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February 22 2017, 3:00 PM
THE GREAT WALL Interview: Zhang Yimou on Its Meaning and Misconceptions
Diva Vélez
Featured Contributor; New York City, New York (@TheDivaReview)
When the man who gave us such critically acclaimed, award-winning epics as Red Sorghum, Hero, and Raise the Red Lantern makes a self-described "popcorn flick," it's a pretty big deal. Director Zhang Yimou had a brief chat with me about some of the misconceptions and challenges of his internationally-produced "monster flick," The Great Wall, and what it was like to make a film that his teenage sons could finally enjoy.
The Lady Miz Diva: After A WOMAN, A GUN AND A NOODLE SHOP, I believe this is the second time you are working from a story written by Americans. As those characters in that film were transformed into Chinese, was there any discussion with THE GREAT WALL to have William and Tovar be Asian, or to make it an all-Chinese film? Why was it important for William and Tovar to be Westerners?
Zhang Yimou: This story is very much written that way; that it had to be foreigners coming to China. It is written that way and that's part of the reason why I selected this story. The story is really based on a lot of historical facts. For so long there were many Westerners who traveled the Silk Road to China: It was constantly happening. It's something that happened to China for thousands of years.
They never encountered any monsters - the monsters were completely fabricated - but the idea is multicultural, multinational. As we get to meet each other more in the world and then the world grows smaller with globalisation, it is part of the interaction between foreigners and people in China. So, it is a key element of why I selected the project.
And also the story is about Matt Damon's character's growth and his learning to give up, to let go of greed, to let go of the black powder for something that means much more; friendship. It is something he has to learn while he is in China.
And if we had an all-Chinese cast, they wouldn't have that kind of change and growth and the differences that are between two cultures. So, all of these elements is why I wanted to do this story and why I would be able to cast an all-Chinese cast to play this movie.
LMD: Was it important to instill this film with not just the mythology and history of THE GREAT WALL, but the philosophy and belief of China, as well? Was that philosophy of trust and brotherhood being more important than money, and people coming together to serve a greater cause a very important tenet for you to depict?
ZY: Yes! This is actually often a Chinese approach to anything, because we don't want everything to be too simple. Even on the outside, you would say this is just a monster flick, but if it is just a monster flick, I wouldn't be as interested in this project.
I've always liked to put in a little bit of philosophy and to be able to talk about certain ideas. The Chinese always say that there is meaning behind everything that happens, that things just don't happen without any meaning, you have to find meaning behind every action. So that's what drew me to tell the story.
And you understand that the way that Chinese culture goes, even if you tell a monster movie, you can't get too bogged down by philosophy, because otherwise it gets boring. But even then, I still want to have a little bit of Chinese philosophy and thoughts in there.
LMD: You're well known for your action pieces, but you've never done a monster movie before, and then one in 3D. Was the change in genre and trying this new medium also part of what attracted you to the project?
ZY: Yes, absolutely. Trying something new has always been one of my favorite things to do. When my agent first sent me the script, they warned me, they said, "It's just a popcorn flick. It's a different genre that you haven't done before, are you sure you really want to do that?"
So, I read it and I found it interesting and then also very challenging; it's something that had primarily a lot of visual effects in it – primarily all visual effects. So I feel like I am going to learn a lot if I do something that is very challenging. So that was one of the primary reasons I took on this project, to try something new and different that I haven't done before.
The second reason is also because my kids; two of my kids – one is 16, one is 13 – and they have never appreciated one of my movies before. {Laughs.} So, I finally made this monster movie and they love it! {Laughs.} I was making a monster movie that they can watch.
LMD: They're your best critics
ZY: {Laughs}
LMD: This is your first film with such an integrated international crew. Your writers, editors, production designers and producers are non-Chinese, even GAME OF THRONES' Ramin Djawadi scores the film. The only name I recognised from your past films was your great DP Zhao Xiaoding. How does working with the international crew compare to your Chinese productions and what will you take away from the experience going forward?
ZY: So, first of all, they are all wonderful and very talented people. I actually interviewed all of them before we made our selection. They were recommended by the producers, and I went and met each one of them and I selected them. They were all so willing to come on board an international project. They are great learners; they want to learn and they want to collaborate. So that is one of the greatest reasons; I'll get to work with all these people.
And working with an international crew is actually great, because you get to see different perspectives. Because as a Chinese director, I've always made movies in a Chinese way; so suddenly you have people coming from different perspectives and different ways, and they look at the character, they look at story differently, and they give me new ideas.
A director is not omnipotent; you don't know everything, and it's great to have people giving you ideas from a perspective that you have never considered before. So there is such a great learning experience for me, as well as learning how to collaborate.
That is actually a real art; being able to listen, to stop and listen to other people, understand their perspective and then explain your perspective to them. That is a true learning experience for me; I learned how to collaborate, and also to simplify, to come to a point where we all agree and understand.
When you do something too complicated, you tend to just overexplain yourself to the point where nobody understands each other, but to be able to find that simplicity and the beauty and the simplicity that everyone understands - that is a really unique talent and skill that I was encouraged to develop.
LMD: After your more ambitious productions, you seem to like to make smaller, more personal films like UNDER THE HAWTHORNE TREE or COMING HOME. Will the film after THE GREAT WALL be a smaller one, as well?
ZY: Well, anything I do next compared to The Great Wall is going to be smaller, so that is true. But yes, right after my interviews I am going to go back to China, and next month on the 18th, I am going to start shooting my next movie. And even though it has action in it, it is not as big as The Great Wall, and it's very much of a character piece. Even though it is also a period piece, it is a character piece. It is one of those things with a lot of character development, a lot of inner turmoil, and it's one of those things that I specialise, too. So it is something that I want to explore that I'm going to do next.
In terms of making movies in the future, especially in terms of co-productions, I would say that it has gotta have a really, really good script. A script that can be appreciated by both cultures and understood by both cultures.
LMD: Is there a title for the film?
ZY: We haven't finalised it. We're still looking at all the options.
LMD: There are so many young stars in THE GREAT WALL who I enjoy, like Jing Tian, Lu Han and Wang Junkai. You have introduced the international public to so many young, wonderful stars, what do you look for with your discoveries?
ZY: First of all, any actors, they've got to match the character. We've got to select the actor based on the character. And then, I look for people who were very smart and intelligent and have good performances.
One of the greatest things as a well-known director is to introduce young actors to the rest of the world. I think it is a duty of an established director to introduce new faces, young faces to the audience.
This interview is cross-posted on my own site, The Diva Review. Please enjoy additional content, including exclusive photos of Director Zhang, Matt Damon, Pedro Pascal, Jing Tian and Wang Junkai there.
ActionAndy LauChinaEddie PengJing TianLu HanMatt DamonMonstersPedro PascalThe Great WallWang JunkaiZhang Yimou
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I look at my little girl and I wonder what she's going to be and what she's going to do and what is it that leads girls certain directions in life. I think a lot of that goes back to what kind of father they had, and so it makes me want to be the best dad I can possibly be.
Everyone has their own path and you can't judge.
Not to be narcissistic, but I truly believe in order to make yourself better, you should see what you did before and what was good about that and what wasn't - same way a football team plays a game and then they go back and watch film.
There are things I want to do to be a better human being and a better father.
The lips on my upper right bicep are my girlfriend's lips. She has the most amazing lips, and I wanted to carry them around with me everywhere I go, considering I can't carry her lips physically with me. So I decided to place them in a discreet location, such as the inside part of my bicep.
You can pick songs that sound like hits, but if it's not something that somebody wants to tell their friends, 'Hey man, have you heard this song?' then I don't think it's worth it. The only way to get your music out there, is for someone to tell their friends about it.
Anytime you put your name on a ticket with nothing else attached to it, that's the true testament to where you are in your career - how many tickets are sold.
There's a lot that goes into being Tim McGraw or Kenny Chesney. They have great songs, their show is great, they're very fit. When you look at somebody who takes care of themselves, takes care of their business, that's what every CEO would do.


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S.F. Insider: Recall on school board coming?
CITY INSIDER
Jill Tucker
Outgoing San Francisco Board of Supervisors President Aaron Peskin has coffee at the Caffe Trieste in San Francisco's North Beach on Wednesday, Dec. 31, 2008.Kim Komenich/The Chronicle
The local Democratic Party is ready to do battle against an effort to recall three San Francisco school board members who oppose the Junior Reserve Officers' Training Corps program.
The only problem? There isn't any such recall effort, according to the San Francisco Republican Party.
The bizarre rumor about the "the potential recall" of Sandra Fewer, Jane Kim and board President Kim-Shree Maufas was given a dose of legitimacy after Aaron Peskin, the chairman of the Democratic County Central Committee, introduced a party resolution to fight any such recall. The political group takes up the resolution Thursday.
"I was told people were talking recall," Peskin said. The three school board members "were pleased somebody was sticking up for them."
But Howard Epstein, chairman of the local Republican Party, said there's no truth to the rumor.
"It is a figment of somebody's imagination," he said.
San Francisco voters in November passed Proposition V, a nonbinding measure supporting the military leadership program, which is scheduled to phase out next month.
The school board is expected to vote on whether to reinstate JROTC on Tuesday.
- Jill Tucker
"Going green doesn't mean going green stupid."
- Supervisor Chris Daly, speaking out against a 25-year, $60 million contract with a private company that will build a photovoltaic plant and sell the energy back to the city.
The week's numbers
Value of planned upgrades to the city's water and sewage system. Water rates will go up each year over the next five to cover the cost.
52 Number of days the mayor's office has to finish a balanced budget for the next fiscal year. At least $120 million in cuts is needed.
