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Nordicum-Mediterraneum
Icelandic E-Journal of Nordic and Mediterranean Studies
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Volume 15, no. 3 (2020)
Volume 11, no.1 (2016)
Volume 9, no. 1 (2014)
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About Alina Romo
Dr. Alina A. Romo is an Assistant Professor of English at Allan Hancock College in Santa Maria, California. She earned her Ph.D. and M.A. in English and American Literature from New York University. She also holds a master's degree from the University of California, Los Angeles where she studied 18th and 19th century Nordic literature with an emphasis in Norwegian literature and art.	View all posts by Alina Romo →
Luisa Greenfield et al. (eds.), Artistic Research: Being There, Explorations into the Local (Aarhus: NSU Press, 2017)
31/12/2019 Book reviewArt, Migration, performanceAlina Romo
To perceive what remains hidden in our lives, to identify what we take for granted, to find ways to look more critically at our surroundings and ourselves, and to grasp what distinguishes this place from every other place. Perhaps these are the resonances of art practices and research that are grounded in the idea of the local. ("Introduction" 7)
The opening lines of Artistic Research: Being There, Explorations into the Local establishes a tension that persists through the volume: being somewhere—experiencing the local—and being involved in the creative process embodies the possible, the perchance, and the process. There are, however, other aspects to the contingency outlined above, those of displacement, itineracy, and loss. The editors acknowledge this tension by defining the local as an idea that "focuses on the strategies that allow one to become rooted in each place even when in the throes of transition" (9). And for almost all of the artists whose work constitutes what is, in effect, a larger and collective creative project, the idea of transition, of change, and of movement, is connected to experiences of mourning and yearning.
Place, locality, the local: each iteration is an intimate discursive space for communication and communion with times, people, things, and ideas that are either now elsewhere or still in the process of becoming. By foregrounding "being there," the artists and researchers of the Nordic Summer University (NSU) unavoidably ask the reciprocal question: what does it mean to not be somewhere else? As for an answer, taken together, the collection's essays and creative projects seem to offer the following: everything is relational. There is no local without the global, no citizen without a stranger, no present without the past, no art without resistance, no I without thou. In the Preface "Being T/here," Robert Mock gestures to this point when he describes the essays in the collection as "utopian performances" that offer "fleeting glimpses of the 'potential of elsewhere'" (24; Dolan 5 quoted in Mock 24). The idea of "elsewhere," then, can only exist if there is a here, a locality from which to look out from and imagine a collective whole. Being in a state of "receptive relation to an other space" drives the production of the creative works within Being There and unifies them, at the same time (Greenfield 27).
The interconnected sense of mourning and yearning that permeates the writing and haunts the performances may stem from the collaborative nature of the NSU; each artist is always aware of their larger role in a bigger project and, consequently, always aware of both the presence and absence of their fellow artists and friends. This dual awareness appears over and again in the writing and serves as a unifying core to the work, perhaps nowhere more obvious than in "Windows. A Correspondence Between Elina Saloranta and Myna Trustram," which is a standout piece in the collection. While each woman is undergoing their own process of mourning—one, a marriage and the other, a death—both are yearning for each other's letters, for the relational interaction that helps form and give meaning to their artistic production and their individual experiences of the local as a moveable place for healing and comfort. There is a real intimacy in the exchange of letters across space and time, albeit mostly in email form, that transposes the sense of the local from a place of potential isolation (meaning, if you are there, and I am here, we are apart) to a movable and shared experience: "So, in the correspondence the two women move between the immediate (the green chair) and the distant (the geographical distance between them, their different responses to loss and so on). Where do they locate their losses?" (111). For Saloranta and Trustram their losses are indeed located, they reside both within and in places.
The titles of the collection's three sections, "Itinerant Locals," "Placing the In-between," and "Encountering a Singular Place," help narrow the ambitious scope of the work. In "Itinerant Locals," for example, both Per Roar's "Docudancing the Local," and Ami Skånberg Dahlstedt's "Suriashi," link the local with the dancing and choreographic body and, in similar ways, conscientiously query the nature and effects of the translation of culture from a local-historic-specific context to someplace else. Additionally, because of the deeply personal stories from which their projects arise, the moving body becomes a vessel for remembrance, an iteration of the local that resonates throughout the collection. The related ideas of "slipping" in "Micropracticing the Local" and "spontaneity" in "Fun Palaces," each speak to the generative value of repetition with difference, another subtext to the collection as a whole that is introduced early in these more theoretical essays and which resonates especially well with Maggie Jackson's rumination on possession and migrancy in "On the Road Again."
Jackson's essay, like the other middle essays of the collection, is most overtly concerned with what I mention at the outset as the shadow side of the "being t/here" binary—migrancy, refugeeism, displacement, or, to use Eduardo Abrantes' own words, the "contrast between the idealized wanderer who departs to gain the world she has not yet seen but dreamt of, and the refugee whose utopic dream is born of the violent eradication from the world she knew" (91). Balancing this contrast is perhaps the collection's greatest challenge and feat, which is successful only because of its constant state of self-awareness and self-correction. The images of the compass and the semi-obscured billboard that reads "Have No Home…Keep Driving," in Larissa Lily's "Meanwhile in Another Town," make the shadow side of the local unmistakable. The break from first person to third person narrative in Luisa Greenfield's "Milena" also speaks to this hard truth: sometimes, the weight of history causes a rupture, driving us from ourselves and from the places, the localities, where one cannot separate what has happened from what is happening—"this could be anywhere" (131). For the woman in "Milena," walking into the water, forcing herself into a present and place that feels different, even though it may be the literal embodiment of what she is attempting to escape, is what allows her to remain, to endure.
The collection's final section focuses on these particular places, both within and outside the context of the familiar. "I am writing in this place where I am," writes Alexandra Litaker in "We All Have Such Islands." To focus on being in the immediate experience of place is to perceive how Seamus Heaney's "cold floor" or Wordsworth's oars touching, breaking, entering, and leaving the dark waters of Ullswater Lake can produce a type of knowing otherwise obscured. Cecilia Lagerström's "Spies of Everyday" and Eduardo Abrantes' "Local Sound Families and a Choir in Estonia" both return to the idea of relationality and the artist's de-centered position as one who "patiently responds to events in the surroundings (Lavery 45, quoted in Lagerström 154). Attentive walking and performance writing are mutually generative artistic processes for Lagerström and develop what she identifies as the creative tools of "both closeness (recognition) and estrangement (distance)" (157). These "observant moments" (cold floor, oars on the water, "greet the beggar") waver between closeness and distance, recognition and estrangement, here and there (156). "Near and far," Eduardo Abrantes writes, "at different pitches, the animal voices, simultaneously glorious and eerie, entered into an uncanny and undecipherable dialogue with the Northern Lights" (178). Abrantes' exploration of "local sound families" examines the uniqueness of particular soundscapes, meaning groupings of sounds dependent on and emergent from a particular place (170). Yet, his powerful penultimate essay is equally about recognizing the "radical interdependence" of any given locality, regarding both its constituent parts and its alterity. His extension of the soundscape family to the animal world speaks to this recognition:
The soundscape of that situated place at that moment, the local sounds experienced …and their interrelationships, fully expressed their radical interdependence that, if interfered with, can make whole species extinct, or conversely, can awaken a strong sense of immersive co-habitation, of full and engaged ecological interconnection in its widest implications. (178-179)
Dialogue, interrelationships, interdependence, a surmise that humanity seems to need reminding of again and again—we are all connected and interdependent even when we are apart. Perhaps, a more fitting title for the collection would have been Being T/here, the back slash a visual representation of our mourning, of our yearning.
Scott Mackenzie & Anna Westerståhl Stenport (eds.), Films on Ice: Cinemas of the Arctic (Edinburgh: Edinburgh University Press, 2015)
28/07/2016 Book reviewArctic, Hollywood, cinema, ethnography, explorationAlina Romo
Load-bearing concepts are those that enable us to think (or conceptualize) something else. [Any] mediation—between disciplines or subdisciplines, between interests within a field, and certainly between historical moments—can only be the result of the construction of a shared discourse within which a consensus must be sought for the use of specific words (hence, concepts). — Peter de Bolla, "Mediation and the Division of Labor"
