to lose weight will become more efficient at burning fat stores. However, my health concerns still hold for this population. Athletes are under high oxidative stress conditions that require more nutrients and compounds from plants that act as antioxidants. And when individuals lose weight, especially fat stores, they often release stored toxins that require optimal intake of antioxidants and compounds that support our detoxification pathways. In my experience, you can enhance athletic performance, achieve a healthy weight, and improve overall health just by increasing good quality fat, getting sufficient protein, lowering overall carbohydrates and avoiding refined processed carbohydrates. I don't believe at this point one has to be in ketosis to meet their goals. And in my over 15 years of doing nutrition consultations, I've rarely seen any downside to eating too many veggies!


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Life insurance can be scary. It's also a topic that makes some people very uncomfortable, since one of the main topics of discussion is your own death. Further, few of us ever purchase life insurance more than a couple times in our lifetime, so the wording and language can seem a little foreign.
To get the conversation started and make you feel a little more comfortable with the idea of purchasing life insurance, we've put together a few tips.
There are two main types of life insurance: term life and whole life. Each type has a number of different policy options. There are also policies called universal life and variable life that add some additional complexity.
One of the most important terms in life insurance is: beneficiary. The beneficiary named on a life insurance policy is the person(s) or entity that receives the death benefit when the insured person dies. If you have minor children or trusts, you need to be very careful about how you name your beneficiaries, and if your marriage situation changes (divorce, widowed) you want to make sure you update your beneficiaries.
Here's a good article about beneficiaries: What is a Beneficiary?
Your agent can provide you with guidance on this question, but it's important to keep in mind why you are buying the life insurance. Do you want to pay off your home? The amount you buy should take your mortgage amount into consideration. Do you want to provide a comfortable living for your spouse upon your death? Both your incomes and a budget need to be considered. In general, the decision on how much life insurance to buy is different for every individual and their particular situation.
Here's a good article discussing How Much Life Insurance to Buy.
Finally, some people are afraid to talk to an agent about life insurance because they fear they will be pressured into buying right then and there. That's not the way we operate. We'll sit down with you, discuss your needs and give you proposals to look over at home. If you have nay questions, we'll answer them until you are satisfied. The buying decisions will be on your time frame, not ours.


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Misha Brusilovsky (born Mikhail Brussilovsky; 7 May 1931 – 3 November 2016) was a Russian artist, painter and graphic artist. He was a Member of the Russian union of artists,  an honored artist of the Russian Federation, a distinguished member of Russian Academy of Arts, a laureate of the "G. S. Mosin prize" and a winner of the Sverdlovsk region Governor's prize "For outstanding achievements in literature and art".

Biography

Childhood

Misha Brusilovsky was born on 7 May 1931 in Kiev. His father, Shaya Shevelevich Brusilovsky (1904–43), was a military engineer who was killed in the war, and his mother, Frida Abramovna Goldberg (1906–89), worked in trade. He had one brother Seva – Vsevolod Brusilovsky (born 1936).

In 1938 Misha's father was sent on an extended mission to the Far East, where he went with his whole family. They lived on the In Station in Birakan and Birobidzhan. At the beginning of 1941 the Brusilovsky family returned to Kiev, and the war broke out that June. Misha and his brother Seva were sent to the town of Troitsk in the South Urals to their aunt Raya, their father's sister. Their father went to the front, and their mother stayed in Kiev and joined them later. In 1943, their aunt Raya, a general practitioner and surgeon, was mobilised, and Misha went with her on a medical train. On the medical train he helped the doctors and the injured, and when it would stop for long periods he would go to the nearest villages to exchange salt for groceries for them.

Six months later, Brusilovsky returned to Kiev, which had been liberated from Germany. In an attempt to earn some money, he joined a group of boys who shined shoes on the square in front of the train station. Every evening, a grown-up lad with the nickname Kot (Tomcat) would come to the square. He was connected with the local criminal class, and he would take most of the money the boys had earned. If they tried to hide what they had earned, the boys were dealt with harshly.

Once, for Kot's birthday, Misha drew his portrait with coloured pencils, and showed it to him. Kot took the drawing, and a while later he brought Brusilovsky to a boarding school for gifted children.

In 1944, Brusilovsky started going to classes in the "Kiev boarding school for gifted children".