6 Number of hours a night (from 9 p.m. to 3 a.m.) that it will be illegal to loiter outside nightclubs under a new city law.
E-mail us at cityinsider@sfchronicle.com, read our blog at sfgate.com/blogs/cityinsider and follow us on Twitter @SFCityInsider.
Tuesday: The Board of Supervisors considers a motion to reject the Municipal Transportation Agency budget.
Thursday: Commuters are encouraged to pull out their two-wheelers for Bike to Work Day.
Saturday: The Richmond/Senator Milton Marks Branch Library, 351 Ninth Ave., opens with a party at 1 p.m.
Sunday: The Bay to Breakers footrace starts at 8 a.m. at Beale and Howard streets.
Reach Jill on
Jill Tucker has covered education in California for 22 years, writing stories that range from issues facing Bay Area school districts to broader national policy debates. Her work has generated changes to state law and spurred political and community action to address local needs.
She is a frequent guest on KQED's "Newroom" television show and "Forum" radio show. A Bay Area native, Jill earned a master's degree in journalism at the University of Colorado, Boulder and a bachelor's degree from the UC Santa Barbara. In between, she spent two years as a Peace Corps volunteer teaching English in Cape Verde, West Africa.

redpajama_set_name: RedPajamaCommonCrawl


A small blog post to express a big thank you to all our collaborators, supporters and attendees, who have made the past year such a special one for the Lab.
From talks on diversity, architecture, education, philanthropy and more, to beautiful poetry book launches…from a range of film screenings on topics such as electricity, gender and medicine, to performances by folk musicians from Rajasthan, theatre professionals from Mumbai and a dhrupad singer from USA….we covered a lot of ground in 2014. This past year, we greatly enjoyed collaborating with many partners including Films Division of India, the National Film Development Corporation of India, the National Gallery of Modern Art, Lakmé Fashion Week, Alliance Française de Bombay, Lok Kala Sagar Sansthan, Japan Foundation, USIEF, Stanford University and Bungalow 8, on our ongoing exploration of what it means to be modern and Indian. We especially loved collaborating within Godrej with all our lovely friends across the different companies and teams. A big hug to each and every one of you, and all our love. We are kickstarting 2014 - with three blockbuster events in January - and our website is now mobile enabled - so do check it out on your cellphones whenever you get a chance (if you're not reading this on your phone already!). A very happy new year to everyone. Hope to see you very often at our Lab in 2015!


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Wanted to take my fan off for polishing, alternator is fine. 24 years of corrosion had pretty well welded it to the alternator shaft. How to get it off without damaging the alternator bearings? A two-arm puller and coat hanger wire!
Threaded coat hanger wire thru the little holes around the hub and twisted them, engaged the puller and began to crank. Once the tension on the wires got to the point I thought they might break I tapped the hub with a plastic hammer and 'pop', it broke free. Absolutely no harm to fan or alternator. Thought I'd share.
"Lowering the bar with every post!"
Good time to check the housing for cracks.
Very good idea - thanks.
I did something similar by tapping a few of the small holes, but your way is easier.
Nice! Please show us your finished project and any issues.
...didn't go whole hog like some before me. I know I'll be back every year to touch up, but ti looks pretty good from a distance.
Always GREAT to see creativity at work. Compliments.
Why does everyone like shiny?


Ecuador er et virkelig overset rejsemål. Som navnet antyder ligger landet lige på Ækvator. Uden de unikke Galapagosøer havde Ecuador nok ikke set særlig mange turister.
De fleste som rejser til Ecuador gør det netop, fordi de har et stort ønske om at opleve dyrelivet på Galapagos, men det Ecuador, som findes på fastlandet kan sagtens udgøre det for et rejsemål i sig selv.
Ecuador er ligesom den sydlige nabo Peru ekstremt forskelligartet pga. den enestående geografiske placering på Sydamerikas Stillehavskyst. Et tropisk lavland afløses af tågeskov og sneklædte vulkaner på toppen af Andesbjergene og et helt unikt dyreliv i den ecuadorianske del af Amazonas, der udgør ca. 50% af landets territorium.
Ecuador har en fantastisk god infrastruktur, som gør det muligt at se meget store dele af landet i løbet af en almindelig dansk sommerferies varighed, og har du hang til spændende og farverige markeder, er der rigeligt med muligheder i de ecuadorianske Andesbjerge – specielt i Guamote og Otavalo.
Ecuador er et af Happy Lama Travels absolutte specialer, da vi har rejst i landet rigtig mange gange og bla. besøgt både Galapagosøerne og Amazonas adskillige gange.
Happy Lama Travels eksklusive grupperejser i Ecuador foregår i små internationale grupper med lokal engelsktalende rejseleder. Derfor er rejsebeskrivelserne på engelsk.
En lokal rejseleder kender sit land bedre end en dansk rejseleder. Det er desuden vores erfaring at en lokal rejseleder giver dig et bedre indblik i, hvordan livet leves i Ecuador.
Passer rejsedatoerne dig ikke eller vil du selv have maksimal indflydelse på dit rejseprogram – Kontakt os hvis du ønsker et tilbud på en individuel rejse i Ecuador.
The Galapagos Islands are world famous, but mainland Ecuador remains practically unknown to most people. On this well researched tour you will discover a different side of Ecuador; a surprisingly lush land with an abundance of ecological diversity from warm sandy white beaches, damp cloud forests, giant snow clad volcanoes, colourful markets, bright colonial cities and a part of the Amazon basin packed with amazing wildlife encounters. A perfect tour for the traveller keen to discover the highlights, alongside some hidden gems, of one of South America's least visited countries. And why not finish your trip with an optional extension to the unique Galapagos Islands.
Until quite recently a scruffy Pacific port with a dubious reputation, Guayaquil, Ecuador's largest city is a newly emerging commercial and cultural centre, showing off freshened up plazas and boulevards, a charming waterside malécon (promenade), good hotels and trendy restaurants. Always a flamboyant place in comparison with the upland cities, it has a vivacious atmosphere. The river Guayas is choc-a-bloc with boats jostling for space, some laden down with tropical fruits and sugar cane, others offering transport to distant villages. The historic quarter of Las Peñas nearby is an arty district with a tumble of toy box multi-coloured houses, galleries and bars.
Cuenca, set in the southern sierras, is a quintessential Spanish colonial city. It has the cobbled streets, leafy plazas, baroque churches and whitewashed façades with heavy wooden doors that you'd expect, but the pale-stoned centre is particularly beautiful. This university town is also a centre for arts and crafts, notably the Panama hat, which originated here, but also ceramics, basket ware, jewellery and ponchos. A quiet, somewhat conservative place, it is the tranquil base for a number of language schools; foreign students can be spied indulging in the many cake shops and cafés. Outside town in the lake-dotted moorlands of the southern sierras is the lovely Cajas National Park.
The aptly named Avenue of the Volcanoes is flanked by eight dizzyingly-high snow-mantled mountains striding south of Quito down the Andean spine. It passes through a valley rich with a landscape of dense forest and tiny fields plastering impossibly steep slopes. Dotted around is a mix of deeply traditional indigenous and colonial settlements with horticultural and artisan markets and cottage industries. There's also a clutch of old estates gifted to conquistadores where the grandiose buildings are now countryside hotels. This is supreme hiking country, with trails leading to craters harbouring turquoise volcanic lakes, usually with views of the biggest peaks, Chimborazo and Cotopaxi.
Quito has long been a city of two halves. Occupying a highland valley flanked by volcanoes, the setting of its historic centre and adjoining modern quarters is breathtaking. The formerly dark and run-down colonial heart has been magnificently restored. Cobbled lanes and whitewashed façades, scrubbed up churches and renovated theatres now gleam and echo with the sounds of the everyday life of its traditional inhabitants. Beyond are the skyscrapers and broad avenues of the contemporary commercial city, with flashy shops, offices and restaurants, where busy young workers flock to the many bars and nightclubs.
This morning we explore Quito. We visit the major colonial churches and monasteries including La Catedral, El Sagrario, La Compañia and San Francisco. Later we visit Independence Plaza flanked by the Cathedral, the Presidential Palace, the Municipal Building and the Archbishop's Palace. Continue to the Church of San Francisco, one of the greatest religious buildings in South America. Its impressive façade and atrium lead to an opulent gold interior, a Baroque influence with the winged Virgin of Quito at its main altar. We visit the historic colonial quarter of Quito, resplendent with its churches, gilded altars and religious sculptures and paintings dating from the 17th 18th and 19th centuries. The tour continues through narrow streets, ancient colonial houses with Moorish-style arches and mysterious patios to El Panecillo, a vantage point for a stunning view of the city.


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Top Tips for Installing a Small Backyard Pond
By Donna Boyle Schwartz | Updated Aug 6, 2015 2:36 PM
Photo: DBSchwartz
Nothing quite soothes the soul like the sound of burbling water. Even though we have a long and narrow backyard, we always wished we had room for a small water garden. The opportunity arose when we decided to remove some shrubbery that was past its prime.
We did some online and in-store homework on ponds and discovered there are numerous construction options. The first option is pouring a concrete shell similar to an in-ground swimming pool, but this can be very expensive. The second is buying a puncture-resistant, vinyl liner similar to an above-ground swimming pool. Available in widths ranging from 5 to 50 feet wide, these liners allow you to play the role of landscape designer and create a free-form pond, as deep and as wide as you like. We rejected this idea because it was a bit too complex and labor-intensive for the size of our area.