In Films on Ice, "Arctic Cinemas" is offered as a load-bearing concept upon which varying forms of Arctic filmmaking hitherto regarded as discrete traditions can be placed in dialogue, challenging, as the introduction claims, the very notion of "Arctic" as an unified concept and conventional views of film history, at the same time. By proposing "Arctic Cinemas" as a new lens through which to view the diverse film histories of nations and peoples spanning the vast Arctic region, including those that might seem more dissimilar than similar on first consideration—Inuit and Sámi cinemas, Scottish women filmmakers, and Norwegian horror flicks, to point out a few—Films on Ice stakes an innovative claim concerning the "dialogue between insiders and outsiders" that occur across the Arctic region (1). In so doing, the collection of essays recasts ground that has been stereotyped by the glare of otherworldly ice, Eurocentric-ethnography and the sublime.
While "Arctic Cinemas" is indeed a load-bearing concept, the introduction to the collection, penned by its editors MacKenzie and Westerståhl Stenport, performs methodological heavy lifting worthy of Atlas, and the introduction is a veritable gold mine for anyone wishing to either design a course or binge watch film from and about the North, although the rarity of many of the films in question would make finding them on Netflix a feat. As such, the introduction serves as an ample starting place for anyone needing to strengthen their broader knowledge of the Arctic and its many discourses, including Critical Arctic Studies and Arctic Art Cinema. Further, the introductions that open each of Film on Ice's four parts are equally indispensable and help frame the plurality of theoretical perspectives included in the collection.
Perhaps the clearest articulation of the context from which the collection emerges is located in "Transnational, World, Global, Arctic Cinemas?" Here, the editors put forth their goal: "to challenge standard national cinema histories that have generally overlooked film production in, about, and for the Arctic region" (13). By envisioning "Arctic Cinema" as a concept by which "geographically related subsections of various nation-states" are incorporated into one conceptual rubric, Films on Ice also challenges normative definitions of World Cinema. This is equally achieved by including in the collection of essays examples of "sub-national" film, or those "not representative of what is understood as a 'national' tradition" (14). "Arctic Cinema," then, expands the purview of both World Cinema and "cinematic tradition."
It is because of this aim that the study focuses on what MacKenzie and Westerståhl Stenport describe as "three distinct, yet interrelated groups" (1). It is useful to describe these groups at length since it is through their interrelationships that the concept of "Arctic Cinemas" emerges. They are: "(1) films made by Arctic residents, but mostly seen in the South […]; (2), films made outside the Arctic, typically by outsiders, and viewed mostly in the South and; (3) films made and viewed by Arctic residents through narrowcast broadcast and alternative venues" (1). As this list suggests, the collection is acutely attuned to the ways that perceptions of the Arctic, its regions, and its peoples have been amalgamated, marginalized and propagated in film.
The collection is equally attentive, however, to the ways in which pushback and reinscription have occurred with more frequency over the last several decades of filmmaking among the Arctic regions. Because of representation's implicit function in film, the collection equally takes cue from Critical Arctic Studies, which is interested in exploring how cultural representation can serve as a humanistic counterpoint to the definition of the Arctic region by climate, geopolitics, or cartography (2). The collection's broad scope is further organized into four parts, each highlighting a distinct frame of reference through which to view "Arctic Cinema."
Part I, "Global Indigeneity," focuses the notion of "unified singularity" on the indigenous peoples who populate the Arctic, representing "the first instance that the multiple cinematic traditions from various indigenous cultures and regions of the Arctic are placed in dialogue with one another" (31). There are very few venues, indeed, where an examination of Sámi, native Alaskan and Canadian, "Eskimo," Inuit, and Greenlander film traditions would make sense standing side-by-side; this is one of them. This juxtapositioning succeeds in large part because of the engagement with the relationship between hybridity (cultural, ethnic, cinematic) and play in contemporary Arctic film, which stresses the reality of transnationality for the region's indigenous peoples, both for the good and bad.
Part II, "Hollywood Hegemony," constructs a thorough history of how, beginning at the turn of the 20th century, "the Arctic" has figured in American cinema and its "cinematic imaginaries" (121). The tradition of "location substitution" is one of the focuses in this section, as is the line between fiction and "actuality" in representations of the North. Perhaps one of the most startling aspects of this section is, however, the connection drawn between polar expedition, film production, and the way in which proto-fascist aesthetics reemployed the Arctic in its own image within German Bergfilm, the arctic landscape inscribed with sublime, masculine whiteness.
At the core of Part III, "Ethnography and the Documentary Dilemma," are questions concerning time, chronology, the concept of historical progress and the ways in which ethnography and documentary film have grappled with and, in many cases, perpetuated notions of "cultural evolution" akin to those developed in stadial theory and disseminated in conjectural history and its descendants from the eighteenth century forward. It is in this section where the collection's multiple threads begin to fully unite, and "Arctic Cinema" begins to signify in ways indicative of a functional, load-bearing concept: by juxtaposing the Arctic's many unique regions and film histories with one another, it becomes apparent that, regardless of the differences among them, film made about the regions and peoples of the Arctic have repeatedly participated in forms of history-making predicated on the representation, evaluation and hierarchization of "otherness." From this premise, one can more fully appreciate the flip-side of "Arctic Cinema" set forth in Part I, that of contemporary, indigenous filmmakers subverting, hybridizing, and playing with tropes long held within a film tradition that for too long functioned outside of their control. Although I appreciate the choice to place "Global Indigeneity" first in the collection, allowing indigenous voices to speak first and for themselves, I cannot help but wonder if Part III should have come before it, as the incredible contrast between early ethnographic film and contemporary, indigenous responses to it would deepen the significance of the latter, especially for a reader not wholly versed in the cinemas of the Arctic. After finishing the collection, read in order, I felt as though I needed to return to the opening chapters with the insights I collected along the way.
Part IV, "Myths and Modes of Exploration," is perhaps the most daring section of the collection due to the broad geographical, cultural and temporal scope of its subjects: topics range from the earliest depictions of the race to the North Pole in silent film, circa 1901, to a comparison of 1930 and 1970s Soviet images of the North where, in the case of the later films, the Arctic space is imagined as "the place of possibilities where socialist dreams come true" (321); the collection closes with two works that scrutinize contemporary, visual interactions with the Arctic, examining new models of representing the region through "creolization" and "info-aesthetics." Despite its diverse material, Part IV succeeds in connecting method, mythmaking, and exploration along several lines, including how film has mediated or attempted to mediate varying histories of the Arctic, personal, political, and environmental.
In its own words, Films on Ice demonstrates how the concept of "the Arctic" "elides the political, geographic, national, transnational and linguistic differences that define and populate the region;" foregrounding, even, how "the Arctic" encompasses an "intertwined" and "unifying singularity" (2). For even the most casual student of the Arctic, this conclusion will be unavoidable because although it signifies in so many interrelated ways, it is particularly prescient regarding climate change, which will not pause at borders and which will impact the Arctic and its peoples hardest, its uniqueness, its interwoven fabric, the first victim rent by modernity's hubris. As a whole, the essays in Films on Ice speak among one another, pick up threads of common focus, and, in numerous cases, offer readings and arguments concerning the same films, scaffolding up, as it were, from the concept of "Arctic Cinema" to demonstrate the concept's ability to provide a foundation for a new, counter history of film.
Philip J. Anderson and Dag Blanck (eds.), Norwegians and Swedes in the United States: Friends and Neighbors (St. Paul: Minnesota Historical Society Press, 2012)
25/12/2012 Book reviewDarwinism, Lutheranism, Migration, Norway, Sweden, USA, integration, nationalismAlina Romo
The collection is divided into four distinct sections—Context, Culture, Conflict and Community—each undertaking a thorough examination of the relationships and interactions between the largest immigration populations from Scandinavian to the United States. As the subheadings suggest, a comprehensive study of the relationship between Norwegians and Swedes in the United States cannot be sustained on comparison alone. Indeed, as Donna R. Gabaccia outlines in the very useful foreword to the book, the narrative of this relationship continues to develop new strains due in part to increasing attention to "inter-ethnic perspectives" concerning American immigration history in general and Scandinavian interactions in particular. It is the developing story of Scandinavian "inter-ethnic perspectives" that the collection aims to uncover and narrate and as a whole this aim is successful. As Gabaccia rightly points out, however, the collection downplays the "importance of contention" between the two groups, by choosing to highlight "the Americanization that brought both groups of immigrates closer to each other."
