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Journal of the New Media Caucus | ISSN: 1942-017X
New Media Caucus
Feminizing Oswald de Andrade's "Manifesto Antropófago" and Vasconcelos' Raza Cósmica: The Videos of Sonia Andrade and Pola Weiss
Sarah Shamash
Independent Media Artist and PhD Candidate at the University of British Columbia
Gabriela Aceves Sepúlveda
Assistant Professor in the School of Interactive Arts and Technology at Simon Fraser University
Keywords: mestizaje, video art, feminist, Latin America, feminized perspective, raza cósmica, manifesto antropófago, hybridity, cannibalism, náhuatl, cyborg, third-world feminism, new mestiza consciousness
The term mestizaje has been broadly used to denote the hybrid nature of Latin American cultures. Two of the most notable engagements with hybridity came from the Mexican José Vasconcelos' La Raza Cósmica (1925) and the Brazilian Oswald de Andrade's "Manifesto Antropófago" (1928). Both of these modernist intellectuals developed a strategy to resist western colonial domination and to embrace a unique culture that blended multiple histories, ethnicities, cosmologies, and practices. This paper addresses how, in the 1970s, Brazilian video artist Sonia Andrade (b. 1935) and Mexican video artist Pola Weiss (b. 1947-1990) cannibalized and embodied Andrade and Vasconcelos' manifestos from a feminized perspective.
Following the work of the Chilean critic Nelly Richard, feminization is understood as a process that breaks down the barriers of biological determinism and fixed symbolic roles, thus becoming a practice of continued contestation. This is not only relevant to those who define themselves as women, but also to a multitude of experiences that contest normative and fixed definitions of sex, race, or ethnicity. [1] From this perspective, we also position Andrade and Weiss' work as part of a meaningful dialogue with those Chicana scholars who feminized the concept of mestizaje during the second half of the twentieth century.
Most famously, by the mid-1980s, Chicana scholars Gloria Anzaldúa and Chela Sandoval re-engaged with the concept of mestizaje to theorize their experiences as mixed-queer-third-world feminists of color in the United States. [2] In particular, Anzaldúa's new mestiza consciousness, which stressed the potential of crossbred, queer, and indigenous peoples to propose a new angle of vision—namely, a critical way of challenging the binary structures imposed by western patriarchy—became foundational to the development of Chicana scholarship. [3] Anzaldúa's new mestiza consciousness went beyond biological definitions of mestizaje: she defined a holistic epistemology as "a more whole perspective, one that includes rather than excludes." [4] Building on Anzaldúa's work, Sandoval proposed an oppositional consciousness as a way to explore "affinities inside of difference." [5] Sandoval's oppositional methodology describes a set of strategies that seek to build bridges and trace affinities between the work of what she calls "postcolonial US third-world feminist criticism" and canonical western postmodern cultural theorists in order to put an end to "academic apartheid." [6] Indeed, Sandoval's work is central to Donna Haraway's "A Cyborg Manifesto" (1985), the foundational text of cyborg feminism. [7] For Haraway, the cyborg is a hybrid between organism and machine: "a matter of fiction and lived experience that changes what counts as women's experience in the late twentieth century." [8] Significantly, one of the central objectives of Haraway's "Manifesto" is a broader political project aimed at transgressing boundaries and undoing the dualisms and essentialisms of dominant intellectual and cultural traditions that dictate the construction of hierarchies of difference.
However, it is noteworthy that in the chicana-feminist-queer-cyborg-third-world re-engagement with the concept of mestizaje/cyborg, the voices and experiences of Latin American women from the South are excluded. Consequently, this paper seeks to address this omission by discussing two emblematic videos, Sem título (1975) by Sonia Andrade and Somos Mujeres (1978) by Pola Weiss, while situating the artists and their works in geo-historical and socio-politico-cultural contexts. In doing so, we collaboratively map diverse re-engagements with the concept of mestizaje (including hybrids of self and technology) developed by Latin American women as a critique of dominant social structures. And, in the spirit of Chela Sandoval's search for commonalities of strength and affinity, this paper seeks to find those commonalities of strength and affinity among women in the Americas who feminized the concept of mestizaje during the second half of the twentieth century. [9]
Só a ANTROPOFAGIA nos une. Socialmente. Económicamente. Filosoficamente.
— Oswald de Andrade [10]
The table is set with a dish of black beans; bread, beer, and coffee complete the image of typical Brazilian food and domesticity in Sonia Andrade's video, Sem título. [11] We see a woman seated on an apartment balcony, a television in the background. The woman sits with her back to the television screen, facing the camera, dishing out a meal of feijão (black beans). The television and its soundtrack create an audiovisual disturbance in this otherwise wholesome, albeit banal, moment of repose—a woman sitting down to a meal in her home. In Andrade's video, a television station is showing a black and white Tarzan film, an American production dubbed in Portuguese, portraying the South as barbaric, primitive, and exotic.
About three quarters of the way into the video, after many long minutes of consuming her beans, Andrade suddenly abandons her spoon and starts rubbing beans on her face and neck. The banality of the ritual of eating a meal suddenly disintegrates into a new ritual, a discordant image of woman, television, and home. The woman smears black beans all over her head, face, and body, until her face is blackened. She then starts throwing beans at the camera lens in what may be considered an attack against this invasive lens, which signals a moment of voyeurism in this domestic scene, thus breaking the fourth wall. We hear the smack of beans hit the camera lens until all we see are abstracted images of the beans dripping down the lens, the dominant soundtrack of the television still ringing in our ears.
It isn't until we witness Andrade's seemingly barbaric yet calculated and ritualized behavior with the beans that our attention shifts from the television to the foregrounded woman. With a banal, minimal, and domestic mise en scène of food, television, woman, and body, Andrade re-conceptualizes the complex inter-relationships of the above in the context of an urgent political and social condition.
The historical moment in which Andrade made this 1975 video was one of Brazil's most politically fraught periods, characterized by a highly repressive military dictatorship and extreme censorship laws. After the 1964 military coup in Brazil, the cultural landscape shifted as artists adapted to the newly repressive environment by broadening the relations between art and spectatorship, while challenging accepted norms of art through the use of existing technologies and modified production materials, such as in Andrade's video experiments. Significantly, in 1968—a critical year in Brazil, Mexico, and internationally, marked by abuses of human rights, mass demonstrations, political upheaval, and demands for social justice—a new law known as the Fifth Institutional Act (AI-5) was passed. [12] Under this new law, a complex system of censorship regulations was put in place, restricting any form of public commentary and entertainment, including journalism, music, film, theatre, and art. However, Andrade, and her pioneering video art contemporaries often managed to pass under the radar of this restrictive law with videos that critiqued the dictatorship, as video art was not seen as a threat in its early days. [13]
Also of note, in that same year Tropicália, one of Brazil's most influential cultural movements, was launched in response to the increasingly strict laws and the generally repressive climate for artists, activists, journalists, and intellectuals, who were being tortured and forced into exile. [14] As Elena Shtromberg explains, "Art is an open system … a matrix of social exchange." [15] Tropicália was characterized by a fusion and hybridization of forms and influences that combined traditional Brazilian culture with foreign influences, the popular with the avant-garde, in order to create something new and unique.
Tupí, or not Tupí: that is the question.
The dominant doctrine of Tropicália was antropofagia (cannibalism), which took the original concept from the poet Oswald de Andrade's famous 1928 "Manifesto Antropófago." Of historical interest is that the first television channel in Brazil was called "TV Tupí"; it was also the first commercial television broadcast in South America, in September of 1950 by Assis Chateaubriand, a co-founder of the São Paulo Museum of Art (MASP) in 1947. [17] In 1975, Sonia Andrade made her video Sem título at a time when almost no one was using video, after an invitation by the then-director of the MASP. Her 1970s series of videos, all titled Untitled, comprise a vitriolic critique: they drew attention to the bodily pain of torture employed by the regime, the patriarchal view of women, and the use of television as a predatory tool in the hands of the dictatorship.
Looking back at Brazil's television history, the Ministry of Communications was created in 1967, the same year that the famous Brazilian artist, Hélio Oiticica, exhibited his installation Tropicália (the name subsequently taken up for the cultural movement) at Rio's Museum of Modern Art as part of the New Brazilian Objectivity show. [18] Also in 1967, the newly created Ministry of Communications allied itself with the Brazilian government's agenda to increase control of the Amazon basin by means of the Trans-Amazon Highway.
In effect, television became the means to aggressively promote the government's ideological agenda, both in Brazil's urban hubs as well as in its hinterlands. Just as the state was investing in telecommunications technology, Andrade used the same technology as a tool to express and engage with ideas through the visual, corporal, non-verbal, and gestural. The political dimension of Andrade's work in her 1970s video series is as pervasive as the booming television in her frame. As articulated by Marshall McLuhan, "TV will not work as background. It engages you. You have to be with it." [19] In this way, the television in Andrade's work becomes a constant reminder of the invasive presence of the repressive authoritarian regime, while Andrade enacts, through corporal gesture, new ritualized relationships with food, television, and body within the confines of the frame.
Andrade drew attention to the political and social body by turning the camera on herself in her single take, fixed-camera, monochrome videos that meditate on bodily gestures. Andrade's work, which engaged her body and the medium of video, provided alternatives to television's dominant and unrealistic projections of Latin American women and their lifestyles, along with the rest of the televisual norms dictating gender, family, religion, politics, and social behavior. Feminist and cultural critic Nelly Richard discusses how the body is a site for exposing tensions in repressive societies. Richard asserts that "under circumstances where censorship is applied to vast areas of meaning in language, any superfluous discourse or unspoken pressure which escapes or undermines the syntax of the permitted can only surface as bodily gestures." [20] Certainly, Richard's arguments, made in reference to Chile's dictatorship, are apt in Brazil's political climate during the 1970s.