A third option is pre-formed fiberglass shells, offered in a wide range of shapes and sizes, including such designs as waterfalls and cascading pools. These were perfectly suited to our needs, budget, and experience level! We purchased two: a large, kidney-shaped shell with a 300-gallon capacity and a three-section cascading pool shell. We also purchased a pump and filter combination (with a capacity of 500 gallons per hour), 20 feet of flexible tubing, and a fountain spray head. Even in a small pond, a pump and filter are essential to keep the water clear, filtered, and moving. Standing, stagnant water is ugly, smelly, and can be a breeding ground for mosquitoes.
We contracted with a local landscaper to dig up the old shrubs and "rough out" a hole for the pond, then shaped the edges and leveled the bottom. We lined the hole and the surrounding area with a mesh barrier fabric to prevent weeds. Next, we purchased five 50-pound bags of sand, which we then used to cushion the bottom of the pond shell. The edges of the shell were covered with large, irregular slabs of slate, while ferns and decorative grasses were planted to create a more naturalistic landscape.
The next step was installing the cascading pools. We wanted to produce a waterfall effect, so we built a platform of stones and nestled the cascade shell into the stones on an angle. We placed more stones inside the shell to enhance the illusion of a natural waterfall. Best of all, the stones gave us the added benefit of hiding the flexible tubing, which runs from the pump up to the top of the waterfall.
Finally, we planted a small hemlock tree, along with several rhododendrons, irises, and azaleas to flank the waterfall. We filled the pond, turned on the pump and spray fountain, and settled down to enjoy the effervescent flowing water, our own little oasis of calm in a hectic world.
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The Best Pond Liners of 2022
So, You Want to... Build a Pond
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These Surprising Stats Reveal How Much Pollution Americans Create


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In all the years Chevy has sold Silverados and Ford trafficked in F-150s, few in Detroit ever dreamed the day would come that pickups would outsell passenger cars.
But the highly lucrative truck segment dominated by Ford Motor Co., General Motors Co. and Fiat Chrysler Automobiles NV did just that last month. Pickups beat cars by more than 17,000 units in April, according to market researcher Autodata Corp.
(Also Read: Ford India launches contactless sales, services)
It's a remarkable turn of events for an industry that's long been reliant on trucks as cash cows, but never to this degree. Just five years ago, cars outsold pickups by more than half a million units in a single month. Detroit began ditching sedans the following year and hasn't looked back. Full-size truck models alone were more than 40% of GM, Ford and Fiat Chrysler's sales in April, according to Evercore ISI.
There are a few factors contributing to the development. Detroit's deliveries -- pickups and otherwise -- are concentrated more so in middle America than the coastal states that introduced some of the earliest and most aggressive shutdown orders. Trucks also were bolstered by 0% financing offers, some of which stretched loans out for as long as seven years, Joe Spak, an RBC Capital Markets analyst, wrote in a report.
The chief executive officer of Fiat Chrysler, which reported first-quarter earnings Tuesday in the midst of a seven-week shutdown of its North American auto plants, told investors its vehicle inventory in the U.S. is running low, particularly for some pickup models.
"There's certain configurations that will be running short," CEO Mike Manley said on an earnings call, adding he expected truck sales to outperform other vehicles again this month. "That's reflected in the number of dealer orders we've received in the last few weeks that are just waiting for our plants to restart."
This story has been published from a wire agency feed without modifications to the text. Only the headline has been changed.
pickup truckssedanUS car salesCar sales


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Aerotime.aero
on 30th August 2018
Ryanair finalizes Laudamotion takeover
Image : Marvin Mutz
Ryanair finalized Laudamotion acquisition on August 29, 2018. The Irish low-cost carrier now holds a 75% stake in the Austrian airline, while the rest remains property of its founder, Niki Lauda. Laudamotion, which remains an independent airline, also unveiled a new livery.
The airline known as Niki was bought back by Niki Lauda after Air Berlin, the parent company that acquired it back in 2011, went bankrupt. Using his own assets, he rebranded the airline into Laudamotion.
On March 20, 2018, Ryanair announced its decision to acquire a major stake in Laudamotion for €50 million, after IAG and Lufthansa were turned down. While Ryanair will provide financial and management support to Laudamotion, Niki Lauda shall remain Chairman of the Board.
For now, Laudamotion should operate as an independent airline. Ryanair also promises it would double its fleet by summer of 2019, bringing it up to 19 Airbus A320s (the only Airbus maintained by Ryanair). Ryanair expects Laudamotion to see profit in 2019.
Ryanair to buy majority stake in Laudamotion airline
Low cost carrier (LCC) Ryanair announced on March 20, 2018 that it has entered into an agreement with Laudamotion to acquire up to 75% of its stake. Under the agreement, the Irish LCC will initially acquire 24.9% stake in Laudamotion and rise to 75% as soon as possible subject to EU Competition approval, according to official Ryanair statement.
Fitter (M/F/D)
Maintenance Repair Operations Fitter / Sheet Metal Worker
CAT B1 Airbus A330 (M/F/D)
NDT Engineer / Technician (M/F/D)
Maintenance Repair Operations NDT Engineer / Technician


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Cannes 1995: Jury Awards
First off, I want to thank everybody who followed this feature, and for making the five of us feel that we weren't shouting into a total void, or throwing a party to which we hadn't invited anybody else. Comment sections were pretty quiet, but murmurs over Twitter and elsewhere indicated there was an audience for our nuttiness. We hope you'll dig up some of these films if you haven't already, whether to share or challenge our enthusiasm, or to mirror or refute our distaste or indifference. As for "we" and "us," I couldn't possibly be more grateful to Ivan, Tim, Alex, and Amir for cramming so many movies into a month and producing such thoughtful and zippy reflections on them, at a time when all five of us had plenty else going on. I woke up every morning excited for what they'd have to say, and they never disappointed. You can use the "Cannes 1995" label at the bottom of this post or head over here to remind yourself of all their pearls of wisdom.
Tim and I were the last two people to leave the hotel room; we also kept the craziest schedules, heading out earliest and coming latest, to see the most sidebar entries. Over our final breakfast in our beachfront hotel (yes this is all made up what of it this was our best shot at a mental vacation shhhh) we swapped cocktail serviettes with our Top 10s on them.
Nick's: 1) Safe, 2) Underground, 3) Georgia, 4) Nasty Love, 5) L'Enfant noir, 6) The White Balloon, 7) Good Men, Good Women, 8) The Arsonist, 9) The Neon Bible, 10) Ed Wood
Tim's: 1) Dead Man, 2) Safe, 3) Ed Wood, 4) Underground, 5) Hello Cinema, 6) Good Men, Good Women, 7) Lisbon Story, 8) The Arsonist, 9) Nasty Love, 10) Georgia
That lets you know where at least two of us started as we entered deep sequester with our fellow jurors. As for determining prize-winners among all five of us, I would say there was pretty speedy agreement about many of these choices, even though at least half of them involved some haggling—whether about levels of achievement within each category or about distribution of prizes across the slate. The closest calls had to do with the Palme vs. the Grand Jury Prize, which probably divides a lot of juries, and with the exact criteria for the Jury Prize, which I'm not sure we're giving to our third-place film, but certainly to a film that impressed us from multiple angles and didn't seem to come out on top in any one area. So let that be a lesson to you kids out there making assumptions about what Jury Prizes, or any Cannes prize, or any juried film award, necessarily implies about the conversation behind it.
I'll be announcing our selections over my Twitter feed over the next couple of hours, and will later group all the news here. Meanwhile, we'd love to hear your choices or other Cannes '95-related thoughts in the Comments section ... and stay tuned for one more Roundtable still to come (following this one and this one, both of which taught me a lot), plus some late-breaking discussions with film scholars and other experts who can unpack some of our recent viewing from more specialized perspectives. So, the awards aren't the end, but the beginning of the end. And they are...
Labels: Blog Buddies, Cannes, Cannes 95, Critics Prizes
Cannes 1995: Day 12: May 28
The Quick and the Dead, USA, dir. Sam Raimi
Many people need no help appreciating Jim Jarmusch's Dead Man. If you're me and can't help feeling agnostic, recuperating more admiration for Jarmusch's affected earnestness and genuine idiosyncrasy is a lot easier after seeing a revisionist Western as flat and plodding as Sam Raimi's The Quick and the Dead Or Sharon Stone's The Quick and the Dead (she also produced), or whoever's The Quick and the Dead. Even the mid-90s' reigning Goldilocks can't save the movie from being too much or too little at all times. The narrative disarray is total—as evidenced by a major flashback tucked into the last ten minutes, which, incidentally, unfolds a scene the audience has already worked out—but even disarray is more interesting than the utter stasis of so many shots where Stone or Russell Crowe or Gene Hackman just stares at people, or the brute momentum of the shootout scenes where the same same same thing happens as the field of contestants winnows down to an utterly foreordained foursome. Raimi's attempts to wake himself aren't any more interesting than the impressions of Raimi asleep at the wheel. But rather than keep laying on Cannes's closing night film, I'm inclined to put pressure on the oft-invoked phrase "revisionist Western," because the John Ford retrospective that unfolded throughout the festival—25 features in ten days——shows that even peak-period Westerns by figures as major as Ford were "revisionist" as often as not. Few have been as austere in their outlook, albeit frequently purple in their prose, as The Man Who Shot Liberty Valance. This 1962 James Stewart/John Wayne vehicle, which could not possibly be more cannily cast, challenges and complicates so many myths of the frontier, the ballot box, the law, the state, and the gun that you're hard-pressed to find any Western trope that survives intact. I wish I'd had time for more of the Ford films, but boy was I glad to have saved them up so that I didn't finish on Raimi's folly, and I could take in a rounder, wider, bitterer scale of revision than the simple notion of a girl with a gun.