The first section on context contains two substantial introductory chapters: "Friends and Neighbors? Patterns of Norwegian-Swedish Interaction in the United States" by co-editor Dag Blanck and "Norwegians and Swedes in America: Some Comparisons" by H. Arnold Barton. The opening chapters strive to broadly describe the identities of each group and the patterns of interactions between them. Blanck develops a useful chronology for grappling with the complex issue, dividing recognizable patterns of interaction into three periods. Blanck emphasizes that although there has yet to be a systematic and comprehensive study of the history of the Scandinavians in the United States, certain patterns emerge from the studies that do exist. When division did occur between Norwegian and Swedish immigrants it was along religious lines, more so than national ones. In matters of the heart, however, Norwegians and Swedes found each other the most desirable and within the political sphere they were each others' closest allies. Barton's comparative study of the two groups is admittedly more speculative in nature, but no less productive in results by focusing on the differences between the groups. Some of Barton's findings are less surprising than others. That the Norwegians were the more nationalist of the two immigrant groups makes sense in term of Norway's political development over the nineteenth century ending with its independence in 1905. That Norwegian Americans wrote more novels than Swedes was unexpected. As was the conclusion that Swedish Americans generally outpaced their Scandinavian neighbors in the sciences and technology, the visual arts and business. As Barton states, differences such as those I have pointed out are compelling and open new lines of investigation for further research. How to assess why these differences occurred, however, is not as easy or apparent.
The second section examines the central position that diverse aspects of culture held in the Norwegian and Swedish immigrant experience. The following three chapters stood out: Odd S. Lovoll's opening chapter, "Preserving a Cultural Heritage Across Boundaries: A Comparative Perspective on Riksföreningen Sverigekontakt and the Nordmanns-Forbundet" skillfully depicts how even as societies were started in both Norway and Sweden to promote home colonization, the two societies mentioned in the title were founded to cope with expanding populations outside the nation state. Lovoll's explanation of how each society aimed to create a notion of worldwide nationality founded on the promotion of cultural retention within emigrant populations is thought provoking, particularly regarding the underlying conservative politics at its core, a point I would have liked to see more thoroughly developed. In "Freedom, Identity, and Double Perspectives: Representations of the Migrant Experience in the Novels of Vilhelm Moberg and O.E. Rølvaag," Ingeborg Kongslien illustrates that although each author penned works of historical fiction and not historical accounts per se, due to the authors' personal experiences the novels nevertheless provide ample and reliable insights into Scandinavian emigration, including those historical, psychological, sociological and existential. James P. Leary's "Är Du Svenske?"–"Norsk! Norsk!": Folk Humor and Cultural Difference in Scandinavian America" is the highlight of the section as it is rich with familiar jokes that become compelling examples of the development of cultural difference between Norwegian and Swedish Americans. Leary convincingly maps how "Scandihoovian" humor is more about negotiating relationships between Norwegians and Swedes in the United States than about any actual reference to the homeland. Indeed, he illustrates that what often appears as insider teasing is in reality a way to communicate cultural difference to the wider, and often undiscerning, American public.
The third section of the collection identifies areas where conflict arose between the Scandinavian immigrant groups. The first two chapters examine how Norwegian independence affected relationships between Norwegian and Swedish Americans, while the second two chapters scrutinize the complex divides, factions and mergers within the varying denominations of the Lutheran Church in the United States. Jørn Brøndal's "We are Norwegians and Swedes Now, Not Scandinavians": The Impact of Norwegian Independence on Scandinavian American Politics in the Midwest" and Ulf Jonas Björk's "An End to Brotherhood?" Swedes and Norwegians in America Discuss the 1905 Union Dissolution" are complimentary chapters that detail the ramifications of Norway's independence on political and social alignments between Norwegian and Swedish Americans. The conclusions of both chapters reflect back to my earlier statement concerning the collection overall: conflicts were limited and those that arose were short-lived. As each chapter suggests, pan-Scandinavianism seems to have post- dated any animosity, albeit at varying levels across time and place. Kurt W. Peterson's "A Question of Conscious: Minnesota's Norwegian American Lutherans and the Teaching of Evolution" is the stand out piece of the collection. Peterson targets the imperative position that Norwegian American Lutherans held in early twentieth century debates concerning the status of evolution in public schools and by doing so, places current discourse on the subject into a new, and nuanced historical context. The chapter is filled with—what was for me at least—compelling insight into how Lutheran history supported the separation of church and state, thus ultimately rendering null the scheme to legislate the exclusion of evolution in Minnesota's public schools and universities. Peterson asserts that, "many Lutherans wanted nothing to do with [legislation] because they wanted nothing to do with the Reformed tradition. Their fight was not simply over the teaching of evolution; for them, the heart of their Lutheran theological heritage was at stake." Equally compelling is the way in which Peterson details the close ideological ties between Norwegian American Lutheranism and the broader Evangelical movement.
The closing section of the collection is a fitting bookend to a study that casts a wide net as it examines both distinct features and broad trends within the Norwegian and Swedish American community. That this section is the largest reinforces the collection's unifying intentions. Each chapter features a case study of a specific cluster of Norwegian and Swedish immigrants within the United States. The section is rich with description and details, demographics and specifics, whether investigating the nontraditional immigrant position held by many Norwegian and Swedish engineers and architects, as in Per-Olof Grönberg's contribution, or chronicling the narrative of an insulated Scandinavian enclave on the shores of Lake Superior, as in Philip J. Anderson's piece. All but one chapter, however, focuses on Scandinavian communities in the Midwest. The exception being Jennifer Eastman Atterbery's "Scandinavian's in the Rocky Mountain West: Pragmatic and Programmatic." Atterbery's very interesting examination of Scandinavian settlements in Montana and LDS Utah (touching only briefly on California) broadens the scope of what is an otherwise very regional-specific section. In fact, the exclusion of the West is one of the shortcomings of the collection as a whole and I would have liked the same rigorous scholarship that pervades the collection applied to Norwegian and Swedish communities in California, Oregon and Washington, or for that matter, to those in New York and the East. One of the most outstanding features in this section is the way in which personal narrative and family history interjects into large-scale and oftentimes characterless demographic statistics. In more than one instance, particularly in Byron J. Nordstrom's "Norwegians and Swedes in Willmar, Minnesota, in the Early Twentieth Century," general and sweeping statistical information is transformed from the tedious to the compelling by granting the dates, numbers, and anonymous names on the page, a narrative. By fleshing out both the communities under study and particular individuals within those communities, the closing section is a fitting end to what is a comprehensive, informative and insightful study of Norwegians and Swedes in the United States. The information presented in this study will most certainly fuel and encourage subsequent research and publication in the field.
Vol. 9, no. 4 (2014)
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Kasra: Son of Father with Morphea Scleroderma
I am writing from Iran. My father has had morphea scleroderma since 1990. The morphea patch appeared on his stomach and was about the size of a hand.
He went to a doctor in 1990, and the doctor gave him one thousand vitamin E tablets to fight the disease. Before going to the doctor, his skin was hard. After using the tablets, his skin became softer and the color started to return to the usual color. Then it stopped.
We thought that it was cured, but in 2001, it started up again as small spots on the other side of his stomach. Please tell me what can we do?
The doctor that we went to in 1990 is now dead, and the doctors in Iran do not have much information about this kind of disease. Please help me. I am worried about his health. Thanks.
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Went there as a family of six adults - great fun playing the courses in beautiful surroundings. Went there twice on the same vacation.
Thanks a lot Ida !!!
Thanks a lot Trevor !!!
Thanks a lot Thomas !!!
Looking for a way to spend an hour or so and found this place. Was €4.50 per person, which wasn't too bad for a fun and well kept mini golf course. Good fun!
Thanks a lot James !!!
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Very nice place for mini golf with 18 curt, lakes with gold fishes and turtles :). Also a good suprise, they have a great selection of belgian beers.
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Nice place to drink a great Belgium beer . They have a nice terras . You can also play a nice game of minigolf overthere .
We are a party of four golfers but enjoyed this crazy golf with the holes more interesting than first appears. You can take an ice cream or snack here as well, then play golf again which we did! Recommended.
Thank you very much Phillip !
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La justice privée est le « droit de se faire justice à soi-même ».