Studies
Brusilovsky spent one year in the boarding school for gifted children. In 1945 he got a place in the Kiev Shevchenko State Art School, which was situated at the time in the building of the Kiev Art Institute.  In 1952 he graduated from the art school and applied to the Kiev Art Institute, but he did not get a place because admissions were strictly regulated according to ethnicity.

He began earning some money by making copies of pictures by well-known Soviet artists for palaces of culture and other similar state institutions.

In 1953 Brusilovsky went to Moscow. He worked as an artist and designer in the All-Russia Exhibition Centre but he decided to further his education and went to Leningrad, where he began studying in the Repin Institute of Painting, Sculpture and Architecture in the graphic design department. He studied with artists such as Ostap Shrub and Minas Avetisyan. He graduated from the Institute in 1959 (his thesis supervisor was Alexei Pakhomov) and then he was assigned a job in the city of Sverdlovsk.

Creative work

Sverdlovsk
In Sverdlovsk, Misha Brusilovsky began teaching drawing in Shadr Art College, and he also began working with the Central Ural Publishing House as an artist-illustrator. He met Vitaly Volovich, Herman Metelev, Andrei Antonov, Anatoly Kalashnikov and other Sverdlovsk artists, and he also met the artist Gennady Mosin with whom he had been friendly back in the Repin Institute. He worked with Mosin on mounted pictures. He also took orders for monumental pieces.

The chairperson of the Sverdlovsk Union of Artists A. G. Vyaznikov, who in the interests of his own career was waging a wide-scale war against formalism  and some bureaucrats in the Sverdlovsk branch of the communist party had a negative reaction to Brusilovsky's work.

In 1961, for Brusilovsky's thirtieth birthday, the Sverdlovsk Union of Artists organised an exhibition of painting and graphic art in the Sverdlovsk House of the Artist, together with an exhibition of another Sverdlovsk artist K. Zyumbilov. On 10 May 1961, the newspaper "The Ural Worker", in "The audience responds" column, published a note by the name of "An unnecessary enterprise", signed by a certain "public servant N. Efimov" in which all of Brusilovsky's pieces which had been presented at the exhibition came under criticism.

The painting "1918"

In 1962 Brusilovsky began working in collaboration with Gennady Mosin on the painting "1918". The decision to paint the painting was a provocation to the chairman of the Union of Artists RSFSR Vladimir Serov, who did Historical-Revolutionary paintings and specialised in portrayals of Lenin.

In 1963 a sketch of the painting was presented to the arts board of the organising committee of the "Socialist Ural" art exhibition. The board approved the sketch, and signed a contract with the artists. When the painting was almost complete, Mosin and Brusilovsky rolled up the canvas and painted an alternative version, portraying Lenin as a decisive person who was capable of doing anything in order to achieve his goals. When Serov found out that the artists had not shown Lenin as quiet and humble, like Serov himself and other artists of the time had, he attempted to do everything he could to ban the painting while it was still being painted.
E. F. Belashova, chairperson of the Union of Artists of the USSR, helped to promote the painting, and used it in her campaign against Serov.

"1918" was exhibited at the largest exhibitions in Moscow, given a special commendation by the Ministry of Defence, reproduced in the journals "Tvorchestvo" (1965 and 1967), "Ogoniok" (1967), and "Art" (1967, 1969), in the books "Art born of October" (1967) and "The glory of those days will never cease" (1968), represented Soviet art at the international Biennale exhibition in Venice in 1966 and at an exhibition of young artists in Berlin (GDR) in 1967. The painting became an acknowledged part of official Leniniana and brought fame throughout the Soviet Union for Gennady Mosin and Misha Brusilovsky. The cinematographer Boris Shapiro made a film about the creators of the painting for the cinema journal "Soviet Ural".
The painting is currently in the Volgograd Museum of Fine Arts. The first version of the painting was completed by Brusilovsky at the end of the 1980s and given to the Yekaterinburg Museum of Fine Arts. The 1963 sketch of the painting is in the Perm State Art Gallery.

His fame throughout the Soviet Union did not change Brusilovsky's standing among the bureaucrats from the Sverdlovsk branch of the Communist Party, who added the artist's name to the "black" list of formalists, and his relationship with the publishing house ended with his being officially forbidden from working.