Labels: 1930s, 1960s, Cannes, Cannes 95, Classics, Gene Hackman, John Ford, Leonardo DiCaprio, Masterpieces, Russell Crowe, Sharon Stone, Stinkers
Dead Man, USA, dir. Jim Jarmusch
Two Hugh Grant movies played the last three days at Cannes, in sync with a carefully timed visit from His Floppy-Hairedness, Marquess of Stutter. That may have been the big news at the time, whereas now The Englishman Who Went Up a Hill But Jesus This Title Is Long is the most patently dated element of the final full day of programming. All three of the other films listed below, despite slipping in at the eleventh hour, have had much more lasting impacts. La Haine caught on quickly, of course, sending shockwaves through French film culture and public discourse. 20th-anniversary pieces have popped up in many major European papers this spring. Dead Man wafted in and out on the final day with remarkably little fanfare, just as Jarmusch's delicious Only Lovers Left Alive did two years ago; I'm pretty reconciled to Just Not Getting Dead Man, but I see completely why so many cinephiles are impassioned about it. Despite its stiffing by the jury and, evidently, by the programmers—way more than La Haine, it's the sort of movie that works by osmosis, and needs time to unwrap its ideas—I'd wager that it now boasts the highest critical stature of any of the Palme competitors from this good-to-middling vintage. My favorite film and happiest discovery among these three was the Burkinabe ensemble dramedy Haramuya, which nimbly alights on multiple storylines among young and old, male and female, in modern-day Ouagadougou. Today it is most celebrated by African cinema devotées for its rare attention to urban teens in a contemporary setting. I'd have had a hard time seeing it without my university connections, but keep an eye out for that title. It was the second movie I watched of the 53 I screened over the six weeks for this feature, and it's easily in the top two or three of those I'm most eager to check out again.
Labels: African Cinema, Blog Buddies, Cannes, Cannes 95, France, Hugh Grant, Jim Jarmusch, Johnny Depp, UK, Vincent Cassel, Westerns
Underground, Serbia/France/Germany, dir. Emir Kusturica
A very sad anecdote in Citizen Cannes, the memoir by longtime festival director Gilles Jacob, finds Serbian film director Emir Kusturica spotting Francis Ford Coppola in the airport after the 1996 festival, where Coppola presided over the jury. Kusturica is over the moon to meet one of his filmmaking idols, and also to share in their very rare status as two of only three men (at that time) to have scooped two Palmes d'or. He approaches Coppola, fawns over him, attempts to establish fellow feeling. Coppola has never seen his movies, and indeed has no idea who he is. Kusturica keeps throwing him lifelines, establishing his credentials as a globally renowned cineaste, while humbly expressing his feelings of inferiority in present company. Coppola just can't get interested, and never figures out who he's talking to. Jacob offers the story as an emblem of American ignorance, retaining absolutely no idea of what cinema means or who produces it outside of Hollywood's confines. And indeed, you'd love to live in the world where a movie as ambitious, as outsized, as risky and huge as Underground endowed its maker with worldwide renown . . . to fellow luminaries in his field, at the very least. Kusturica has his complexities, to be sure, as both an artist and, from what I understand, as a person, but to Coppola he may as well have been Edward D. Wood, Jr.
At least Jeanne Moreau's jury showed greater appreciation for Underground. Indeed, it's hard to imagine a better day for a Cannes competition than this one: two emblematic works by two figures prominent enough to later lead their own juries. In virtues and even in what I'd call their flaws, Underground and Ed Wood both seem to embody every hope their eccentric auteurs could have harbored for them, and both of them function, implicitly or explicitly, as valentines to a form that keeps thriving, even amid the devastations of land and people, even amid the merry assaults of the utterly talentless ...
Labels: Best Supporting Actor, Blog Buddies, Cannes, Cannes 95, Emir Kusturica, European Cinema, International, Johnny Depp, Masterpieces, Palme d'or, Tim Burton
Cannes 1995: Day 9: May 25
The Convent, Portugal, dir. Manoel de Oliveira
This third-to-last day of the Competition is a riddle to me, even more so than whatever syndrome is or isn't making King George III mad, or why Benoît does any of the things he does in Don't Forget You're Going to Die, or wtf is happening in the crypt or the church or the cave or the woods or the beach or the first reel or the second reel or the third reel in The Convent. Just when the Palme race started to heat up with much more exciting contenders than we'd seen in the early days of the festival, Day 9 feels larded with puzzling, truncated, or frankly mediocre work, in and out of the Main Competition. The things that make Beauvois's and de Oliveira's films frustrating to watch admittedly make them more interesting as time passes. Either might have been served by an earlier berth in the schedule, an idea we'll revisit when we land on Dead Man on the final day. Most of the sidebar stuff could just as easily not have played at all, but I have to say, after so many unsatisfying narratives and inchoate statements, it was sure was fun watching Antonio Banderas fire away at bad guys with weaponized guitar case.
Labels: Action Films, Best Actor, Blog Buddies, Cannes, Cannes 95, France, Hugh Grant, International, Israel, Manoel de Oliveira, Michael Moore, Portugal, Salma Hayek, UK
Ulysses' Gaze, Greece, dir. Theo Angelopoulos
Fewer films than usual on offer today: Critics' Week had ended, and many of the Quinzaine and Un Certain Regard titles proved elusive. But what remains is a full meal. Some might even say over-full. I imagine critics arrive to every Cannes with certain days in the schedule circled in boldfaced marker, and this would have been one of them. Theo Angelopoulos' Ulysses' Gaze, which finds the legendary Greek auteur pondering the evisceration of the Balkans and the evanescence of film, and Zhang Yimou's Shanghai Triad, with its visually and narratively operatic story of gangsterism and bitter redemption, had figured instantly on everyone's list of likely plays for the Palme d'or. By "everyone," I include the filmmakers. Neither was renowned for hiding his light under a bushel, but even by those standards, they pull out all the technical and rhetorical stops in these projects. I don't doubt their sincere commitment to their visions, but I also sense they can smell the velvet in the trophy case. Neither of these statement-pieces went home empty-handed, even if Angelopoulos' famous hissy-fit upon winning the runner-up prize suggested otherwise, but nor did they unite critical opinion or endear themselves uniformly to audiences. I found plenty to chew on in both, but oscillated like so many others between awe and skepticism. If anything, I was more galvanized by a one-hour Malaysian adaptation of William Faulkner's "Barn Burning" that slipped into Un Certain Regard to less acclaim than it deserved. You could watch it three times in the span it takes to screen Ulysses' Gaze, though that's not an automatic point for or against either of them. Good things come in big and small packages.
Labels: Adaptations, Blog Buddies, Cannes, Cannes 95, China, Greece, Harvey Keitel, International, Southeast Asia, Theo Angelopoulos, William Faulkner, Zhang Yimou
posted by NicksFlickPicks at 11:30 AM 0 comments
Nasty Love, Italy, dir. Mario Martone
It is on to-day, honey. The hits keep getting bigger! Four of the Competition titles from the last 48 hours have handily eclipsed the rest of the field, but today's discoveries are invigorating in a different way than yesterday's because they were so much less heralded. Mario Martone, highly regarded in Italy but barely known outside of it—he's competed for the Golden Lion four times, and swept the Donatello awards a few years back with his prestige literary adaptation We Believed—wowed me more or less from out of nowhere with the directorial verve of Nasty Love, simultaneously steely and luscious, sexy and sad. Many of the most conspicuous directorial signatures of Cannes '95 have been high-handed or humorless; Martone figures out how to impress and entertain at once. No slight on sobriety, though, when it's done with the odd, immaculate mannerism of Terence Davies's The Neon Bible, though I'm suspicious I may have responded better to this one than at least a couple of my peers. All that, plus L'enfant noir is an uncommonly beautiful West African coming-of-age tale, and Safe is one of the definitive movies of the decade. Hard to swing a better day at a festival than this.
Labels: African Cinema, Black Cinema, Blog Buddies, Cannes, Cannes 95, Gena Rowlands, International, Italy, Julianne Moore, Masterpieces, Queer Cinema, Safe, Terence Davies, Todd Haynes
Land and Freedom, UK, dir. Ken Loach
And now we're finally talking. Ken Loach and Hou Hsiao-hsien serve up the meatiest, chewiest Palme contenders so far, and without pushing too far outside their stylistic comfort zones, they make some of the most forceful work in either of their filmographies. Regrettable, maybe, that Kids stole a lot of the media attention, but in the context of Cannes, it proved something less of a sensation than its makers and distributors might have hoped. Meanwhile, Chris Newby premiered some British cinema as dissimilar as you could imagine to Land and Freedom, except perhaps in its ethic of unanticipated affinities and identifications across difference, and Iranian master Mohsen Makhmalbaf furnished one of the most austere but committed of several films overtly commemorating the 100th anniversary of the medium...
Labels: Cannes, Cannes 95, China, Iran, Ken Loach, Larry Clark, Political Cinema, Queer Cinema, UK
Carrington, UK, dir. Christopher Hampton
What's going on? It would be a significant overstatement to say Cannes 1995 wasn't giving us anything to enjoy or admire in its first 100 hours. Sharaku and Angels and Insects have real lingering power, The City of Lost Children at least offers grand spectacle, and the programming in Directors' Fortnight and Un Certain Regard picked up some of the Main Competition's slack. Carrington might be the high-water mark of the Competition thus far. One week later, the jury certainly held that view; give or take Sharaku, I'm inclined to agree with them. But as much as I've always liked Hampton's movie, it's a surprising apex, one-third of the way into the world's most auspicious film festival. Plenty of worthy rental choices below, but also a couple of indifferent doodles and must-avoids.