La justice privée peut recouvrir deux notions différentes :
 La première acception, la plus courante désigne l'arbitrage qui est le recours à un juge privé ou non-étatique.
 La seconde acception désigne « un âge ou un état préjuridique dans lequel elle était censée assumer les fonctions du droit et de la politique, l'un et l'autre défaillants ».

Description

La justice privée peut exister dans des situations proches de l'état de nature dans lesquelles il n'existe pas encore (ou plus) de règles de société (ou droit) ; c'est-à-dire dans les sociétés primitives ou dans les organisations criminelles. On dit qu'il n'y a plus d'État de droit.

L'exercice de la justice est un pouvoir régalien de l'État, c'est pourquoi la justice privée est généralement mal considérée. Néanmoins, et ce malgré l'adage « nul ne peut se faire justice à soi-même », toutes les sociétés conservent toujours une trace de justice privée.

Notes et références

Voir aussi

Œuvres fondatrices
John Locke, Traité du gouvernement civil.
Samuel von Pufendorf, Droit de la nature et des gens.
Alfred Radcliffe-Brown, Structure et fonction dans la société primitive, Le Seuil, 1972.

Lectures conseillées
 .
.

Articles connexes
 Justice
 Histoire du droit
 Auto-justice
 Vendetta
 Faide

Théorie du droit
Justice
Ancien Droit
Droit médiéval
Vengeance

redpajama_set_name: RedPajamaWikipedia


text:
N-Dubz
Dappy found guilty of affray after petrol station brawl
N-Dubz rapper is cleared of common assault charges over claims he spat at two women
Dappy, whose real name is Costadinos Contostavlos, outside Guildford crown court. Photograph: Steve Parsons/PA
Thu 17 Jan 2013 08.29 EST
The N-Dubz rapper Dappy has been found guilty of affray in connection with a brawl at a petrol station.
The 25-year-old, charged under his real name of Costadinos Contostavlos, was also convicted by a jury at Guildford crown court in Surrey of a charge of assault by beating which involved him spitting at a man. He was cleared of two charges of common assault in which he was accused of spitting at, but missing, two 19-year-old women.
The week-long trial heard that Dappy had been out on 27 February last year celebrating the release of his single Rockstar featuring the Queen guitarist Brian May.
After spending the night in the VIP area of the Casino nightclub in Guildford, Dappy was travelling back with friends in three cars to the studios in Godalming where he was recording his debut solo album when they stopped at a Shell garage in Woodbridge Road, Guildford, at about 3.30am on 28 February.
Brian Stork, prosecuting, claimed Dappy approached Grace Cochran and Serena Burton, both 19, who were sitting on the kerb outside the station shop and tried to persuade them to get into the car with him to continue the party at the studios.
The court was told they refused these advances and began to ridicule him, and Dappy allegedly became angry and called them sluts.
He was then accused of spitting at them but missing – the two counts of common assault faced by the singer.
Stork said a man called David Jenkins, who had been talking to the two women, stepped in to protect them but was spat at by Dappy. This spitting, which hit Jenkins, makes up the charge of assault by beating.
The trial was told that saliva was found on Jenkins' T-shirt, which had a DNA link to Dappy with one-in-a-billion probability that it came from someone unrelated to him.
The court heard that Jenkins put the rapper in a headlock, leading to several other people joining in the fight.
Jenkins suffered several broken teeth in the fight while another man, Oliver Billson, suffered a swollen eye and Christopher Gibson suffered a broken nose.
Dappy denied making advances on the two women and told the court that he only spoke to them to promote his single.
He denied spitting at them and Jenkins, and said his actions were simply self-defence to get out of the headlock.
The defence said Cochran and Burton were "unreliable witnesses" as they had sent Twitter and BlackBerry messages stating how they intended to sell their stories to the national newspapers. Burton also sent a message stating that she could not remember what had happened and that she would "bullshit" when she gave evidence.
Dappy, dressed in a black V-neck sweater, sighed and shook his head when the verdicts were announced.
Two other defendants, Kieran Vassell, 25, of Hammersmith, west London, and Kalonji Stewart, 32, of Harborne, Birmingham, both denied affray and said they acted to protect Dappy. Vassell was found guilty and Stewart was found not guilty.
A fourth man, Alfred Miller, 28, of Brentford, west London, has pleaded guilty to affray and his case was adjourned for sentence at the end of the trial.
The jury, made up of eight men and four women, took eight hours to reach its verdicts.
Judge Neil Stewart adjourned the case for pre-sentence reports to be prepared on Dappy and Vassell. Sentencing will be carried out on 15 February and the pair were released on unconditional bail until then.