Independent work
Having lost his job at the publishing house and thus becoming free from the demands of the bu siness cycle, Brusilovsky worked a lot in his studio, which became a place of pilgrimage for artists.
In his work he turned to the theme of war ("The General" and "Garcia Lorca"), to mythological themes ("Leda", "Leda and the Swan", "Venus in the Grotto" and "The Rape of Europa"'), painted paintings based on folk takes ("The golden cockerel", "Little red riding-hood and the grey wolf"), and also paintings such as "Football", "Lena's dance", "Masks (City)", "Once in Sverdlovsk", "Yu. A. Gagarin" and many others".

In 1968 Brusilovsky became a member of the Union of Artists of the USSR.

In 1969, working in collaboration with Gennady Mosin, he painted "Civil War Red commanders in the Urals", which depicted Blyukher, Frunze, Chapaev and other Red commanders in the Civil War in the Urals. The painting was displayed at the third regional "Socialist Ural" art exhibition in Chelyabinsk and caused a lot of debates because the style of the painting was very different from Socialist Realism.

In 1972 Brusilovsky finished work on the painting "The Arkady Raikin Theatre", which was judged anti-Soviet. Because she acquired the painting for the Sverdlovsk Art Workers' House, the artistic director of the house Tatiana Nabrosova, Misha Brusilovsky's future wife, was called in to the KGB for questioning.

In 1976 Brusilovsky jointed the artists' group of the Ural Engineering Plant factory (Uralmash) consisting of 28 painters, graphic artists and sculptors.

In 1977 he painted the commissioned work "Group portrait of Uralmash team of smiths (B. Shulenov, K. Le, A. Kordukov: foreman, A. Moskvin, V. Venchinov, I. Bersenev, V. Erer)", which was included in the retrospective publication Artists and Uralmash" in 1983.

In 1984 he painted "Golubskovsky sovkhoz" ("Pig-breeding farm in the Golubskovsky sovkhoz"), which caused another scandal.

In this way the museum acquired Mikhail Brusilovsky's wonderful canvas "Pig-breeding farm in the Golubskovsky sovkhoz", where the little artist looks shyly up at shapely milkmaids. The painting caused a huge scandal in its time: communists from the Union of Artists reproached the artist for using a traditional composition, instead of an infant putting a pig into the arms of its Madonna.

Boris Yeltsin, who held the role of first secretary of the Sverdlovsk branch of the Communist Party at the time, publicly declared that the painting was harmful to Soviet art.

Paris: Basmadjan Gallery

When Perestroika began in the Soviet Union, democratic reforms began, and the party organs stopped interfering in the creative process of artists, writers and other arts professionals. The attitude towards Misha Brusilovsky's work also changed, and in 1986 "the ban on Brusilovsky" was lifted.
In 1989, Brusilovsky received an invitation from the French collector and gallery owner Garik (Garig) Basmadjan to have an exhibition in France.
In April 1989 Brusilovsky arrived in Paris. The exhibition was scheduled for November, but before that a lot of work had to be done to prepare the canvasses, which had arrived in France rolled up, and there were also a host of promotional activities. The painting "Aggression" (1975), which Basmadjan considered to be the most expressive and memorable, was chosen to advertise the exhibition. A reproduction of the painting was put on the cover of the exhibition catalogue, and also on advertising posters.

The retrospective exhibition in G. Basmadjan's gallery, in which fifty of Brusilovsky's pieces were displayed, took place from 18 November 1989 to 18 January 1990. The exhibition was a great success, and the French press mentioned Brusilovsky's name together with the names of artists from Russia such as Ilya Kabakov, Eric Bulatov and Vladimir Yankilevsky.
Garik Basmadjan was not present at the opening of the exhibition, because on 24 July 1989 he visited the USSR on the invitation of the Ministry of Culture, and on 29 July 1989 he disappeared without trace in Moscow. His disappearance is considered one of the most mysterious crimes of perestroika-era Russia.
Because of Garik Basmadjan's disappearance, the gallery stopped working with Misha Brusilovsky, and he returned to Russia having left a large number of his pieces in Paris.

The 1990s
In 1990, after he came back from France, Brusilovsky was awarded the "G. S. Mosin prize", for his contribution to the development of art in the Ural region.

In that same year 1990, together with Anatoly Kalashnikov, Brusilovsky got a private commission to paint eleven canvasses, sized 1.5 х 2 m, in the style of interior painting. When the project was complete, the client unexpectedly went abroad. He refused to collect the canvasses, and gave the artists permission to do what they wanted with the paintings. Misha Brusilovsky kept the paintings in his studio for many years, and only in 2013 were they exhibited to the general public.