Ultimately, Andrade's videos, similar to those of her Mexican contemporary Pola Weiss, used the then-new medium as a poetic and utopic hybrid extension of the female body that had the power to cannibalize and attack its political enemy.
Present world conditions favor the development of interracial sexual unions, a fact which lends unexpected support to the thesis which, for the lack of a better name, I entitled: The future cosmic race.
—José Vasconcelos [21]
In his essay La Raza Cósmica, José Vasconcelos foretold the coming of a new age for mankind in which racial barriers would lose their force and ongoing racial mixture would lead to the cosmic race. According to Vasconcelos, this new race would be "gifted with the power of creative fantasy over reason" and its dominance would coincide with the "Spiritual or Aesthetic Era of mankind." [22] Vasconcelos' essay was foundational to Mexico's post-revolutionary nationalist project of indigenismo, which relied on the concept of mestizaje as the main element that would bring radical change to Mexican society. [23] Of particular interest is that, as secretary of education from 1921 to 1924, Vasconcelos played a crucial role in the construction of national imagery based on the promotion of "mestizo aesthetics," encouraging the development of the Mexican School of Muralism, which, along with photography and film, helped to visualize and promote the values of indigenismo. [24]
In the 1970s, Pola Weiss looked back at Vasconcelos' cosmic race to formulate the coming of a new era rooted in the emerging role of video as an artistic medium and its connection to television broadcasting. Like Sonia Andrade, Pola Weiss began to experiment with video technology at a time of social and political turmoil. In the aftermath of the 1968 massacre of students in downtown Mexico City, the Mexican state embarked on a populist program of reforms to regain popularity. Part of the package of reforms targeted the television industry—which had been in the hands of the private sector since the early 1950s—as the most effective means to influence public opinion. [25] These reforms led to the consolidation of three main institutions that vied for televisual airwaves and programming. [26] These recently established broadcasting institutions were not only open to experimenting with video technology but also eagerly opened their doors to a new generation of media professionals—including women. [27] As early as 1973, Pola Weiss began to collaborate with these three institutions in various capacities, and soon after established her own production company ArTV (1978). [28]
Weiss believed that televisual art (or ArTV as she called it) could foster large-scale transformations that would shape a new man, one she labeled, "el hombre cósmico" (the cosmic man). [29] For Weiss, the cosmic man was an embodied critical media viewer in touch with his/her feelings—a sensorial being who challenged dominant regimes of visuality and separated the act of viewing from other sensorial experiences. [30] Unlike Vasconcelos' cosmic race, Weiss' cosmic (wo)man would foster change not through racial mixing, but through the development of hybrids of self and technology. [31] For Weiss, the new aesthetics of mestizaje for this televisual era would no longer be distributed and popularized through murals, photography, or films predominately created by male artists, but through televisual images increasingly produced by women who, like her, embraced the potential of video and television broadcasting. Indeed, just like Sonia Andrade, Weiss was attracted to video because of its lack of history, which, as Midori Yoshimoto has described, afforded many 1970s female artists a clean slate, allowing them to launch their careers without the burden of an existing male tradition or established categories and genres. [32]
In Pola Weiss' Somos Mujeres, the camera moves quickly between shots of busy street traffic, close ups of a church, modern buildings, and women begging on the streets with children in their arms or strapped to their backs with a rebozo. [33] The soundtrack intermixes dialogues in indigenous languages with the weeping sounds of women and children. Suddenly, the camera takes the point of view of a child being carried on her mother's back. By using a tilted angle and subjective camera perspective, Weiss places the viewer in the position of the indigenous child. The viewer looks at the side of a building, and from this position—perhaps just like a child being carried on his/her mother's back—is unable to understand what she/he sees: the city becomes foreign, the space of the Other. The camera moves from a subjective position to an objective one, and at some point in the video, the women on the street become aware of Weiss' camera. They seem to throw things at Weiss and her camera. Like Sonia Andrade, Weiss was also interested in breaking the fourth wall. In Somos Mujeres, Weiss did so by incorporating the women's responses to her camera. Shown at the February Biennale of Modern Art in Mexico City in 1978, Somos Mujeres was one of the first videos by Weiss where she began to formulate the utopic potential of video: namely, the medium's capacity to develop alternate televisual realities in which the subject (the camerawoman) and the object (the indigenous woman and her child) of representation could switch positions, mix with one another, and thus subvert the power relations in the matrix of representation. [34]
Weiss conceived each of her videos as an act of giving birth, and her camera as her daughter—her escuincla (from the Náhuatl word for daughter). The word escuincla, also from the Náhuatl word itzcuintli (a dog without hair, or a child) is commonly used in colloquial Mexican Spanish as a pejorative term to refer to an indigenous or dark-skinned female beggar, or to refer to any nuisance. As we have argued elsewhere, by conceptualizing her camera as her daughter, Weiss challenges normative female experiences by developing an incestuous coupling of herself, her camera, and the Other. [35] By using the video camera as a hybrid extension of her body and adopting television broadcasting as a conceptual model to reach audiences outside of the art world circuits, Weiss developed a unique approach to video.
Weiss, like Andrade, combined the predominant articulation of video art as a medium of self-knowledge with a concern for exploring video's relation to television broadcasting and the medium's aesthetic and technical qualities. [36] Through this approach, Weiss sought to undermine the separation between real experience and the reality structured by the medium of video. In naming her camera "escuincla" and allowing it to act as a prosthetic to extend the vision of her white, middle-class, female body, while also allowing the Other to see through it (via the use of subjective camera or feedback), Weiss gendered the process of mestizaje as female.
Weiss' approach was not free from contradictions. Her fusions of self, Other, and machine were at times patronizing and idealistic experiments. [37] Nonetheless, like Andrade's approach, Weiss' use of video did offer an alternative to dominant expressions of Latin American utopian impulses during the second half of the twentieth century. By blurring the division between the subject and object of representation, Weiss developed contradictory fusions of self and Other, and in so doing, Weiss feminized indigenista visual traditions by breaking down the barriers of biological determinism and fixed symbolic roles that once connected man to technology and woman to nature. [38] In much the same way as Andrade, Weiss provided alternative visions for Latin American women through the expansion of utopian televisual realities where the boundaries of race, class, gender, and ethnicity could be experienced and performed differently.
Among the affinities between Sonia Andrade and Pola Weiss and the parallel worlds they inhabited, this paper has discussed how both artists used video and the site of their bodies in hybridized, feminized, cannibalist experiments to subvert the masculine and authoritarian language of televisual images. These efforts speak to a common interest in undoing longstanding colonial, racial, gender, and class hierarchies present in Latin American societies.
Nelly Richard et al., Masculine/Feminine: Practices of Difference(s), ed. Stanley Fish and Fredric Jameson (Durham, NC: Duke University Press, 2004), 21–28.
Gloria Anzaldúa, Borderlands: The New Mestiza = La Frontera (San Francisco: Spinsters/Aunt Lute, 1987); Chela Sandoval, "Mestizaje as Method: Feminists-of-Color Challenge the Canon" in Living Chicana Theory, ed. Carla Trujillo (Berkley: Third Women Press, 1998), 352–370; and Chela Sandoval, Methodology of the Oppressed (Minnesota: University of Minnesota Press, 2000).
Chela Sandoval, "Mestizaje as Method," 354–355. See note 2.
Ana Louise Keating, ed., The Gloria Anzaldúa Reader (Durham: Duke University Press Books, 2009), 10.
Sandoval, "Mestizaje as Method," 359. See note 2.
Sandoval, Methodology of the Oppressed, 4. See note 2.
Donna Haraway, "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century" in The Cybercultures Reader, ed. D. Haraway, D. Bell, and B. M. Kennedy (New York: Routledge, 2000), 296.
Haraway, "A Cyborg Manifesto," 291. See note 7.
Sandoval, Methodology of the Oppressed, 2-4.
"Only anthropophagy unites us. Socially. Economically. Philosophically." Oswald de Andrade as quoted by Leslie Bary, "Oswald de Andrade's Cannibalist Manifesto," Latin American Literary Review 19, no. 38 (July-December 1991): 38.
Sonia Andrade, Sem título, 1975. Video, 8 min.
The law was proposed by the army general Artur da Costa e Silva, then president of Brazil. Elena Shtromberg, Art Systems: Brazil and the 1970s (United States: University of Texas Press, 2016), 44.
Sonia Andrade in conversation with the curator at the Centre Georges Pompidou in Paris, April 2, 2012. Accessed February 15, 2016. http://www.dailymotion.com/video/xrnb3p_cinema-et-videos-sonia-andrade_creation.
Tropicália is largely associated with music (Caetano Veloso, Gilberto Gil, Os Mutantes, Tom Zé, Gal Costa) but also encompasses cinema, theatre, poetry, and art. The movement gained strength in 1968 with the release of the album Tropicália: ou Panis et Circencis serving as a musical manifesto.
Shtromberg, Art Systems, 9. See note 12.
English translation of the Portuguese "Manifesto Antropófago," by Oswald de Andrade. Tupí is the popular generic name for one of Brazil's largest Indigenous peoples, also known for their cannibalistic rituals. Leslie Bary, "Oswald de Andrade's Cannibalist Manifesto," 38. See note 10.
Shtromberg, Art Systems, 94. See note 12.
McLuhan, Marshall, Understanding Media: The Extension of Man (Massachusetts, MIT Press edition 1994), 312.
Nelly Richard, "Margins and Institutions: Performances of the Chilean Avanzada," in ed. Shtromberg, Art Systems: Brazil and the 1970s (United States: University of Texas Press, 2016).
José Vasconcelos, "The Cosmic Race: The Mission of the Iberoamerican Race," in The Cosmic Race: A Bilingual Edition trans. Didier T. Jaén (Baltimore and London: The Johns Hopkins University Press, 1997), 3.
José Vasconcelos, The Cosmic Race, x. See note 21.
Indigenismo is defined as a set of reforms and practices that attempted to integrate indigenous cultures in the development of a national narrative in order to construct a modern national identity. It was a process of internal colonization and expropriation, whereby the image of the Indian emerged as the source of mythical originality and the basis of a new mestizo national identity. Gabriela Aceves Sepúlveda, "Imagining the Cyborg in Náhuatl: Reading the Videos of Pola Weiss through Haraway's Manifesto for Cyborgs," in PLATFORM: Journal of Media & Communication 6, no. 2 (2015), 46–60.