Seb Paquet and I had our second weekly call this morning. (Our "jazz hands" insights video from this week's call is below.) Seb opened the conversation by sharing a personal story and discussing the importance of being fearless, but not reckless.
Which raises the question: What's the difference between "fearless" and "reckless"?
I agree with both Alan and Helen. I think that intention is the critical distinction, which is still a very fine line. If you take a risk that has a 90 percent chance of failing, and you understand that risk up-front, you are being intentional, but other people might still consider it reckless.
So many of the challenges that we face are ultimately about navigating tensions gracefully. By definition, there are no easy ways to describe how to do this. The best principle I've found for navigating these tensions is to be intentional, but hold it lightly.
In other words, have a goal, but don't be so bound by it that you miss out on the opportunity to learn. Put a stake in the ground, but be open to surprises and new learning. If you practice this basic principle over and over again, you eventually develop an instinct for how to assess risk and navigate uncertainty. If you move without clarity about your intentions, or if you hold on to those intentions too tightly, you will likely fail.
This, to me, is the essence of craft, and it's become the foundational principle of my work.
I shared this principle with my friend, Mark Bolgiano, a few years ago, and he noted that this same principle applies to golf. You need to have a strategy for how you are going to propel your ball to the hole, but if you grip your club too tightly, you will likely miss your mark. I found this to be a nice physical metaphor for how to think about this principle.
Similarly, Seb brought up the analogy of scientists discovering anomalies in their experiments and reacting in frustration, when the anomalies may actually be clues to some groundbreaking new principle. If you hold onto your intentions too tightly, you miss out on the learning.
Define success as a spectrum, from minimum to wild. Seb was the first to share this principle in our conversations by way of a great template from Amy Kirschner. He also noted the importance of considering the zone of proximal development. I first picked up this idea from Kristin Cobble (read her blog post for more), who was strongly influenced by Robert Fritz's "rubber band model" for navigating tensions.
Define both success and failure. This is a good way of coming up with and gut-checking your spectrum of success, and it was my "jazz hands" moment from today's conversation. When we are far removed from the actual moment of assessing success or failure, it's easy to fool ourselves into thinking we might treat something as success when we actually believe it to be failure. If you ask, "What is failure?" explicitly, you can identify this behavior well in advance.
Always measure something, and evolve your metrics as you learn. If you rely purely on how you feel, you will either rationalize your way into thinking you are always successful, or you will punish yourself unfairly.
Include failure rate in your definition of success. This was Seb's "jazz hands" moment from our conversation. If you're trying to accomplish anything hard, you need to expect that you will fail some percentage of the time. You should actually incorporate that failure rate into your success metrics. We agreed that succeeding about two-thirds of the time felt about right, which is consistent with Google's expected measure of success.
Photo courtesy of the Boston Public Library, Leslie Jones Collection. CC BY-NC-ND 2.0.
I think baseline is important to define – if I am not meeting that, then I need to stop by this date because I don't have what I need to keep going on this path. And I think the epic is inspiring to consider…but if we set ourselves up to expect our BHAGs to be realized all the time, we are going to be frustrated and generate negative self-talk. So setting a reasonable expectation goal helps mitigate the epic goal expectations. It isn't a full spectrum, it is just three important points on the spectrum that we found useful in practice.
Thanks, Jean! Yet another valued voice in favor of the spectrum (or at least spectrum skeleton) approach to defining success. Appreciate your insights!
Eugene and Seb, I keep coming back to this post. It's helping me personally and professionally. Thanks for the insights.
That's wonderful to hear, Jay. Thank you for sharing this with us! I'd love to hear more about how it's helped. Looking forward to catching up sometime soon!
Awesome that we've been able to inspire you, @jaycross! You're welcome!


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Would you like to see this exhibition?
Why is his work popular?
How many meanings of the word draw do you know?
Words & Phrases: Create sentences with context that explain the meaning of the following words.
Barcelona's CaixaForum is hosting Goya: Light and Shadow, a didactic exhibition of almost 100 works that explores the main themes of the painter, who lived between 1746 and 1828 in chronological order.
A joint venture between La Caixa and Madrid's Prado Museum, the exhibition includes some of Francisco de Goya's best-known and most emblematic pieces such as The Clothed Maja, The Umbrella, Flying witches, and Still Learning. And the public is showing its appreciation of the Aragonese painter's work from the Spanish capital, with the Caixa Foundation reporting 10,000 visitors over the opening weekend.
Nearly two centuries after his death, Francisco de Goya continues to draw an interest matched by few painters. In part this is due simply to his genius, but also because much of his life remains surrounded in mystery and popular legend.
The works being shown in Barcelona have been selected with the intention of offering the visiting public a chronological survey of the work of Goya. Without aiming at being exhaustive, the exhibition is structured into different sections in the manner of small visual accounts that analyze the principal themes depicted by the artist during the course of a career that saw him develop from court painter to one of the precursors of modern painting through his depictions of war.
The result will be to present a series of fundamental ideas around which Goya's artistic, political and social thinking was articulated. The different sections of the exhibition thus reflect the social reality of Goya's life, in which monarchs, the social elite, his friends and the working people all played prominent roles.
The show also focuses on the thematic variety and impressive technique evident throughout Goya's oeuvre in all the different media in which he worked, as well as the fact that he simultaneously produced official commissions and other works of a freer, more critical nature in response to his own expressive needs.
This is the first Goya exhibition in Barcelona in 35 years, and Manuela B. Mena and José Manuel Matilla, the exhibition's joint curators, say that they are expecting it to be a huge success between now and June 24, when it closes. The Caixaforum will be extending its visiting hours in expectation.
Mena says that she is very pleased with the approach that the organizers have taken. "It's about Goya, but rather than simply telling the story of his life, we have tried to explore the way that he approached the different subjects he painted," she says, highlighting for example that Goya was not a lover of bullfighting.
"Goya painted the world of bullfighting in the same way that he did war, and many of his works on the subject are his way of condemning it. They are highly critical of the way that the bull was killed," says Mena, pointing out that bullfighting was prohibited by the authorities in the late 19th century because it was seen as endangering public order.
Goya: Lights and Shadows is the first show planned as part of the joint exhibition program established by La Caixa Foundation and the Prado National Museum, the result of an agreement made between the two institutions last year.
Would you like to visit this exhibition?
Do you think his decision to condemn bullfighting would have been popular?
Do you agree that Goya was the first modern artist?
Can you name contemporary artists that are critical of society?
Please put the words below into the correct sentences.
1. Some of Goya's paintings we see ______________ tales and hellish legends.
2. In 2013 Europa Fira will be __________ the Mobile World Congress.
3. Goya exhibitions always ________ a huge audience.
4. The walk around Montjuic and Plaza España was ______________ .
5. Could you __________ a picture of his face for us?
6. The story ____________ a perfect world.
7. The result of the football match was a 1-1 _________ .
8. A recent __________ ___________ between Europe and Russia will see new supplies sent to the international space station.
1. I read yesterday that 1 new previously undiscovered piece has been added to Mozart's ___________ .
2. The way that Messi plays and scores in almost every game can only be described as _______________ .
3. Bob Dylan _________________ for many other similar folk musicians in the 60's.
4. The USA are asking China ______________ the attacks against civilians in Syria.
5. The __________ of Spanish athletics will compete in the Olympics this summer.
6. The latest trend on the internet is to _____________ information on a specific topic.
Can you tell me 5 points from this video?
Can you hear me? Are you listening?