In 1992 Brusilovsky visited the United States. He lived in the cities of Columbus and New York. In New York he visited his old friends from the Urals, the poet Bella Abramovna Dijur and her son Ernest Neizvestny. He also met the painter Anatoly Kalashnikov, who had come to New York from Sverdlovsk. But Brusilovsky devoted most of his time there to his work, and in the course of one year he managed to complete approximately one hundred paintings.

After living in the United States for one year, Misha Brusilovsky decided to come back Sverdlovsk.

His trips to France and to the United States influenced features of Brusilovsky's style of painting and use of colour,  and once again he began to revisit his favourite themes.

In 1993 a personal exhibition of Misha Brusilovsky's work was held in the offices of the journal "Our Heritage", in Moscow, in which works which used a new style of painting were exhibited.
In the period between 1993 and 1997, Brusilovsky also created a series of miniature works for the "Autograph" Gallery, which he created according to the principles of abstract art. These included works such as "Abstraction", "Composition", "Opus 2", "Opus 3", "Subjects", "Six subjects", "House", "Window", "Port", "Landscape", "Landscape at night", "Peace", "Remembering", "Leave-taking" and "Golgotha".

In 1995, 1997 and 1999 he visited Israel.

In 1999, an exhibition of Brusilovsky's painting called "Biblical themes" was held in the Sverdlovsk state philharmonic. Paintings from Yevgeny Roizman collection were displayed at the exhibition.

Recognition

In 2001 a personal exhibition of Misha Brusilovsky's paintings was held in the gallery "Manole" (Ein Hod, Israel) and there was a travelling exhibition "Russian art. 300 years" (Peking, Shanghai, Hong Kong, China) and a personal exhibition in the Ekaterinburg Museum of Fine Arts.

In 2002 the "Ural Gold Foundation" and the journal "Our Heritage" published the book "Misha Brusilovsky. World of the Artist" by Aleksandr Ryumin. The book is dedicated to the work of Misha Brusilovsky.
In that same year 2002 Brusilovsky was awarded the Sverdlovsk Region Governor's prize "For outstanding achievements in literature and art".

In 2003 the gallery "Gold Scorpion", in its series of permanent exhibits "Noah's Ark", put on a joint exhibition of the works of Misha Brusilovsky and the sculptor Andrei Antonov.

In 2004, Brusilovsky took part in the exhibit "Carrying the Cross", organised by the Ekaterinburg Museum of Fine Arts.

In 2009 Brusilovsky took part in an exhibition of contemporary American and Russian art "Contact: Wind and Fire", organised with the support of the Department of Print and Culture of the General Consulate of the US in Ekaterinburg, the non-governmental foundation "Ekaterinburg creative union of cultural workers" and the "Ekaterinburg gallery of contemporary art". Works by famous American and Ural artists were exhibited at the event.

On 28 April 2009, the premiere of Svetlana Abakumova's documentary film "Sunday in the studio" was screened (Studio FSS, art-movement Old Man Bukashin, Studio Telesistema). The film is dedicated to Misha Brusilovsky's life and work.

In 2010, the art gallery "Art-Slovar" opened the permanent exhibit "Luminaries of Ural art", which included works by Brusilovsky such as "Samson and Delilah", "Leda and the Swan", "Rape of the Sabine Women" and "Auschwitz".

On 9 June 2011, the premiere of Boris Shapiro's documentary film "Misha and his friends", filmed in the "Bo-Sha-film" studio, was held in the Ekaterinburg House of Cinema. The film tells the story of Misha Brusilovsky's life and work.

On 16 September 2011, the Ekaterinburg Museum of Fine Arts opened a retrospective exhibition on the occasion of Brusilovsky's 80th birthday.

On 22 November 2011 Brusilovsky was awarded the title of Honoured artist of the Russian Federation by order of the President of the Russian Federation.

On 28 November 2013 Brusilovsky was made a Distinguished member of the Russian academy of arts.Official site of the Russian Academy of Arts.

Brusilovsky's works are located in the Ekaterinburg Museum of Fine Arts, the Perm State Art Gallery, the Ekaterinburg Gallery of Contemporary Art, the Chelyabinsk Region Gallery, the Orenburg Region Museum of Fine Arts, the Irbit State Museum of Fine Arts, and also in private collections in Russia, Austria, England, Germany, Israel, US, France and Switzerland.