Updated: For even richer thoughts on many of the films listed below, head over to the first Jury Roundtable, where we all go into more detail about our reactions.
Labels: Biopics, Cannes, Cannes 95, Emma Thompson, International, Middle Eastern Cinema, Stinkers, UK, Women Directors
Jefferson in Paris, USA, dir. James Ivory
The Main Competition continued to languish on the festival's fourth day; none of this section's first seven titles earned any bouquets from the jury by the end of the fortnight. Happily, things were still percolating in the other selections, where Nicole Kidman and Gus Van Sant turned their very different careers around on the same project. Other faces lighting up screens were as fresh as Liv Tyler's and as familiar as Alec Guinness's...
Labels: Cannes, Cannes 95, Gus Van Sant, International, Katrin Cartlidge, Merchant Ivory, Nick Nolte, Nicole Kidman, Wim Wenders
Beyond Rangoon, UK/USA, dir. John Boorman
1995 boasted the largest roster of Competition titles in recent Cannes history—which is all the more surprising given that some of these entries, like Angels and Insects, would have played equally well in the sidebars, and others, like Beyond Rangoon, could have been skipped altogether. But if the Palme contenders hadn't yet yielded much excitement, the sidebars were starting to pop with buzzy titles, hailing from Tinseltown and Tehran...
Labels: Adaptations, Cannes, Cannes 95, Diane Keaton, India, International, Iran, Kristin Scott Thomas, Patricia Arquette, Stinkers, UK
Sharaku, Japan, dir. Masahiro Shinoda
The Main Competition offerings today were determinedly more esoteric than the opening-night film. Souleymane Cissé's Waati was the only one of 24 Palme contenders that eluded me entirely, MIA even from this box-set of that renowned Malian director's work. I did locate the day's other Main Competition title via the website SamuraiDVD, even though it isn't a samurai film. (Technicalities.) Still, even once it's in your hand, Sharaku is such a tough nut to crack that U.S. distribution never happened. That doesn't mean I was unseduced...
Labels: Biopics, Black Cinema, Blog Buddies, Cannes, Cannes 95, Japan, Jennifer Jason Leigh, Queer Cinema
The City of Lost Children, France, dirs. Jean-Pierre Jeunet & Marc Caro
Welcome to the first day of the rest of your lives, and also to the first day of the second coming of the 1995 Cannes Film Festival! As I've been telling you for weeks now, and as Twitter has been hearing at regular intervals, I and a distinguished entourage are embracing our practical and financial inabilities to attend the currently-unfolding Cannes Film Festival by calling on all streaming services, private DVD collections, campus holdings, Interlibrary Loan offices, brick-and-mortar rental shops, and international mail-order retailers to throw what we consider a very inspired birthday party for many, many films that screened on the Croisette 20 years ago this week. I personally have already seen upwards of 40 titles, from 18 countries, with about a dozen still to go and more nations to represent. Having searched through every open door for these movies—many of which I hadn't seen in two decades, most of which I'd never seen at all, and several of which are by directors I'd never heard of before—I'm having the time of my life.
Each day of the festival, I'll post an entry that collects my thoughts on the films that bowed on the Croisette that day in 1995. I'll also include links to essays, capsules, tweets, or Letterboxd entries by my cohorts. I hope you'll enjoy following these posts, and that you'll consider playing along, and either posting or linking your impressions in the Comments. I've provided a day-by-day itinerary of the films up for discussion, to help you know what's coming. (I pulled the dates and even the screening times from an old issue of Le Monde; after today, my already-written Twitter reviews will be timed with maximal nerdiness to appear at the moment each day when the curtain rose on the film in question.)
Occasionally, you'll also be treated to more in-depth conversations between me and some scholar, writer, or friend (often all three!) who has particular expertise in a given film or the story or region it depicts. I'll also post a few mid-festival roundtables among my closest collaborators, as we hash out our impressions, concluding with our own jury awards for the Best of the Fest.
Today's easy, since as per usual, only one film was programmed on opening day...
Labels: Blog Buddies, Cannes, Cannes 95, France, International
posted by NicksFlickPicks at 9:00 AM 3 comments
Cannes 1995: Meet the Jury
My friends and I review the titles in high, brassy style.
The 48th Cannes Film Festival opened on May 17, 1995, with the gala premiere of Jean-Pierre Jeunet and Marc Caro's The City of Lost Children. My own 20th-anniversary return to that year's lineups will also begin on May 17, which is two weeks from tonight. No time like the present, then, to introduce you to the game, rambunctious, movie-mad colleagues who will be jumping with me into the time machine and leveling judgments at films I either half-remember or never saw at all. Though we're unquestionably as chic as last year's congress, we've humbly elected to let our work speak for itself rather than rely on our collective beauty to entice you into this imminent, unfolding feature.
Ivan Albertson is well-known to any Chicago filmgoer: if he isn't tearing your ticket, he's probably sitting with you in the audience, or may even have programmed the especially delicious and hard-to-find titles you're about to enjoy. Ivan sees more movies than anyone I know, maintaining both a high bar and a wide-ranging taste; he is intimidating both in his expectations and his generosity, and it's never clear in advance when or how fully we'll agree. You can keep up with his thoughts during or after Cannes on Letterboxd. He also called the Siskel staff behind my back and had them do this as a kicky surprise before the screening we recently attended of Good Men, Good Women, so I worship him even more than before.
Tim Brayton of Antagony and Ecstasy is, as many of you know, a confoundingly prolific and engaging writer of long-form movie reviews. His work arcs across current releases, pet genres and traditions (from Disney fables to slasher films), and month-by-month obsessions (from Tarkovksy to Tyler Perry). He is a recent festival juror, a Film Experience regular, and ...Tim, can I spoil your other big news? Tim agrees not to judge me for buying a DVD of The Descendants, which I loathed, just because it got Oscar nominations, and I agree not to perform an intervention when he goes to see, e.g., Paul Blart: Mall Cop 2 because he think it's snobby when critics disdain to see what folks are out there paying to watch. He's also amidst a fundraising drive you should consider donating to.
Alex Heeney (Twitter) is two of my favorite types of cinephile: the kind based in Toronto, and the kind who does something totally different during the day. She's a Stanford Ph.D. candidate in Industrial Engineering, with an emphasis on confronting structural quandaries related to food waste and climate change. Raise your hand if you're doing that much to better the world... Hmmm? Nobody? Alongside all this, Alex manages to review film, theater, and music at her website The Seventh Row, which, like Tim's, leaves me agog at both the scale and caliber of commentary. She'll also be in actual Cannes while slumming around our faux one. Citizen of the world, that one.
Amir Soltani (Twitter) co-hosts and co-edits the podcast Hello Cinema with Tina Hassannia, which you should really start listening to if you already know a lot about Iranian film, or if you know a little but wish you knew more, or if you don't know anything and recognize that this is a failing on your part. (Sorry: tough love. And for real, why are you denying yourself?) Amir, like Alex, is based in Toronto and is paid to do something completely different than reviewing movies, and I hope he's really good at that other thing, because he's great at reviewing movies. A regular presence at The Film Experience, he organizes all our internal polls, which is more like herding cats than you'd guess.
Ed.: The fabulous foursome above turned out to be my accomplices. As the personal king of biting off more than I can usually chew, I expected some attrition. Even though they had to bow out of the time machine just before we closed the hatch, you should still be following these folks if you don't already! —
Guy Lodge (Twitter) wears nattier cardigans, cooks more titillating tarts, and maintains finer facial-hair grooming than any other film critic on the net, in addition to soliciting more revealing and genial conversation from Andie MacDowell than you have, or I have. He writes mostly for Variety now with a side-gig at The Guardian and a distinguished past we all recall with deep yearning at HitFix, née In Contention. Though I tend to require a tighter CV than that for contributors to this site, I've decided on this one occasion to let it pass. (No picking on Guy if his packed spring itinerary of real-world reviewing means he has to bow out.)
Angelo Muredda (Twitter) is another dapper Torontonian, or perhaps I should say another chic Torontoist. I first started reading his work at Film Freak Central, where the hits just don't stop coming. Those guys just know the game. Every game. You're reading them all, right? Angelo's movie writing shows up lots of other places, and he has a better batting average of funny tweets than almost anyone in this racket. He's also getting ever-closer to that Ph.D. in Canadian literature, and is thus a man after my own heart, proving that academics aren't all immured in library stacks (which, by the way, there's nothing wrong with), speaking only to each other (which, I'd wager, there is).
Tim Robey (Twitter) remains the film critic I'd want to be if I had a) stuck with a long-ago aspiration to write movie reviews for a major daily paper, b) actually gotten such a gig, and c) proved to be sublimely good at it, week after week. He makes shrewder points than I do in sentences shorter than I can manage. I don't know why I keep evoking myself. I think I enjoy being in sentences with him. He's my annual roommate at TIFF, where he sometimes asks me to vet his drafts, even though all I ever do is cut very severe bangs and say, "You've done it, Robey. You've cracked it wide open." Like Alex and Guy, Tim will be offering real-time dispatches from this year's Croisette, so any energy he expends here I extra-appreciate.
Sarah Turner has survived what nobody else on this list has even attempted, i.e., taking one of my classes. She was consistently brilliant talking and writing in academic registers about gender, sexual, and racial politics in contemporary sci-fi features and is just as consistently brilliant writing to a mass audience about everything the Pop Insomniacs can throw at her, including pieces I especially liked about Dear White People and Mr. Turner (no relation), and all the weekly reviews of Mad Men I can't read yet because I've only ever seen 1.5 episodes. Those are all rich, chewy texts, but when you can whip up interesting thoughts about Mike Epps' AOL series, you've arguably shown your chops even more. I don't know who's out there trying to hire young, interesting, eclectic writers, but I didn't plead for her to participate and offer her this platform for my health, okay? Managing editors? Talent scouts?