text:
Sandvik's Increasing Focus on Digital Manufacturing Solutions
November 23, 2020 November 23, 2020 Keith Mills Publishing Editor
The smart factory is the heart of Industry 4.0. Sandvik is carrying out a reorganization with the aim of expanding digital technology to make customers even more productive and sustainable. Sandvik Machining Solutions, the business area for metal-cutting processing, has changed its name to Sandvik Manufacturing and Machining Solutions and has been divided into two separate business area segments: Sandvik Machining Solutions and Sandvik Manufacturing Solutions.
Stefan Widing, CEO of Sandvik
The Sandvik Machining Solutions business area segment includes the traditional tool business and brands such as Sandvik Coromant, Walter, Wolfram, Seco and Dormer Pramet. Sandvik Manufacturing Solutions will focus on related technologies and digital solutions, including the divisions for Metrology, Additive Manufacturing (3D printing) and Design and Planning Automation. Common to these is that they are expected to grow strongly and that current providers of these services are often not Sandvik's existing competitors.
"One of the purposes of the reorganization is to create new business opportunities," says Stefan Widing, CEO of Sandvik. "The new Sandvik Manufacturing Solutions segment strengthens our position within digital manufacturing and contributes to our market-leading position. These areas need a dedicated focus and to some extent a different direction. They are often smaller, with characteristics of software companies, rather than the manufacturing industry. To run them successfully, a different governance model is required."
To emphasize its strategic importance, Widing will himself lead Sandvik Manufacturing Solutions for a year, starting on January 1, 2021, in parallel with his role as CEO. He explains: "This is because it is a very important area for the future. It is broad and complex and will require investments through acquisitions in areas such as metrology, planning tools, tool data management and 3D printing. If and when we find the right company, we must be able to act quickly."
Continued Digitization
Digitization continues to be a focus area for the core business as well. "Our core business in metal cutting is on a journey from only providing tools to providing complete solutions, including everything from sensors and connected tools that exchange data via the cloud to digitized planning tools," Widing says.
"We have long had a business model where we are a world leader in helping customers choose tools and process components efficiently. That knowledge is in the heads of employees. Now we need to capture that knowledge and build it into digital tools in an information loop that can constantly improve processing in real time."
High Growth Ambitions
Digitization means that experiences and knowledge from manufacturing are shared in real time, both internally and externally and between people and machines. The growth ambitions in the digital area are high, within both Sandvik Manufacturing Solutions and Sandvik Machining Solutions. The 2025 target for the business area segments is to have total sales of SEK 5 billion connected to digital solutions and services.
"It is not a big number for Sandvik as a group, but it is an important area for the future and partly a new position for us," Widing says. "We have a history of innovation, so this is a natural extension of our heritage in engineering."
What are the Growth Opportunities?
"We already have a broad customer portfolio," Widing explains, "so it's more about selling more to existing customers than finding completely new ones. Sandvik Machining Solutions should be able to grow as fast as the market organically, and with acquisitions we should be able to grow faster than the market."
What are the Main Challenges for Sandvik to Succeed in Industry 4.0?
"The availability of good acquisition prospects, and the battle for both skills and acquisitions will be fierce," he says. "We have a strong balance sheet that allows us to be offensive and a profitable core business that provides a good foundation. When we acquire and create new businesses, it is important to take care of them and make them grow. We need to understand the dynamics and how to manage and reward that type of business to create growth."
How will the Two New Business Area Segments Work Together and Benefit From Each Other?
"Their main task will be to grow their respective businesses," he says. "They must work together and find synergies where it is logical and where both feel that it is positive. It could, for example, be about handling tool data, where there is a business benefit. Connecting tools with metrology is still quite unusual, but we believe in it and it will gradually happen, say within five or ten years. This industry takes time to change."
Part of the transition to Industry 4.0 is about attracting employees with the right skills. "We have a flat organization structure and a modern way of working that is attractive for that type of talent. Therefore new, agile ways of working have come very naturally to us."
Sandvik has been around for almost 160 years. With that legacy, and given Sandvik's size, is it possible to be as fleet-footed as is required in a digital world? Is it possible to be 'both old and new'?
"This is why we are pushing so hard for increased decentralization, where each decision-making unit can act as an independent smaller company," Widing says. "At a group level, we have already come a long way in delegating responsibility locally."
"We have also come far with digitization in many areas and are at the forefront of the digitization of mines. Another example of how we use new digital technology to become even more efficient and more flexible is our facility in Gimo, which has been named a pioneer in Industry 4.0 by the World Economic Forum."
The digital solutions linked to smart factories and Industry 4.0 have great potential to change industries other than manufacturing, Widing says. The mining industry, for example, which is so important to Sandvik, is undergoing major changes with the automation of mines, self-driving autonomous machines, electrification and connected equipment. The result is a huge productivity boost that also benefits the surrounding environment and employees' situation.
The process and energy industries benefit from digitized, connected solutions from the Sandvik Materials Technology business area, including intelligent tube systems that provide self-diagnosis and send data via the cloud.
For more information: www.sandvik.com
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redpajama_set_name: RedPajamaGithub


text:
New Zealand coach Herbert eyes surprise result against South Africa
New Zealand coach Ricki Herbert understands the magnitude of Wednesday's Confederations Cup clash with South Africa.
The All Whites are coming off a 5-0 loss to European champions Spain whilst South Africa played out an uninspiring 0-0 draw against Asian champions Iraq in their opening matches so Herbert is expecting a different to come up against a determined outfit.
"It's a big match, but a huge match for South Africa," Herbert said.
"They will be looking to win the game after a surprise result against Iraq. I think they will be under a lot of pressure.
"We could catch South Africa on the backlash a little bit. They might have thought they should have won the first game so they will need the three points tomorrow. It could be interesting."
The likely All Whites line-up for the match in Rustenburg is as follows:
GK: Glen Moss
D:David Mulligan, Ivan Vicelich, Andy Boyens, Tony Lochhead
M: Jeremy Christie, Tim Brown (c), Simon Elliott, Leo Bertos
S:Shane Smeltz, Chris Killen