For a discussion on the concept of "mestizo aesthetics" as it relates to the Mexican School of Muralism see Ana Maria Alonso, "Conforming Disconformity: Mestizaje, Hybridity, and the Aesthetics of Mexican Nationalism," in Cultural Anthropology 19, no. 4 (2004), 463. For a discussion on how photography and cinema visualized and popularized indigenismo, Sepúlveda, "Imagining the Cyborg in Náhuatl," 54. See note 23.
Sepúlveda, "Imagining the Cyborg in Náhuatl," 48. See note 23.
These institutions included the state through the purchase of the television channel, Canal 13 (1972); Televisa (1973); and the Universidad Nacional Autónoma de México (UNAM) through TV UNAM, a closed network television production station that began to broadcast on an open network in association with Televisa in 1976. See Sepúlveda, "Imagining the Cyborg in Náhuatl," 48. See note 23.
Sepúlveda, "Imagining the Cyborg in Náhuatl," 48–49. See note 23.
For more details on Weiss' conception of arTV see Gabriela Aceves Sepúlveda, "Imagining the Cyborg in Náhuatl," 53.
Pola Weiss, "La TV te ve" in Artes Visuales. Revista Trimestral del Museo de Arte Moderno, 17, Spring (1978), 19–20.
Juan Garibay Mora, "El Video Arte, Superación de la Caja Idiota para los seres cuyo pensamiento es visual," in Excelsior section E, 1, (August 14, 1982).
Midori Yoshimoto, Into Performance: Japanese Women Artists in New York (New York: Rutgers University Press, 2005), 187.
Pola Weiss, Somos Mujeres. 1977. Video, 7 minutes 15 seconds.
Sarah Shamash is a Vancouver based media artist. She studied film and media arts at Paris 8, University of Saint Denis, in France, completing two Master's degrees in Film and Media Arts. Influenced by cinema, her experimental mapping projects explore mapmaking as personal, political, feminine, and dynamic, while critiquing and subverting fixed, colonial demarcations of territory and space. Since the 2000s, she has been exhibiting her work in art venues and film festivals while pursuing her creative production at international artist residencies. She has been the recipient of numerous grants and awards, including the city of Vancouver's artist live/work studio award. She most recently exhibited a collaborative multi-platform mapping project, Telling Traces (http://tellingtraces.com/index.htm), in the scores + traces exhibition in New York. She is also a doctoral candidate at the University of British Columbia's Interdisciplinary program. www.sarahshamash.com
Gabriela Aceves Sepúlveda is Assistant Professor in the School of Interactive Arts and Technology at Simon Fraser University. As director of criticalMediArtStudio (cMAS), her interdisciplinary research focuses on how old and new technologies shape both the historical narratives and practices of media arts and design. Her research uses a critical lens to consider how categories of difference, traditional disciplinary boundaries, and the legacies of colonialism continue to be harmful and exclusionary. She has published articles on Latin American feminist media in Platform: Journal of Media and Communication and Artelogie: Recherches sur les arts, le patrimoine et la littérature de l'Amérique latine. Her work has been supported by a number of fellowships and has received numerous awards including the 2015 John Bullen Prize, which honors an outstanding PhD thesis on a historical topic submitted to a Canadian university. Her multimedia installations combining video and performance have been exhibited in Canada, Mexico, and Chile.
www.gabrielaaceves.com
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Categorized | Features, General
Keep your eyes on Little Bay, Montserrat
By Claude Gerald :
Montserratians everywhere may lose control of their island heritage in a post-volcano scenario.
The Little Bay peninsula which has been a political football for many years is now to be developed as the island's main commercial outpost, a town as we knew the concept, given our fascination with the entombed city at Plymouth; indigenous Montserratians seem programmed to be aliens in the eventual outcome in this emerging curious configuration. Moreover, it seems all right, quite fine, in the corridors of decision making at home and abroad. In this broader context therefore, Murphy-ism becomes a collateral issue of paling significance.
At this hour the impression is clear that the intention is to price enterprising natives out of their patrimony, in preference to others who are financially able to make Little Bay an exclusive enclave for the affluent and the new rich; the latter inevitably and ironically arising from local wheeling and dealing and positioning, in driving this top-down development.
Even at the subtlest levels, with the iron clad control of the joint local-foreign management of the Montserrat Development Control (emphasis on control) that destroys key vestiges of a plantation heritage and of natural history, chasing even native animals and birds from their sacred abode, the making of sustained dominance is obvious. It is within the realm of possibility, given current trends that the entrance to Little Bay via Carrs Bay can be embargoed in some form at some time to emphasize shutting natives out in physical ways.
Take note dear reader of the wanton scattering of the network of informal traders and fisher folk and the creation of a morgue of activity next to the never sleeping entrance at Carrs Bay, distinguished as the long sort after Evergreen Tree center of Plymouth, where people met naturally by just washing their feet and come.
Self-promoting planners know that they could afford to roast a pliant populace with impunity, as no outrage will be yelled except from frightful corners of their homes. Turning to appease the other cheek, despite the biblical command has flattened our development irreparably for ages. The principled takes a back seat to the material (salaries), the short memory and the long belly!
No other commitment is as weighty for a sitting government to do as to maintain a culture tied to natives owning and controlling land privileges. Caring governments of the 60s to 70s legislatively (Alien Land Holding Act) and effectively protected land rights of indigenous Montserratians even in the face of a growing real estate sector that supplanted plantation agriculture as the engine of economic growth.
Private investors then spent hundreds of millions of dollars to purchase and develop land from Cheap End to Richmond Hill along the West coast of Montserrat and at Bethel Estate in the East. They were pleased with their expenditure in compliance with the laws that existed. Also over a thousand foreigners including some extremely wealthy ones invested additional hundreds of millions of dollars constructing homes on Montserrat in total acceptance with the immigration and landholding laws.
When they put the land on the market, the payment arrangements were such that Montserratians did not have to be rich in order to purchase plots on the installment basis. In other words, Montserratians were not priced out of participation.
The reason for this was that they were not intent on any form of domination or taking political control. Instead, they were content to live on Montserrat under a locally controlled government and accept a level of integration with the local population.
However, the unregulated, uncontrolled influx of people (all categories) during the years since the eruption, has made 'indigenous' Montserratians a minority in their own territory. Given the failure to legislate effectively to protect the political dominance of real Montserratians, others will eventually gain political control. That is likely to happen sooner rather than later.
Enter the British opportunistically scheming for a takeover of their own, a desire since the government of John Osborne, by its behavior in the '80s allowed a rolling back of our constitution. This current governor arrived to launch a meet-the-people fan fair with meetings in every nook. This mission was not quite clear. Many citizens hailed this unusual if not enterprising governor for the outreach effort until a spirited Premier dubbed him derisively 'the other Chief Minister' for his campaign style of village encounters and manipulated and neutralized him to a follower status, shutting him out and down to the Premier's pleasure and shadow.
It is certain though that he had a wider mandate to change the immigration and land holding laws on Montserrat in order to become more attractive to investors. Through the governor, Britain has imposed this thinking on a perceptively morally weak local administration and has been insistent in repeating this demand with the passing of a retrograde constitution over the fervent objection of public opinion and notably other legislative changes detrimental to the interests of Montserratians. Local representatives of the people simply ignore this travesty and glibly collect their paycheck.
Now at a time when the land space is so limited the British have been allowed to design the takeover of Little Bay in a manner which will render the area exclusive to wealthy foreigners plus of course a certain few locals who have accumulated mega wealth through various nefarious means.
One draft of the plan at Little Bay provides for the construction of properties with starting price of US2M each. That will certainly create an exclusive ghetto for rich foreigners whether they are British, Chinese or others. To have amended laws pertaining to immigration and land holding means that they will have economic and political control and the indigenous Montserratians will be relegated to third class citizens.
In fact a colonial status infinitely more malignant than what was experienced prior to emancipation will be established with the consent of our local government.
Handing over pristine Little Bay and the surrender of the indigenous population to the status of hewers of wood and drawers of water in their own country is scandalous. It is in the making my dear reader! (more on that later).
Given our pristine and healthy climate, the abundance of high quality water, the fact that Montserrat is the safest country in the world and also our strategic location between Europe and Asia and the Pacific on the other side, with proper management, we could easily have attracted investors on our own terms just as we did in the sixties and beyond.
Even though one senses that the cause is virtually lost, there is still lurking, the fantasy of the original model, in which Montserratians maintained ownership and control of their country and way of life.
Only moral vision in leadership will save the day on this sorrowful ship of state that we care so much about.
The New York Times@nytimes·
"The Fabelmans," an autobiographical film by Steven Spielberg, is an NYT Critic's Pick.
"Spielberg has always been someone to take seriously," @manohladargis writes in a review. "The proof has also always been onscreen, and still is." https://nyti.ms/3NZHyFt
William Nelson Ryan@WCSGospelRadio·
A Prayer In Despair & Evening Prayer (Sweet Hour Prayer)
Climate protesters in Portugal storm building, urge minister to step down http://reut.rs/3AbcKMl
The deadline for using the money in health care flexible spending accounts is approaching, and people are stretching the definition of eligible expenses. How about sex toys? Or a cruise? Or knee surgery for a cat? https://nyti.ms/3hEFs1q
UK health secretary says nurses' pay demands not 'reasonable or affordable' https://www.theguardian.com/society/2022/nov/12/uk-health-secretary-says-nurses-pay-demands-not-reasonable-or-affordable?utm_term=Autofeed&CMP=twt_gu&utm_medium&utm_source=Twitter#Echobox=1668295425