I hope you're all as excited as I am for what this crew has to say about the 1995 Cannes Film Festival, from the best and brightest to Beyond Rangoon. (Honestly, is that even a spoiler?) Keep checking back.
Oh, and what's that? I have a whole other jury assembled of research specialists and published film writers with targeted insights to drop about specific titles along the way? I've offered you Iron Man, Thor, the Black Widow, Hawkeye, Captain America, and all the others above (you can work out who's who...), and that's only half the tally of Cannes Avengers I've got working on the case? What??? [/Teaser]
He seriously set this whole thing up and I didn't even know.
Labels: Blog Buddies, Cannes 95, Site Features


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Interest in sex peaks significantly during Christmas: Study
December 25, 2017 by safoora
NEW YORK: Interest in "sex" or other sexual terms in online searches rises significantly during Christmas festivities, with more births nine months later, an interesting study has revealed.
It's often wryly observed that birth rates peak in September, with many studies citing seasonal changes in human biology to explain this post-holiday "baby boom."
But new research from scientists at Indiana University (IU) and the Instituto Gulbenkian de Ciencia in Portugal has found that spikes in pregnancies are actually rooted in society, not biology.
The study, which appears in the journal Scientific Reports, drew upon data from nearly 130 countries that included sex-related Google search terms from 2004 to 2014 and 10 per cent of public Twitter posts from late 2010 to early 2014.
The analysis revealed that interest in sex peaks significantly during major celebrations — based upon a greater use of the word "sex" or other sexual terms in web searches.
These peaks broadly corresponded to an increase in births nine months later in countries with available birth-rate data, the team revealed.
"The rise of the web and social media provides the unprecedented power to analyse changes in people's collective mood and behaviour on a massive scale," said Luis M. Rocha, a professor in the IU School of Informatics, Computing and Engineering.
"This study is the first 'planetary-level' look at human reproduction as it relates to people's moods and interest in sex online," Rocha added.
To understand the higher interest in sex during holidays, the researchers also conducted a sophisticated review of word choices in Twitter posts — known as a "sentiment analysis" — to reveal that, collectively, people appear to feel happier, safer and calmer during the holidays.
When these collective moods appear on other occasions throughout the year, the analysis also found a corresponding increase in online interest in sex.
"Perhaps people feel a greater motivation to grow their families during holidays when the emphasis is on love and gift-giving to children. The Christmas season is also associated with stories about the baby Jesus and holy family, which may put people in a loving, happy, 'family mood,'" Rocha mentioned.
According to Rocha, the findings could help public health researchers pinpoint the best dates to launch public awareness campaigns encouraging safe sex in developing countries lacking in reliable birth-rate data.
Categories Misc, Tid Bits Tags Christmas, sex Post navigation
Annual Santa Tracker by Google
Work on third installment of 'Don' has begun: Producer Ritesh Sidhwani


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Betsy Palmer (born Patricia Betsy Hrunek; November 1, 1926 – May 29, 2015) was an American actress, known as a regular supporting movie and Broadway actress and television guest star, as a panelist on the game show I've Got a Secret, and later for playing Jason Voorhees' mother, Pamela Voorhees, in the popular slasher film Friday the 13th (1980). ...more on Wikipedia
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Professor Yacine Rezgui is a BRE (Building Research Establishment) Chair in `Building Systems and Informatics`. He is the Director of the BRE Trust Centre of Excellence in Sustainable Engineering.
Building Informatics with a focus on semantics (BIM and Ontologies) and Knowledge Management.
Building and District Energy Management (with a focus on the next generation energy control systems).
Catchment and Urban Water Management (including modelling, data analytics, and optimization).
Resilience of the Built Environment to Natural Disasters.
A wide portfolio of European research (FP5, FP6, and FP7) projects, including: Condor, OSMOS (IST-1999-10491), e-Cognos (IST-2000-28671), SciX (IST-2001-3312), ICCI (IST-2001-32031), ROADCON (IST-2001-37278), VOSTER (IST-2001-32031), VE-Forum (IST-1-507469-SSA), and FUNSIEC (eContent 42059Y3C3FPAL2), SPORTE2 (FP7/2007-2013), KnoholEM (FP7/2007-2013), RESILIENT (FP7-314671), WISDOM (FP7-619795).
He has over 200+ refereed publications in the above areas, which appeared in international journals such as IEEE Transactions on Systems, Man, and Cybernetics; Proceedings of the Royal Society A; Expert Systems with Aplications; IEEE Transactions on Service Computing; and IEEE Transactions on Automation Science and Engineering.
Prof Yacine Rezgui is a qualified architect with an MSc (Diplôme d'Etudes Approfondies) in "Building Sciences" (obtained from Université Jussieu - Paris 6) and a PhD in Computer Science applied to the construction industry, obtained from ENPC (Ecole Nationale des Ponts et Chaussées).
After 4 years of industrial experience in architectural engineering, he joined Derbi Informatique, the IT subsidiary of OTH (Omnium Technique Holding), a French engineering company specialised in all aspects of design and construction engineering. He took part to several of their developments, including their web-based project management system SGTi. He has then worked as a researcher for CSTB (Centre Scientifique et Technique du Bâtiment) and was involved in a number of national and EU research projects in the field of document engineering (DOCCIME), product modelling and Computer Integrated Construction (ATLAS).
In 1995, he joined Salford University in the UK as a Research Fellow, then Academic: Lecturer (1996), Senior Lecturer (1998), Professor (2001). He was the founding Director (2003 – 2007) of the 5* (RAE 2001) rated Informatics Research Institute at Salford University (www.iris.salford.ac.uk) which was grown from a small group of academics to a large cross-University research institute with 70+ academic members.
Examined PhDs in the UK (including Nottingham University and Loughborough university), France (Conservatoire National des Arts et Métiers; Ecole Polytechnique de Lorraine), and Finland.
Member of the organizing committee of several international conferences, including NLDB, Pro-VE, ICCBE, ICEIS, WEBIST, CIBW78.
Associate Editor of the Journal of Information Technology in Construction.
Member of the editorial board of several international journals, including Advanced Engineering Informatics, Nordic Journal of Surveying and Real Estate Research.
Ahmad, M.et al. 2017. Random forests and artificial neural network for predicting daylight illuminance and energy consumption. Presented at: Building Simulation 2017: 15th Conference of International Building Performance Simulation Association, San Francisco, CA, USA, 7-9 August 2017 Presented at Barnaby, C. S. and Wetter, M. eds.Proceedings of BS2017: 15th Conference of International Building Performance Simulation Association, San Francisco, USA. pp. 1-7.
Kuster, C.et al. 2016. Total life cycle and near real time environmental assessment approach: an application to district and urban environment?. Presented at: 11th European Conference on Product and Process Modelling, ECPPM 2016, Limassol; Cyprus, 7 - 9 September 2016 Presented at Christodoulou, S. E. and Scherer, R. eds.eWork and eBusiness in Architecture, Engineering and Construction: ECPPM 2016: Proceedings of the 11th European Conference on Product and Process Modelling (ECPPM 2016), Limassol, Cyprus, 7-9 September 2016. CRC Press pp. 259-270.
Howell, S. K.et al. 2016. Semantic interoperability for holonic energy optimization of connected smart homes and distributed energy resources. Presented at: European Conference on Product and Process Modelling, Limassol, Cyprus, 7 - 9 September 2016 Presented at Christodoulou, S. E. and Scherer, R. eds.eWork and eBusiness in Architecture, Engineering and Construction: ECPPM 2016: Proceedings of the 11th European Conference on Product and Process Modelling (ECPPM 2016), Limassol, Cyprus, 7-9 September 2016. London: CRC Press pp. 259-268.
Alreshidi, E., Mourshed, M. and Rezgui, Y. 2016. The development process of a cloud–based BIM governance platform. Presented at: 16th International Conference on Computing in Civil and Building Engineering, Osaka, Japan, 6-8 July 2016 Presented at Yabuki, N. and Makanae, K. eds.Proceedings of the 16th International Conference on Computing in Civil and Building Engineering. Osaka, Japan: ICCCBE pp. 800-807.
Alreshidi, E., Mourshed, M. and Rezgui, Y. 2016. State-of-the-art and future directions of cloud-based BIM governance solutions. Presented at: 16th International Conference on Computing in Civil and Building Engineering, Osaka, Japan, 6-8 July 2016 Presented at Yabuki, N. and Makanae, K. eds.Proceedings of the 16th International Conference on Computing in Civil and Building Engineering. Osaka, Japan: ICCCBE pp. 808-814.
Ahmad, M.et al. 2016. Optimal scheduling strategy for enhancing IAQ, visual and thermal comfort using a genetic algorithm. Presented at: ASHRAE IAQ 2016 Defining Indoor Air Quality: Policy, Standards and Best Practices, Alexandria, VA, USA, 12-14 September 2016.
Ahmad, M.et al. 2015. Optimising the scheduled operation of window blinds to enhance occupant comfort. Presented at: 14th Conference of International Building Performance Simulation Association, Hyderabad, India, 7-9 December 2015Proceedings of BS2015: 14th Conference of International Building Performance Simulation Association, Hyderabad, India, Dec. 7-9, 2015. pp. 2393-2400.
Petri, I.et al. 2014. A broker based consumption mechanism for social clouds. International Journal of Cloud Computing 2(1), pp. 45-57.