The paintings which Brusilovsky left in France and in the US are periodically sold at some of the largest auctions in the world. In 2006, at a Sotheby's auction in London, the painting "Football", was sold for 108000 Pounds.

According to the publication "The Art Newspaper Russia"''', Misha Brusilovsky occupies 38th place was in the list of the 50 most expensive living Russian artists.

Death
Misha Brusilovsky died on 3 November 2016 in Yekaterinburg, Russia

Selected works

Titles and awards
 1990 — Laureate of the "G. S. Mosin prize"
 2002 — Laureate of the Sverdlovsk region Governor's prize "For outstanding achievements in literature and art". 2011 — Honoured artist of the Russian Federation
 2013 — Distinguished member of Russian Academy of Artists

Sculptural composition "City dwellers. Conversation"
In August 2008 the sculptural composition "City dwellers. Conversation" was installed on a square in Ekaterinburg at the junction of Lenin Prospect and Michurin Street. The work of sculptor Andrei Antonov (1944–2011), the composition depicts three Ural artists: Misha Brusilovsky, Vitaly Volovich and Herman Metelev.

Literature
• In 2002, the "Ural Gold Foundation" (Yekaterinburg) and the journal "Our heritage" (Moscow), published the book "Misha Brusilovsky.  World of the artist", which tells the story of the life and work of Misha Brusilovsky. Author: Aleksandr Ryumin.

External links
 Misha Brusilovsky on the site UralKartina
 Misha Brusilovsky`s works in Mi-Art gallery
 Misha Brusilovsky on the site Art-Slovar gallery
 Misha Brusilovsky's works in the gallery Manole
 Misha Brusilovsky's works in the gallery RusArt
 Misha Brusilovsky's biography on the site Artru.info
 Misha Brusilovsky's works in the gallery "Shlepyanov-Art"
 Ural Artist Creates Six-foot Portrait of Nicholas II and Son
 Official site of "Sotheby`s" auction house (Result of the sale of Misha Brusilovsky's painting "Football", 28 November 2006, London)

Sources
 Ekaterinburg artists: Misha Brusilovsky
 Article by Rina Mikhailova "Painting as confession for the soul..."
 Article by Kasia Popova "Everyone can give one grain…". "Kommersant" newspaper
  Biography of Misha Brusilovsky on the site Artists' "Union of Russia"
 Interview with Misha Brusilovsky in "Komsomol'skaya Pravda"
 E. P. Alekseev. G Mosin and M. Brusilovsky's painting "1918" : An analysis of the artistic system.
 "Misha Brusilovsky. World of the artist", 2002. Author: Aleksandr Ryumin. "Ural Gold Foundation" and the journal "Our Heritage"''.

References

1931 births
2016 deaths
20th-century Russian painters
Russian male painters
21st-century Russian painters
Artists from Kyiv
People from Yekaterinburg
Soviet painters
20th-century Russian male artists
21st-century Russian male artists