AUSTIN — Texas Attorney General Ken Paxton is demanding that the federal government immediately end a program protecting young immigrants brought to the country illegally as children in a multi-state lawsuit filed Tuesday.
Ending the Deferred Action for Childhood Arrivals (DACA) program has long been a priority for Paxton, who has repeatedly threatened legal action against the federal government unless the administration phased out the DACA program. While some states have sued to keep the protections in place, the Texas-led seven-state lawsuit is the first seeking to terminate DACA.
"Left intact, DACA sets a dangerous precedent by giving the executive branch sweeping authority to ignore the laws enacted by Congress and change our nation's immigration laws to suit a president's own policy preferences," Paxton said in announcing the legal action.
In September, Attorney General Jeff Sessions announced the end of the program, but legal challenges and recent court rulings have allowed the program to continue. Last week, a federal judge in D.C. ruled that DACA protections must stay in place and the government must resume accepting new applications. The judge determined the administration's decision to terminate the program was based on the "virtually unexplained" grounds that the program was unlawful.
More than 689,000 people are protected under the DACA program, according to government statistics released last September. About 16 percent of them — or 113,000 — live in Texas.
"Our frustration is not with the administration, it's with three federal judges in various places in the country," Paxton said.
Paxton said the lawsuit does not ask the Trump administration to deport immigrants or rescind existing permits. Six other states — including Louisiana, Alabama and Arkansas — joined Texas' lawsuit, which was filed in U.S. District Court in Brownsville.
Several lawmakers — mostly Democrats — law enforcement officials and immigration organizations denounced Paxton's lawsuit.
Karen Tumlin, the legal director for the National Immigration Law Center, stressed in a series of tweets that Texas' lawsuit doesn't impact the earlier court decisions that have shielded the program from attempts by Paxton and numerous Republicans in Congress to shut it down.
Houston Police Chief Art Acevedo wrote on Twitter that he "proudly" stands with DACA recipients.
"History will show those of us that stand with these productive immigrants (who had no say in their life journey) were just in doing so," Acevedo said.
Sen. José Menéndez, of San Antonio and the chairman of the Texas Senate Hispanic Caucus, called the lawsuit a waste of taxpayer dollars.
"It has been widely accepted that children who are covered under DACA who are brought to this country as children through no fault of their own have done well in our educational settings, have done well in the workforce, have served our nation's armed forces with distinction," Menéndez said.