Wang, B., Li, H. and Rezgui, Y. 2013. Intelligent Building Emergency Management Using Building Information Modelling and Game Engine. ICIC Express Letters - An International Journal of Research and Surveys 7(3(B)), pp. 1017-1023.
Dibley, M.et al. 2012. Cost effective and scalable sensor network for intelligent building monitoring. International Journal of Innovative Computing, Information and Control 8(12), pp. 8415-8433.
Wang, B., Li, H. and Rezgui, Y. 2012. Intelligent building emergency management using building information modelling and game engine. Presented at: The Seventh International Conference on Innovative Computing, Information and Control (ICICIC2012), the Fifth International Symposium on Intelligent Informatics (ISII2012), Shanghai, China, 4-6 November 2012.
Dibley, M. J.et al. 2012. Multi-agent system for real time building monitoring. Presented at: EG-ICE 2012, Munich, Germany, 4-6 July 2012.
Kasim, T., Li, H. and Rezgui, Y. 2012. BREEAM: Based Dynamic Sustainable Building Design Assessment. Presented at: EG-ICE 2012, Munich, Germany, 4- 6 July 2012.
Rezgui, Y. and Miles, J. C. 2011. Harvesting and managing knowledge in construction: from theoretical foundations to business applications.. Abingdon: Routledge.
Al-Hadidi, A. and Rezgui, Y. 2010. Adoption and Diffusion of m-Government: Challenges and Future Directions for Research. Presented at: Proceedings of the 11th IFIP Working Conference on Virtual Enterprises, Saint-Etienne, France.
Al-Hadidi, A., Rezgui, Y. and Hopfe, C. 2010. The Economic and Social Impact of Electronic Services on the Public and Private Sectors. Presented at: Literature Review: Proceedings of the 10th European Conference on e-Government, Limerick, Ireland.
Marks, A. and Rezgui, Y. 2010. Security Awareness in Virtual Communities: The Case of Non-collocated Academic Research Collaborations. Presented at: Proceedings of the 11th IFIP Working Conference on Virtual Enterprises, Saint-Etienne, France.
Meesapawong, P., Rezgui, Y. and Li, H. 2010. Perceiving the societal value as the core of innovation management in public research and development organizations. Presented at: 5th IEEE International Conference on Management of Innovation and Technoloy (ICMIT2010), Singapore / Singapore.
Li, H. J.et al. 2010. Low carbon ontology development using information retrieval techniques. Presented at: 8th European Conference on Product and Process Modelling, Cork, Ireland.
Rezgui, Y., Wilson, I. E. and Li, H. 2010. Promoting sustainability awareness thought energy engaged virtual communities of construction stakeholders. Presented at: 11th IFIP Working Conference on Virtual Enterprises (PRO-VE 2010), St. Etienne, France.
Hopfe, C. et al. eds. 2010. Natural Language Processing and Information Systems: 15th International Conference on Applications of Natural Language to Information Systems, Cardiff, UK, June 2010, proceedings.. Lecture Notes in Computer Science / Information Systems and Applications Vol. 6177.. Berlin: Springer.
Clarke, A., Miles, J. C. and Rezgui, Y. 2010. Multi-objective decision making for the fire and rescue services – a scoping study. Presented at: 1st Fire Risk Management Conference, Loughborough, UK, 14 April 2010.
Rezgui, Y. 2009. Critical success factors for the adoption and diffusion of m-government services. Presented at: 9th European Conference on e-Government, London, UK.
Rezgui, Y., Zarli, A. and Hopfe, C. J. 2009. Building information modeling applications, challenges, and future directions. Journal of Information Technology in Construction 14, pp. 613-616.
Marks, A. and Rezgui, Y. 2009. A comparative study of information security awareness in higher education based on the concept of design theorizing. Presented at: IEEE Information Systems and Management Conference, Beijing, China.
Barresi, S., Nefti-Meziani, S. and Rezgui, Y. 2009. A new conceptual approach to document indexing. Presented at: Proceedings of the Mexican International Conference on Computer Science, Mexico City, Mexico. Vol. 545253. pp. 360-366.
Clarke, A., Miles, J. C. and Rezgui, Y. 2009. Evolutionary Algorithms for Fire and Rescue Decision Making. Presented at: Presented at the FIRESEAT Fire Safety Engineering Conference, University of Edinburgh, Edinburgh, UK.
Rezgui, Y. 2009. A socio-technical approach for transient SME alliances. Presented at: 10th IFIP Working Conference on Virtual Enterprises, Thessaloniki, Greece.
Vorakulpipat, C. and Rezgui, Y. 2009. Knowledge value creation characteristics of virtual teams: A case study in the construction sector. Presented at: 10th IFIP Working Conference on Virtual Enterprises, Thessaloniki, Greece.
Dibley, M. J.et al. 2009. A semantic model provision for the digital building. In: Book Series of the Department of Civil Engineering, Technische Universitat Berlin, Book No. 1.. Aachen: Shaker Verlag, pp. 83-90.
Abulma'thi, A. and Rezgui, Y. 2008. Virtual team working: current issues and directions for the future. Presented at: Proceedings of the 9th IFIP Working Conference on Virtual Enterprises (Pro-VE09), Poznan, Poland.
Abulma'thi, A. and Rezgui, Y. 2008. Virtual Organizations in Practice: A European Perspective. Presented at: Proceedings of the 14th Americas Conference on Information Systems (AMCIS 2008), Toronto, Ontario.
Abulma'thi, A. and Rezgui, Y. 2008. Factors affecting virtual organisation adoption and diffusion in industry. Presented at: 7th European Conference on Product and Process Modelling, Sophia Antipolis, France.
Barresi, S., Nefti, S. and Rezgui, Y. 2008. A concept based indexing approach for document clustering. Presented at: Proceedings of the IEEE International Conference on Semantic Computing (ICSC 2008), Santa Clara, USA.
Boddy, S.et al. 2008. Awareness in project information spaces for improved communication and collaboration. Presented at: Proceedings of the 10th International Conference on Enterprise Information Systems, Barcelona, Spain.
Rezgui, Y. 2008. Exploring ontology adoption and diffusion in the construction virtual enterprise. Presented at: Proceedings of the 9th IFIP Working Conference on Virtual Enterprises (Pro-VE08), Poznan, Poland.
Rezgui, Y. 2008. Semantic service oriented computing: the journey continues. Presented at: Proceedings of the 7th European Conference on Product and Process Modelling, Sophia Antipolis, France.
Vorakulpipat, C. and Rezgui, Y. 2008. Knowledge value perceptions in Thailand: an interpretive case study.. Presented at: International Conference in Building Education and Research (CIB W89), Kandalama, Sri Lanka.
Vorakulpipat, C. and Rezgui, Y. 2008. Exploring the influence of collectiveness on value creation adoption in an information technology organization. Presented at: IFIP TC 8/WG 8.6 International Working Conference, Madrid, Spain, 22-24 October 2008 Presented at León, G. et al. eds.Open IT-based Innovation: Moving Towards Cooperative IT Transfer and Knowledge Diffusion. IFIP advances in information and communication technology Vol. 287. Boston: Springer pp. 139-158.
Vorakulpipat, C. and Rezgui, Y. 2008. Exploring the influence of socio-emotional factors on knowledge management practices: a case study. Presented at: IFIP TC8 WG8.2 International Working Conference, Toronto, Canada, 10-13 August 2008 Presented at Barrett, M. et al. eds.Information technology in the service economy: challenges and possibilities for the 21st century. International Federation for Information Processing Vol. 267. New York, NY: Springer pp. 27-42.
Mbanaso, U.et al. 2007. Secure dynamic web services composition in the context of construction e-purchasing. Presented at: Proceedings of the 24th W78 Conference, & 14th EG-ICE Workshop, & 5th ITC@EDU workshop, Maribor, Slovenia.
Rezgui, Y. and Medjdoub, B. 2007. A service infrastructure to support ubiquitous engineering practices. Presented at: Proceedings of the 8th IFIP Working Conference on Virtual Enterprises, Guimaraes, Portugal.
Rezgui, Y. and Nefti-Meziani, S. 2007. Ontology-based dynamic composition of services using semantic relatedness and categorisation techniques, ICEIS. Presented at: 9th International Conference on Enterprise Information Systems (ICEIS 2007), Funchal, Portugal.
Vorakulpipat, C. and Rezgui, Y. 2007. Value Creation: The Next Generation of Knowledge Management. Presented at: Proceedings of the Information Resources Management Association International Conference (IRMA 2007), Vancouver, Canada.
Rezgui, Y. and Medjdoub, B. 2007. A service infrastructure to support ubiquitous engineering practices. Presented at: IFIP TC 5 Working Group 5.5 Eighth IFIP Working Conference on Virtual Enterprises, Guimarães, Portugal, 10-12 September 2007 Presented at Camarninha-Matos, L. C. et al. eds.Establishing the foundation of collaborative networks. New York, NY: Springer pp. 627-636.
Barresi, S.et al. 2006. Methodology to support semantic resources integration in the construction sector. Presented at: Proceedings of the 8th International Conference on Enterprise Information Systems (ICEIS), Paphos, Cyprus.
Rezgui, Y. and Cooper, G. 2006. From data-centric applications to knowledge informed processes: Future challenges of construction IT. Presented at: Proceedings of the International Conference on Construction, INCITE, New Delhi, India.
Rezgui, Y.et al. 2006. Sustainability informed decision-making in the construction sector. Presented at: Proceedings of the 11th International Conference on Computing in Civil and Building Engineering (American Society of Civil Engineering), Montreal, Canada.