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Corrode update: support from Mozilla, and new features
Oct 28, 2016 • Jamey Sharp • rust • corrode
It's been a while since I've written about Corrode; I've just been quietly working on it and merging contributions from several other people. I have a few things I'd like to mention today.
Funding from Mozilla
The big news: Mozilla is providing funding for me to work on Corrode for the next few months! I'm super excited to get to work on some of the trickier challenges in translating C to Rust, such as eliminating "goto" statements. More on that later, but first, let me tell you about the specific goal that Mozilla is providing support for.
One challenge for computing today is bit-rot in software that nobody wants to maintain any more, but that's still useful to some community. (This is a problem for both open-source and proprietary software, but let's focus on the open-source side as there are fewer roadblocks for a person who's motivated to do something about it.) When users discover bugs and security flaws in unmaintained software, they're often just out of luck.
Mozilla has an interest in finding better ways for people to build software, whether that's through better programming tools like Rust, or more effective ways of organizing an open-source community. So the experiment I'm working on is to see if it makes sense to "rescue" unmaintained open source projects that were written in C by semi-automatically translating them to Rust.
To find an interesting case study, I looked through Debian's list of orphaned packages to find projects that have a reasonable amount of C source. I especially wanted to find a project with a network component, so if there are security flaws they may be remotely exploitable, because Rust's safety guarantees have more impact there. Then I cross-checked Debian's "Popularity Contest", an opt-in census of which packages are installed on Debian systems, to pick a package that's relatively widely-installed despite being unmaintained.
The package I settled on: CVS, the venerable "Concurrent Versions System". The first release of CVS was on November 19, 1990, almost 26 years ago! (This is not the oldest codebase I've worked on, but it's close.) The last upstream release of CVS was in 2008, even though it had a security vulnerability discovered in 2012. This is clearly 50k lines of unmaintained C.
CVS was largely supplanted by Subversion a decade ago, which has largely been supplanted by git today. Anyone choosing CVS for a new project would get asked some pointed questions. But there are still tons of open source projects where their history is only available via CVS; you can find plenty of examples hosted at sites like Sourceforge or Savannah. And according to the Popularity Contest statistics, 6.5% of Debian users still have CVS installed. So there's value in keeping the CVS implementation alive.
I'm currently working on improving Corrode to be able to translate as much of CVS as I can manage. After that I'll use the generated Rust source to study how much manual work is needed to clean up Corrode's output, and see if there are opportunities for automating more. This effort will wrap up by the end of the year, and hopefully I'll have plenty to report by then.
Thanks so much to Mozilla for supporting this work!
I want to take a moment to thank all the people who have contributed to Corrode so far. I've merged pull requests from: Alec Theriault, Nathan Bergey, Vickenty Fesunov, Fabian Zaiser, Jeff Waugh, Jeremie Jost, Nabil Hassein, Amin Bandali, Getty Ritter, Robert Grosse, Sean Jensen-Grey, and Taylor Cramer. Thanks also to everyone who has filed bug reports, or commented on them to clarify details about Rust or C!
It's now possible to use Corrode as a replacement for GCC, with the corrode-cc script from the Corrode source tree. There are still a lot of bugs, but it's good enough that I'm usually testing Corrode now by running make CC=corrode-cc in various source trees, including CVS and musl-libc.
All C control-flow statements are implemented now, thanks to Fabian finishing off do-while loops… with the significant exceptions of switch and goto statements, which I'm working on now in a new 'cfg' branch. (See the first post I wrote about Corrode for background; I've been looking forward to this part for months!)
I've fixed a bunch of small issues that either made Corrode give up during translation due to not understanding the input, or made it generate invalid Rust output. The biggest change was to only translate declarations that are actually needed for the current translation unit. C header files are full of all sorts of junk, but if you don't actually reference a declaration then Corrode doesn't need to report any translation errors for that declaration. Fixing this let me translate my first 14 source files in the Linux kernel, so that was pretty exciting!
One change motivated specifically by my work on CVS: Corrode now handles K&R-style function definitions. Yes, CVS still uses pre-C89 style code in some places, while using C99 features in other places. That'll happen in a project of this age.
One interesting bug was around calling through function pointers stored in struct fields. In Rust, s.f() calls a trait method named "f" on "s". To call a function pointed to by a field named "f", you need parentheses, like so: (s.f)(). The pretty-printer for Corrode's Rust AST now inserts these parentheses as needed.
Another pretty-printer bug is something I tried to squash before, but hopefully got right this time: blocks in expressions. Rust's parser effectively automatically inserts semicolons after blocks under certain circumstances, so programmers don't need to follow up every if-statement or for-loop with a semicolon. If we want to generate something like this:
if c { t } else { f } as f32;
(which is a weird thing to do, but cases like this keep coming up) then we need to wrap the if-statement in parentheses to keep Rust's parser from treating the end of the else-branch as the end of the statement. However, we don't want to insert parentheses when they aren't needed, because sometimes Rust will actually warn that there are unnecessary parentheses! Fortunately I think I have parentheses in exactly the right places now.
And, because it was driving me mad, I fixed indentation for pretty-printing if-else ladders. They used to zig-zag further to the right, and sometimes some branches would all be on one line while other branches were split across multiple lines. Fixing this had no effect on correctness of the output but it's substantially more readable now!
I'm preparing a new repository for the CVS source code that will include scripts to let anyone reproduce my progress on that translation. I'm having a little trouble scripting some of the steps I do, so that's taking longer than I hoped, but it'll happen at some point.
A significant fraction of source files in CVS contain either switch or goto statements so my major focus short-term is on translating those control-flow constructs correctly. If you'd like to help, check out the discussion around goto and switch.
I'll post progress reports like this regularly. Keep an eye out!