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Q: Should I use an access control on a shared structure between threads? I'm writing a small piece of software in C using the pthread library.
I have a bunch of threads that need write access to a shared structure containing a dynamically allowed char array but I can guarantee that two different threads will never try to access the same element of this array. My question is: should I use something like a semaphore or a mutex or isn't it necessary?

A: In your case the data are not shared between the threads and since the data is not shared between the threads, no synchronization mechanismn is required.

A: Well I think you answered the question yourself!
The purpose of mutexes is to protect against concurrent access of different threads on some resources. If you can guarantee that by design your threads will never concurrently access (read or write) the same memory area then you don't need mutex protection.

A: If your threads only read information, then no lock is needed.
If your threads modify information other threads don't see, no lock is needed.
If there is a single place that can be modified by one thread and used by others, you need to use a mutex.

redpajama_set_name: RedPajamaStackExchange


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L'ambre (ou ambre jaune) est une résine fossile. L'ambre bleu en est une variété.

Prénom
Ambre est un prénom mixte fêté le 10 mars.

Patronyme

 Émilie Ambre (1849-1898), chanteuse française d'opéra ;
 Joannès Ambre (1915-1984), avocat pénaliste français.

Oeuvres

 Ambre (), un roman historique de Kathleen Winsor paru en 1944 ;
 Ambre, un film d'Otto Preminger sorti en 1947 et adapté du roman précédent ;
 Ambre, ou Cycle des Princes d'Ambre, un saga fantastique de 10 romans, écrite par Roger Zelazny à partir de 1970 ;
 Ambre, un disque en solo du guitariste de jazz français Sylvain Luc ;

 Ambre, un tome de la saga Autre-Monde de Maxime Chattam ;
 Ambre, un jeu de rôle sans dé, se situant dans l'univers créé par Zelazny.

Autres
Ambre peut aussi désigner :
 Ambre (Laurent Sautet), un auteur de bande dessinée ;
 ambre, une couleur ;
 ambre, une couleur de robe spécifique aux chats norvégiens ;
 Ambre, une ancienne commune française du Doubs, aujourd'hui intégrée à Bouclans ;
 Ambre, un des codons stop du code génétique ;
 Ambre éditions, une maison d'édition dont le siège social se trouve au Touvet (France) et à Genève (Suisse) ;
 ambre gris, une substance produite dans les intestins du cachalot utilisée en parfumerie.

Voir aussi
 Ambres, commune française située dans le département du Tarn
 Mildon Ambres, joueur américain de basket-ball
 Bière ambrée

Homonymie de titre

redpajama_set_name: RedPajamaWikipedia


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34 Songs, 2 Hours 29 Minutes
Genesis are uniquely blessed with two deep-smoked tenors in Peter Gabriel and Phil Collins. Their streamlined, melodic '80s sound derives equally from soul and their years creating twisty prog rock in the early '70s, underpinned by pugnacious drums ("Mama") and pounding synths ("Abacab"). Saving their skronk chops for making angry musical points ("Land of Confusion"), their most emotional songs are tender and mature, taking them from the languid guitar spangles of "Follow You Follow Me" to the beefier "Invisible Touch," led by Collins' longing sincerity.
Turn It On Again: The Hits (The Tour Edition) [Remastered] Genesis
Turn It On Again
No Son of Mine
I Can't Dance
Hold On My Heart
Jesus He Knows Me
Invisible Touch
Tonight, Tonight, Tonight
Throwing It All Away
No Reply At All
Paperlate
Keep It Dark
Man On the Corner
Misunderstanding
Follow You Follow Me
Many Too Many
Your Own Special Way
I Know What I Like (In Your Wardrobe)
℗ 2007 Anthony Banks Ltd., Philip Collins Ltd., Michael Rutherford Ltd., under exclusive license to Atlantic Recording Corporation/Rhino Entertainment Company, a Warner Music Group Company. All Rights Reserved. Manufactured & Marketed by Rhino Entertainment Company. Made in U.S.A.
More By Genesis
Genesis (Remastered)
Nursery Cryme
Peter Gabriel 1: Car (Remastered)
Going for the One
For a While
The Geese & The Ghost
Spectral Mornings (Bonus Edition)
The Best of Focus: Hocus Pocus


A custom full service embroidery shop for the individual or the group.
Action Wear Plus' full service embroidery shop can serve the individual or the entire company. From blankets, to towels, to polos, to corporate wear, Action Wear Plus can create an clean professional look to showcase your brand or fun idea.
Our monogramming quality is second to none, with over 50 years of combined experience in the department we can take on the simplest or the most complex projects and get them done on time and at a fair price.
Ask for a quote now including quantities, type of garment, and size of the design and we can get your project started for you.