Vorakulpipat, C. and Rezgui, Y. 2006. Review of Thai knowledge management practices: An empirical study. Presented at: Proceedings of the IEEE International Engineering Management Conference, Salvador, Brazil.
Vorakulpipat, C. and Rezgui, Y. 2006. From knowledge sharing to value creation: Three generations of knowledge management. Presented at: Proceedings of the IEEE International Engineering Management Conference, Salvador, Brazil..
Cooper, G.et al. 2005. Tracking decision-making during architectural design. Journal of Information Technology in Construction 10, pp. 125-139.
Rezgui, Y. and Meziane, F. 2005. A web services implementation of a user centred knowledge management platform. Journal of Intelligent Information Technologies 1(4), pp. 1-19.
Rezgui, Y.et al. 2005. Socio-organizational issues. In: Camarninha-Matos, L. C., Afsarmanesh, H. and Ollus, M. eds. Virtual Organizations: Systems and Practice.. New York, NY: Springer Science, pp. 187-197.
Rezgui, Y. 2004. Distributed knowledge management architecture for the construction industry: the e-cognos project. Presented at: Proceedings of the International Conference on Construction Information Technology (INCITE): World IT for Design & Construction, Langkawi, Malaysia.
Rezgui, Y., Bouchlaghem, N. and Austin, S. 2003. An IT-based approach to managing the construction brief. International Journal of IT in Architecture, Engineering and Construction 1(1), pp. 25-28.
Ferneley, E.et al. 2003. Inter-organisational semantic webs to enable knowledge discovery and dissemination: Technical support for the social process. Presented at: Proceedings of the 10th ISPE International Conference on Concurrent Engineering: Research and Applications, Madeira, Portugal.
Cunningham, J., Rezgui, Y. and Ferneley, E. 2003. Bridging the gap between social and technical processes to facilitate IT enabled knowledge dissemination. Presented at: Proceedings of the International Conference on Enterprise Information Systems, Angers, France.
Kazi, S., Zarli, A. and Rezgui, Y. 2003. ICT in construction: A consolidated perspective. Presented at: Proceedings of the 9th International Conference of Concurrent Enterprising, Espoo, Finland.
Rezgui, Y., Wetherill, M. and Ferneley, E. 2003. A distributed knowledge management architecture for the construction industry. Presented at: Proceedings of the International Conference on Industrial Engineering and Production Management (IEPM'03), Porto, Portugal.
Rezgui, Y., Wetherill, M. and Kazi, S. 2003. Specifying a knowledge management solution for the construction industry: the e-cognos project. Presented at: Proceedings of the International Conference On Enterprise Information Systems (ICEIS 2003), Angers, France.
Rezgui, Y.et al. 2003. A strategic roadmap for the construction sector. Presented at: Proceedings of the 10th ISPE International Conference on Concurrent Engineering: Research and Applications (CERA-03)., Madeira, Portugal.
Zarli, A.et al. 2003. ROADCON: Roadmapping Future RTD in Construction ICT. Presented at: Proceedings of the eChallenges – e2003 Conference, Bologna, Italy.
Zarli, A., Rezgui, Y. and Kazi, S. 2003. Present and future of European research on information technologies in construction. Presented at: Proceedings of the ASCE World Research Congress, Honolulu, USA.
Rezgui, Y., Ingirige, B. and Aouad, G. eds. 2002. Towards a European knowledge economy in the construction and related sectors: Proceedings of the European Conference on Information and Communication Technology Advances and Innovation in the Knowledge Society (eSM@RT 2002 in Collaboration with CISEMIC 2002), Salford, UK, 18-21 November 2002.. Salford: University of Salford.
Wetherill, M.et al. 2002. Knowledge management for the construction industry: the e-COGNOS project. Journal of Information Technology in Construction 7, pp. 183-196.
Lima, C.et al. 2002. Inter-enterprise information management in dynamic virtual enterprises. Presented at: European Conference of Product and Process Modelling (eWork and eBusiness in AEC), Portoroz, Slovenia.
Lima, C.et al. 2002. Toward the construction knowledge economy: the e-Cognos project. Presented at: The 10th European Conference on Information Systems, Gdansk, Poland, 6-8 June 2002Proceedings of the 10th European Conference on Information Systems. pp. 1508-1516.
Lima, C.et al. 2002. Towards new methodology and architecture for wider knowledge management support in the building & construction industry. Presented at: CIB Building and Construction Industry W78-International Conference, Copenhagen, DenmarkProceedings of the CIB Building and Construction Industry W78-International Conference, Copenhagen, Denmark.
Lima, C.et al. 2002. The e-CKMI: the e-COGNOS infrastructure to support KM in the construction industry. Presented at: European Conference of Product and Process Modelling (eWork and eBusiness in AEC), Portoroz, Slovenia, 9-11 September 2002Proceedings of the ECPPM 2002 - the European Conference of Product and Process Modelling (eWork and eBusiness in AEC) - Conference, Portoroz, Slovenia.
Rezgui, Y., Zarli, A. and Kazi, S. 2002. Enhancing the competitiveness of the European construction industry in the digital economy. Presented at: Proceedings of the European Conference on Information Systems (ECIS 2002), Gdansk, Poland.
Wetherill, M., Rezgui, Y. and Ferneley, E. 2002. Deploying knowledge management solutions for the construction sector using the web services model. Presented at: Proceedings of the European eSM@RT 2002 Conference, Salford, UK.
Wilson, I. E. and Rezgui, Y. 2002. Toward the digital construction virtual enterprise. Presented at: Proceedings of the 10th European Conference on Information Systems, Gdansk, Poland.
Zarli, A., Rezgui, Y. and Kazi, S. 2002. Interconnecting the constructionindustry in the emerging knowledge-based society. Presented at: Proceedings of the European eSM@RT 2002 Conference, Toward a Knowledge Economy in the Construction and related sectors, Manchester, UK.
Zarli, A., Rezgui, Y. and Kazi, S. 2002. Distributed service management in dynamic virtual enterprises. Presented at: Proceedings of the e2002 Conference: eWork and eBusiness, Prague, the Czech Republic.
Zarli, A., Rezgui, Y. and Kazi, S. 2002. Bridging the European research on ICT in construction. Presented at: Proceedings of the e2002 Conference: eWork and eBusiness, Prague, the Czech Republic.
Zarli, A., Rezgui, Y. and Kazi, S. 2002. The ICCI project: Harmonisation of the IST Research and Development for the European Construction Industry. Presented at: Proceedings of the ECPPM 2002 - the European Conference of Product and Process Modelling (eWork and eBusiness in AEC) - Conference, Portoroz, Slovenia.
Meziane, F. and Rezgui, Y. 2002. A method for maintaining document consistency based on similarity content. Presented at: 6th International Conference on Applications of Natural Language to Information Systems, Stockholm, Sweden, 27-28 June 2002Natural Language Processing and Information systems: 6th International Conference on Applications of Natural Language to Information Systems, NLDB Stockholm, Sweden, June 27-28 , 2002. Lecture Notes in Computer Science Vol. 2553. Berlin: Springer pp. 85-96.
Darwen, D. and Rezgui, Y. 2001. A business process improvement experiment in a paper manufacturing SME. Presented at: Proceedings of the 8th ISPE International Conference on Concurrent Engineering Research and Applications, California, USA.
Harvey, S.et al. 2001. A comprehensive description of the human, process and technical requirements of a construction virtual enterprise: the OSMOS project. Presented at: Proceedings of the 1st International Conference on Innovation in Architecture Engineering and Construction, Loughborough, UK.
Harvey, S.et al. 2001. Services for inter-enterprise information management in dynamic virtual enterprise. Presented at: Proceedings of the 2nd World Wide ECCE Symposium Information and Communication Technology in the Practice of Building and Civil Engineering, Espoo, Finland.
Marache, M.et al. 2001. Engineering the information streaming within the Construction Virtual Enterprise: the OSMOS project. Presented at: Proceedings of the ECEC'2001 – The 8th Annual European Concurrent Engineering Conference, Valencia, Spain. pp. 90-97.
Bourdeau, M.et al. 2001. Knowledge management for the construction industry: the e-COGNOS approach. Presented at: Proceedings eBusiness and eWork, Venice, Italy.
Rezgui, Y.et al. 2001. A proposed IT-based approach for managing the construction brief effectively. Presented at: Proceedings of the CIB W78 Conference, Mpumalanga, South Africa.
Rezgui, Y.et al. 2001. An open specification and framework for the construction dynamic virtual organisations: the OSMOS project. Presented at: Proceedings of eBusiness and eWork Congress, Venice, Italy.
Rezgui, Y.et al. 2001. WEB-based generic services for the construction virtual enterprises in the OSMOS project. Presented at: Proceedings of the CIB – W78 Conference, Mpumalanga, South Africa.
Wilson, I. E.et al. 2001. A generic process model for managing the virtual enterprise: the OSMOS approach. Presented at: Proceedings of the 1st International Conference on Innovation in Architecture, Engineering and Construction, Loughborough, UK.
Zarli, A., Rezgui, Y. and Kazi, S. 2001. ICT research and development for the construction industry in the European IST programme. Presented at: Proceedings eBusiness and eWork Conference, Venice, Italy.
Bourdeau, M.et al. 2001. An open system for inter-enterprise information management in dynamic virtual enterprises. Presented at: Proceedings of the 2nd World Wide ECCE Symposium, Information and Communication Technology in the Practice of Building and Civil Engineering, Espoo, Finland.
Demand Response Integration tEchnologies: Unlocking the demand response potential in the distribution grid (DRIvE).