text:
A vision for the world and our future generations: Seafood industry that can protect our "global commons"(Part 1)
Drawing on his extensive experience in the financial sector, Mr. Takejiro Sueyoshi serves as a Special Advisor to the United Nations Environment Programme Finance Initiative (UNEP FI) and has worked tirelessly to develop mechanisms aimed at addressing environmental issues. We had the opportunity to speak to him about his thoughts on what is necessary for sustainable seafood initiatives from the perspective of someone at the forefront of the movement to introduce a global environmental perspective into Japan's society and economy, including his launch of the Japan Climate Initiative (JCI) in 2018.
Takejiro Sueyoshi
A Special Advisor to UNEP FI, Sueyoshi graduated from the Faculty of Economics at the University of Tokyo in 1967 and joined Mitsubishi UFJ Bank (now MUFG Bank). He became Branch Manager and Director of the New York branch in 1994 and was appointed as Chairman of the Bank of Tokyo-Mitsubishi Trust Co. (NY) in 1996. In 1998, he was appointed Vice President of Nikko Asset Management, and he was named as a member of the UNEP Finance Initiative (FI) Global Steering Committee during his tenure. Since 2002, he has been actively engaged in environmental issues and was instrumental in convening the UNEP FI Tokyo Global Roundtable and the issuance of the Tokyo Declaration. He was appointed as a Special Advisor to UNEP FI in 2003.In 2011, he was also appointed as a Renewable Energy Institute, Vice-Chair of Executive Board.In 2018, he launched the Japan Climate Initiative (JCI), where he serves as Representative. He was also appointed Chairperson of WWF Japan in the same year.
Rethinking the meaning of the ocean as we broaden our perspective from "climate" to "nature"
――As someone who has long been engaged in the development of global socioeconomic mechanisms to address environmental issues, could you share your thoughts on the current situation of sustainable seafood and its prospects in the near future?
Until now, most of the focus has been on "climate" (C) as a global environmental issue, but attention is finally beginning to turn towards "nature" (N), which also encompasses living organisms. We need to keep a close eye on both these aspects as we move forward.
A large part of this "nature" is the ocean, and there are actually several aspects to this. Firstly, the ocean absorbs around one-third of the CO2 on earth, which in turn inhibits a spike in the CO2 concentration in the atmosphere. However, the more CO2 the ocean absorbs, the more acidic seawater becomes, crustaceans such as shrimp and crabs are unable to solidify calcium and build shells to protect themselves.
There is also the problem of rising ocean temperatures. Even a 0.1°C rise in water temperature can have a major impact on biological environments. Common effects include coral bleaching and changes to the locations where fish is caught. For example, the Pacific saury is no longer caught in Hokkaido, and the Spanish mackerel from the Sea of Japan is now caught closer to the Pacific Ocean, so I think we need to approach seafood-related issues from the perspective of how these issues affect the ocean as a habitat for fish.
Looking further into the future is vital for our sustainability efforts
It is also important for us to keep in mind what the word "sustainability" means. In 1987, the World Commission on Environment and Development chaired by Gro Harlem Brundtland, Norway's first female Prime Minister, issued a report entitled "Our Common Future,"* in which the phrase "sustainable development" was defined as "meeting the needs of the present without compromising the ability of future generations to meet their own needs."** In other words, "sustainability" is based on the concept of fairness across different generations.
Today, the term "sustainability" is bandied about everywhere, but most of the discussion is simply about how the timeline of our current generation can be extended. Sustainability, as it was originally conceived, requires us to respect the human rights and the right to live that should be accorded to our children, grandchildren, and future generations. For instance, if the younger generation in Japan is no longer able to take over our fisheries, we would have compromised the human rights of future generations. Of course, we also need to consider the needs of our current generation, but it is imperative for us to look further into the future.
*"Our Common Future," also known as the Brundtland Report, was a report published by the World Commission on Environment and Development in 1987. The central idea of this report is sustainable development. It asserts that development can coexist with the environment and that a moderate approach that takes environmental conservation into account is necessary for development.
** https://www.env.go.jp/council/21kankyo-k/y210-06/ref_01.pdf
"Our Common Future," a report published in 1987 that is also known as the Brundtland Report
The concept of our "global commons"
The 50th-anniversary conference of the United Nations Conference on the Human Environment (Stockholm, 1972), which led to the establishment of UNEP (United Nations Environment Programme)*, was held in Stockholm this spring.
The first environmental issue taken up by the United Nations at the 1972 conference was that of marine pollution, in addition to acid rain damage in Northern Europe. Environmental pollution has been a problem in Japan since the 1970s, and both its causes and damage are entirely visible. The causal relationships surrounding marine pollution, however, are more difficult to grasp as its causes and damage straddle national borders.
Today's environmental issues cannot be resolved without a coordinated international response. The ocean, in particular, is emblematic of what is termed "global commons," a borderless area that is shared by everyone on earth. Now that it has become unsustainable for us to think that anyone is free to take whatever is available since it is common property, our challenge is how to best protect this common property.
*The United Nations Environment Programme (UNEP) is a subsidiary body of the United Nations established to implement international action plans for achieving the aims of the "Declaration on the Human Environment," which was adopted at the 1972 United Nations Conference on the Human Environment. It is responsible for coordinating various responses to environmental issues and promoting international efforts aimed at addressing emerging issues.
The role of the financial sector as an important pillar of society
――What role will the financial sector play as the world makes this transition?
The "Rio Summit" (United Nations Conference on Environment and Development, or UNCED), also known as the "1st Earth Summit," was held in 1992. At that time, those in the private sector who were interested in environmental issues were primarily the industrial sector. They recognized that their business activities had a direct impact on the environment.
On the other hand, there was a sense that the financial industry only handles money and carries out its work in offices across cities without causing any pollution. Yet, if we think about it, our society and our economy cannot exist without the financial sector. Why was this sector so apathetic to global issues?
In the run up to the Rio Summit, the predecessor of UNEP FI was launched with the participation of more than 30 banks, mainly from Europe. I was still working for a bank in New York at the time, and there was no interest at all from Japanese banks then.
*The United Nations Environment Programme Finance Initiative (UNEP FI) is a partnership between UNEP and over 200 financial companies around the world. It works with financial institutions, policymakers, and regulatory authorities to transform the financial system into one that balances economic development with ESG (environmental, social, and corporate governance) considerations.
A brochure of the UNEP FI Japan Group. There are four groups in the Asia-Pacific region, including Japan. 15 financial institutions in Japan have signed on as partners of this initiative.
Change the flow of money, the future will change
In order for the financial sector to play a more concrete role, the Task Force on Climate-Related Financial Disclosures (TCFD) began its work in 2015. Its goal was to create a system in which companies are required to project future scenarios and forecast their strategies in terms of both risks and opportunities in relation to climate change, and disclose these in monetary terms. When financial institutions screen borrowers based on this information, the flow of capital changes.
Moves to make such a system mandatory have started to be made in many countries. The United Nations and other organizations have also begun discussions to address not only "climate" (C) but also "nature" (N). Companies will no longer be able to survive without disclosing information related to climate change and biodiversity. Seafood is also a part of this larger movement.
TCFD requires companies to disclose in their financial information the risks and opportunities for their business related to climate change, how such risks and opportunities would be approached, and their strategies to avoid the risks and take advantage of the opportunities. Source: "Task Force on Climate-Related Financial Disclosures (TCFD): Implementing the Recommendations of the Task Force on Climate-related Financial Disclosures" (Japanese translation by the TCFD Consortium and the Sustainability Forum Japan under the supervision of Masaaki Nagamura and the Steering Committee of the TCFD Consortium, October 2021)
Economic cycles are ultimately shaped by consumer choice
Whenever there is money to be made, people will always rush to make the money. When I was in New York, Tsukiji tuna was highly sought after because of the Japanese food boom, so there were companies shipping tuna caught in Boston to Tsukiji before shipping it back to New York, where it was marketed as "Tsukiji tuna" and sold at high prices. The same thing is happening in Japan. It is natural for people to want to sell the fish they caught at the highest price possible.
What this means is that, ultimately, it all comes down to the choice of consumers. This issue does not revolve around a few industries or the words of experts but involves our everyday dietary habits. What choices will consumers around the world make in relation to seafood? That is the most critical factor.
In a salmon farm in Norway owned by one of the general merchants and traders, hundreds of thousands of salmons in the ponds are individually tagged with IT and managed in a manner that minimizes stress. By ensuring the well-being of the fish and reducing their stress, the salmons grow well and taste better. Consumers found value in this venture, and it has become a successful business. This is the kind of economic cycle we need to create.
The business is being created in which aquaculture methods that conserve marine resources and respect the wellbeing of sea creatures produce delicious salmon.(Images are stock photos)
In Part 2 of this article, we will look at current business trends where companies have finally started to acknowledge and respond to the substantial threat of climate change, as well as the "new game" of GX (green transformation), where competition is beginning to emerge. We will also speak to Mr. Sueyoshi about how Japan has been left behind in this global transition, the reasons and background for this, new initiatives that go beyond the existing framework of governments and economic organizations, as well as what is expected of the management teams of companies as we move forward.
>>>Continued in Part 2
Original Japanese text by Keiko Ihara