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Sonic Colors Ultimate Revisited
I made the Sonic Colors game a lot of things. There's a lot of parts that I'm not really proud of. I may not have been as good as my friends, but I still learned a ton from playing the game. The biggest downside to the game is that the graphics are not as good as the game. In this article, I'll go in-depth with the problems. I'll also go over some of the most memorable moments in the game, along with some other tips to improve the game as I go. And when I come back in a month, I'll go over the game with even more detail. I'll also list another Sonic Colors game that I'm playing on PS4 and it will compare with this one to see if the two games are better. Finally, I'll go over some of the pros and cons of my review and some of the stuff that I've noticed while playing the game.
I've already been very excited about this game. For those who don't know what the hell is going on, Sonic Colors will feature a lot of new elements on top of all the other stuff that the game has to offer. There are new stages, modes, and bosses. I'll go over the list in this article, what I liked about it, and what I dislike about it.
The game has three new stages that are coming soon. This will also feature new boss fights, as well as new and improved versions of some of the stages that made their way onto the game as well as some new stages that were added to the game. The first one is a battle based level, that will feature a few new characters and new enemy types. Other than that, players will have the choice to go up against bosses, and the bosses will be at the bottom of a tower. The other two stages are on a tower that will feature much of the same as the lower level. The first one is where the player will have to battle a boss, while the other will feature more stages where the player will have to battle bosses. This stage is set up like you would expect it to be, and the boss is only on the top of a tower.
1 Sonic Colors Ultimate Revisited
1.1 Sonic Colors: Ultimate Revisited
1.2 Sonic Colors: Ultimate Screenshot 13 IMAGES.
1.2.1 Tips of the Day in Computer Games
Sonic Colors Ultimate | Sonic Colors: Ultimate | Sonic Colors: Sonic Color Ultimate (Sonic. org) Game Review, Strategy Guide, HD Wallpaper and Free Game Download | Sonic Colors: Ultimate | Sonic Colors: Sonic Color Ultimate (Sonic.
Sonic Colors: Ultimate provides hundreds of different levels, including multiple stages for each player, three separate courses for each side, and several different boss battles. The game's free-for-all gameplay allows you to choose up to five characters to play, making the experience very customizable.
The player is able to control the five characters, with each character having their own special attack, power, and speed. Players can also change their starting characters at the start of the game and change up their strategies for the rest of the game depending on the situation.
Sonic Colors Ultimate gameplay is very different from the gameplay in Sonic Colors: Ultimate Edition, only in that players can select from up to three characters to play. However, they can use the same character each time if the player wants to play it differently. Each character, while having their own special attacks and power, are the same in terms of how they move and attack. However, to use the characters in different ways, Sonic Colors Ultimate requires you to be able to perform the character's special attacks again, as well as change the special attack's power, speed, and timing depending on what your opponent is doing.
Sonic Colors Ultimate features the same basic gameplay that is found in most Sonic games. Once again, players are able to change from first-person shooter, racing, or puzzle-platforming. Once again, the players are able to choose from three characters. When the players pick the characters, they can use that character for three different modes – first-person shooter, racing, and puzzle-platforming. However, players can switch characters for each mode.
Sonic Colors Ultimate allows players to use up to five characters in each mode, allowing the players to choose a different strategy each time from first-person shooter, racing, or puzzle-platforming.
Sonic Colors: Ultimate Revisited
The Sonic Colors franchise was the second game in the Sonic the Hedgehog series to be developed in-house for the Game Boy Advance. It was developed by SCE Worldwide Studios and published by SCE California. It was released in North America on July 10, 2001, and in Europe and Australia on July 16, 2001. The game is the third in the Sonic trilogy, and the eighth overall in the series. It is the first game of its kind to be released in both 3D and 2D. Sonic Colors is considered the first game to allow the player to play both with and without the assistance of the Game Gear peripheral.
Contents: Sonic Colors: A Gameboy Advance Version. Background Information. Description: The game contains three different modes: Normal gameplay, a Super mode where players can play with the Game Gear, and a Free mode in which they can use the Game Gear without first connecting it to the console. In this game, "Sonic Colors: Ultimate" is also the name of the soundtrack music.
Contents: Sonic Colors: A Gameboy Advance Version.
Background Information: The Sonic Colors was the third game of the Sonic the Hedgehog series to be developed in-house for the Game Boy Advance. It was developed by SCE Worldwide Studios and published by SCE California and released in North America on July 10, 2001. The game was developed, by writer and director Yu Suzuki, with concept artist and character designer Paul Walker. It was published on July 16, 2001 in Europe and Australasia. The game is the first game to feature the Game Boy Advance's 3D feature. The 3D version, Sonic Colors: Game Boy Advance Version: 3D, was the first game in the series released outside Japan.
Background Information: The Sonic Colors was the third game in the Sonic the Hedgehog series to be developed in-house for the Game Boy Advance. It was developed by SCE Worldwide Studios and published by SCE California. The game was developed by writer and director Yu Suzuki, with concept artist and character designer Paul Walker. It was published on July 16, 2001 in Europe and Australasia. The game is the first game to feature the Game Boy Advance's 3D feature.
Sonic Colors: Ultimate Screenshot 13 IMAGES.
Sonic Colors The most fun Sonic is in this version of Sonic Colors – The New Generation of Sonic is a beautiful and realistic-looking game. Sonic can walk, run and spin while holding his or her hands. It has a very realistic level and the graphics are superb. The gameplay features many interesting moves and the game is challenging. New Sonic Colors are being created worldwide with different levels of difficulty and they will require a great deal of work from developers. Sonic Colors is a unique game of pure joy and fun with the graphics and game play. It is an amazing Sonic experience that is not to be missed. New Sonic Colors are always in demand for families and gamers alike and so are the special Sonic Colors versions.
What makes a Sonic Colors game outstanding is Sonic's incredible ability to move freely in the world while remaining grounded in each and every level you play. The level of control and fun in these games is phenomenal. The ability to walk, spin and spin while holding hands, walking and running, and spinning while swinging are all exceptional. The world in Sonic Colors is gorgeous and real-life. These games are great to play with friends and family as it can be played cooperatively or competitively. The games are fun and thrilling and these are the very last gaming devices that we need now.
Sonic Colors: Ultimate Screenshot 13 IMAGES. | Computer Games.
Key SEGA games are listed for those who want to play Sonic Colors.
Sonic Colors is a new style of game that is very similar to the Sonic Unleashed version. Sonic has a new color scheme and moves in a new way. As you play for the first time, you will love the visuals for the first time.
Sonic Colors is a high-intensity game that will blow you away. It has the look of the Sonic Unleashed version. However, Sonic gets into his old form and moves quickly and easily. Sonic plays a fun, game for anyone to play. It is an easy challenge for anyone to get into and will have them having a good time for a long time to come.
It has a much more intense game play with the special moves, spins, and walking while holding hands. Some people may find it harder to achieve the new level of control and movement with Sonic in his old form.
Tips of the Day in Computer Games
It's time to bring some clarity into this discussion, especially with this week's batch of articles, because there have been some great articles published recently about the various aspects of FPS games – or that series for that matter – and how they can be enjoyed in space.
With that in mind, let's take the time to look at FPS games that are available in space.
FPS – At the time of this writing, there is no FPS game currently available in space.
This article will discuss the various aspects involved with FPS games that are available in space, but before we dive in, make sure you are aware that you only need to download the games themselves to enjoy the space environment.
As I said before, the FPS games are the games in which players control the actions of various aircraft such as planes, helicopters, or jets. The action takes place in space, usually against an aircraft in their final stage of life; most of the time the objects and characters within the game are fixed in the game world.
Security Ultimate Review - Network Security Ultimate
The Colors on a Uniform Are More Than Just Uniforms
Microsoft's Life is Strange: True Colors Review
Project Brooklyn: The Ultimate Gaming Chair
PC Invasion - PC Is the Ultimate Solution to the Console War
Tags: 1200, gameboy, hedgehog


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Roundtrip Press
The Beacon: Startups focus on better aging
Can you imagine a pair of glasses that can brighten and enlarge whatever you happen to be reading or looking at, responding to your voice commands? Or can you imagine a phone app that summons a trained driver in a wheelchair-accessible van to take you to a doctor's appointment? Or can you visualize the difference it would make to an Alzheimer's patient if his caregivers had instant access to his life story, where they could learn about his favorite music, have access to family photos, and better understand what soothes him?
Well, imagine no more. All these innovations — and many others equally valuable — are actually here, thanks to the creativity and hard work of entrepreneurs focusing on the needs of older adults and those with disabilities. Eight products and services, and their inventors, were in Washington's Chinatown last month, competing in the Aging 2.0 "pitch event" at the AARP Hatchery (its in-house idea-generating center). The annual competition draws competitors from all over the world to major cities, where pitch events like this select the best candidates to move forward to the national round, which will be held this November in San Francisco.
Summoning transportation
RoundTrip, the startup selected "fan-favorite" at the D.C. pitch, offers an online system that connects patients with on-demand, non-emergency medical transportation. Examples include medically-accessible sedans, wheelchair-accessible vehicles and stretcher vehicles.
Though the company is based in Philadelphia, Pa., it operates across the U.S., including in the Washington metro area. Part of the service is geared to healthcare facilities. "Our Care Coordinator application allows hospitals and healthcare facilities to order medical transportation for patients in less than 60 seconds and without ever having to pick up a phone," said Ankit Mathur, CIO of RoundTrip.
The developers were inspired out of their frustration with the current system. "For years we've been witnessing issues with patients missing or [experiencing] delayed care due to transportation issues," he said. Then there's also the matter of wasted resources. "Medical transportation companies average a 35 percent utilization rate. For every ten-hour shift that a medical vehicle is on the road, only 3.5 hours are spent transporting patients," Mathur said.
Using RoundTrip's DriverAPP, patients and healthcare workers can auto-dispatch the credentialed, trained and certified driver closest to them. The app also gives the driver applicable health information about the patient. Care coordinators can monitor the patients' trip progress and location in real-time using the web portal. RoundTrip offers curbside pickup for non-medical transportation through its national partnership with the ridesharing service Lyft. They also offer "an easy-to-use booking portal to schedule and monitor medical transportation for their patients," Mathur added. For more information, visit roundtrip.docker.
More Press
Technical.ly: Ben Franklin Just Pumped $4.4M Into Philly Startups
By Susanna Arntz	| November 20, 2017
Nemours: Nemours Childrens Health System Partners with RoundTrip


The time-honored tradition of net fishing is alive and well in Hawaii—and impervious to a bad tourist economy. These guys can spot fish from the shore and then let fly with their lead-laden nets. About a mile of sand and reef stretches from the Anahola Stream to the black rocks of Kahala Point, and then to Aliomanu Bay. On calm days this is an above average snorkeling area with clear pools stretched out along the coral reef.


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Johann Ernst Leopold von Pogrell (* 7. September 1805 in Breslau, Provinz Schlesien; † 26. März 1865 in Minden) war ein deutscher Kaufmann und Politiker aus dem Adelsgeschlecht Pogrell.

Von Pogrell wurde Leutnant und Adjutant im 15. preußischen Infanterie-Regiment. Er heiratete 1831 Emilie Wilhelmine Auguste von Pogrell, geborene Harten. Die Kaufmannsfamilie Harten betrieb seit der Mitte des 18. Jahrhunderts umfangreiche Handels- und Unternehmenstätigkeiten in der ostwestfälischen Stadt Minden. Ein von Friedrich Wilhelm Graupenstein 1854 gemaltes Bild der Ehefrau befindet sich im Mindener Museum. Von Pogrell war Kaufmann, Gutsbesitzer, Stadtmajor und Ratsherr in Minden. Er gehörte 1852 zu den 60 höchstbesteuerten Bürgern aus den Kreisen Minden, Lübbecke, Herford, Bielefeld und Halle.

1847 war er Mitglied des Ersten und nach der Märzrevolution 1848 des Zweiten Vereinigten Landtags. 1851 war er für den Wahlbezirk Minden-Ravensberg und den Wahlkreis der Stadt Minden Mitglied im Provinziallandtag der Provinz Westfalen.

Literatur
 Alfred Bruns (Hrsg.), Josef Häming (Zusammenstellung): Die Abgeordneten des Westfalenparlaments 1826–1978 (= Westfälische Quellen- und Archivverzeichnisse, Band 2). Landschaftsverband Westfalen-Lippe, Münster 1978, S. 497.
 Philipp Koch: Johann Ernst Leopold von Pogrell (1805–1865); in: Mitteilungen des Mindener Geschichtsvereins (MMG) Band 89 (2017), S. 95–114.

Einzelnachweise

Mitglied des Provinziallandtages von Westfalen (Königreich Preußen)
Mitglied des Ersten Vereinigten Landtages für die Provinz Westfalen
Mitglied des Zweiten Vereinigten Landtages für die Provinz Westfalen
Person (Minden)
Geboren 1805
Gestorben 1865
Mann


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Revolutionary University and Industry Partnership between Fourier Intelligence and the University of South Australia
Fourier Intelligence
August 16, 2021, 23:00 GMT
From top left: Mr. Zen Koh, Professor Susan Hillier, and Dr. Brenton Hordacre. From bottom left: Mr. Zhi Kang Tai, Mr. Owen Teoh, and Ms. Sarah Lim.
A patient training with the ArmMotus™ M2 at the student-led clinic
Two ArmMotus™ M2 interconnected for competitive games
Fourier Intelligence's RehabHub™
Fourier Intelligence partners with the University of South Australia to advance innovative technology-based rehabilitation and cutting-edge research
Fourier is thrilled to partner with the University of South Australia; we believe providing students with early exposure to rehab technology is critical in pushing innovation"
— Mr. Zen Koh, Fourier Intelligence's Global Hub Chief Executive Officer
ADELAIDE, AUSTRALIA, August 17, 2021 /EINPresswire.com/ -- Fourier Intelligence has announced a partnership with the University of South Australia. This partnership is aligned with both parties that envision well-integrated technology-led rehabilitation. Both parties signed a Memorandum of Understanding (MOU) in a recent virtual signing ceremony.
Building upon Fourier Intelligence's group therapy concept, the university will focus on group upper limb therapy via the ArmMotus™ M2 device. The devices used will enable the users to undertake competitive games and, in the future, collaborative games in real-time. The devices have haptic feedback technology to recreate the experience of touch and encourage users to sense their virtual environment.
The MOU was signed by Professor Susan Hillier, Dean of Research in Allied Health & Human Performance at the University of South Australia, and Mr. Zen Koh, Fourier Intelligence's Global Hub Chief Executive Officer. The signing was witnessed by Dr. Brenton Hordacre, lecturer and research fellow at the University of South Australia, and Ms. Sarah Lim, Senior Manager of Clinical Application and Research at Fourier Intelligence. Both the General Manager, Mr. Owen Teoh, and Business Development Director, Mr. Zhi Kang Tai of Fourier Intelligence attended the simple virtual ceremony too.
"Technology makes all the difference in rehabilitation after a surgery or injury," said Mr. Zen Koh. "Fourier is thrilled to partner with the University of South Australia; we believe providing students with early exposure to rehab technology is critical in pushing innovation."
"The university has a vision for being a center of excellence for technology-based rehabilitation and Brenton and his team are spearheading that," said Professor Hillier.
"It is not only great that we can expose students to these technologies in the student-led clinic, but we can also educate the public via workshops. That positions us as the leaders within the rehabilitation field, thanks to Fourier's help."
The ArmMotus™ M2 was contributed in-kind, in accordance with their 3rd Global Hub anniversary in May, to the University of South Australia as part of Fourier Intelligence's effort of increasing technology adoption at the university level.
"We've had the ArmMotus™ M2 for a couple of months now and the patients really enjoy the device. They want to increase their intensity and the device has been fantastic at keeping the patients engaged," said Dr. Hordacre.
"It's wonderful to partner with the University of South Australia and encourage early usage for students to use within their student-led clinic. Early exposure to technology will definitely pave the way of getting groundbreaking rehabilitation technology as a core part of the future of rehabilitation," added Ms. Sarah Lim.
The ArmMotus™ M2 is part of Fourier Intelligence's RehabHub™. The RehabHub™ concept integrates the different rehabilitation devices to create a standardized platform for therapists to provide intensive rehabilitation, allowing a streamlined approach to group therapy.
The partnership will focus on investigating the clinical application of technology after a neurological injury such as stroke and spinal cord injuries. Eventually, the partnership will collaborate on multi-center trials that will involve Fourier Intelligence's extensive global network of researchers and laboratories.
About Fourier Intelligence
Fourier Intelligence is a technology-driven company, infusing creativity into exoskeleton and rehabilitation robotics development since 2015. The company's name derives from 'Fourier Transform', which is named in honor of Jean-Baptiste Joseph Fourier (Mar 21, 1768 – May 16, 1830), a French mathematician. Fourier Transform is a mathematical operation that changes the domain (x-axis) of a signal from time to frequency. Together with researchers, engineers, therapists, patients, and various strategic stakeholders, Fourier Intelligence aims to transform the industry by introducing an intuitive RehabHub™ and redefining rehabilitation and robotics solutions to enhance patients' lives.
About University of South Australia
The University of South Australia is the Australia's University of Enterprise on the global stage, agile and astute, known for relevance, equity, and excellence. We educate and prepare global learners from all backgrounds, instilling professional skills and knowledge, and capacity and drive for lifelong learning. We undertake research that is inspired by global challenges and opportunities, delivers economic and social benefits, and which informs our teaching. We operate through a partnered, end-user informed culture of teaching and research with a commitment to outstanding service, continuous improvement, and sustainability.
Sarah LIM (Senior Manager)
Email: sarah.lim@fftai.com
Candy Gibson
UniSA Media
Email: candy.gibson@unisa.edu.au
Sarah Lim
Fourier Intelligence International Pte. Ltd
ArmMotus™ M2 Gen
Distribution channels: Education, Healthcare & Pharmaceuticals Industry, International Organizations, Science, Technology
Marina One West Tower, 9 Straits View 05-07
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Fourier's Global Standard Development Lead, Burkhard Zimmermann, elected Technical Project Lead for IEC SC62D, JWG36
Fourier Intelligence Joins Leading Trade Association, Electrosuisse
University of Melbourne-Fourier Intelligence Joint Laboratory Co-Director Honoured with IEEE Fellow Distinction
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Head, Heart, Hands, and Health is not just a motto. For John Drummond, it is three decades invested in training and encouraging the youth in his community. His leadership is all about "we".
John merely did what was expected of him, and that certainly built an incredible leadership record. He is as surprised as anyone at the long standing commitment. "Waterloo Vet Club… 29 years now. Wow. Floradale Dairy Club for 28 years and the Senior Dairy Club for almost as long. In 2006, I became a lifeskills club leader when we started the Kitchener Market 4-H Club, a cooking club that runs Saturday mornings at the Kitchener Farmers' Market." John is still filled with youthful enthusiasm and, even more so, over another new club. "One of the most exciting clubs I'm involved with is the Waterloo Paintball 4-H Club, which has provided me with some great days of exercise, strategy, teamwork and leadership development.
Although he loves the variety of programs and experiences, John Drummond feels that there is one fundamental thing that makes the difference for him. "The people." He asserts. "When I was President of the Ontario 4-H Council, I travelled across the province to Awards Nights and Annual Meetings, Judging Competitions and Achievement Programs. I loved meeting people that had a similar passion for the program." Like other passionate leaders, John has found that two people performing the same job can produce quite different results in terms of quality because of their passion for what they are doing (or lack thereof).
There is no looking Back. For John, it is always about Building Forward.
Any time you invest your Head, Heart, Hands and Health, there is going to be growth. John Drummond shares his 4-H passion and has a positive effect on youth and his peers and, as a result, everyone grows forward together. We extend our congratulations and heartfelt thanks to John Drummond for leading by example to serve, equip and inspire the next generation and being named 4-H Canada's Volunteer of the Year.


Mitt Romney and the rest of the swamp are plotting against Donald Trump.
They refuse to accept his victory and want him replaced as President.
Now Romney and establishment power brokers are huddling in closed-door meetings about an unthinkable challenge to Trump.
Romney – has been rejected by the voters in two Presidential bids – is a RINO who was thought to have failed at achieving his goal of becoming a career politician and swamp creature.
Now – with the failing health of John McCain and the retirements of Jeff Flake and Bob Corker – the establishment needs a new open borders, chamber of commerce moderate to fight Donald Trump.
Romney has been talking about running to replace Utah Senator Orrin Hatch.
But the rationale for his candidacy is not to advance a conservative agenda or defeat the Democrats.
Romney's only reason for running is to stand up to Trump.
"Two veteran Romney hands and gatekeepers, Spencer Zwick and Matt Waldrip, have begun reaching out to senior Republicans to take their temperature on the political atmosphere in the state.
Romney, a devout Mormon who currently resides in Holladay, Utah, has taken steps to increase his visibility on the state's political scene. After the new year, he cut a tribute video that played at an event for Gov. Gary Herbert. This summer, he issued an endorsement for Katie Witt, a former Romney campaign staffer and candidate for mayor of Kaysville, a small city in the eastern part of the state.
Romney also backed Utah Rep.-elect John Curtis, and is expected to host an event for him before the end of the year. On Monday, Romney's spouse, Ann, sent out a tweet promoting the couple's support for Curtis.
Romney, who built a sizable fundraising network during his 2008 and 2012 presidential runs, is also giving his party a hand in races beyond Utah. He recently traveled to Massachusetts to host an event for Gov. Charlie Baker, who is up for reelection next year. Next month, he's slated to attend a New York City donor retreat hosted by House Speaker Paul Ryan, his former vice presidential running mate. The former governor has also been making fundraising calls for Congressional Leadership Fund, a pro-House GOP super PAC, and is expected to host an event for the organization in California early next year.
Over the course of the year, Romney has been active in Idaho and Arizona, both of which border Utah and have heavy Mormon populations. He held a fundraising event for Arizona Sen. Jeff Flake prior to the Republican's announcement that he wouldn't seek reelection in 2018.
Romney in the Senate would do everything in his power to sabotage Trump's 2020 re-election campaign.
Establishment RINOs like Romney, Mitch McConnell, and other swamp things would much prefer a Democrat they could "do business with" than a populist conservative outsider like Trump.
They would also use Trump's defeat to seize back control of the party from the grassroots and hand it back to the big money boys in the donor class.
Would you oppose a RINO like Mitt Romney if he ran for Senate?


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Commonwealth Court Holds Relevant Prior Medical Records Must Be Provided To IME Physician
In Central Dauphin School District, et al. v. WCAB (Siler), the Claimant was successful in a Claim Petition to establish injuries including various musculoskeletal conditions including fibromyalgia. The description of injury by the WCJ also included "altered states of consciousness."
When the Employer pursued later IMEs with a neurosurgeon and psychiatrist, the psychiatrist requested pre-injury records of psychological treatment. The WCJ concluded these records were not discoverable, and the Board affirmed, reasoning the records should have been sought in the Claim Petition litigation.
The Commonwealth Court reversed. The Court noted Claimant's Counsel did not argue that the records are not discoverable, just that they are irrelevant to the adjudicated diagnoses. The Court remanded for the WCJ to compel the discovery of records that are relevant.
Posted by Robert Vonada at 7:32 AM 0 comments
Commonwealth Court Holds WCJ Has Jurisdiction Over Attorney Fee Disputes Between Counsel When Prior Counsel's Fee Has Been Approved
In K. Hendricks v. WCAB (Phoenix Pipe & Tube), the Commonwealth Court held Pitt v. Workmen's Compensation Appeal Board (McEachin), 636 A.2d 235 (Pa. Cmwlth. 1993), petition for allowance of appeal denied, 538 Pa. 661, 648 A.2d 792 (1994) does not stand for the proposition that the WCJ does not have the authority to decide a counsel fee dispute when both attorneys' fee petitions have been properly submitted to a WCJ.
Attorney fee disputes arise when the Claimant changes attorneys for whatever reason. Because the prior attorney is receiving a continuing 20% counsel fee, there is no room for a fee to be paid to the new attorney. The Pitt case is typically cited by WCJs to refer attorney fee disputes to the local County Bar Association Fee Dispute Committee, and ultimately to the local Court of Common Pleas. This is still the procedure if the prior attorney has not received fee approval, or at least properly placed a fee agreement in the record in an open case.
The Hendricks case states where a 20% fee has been approved for a prior attorney, the fee can be changed after an analysis by the WCJ as to what fee is appropriate for prior and present counsel. The WCJ must balance the right of the Claimant to counsel of the Claimant's choice against the humanitarian purposes of the Workers' Compensation Act that are perpetuated by prior counsel receiving a reasonable fee. The Court stated a Claimant cannot be permitted to avoid paying legal fees by simply discharging the Claimant's attorney.
WCJ's now will look at fee disputes when the Claimant changes attorneys. A WCJ still may seek consultation from the local Bar Association Fee Dispute Committee, but if there is not a resolution, the WCJ will resolve the dispute.
Claimant Cannot Petition for Modification or Reinstatement More Than Three Years After Last Date of Payment, Even When a Specific Loss is Discovered
In R. Seekford v. WCAB (R.P.M. Erectors), the Court analyzed whether the Claimant could file a claim for specific loss of his arm almost six years after the last payment of compensation via receipt of a commuted sum. The Claimant had sustained nerve damage to his arm after inadequate padding of his upper extremities during low back surgery seven and one-half years earlier. The Employer admitted an injury to the arm, but asserted the Claimant's petition was time-barred, as it was not filed within three years of the last date of payment.
The Court held the Claimant's Claim Petition must be treated as a Petition for Review. An injury that arose as the proximate result of surgery for the accepted injury is an injury that arose out of the accepted injury. Accordingly, the statute of limitations of three years from the last date of payment applies.
The Court then rejected the Claimant's argument that he only discovered the specific loss when his doctor rendered an opinion of specific loss less than two years prior to the date of filing. The Court would not analogize the specific loss in this case to a specific loss of sight or hearing because the Claimant testified he knew there was a severe problem as soon as he woke up from the original surgery. The Court stated a Claimant who commutes his benefits runs the risk of finding himself beyond the statute of limitations when the Claimant's injury worsens.
Posted by Robert Vonada at 10:51 PM 0 comments
Employer Can File Termination Petition After IRE -- No Penalties for Unreasonable Contest
In J. Schachter v. WCAB (SPS Technologies), The Commonwealth Court held an award of attorney's fees for unreasonable contest was not appropriate when the Employer filed a termination petition after an IRE and Notice of Change of Worker's Compensation Disability Status. An IRE assessing a per cent total body impairment does not preclude a later finding of full recovery. The Employer expert's opinion provided a reasonable basis for contest.
Commonwealth Court Holds Parties Can't Look Behind The Last Supplemental Agreement
In Sharon Tube Company v. WCAB (Buzard) the Commonwealth Court restated the principle that the parties cannot look behind the last Supplemental Agreement when requesting relief from the WCJ. The Claimant attempted to return to work, but then went off again. The Employer issued a Supplemental Agreement reinstating temporary total disability benefits. The Supplemental Agreement did not provide for a reservation of the employer's right to file a modification petition based on the Claimant's return to work.
The Employer later filed the modification petition. The WCJ denied the Claimant's motion to dismiss based on the admission of total disability in the Supplemental Agreement. The WCJ found the Employer's testimony credible and granted modification.
The Board reversed, and the Court affirmed the Board. The basis was that only the last agreement of the parties could be reviewed. Because the Employer did not produce evidence of a medical release and available work after the date of the Supplemental Agreement, no modification could be awarded.
Commonwealth Court Holds Relevant Prior Medical Re...
Commonwealth Court Holds WCJ Has Jurisdiction Over...
Claimant Cannot Petition for Modification or Reins...
Employer Can File Termination Petition After IRE -...
Commonwealth Court Holds Parties Can't Look Behind...