LATEST NEWS (march 2016) : "Tur Malka" is on iTunes!
Defrocked mathematician, Henri Oppenheim studied composition and orchestration at McGill University in Montreal. For over 15 years, he has dedicated himself to Jewish music. At first he wrote and performed instrumental - klezmer - music; later he added vocal music sung in Yiddish. The Devoir newspaper described his music as ¨spectacular, celebratory, joyous and packed with emotion¨.
His newest project, "Tur Malka", is a song cycle based on 20th Century Yiddish poetry from Montreal. In these songs, Oppenheim transposes the rich musical traditions of the Old World into the new, illuminating 15 poems by seven extraordinary Yiddish writers.
"The Oppenheim way : nothing but the real thing, the genuine feelings, heartfelt and great stuff"


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D&D 3.5 THE COLLECTED BOOK OF EXPERIMENTAL MIGHT Dungeons Dragons Paizo D20 NEW!


text:
FOURTH SESSION-SEVENTEENTH PARLIAMENT 23-24 GEORGE V, 1933 VOLUME IV, 1933 COMPRISING THE PERIOD FROM THE TWENTY-EIGHTH DAY OF MARCH, 1933, TO THE SECOND DAY OF MAY, 1933, INCLUSIVE BEING VOLUME CXCVII FOR THE PERIOD 1875-1933 INDEX ISSUED IN A SEPARATE VOLUME OTTAWA J. O. PATENAUDE, ACTING KING'S PRINTER 1933
.	_	* ' c **
House of Commons Deflates
UNEMPLOYMENT RELIEF
Wesley Ashton Gordon (Minister of Immigration and Colonization; Minister of Labour; Minister of Mines)
Hon. W. A. GORDON (Minister of Labour):
I desire to lay upon the table of the house orders in council passed pursuant to the Relief Act.
Topic: UNEMPLOYMENT RELIEF
CRIMINAL CODE AMENDMENT
APPEAL TO PRIVY COUNCIL IN CRIMINAL CASES- LEGISLATIVE POWER UNDER STATUTE OP WESTMINSTER
Hon. ERNEST LAPOINTE (Quebec East) moved for leave to introduce Bill No. 57 to amend the Criminal Code (Appeals to privy council).
Some hon. MEMBERS:
Explain.
Topic: CRIMINAL CODE AMENDMENT
Subtopic: APPEAL TO PRIVY COUNCIL IN CRIMINAL CASES- LEGISLATIVE POWER UNDER STATUTE OP WESTMINSTER
Mr. LAPOINTE:
Subsection 4, of section
1024,	of the criminal code, formerly section
1025,	abolishes appeals to the privy council in criminal matters. This section is still in the statutes and has been the law of Canada for the last four or five years. In 1926 a case known as the Nadan case originated in Alberta and upon its being brought to the privy council this particular section of the Criminal code was declared ultra vires of the Canadian parliament because it came in conflict with an old Imperial . statute which granted leave to the subjects of His Majesty to appeal to the privy council. Under the Colonial Laws Validity Act of 1865 that law of the dominion parliament was declared ultra vires and also because of the fact that this parliament did not possess the right to give extraterritorial jurisdiction to its legislation. Under the Westminster statute these two legal incapacities were removed but the removal applied only to future legislation of the Dominion parliament. In order to give force and effect to this provision of our law it is necessary to re-enact
it and declare that it has full force and effect. This is the purpose of the bill.
Hugh Guthrie (Minister of Justice and Attorney General of Canada)
Hon. HUGH GUTHRIE (Minister of Justice) :
Mr. Speaker, the question of the rights and powers of this parliament under the statute of Westminster which was adopted at the last session is now under consideration by the law officers of the Department of Justice with a view to introducing into this house at this session a bill which will deal with all questions that arise under the new authority given to this parliament by the statute of Westminster. This new legislation will cover not only the particular section of the criminal code mentioned by the hon. member for Quebec East (Mr. Lapointe) but also the extraterritorial effect to be given to all laws of the Dominion of Canada. It is hoped that a bill will be introduced during the present session to deal with all these matters rather than dealing with one at a time.
I a.m pleased that my hon. friend has made this statement. Perhaps he will allow the bill to be read a first time and remain upon the order paper until this legislation is brought down.
Mr. GUTHRIE:
Motion agreed to and bill read the first time.
CONSERVATION OF HERRING
On the orders of the day: Hon. PETER J. VENIOT (Gloucester): I should like to inquire of the Minister of Fisheries (Mr. Duranleau) if any new regulations have been formulated in connection with the conservation of herring, and processes of salting, canning, etc. He may not have the information at hand at the moment, but perhaps he can obtain it for me.
Alfred Duranleau (Minister of Fisheries; Minister of Marine)
Hon. ALFRED DURANLEAU (Minister of Marine):
I shall take this as a notice of question, and shall answer it to-morrow.
34G0
The Budget-Mr. Stevens
Topic: CONSERVATION OF HERRING
FRUIT MARKING
On the orders of the day:


Bolton Wanderers manager Owen Coyle has made an impassioned plea for the Football Association's appeals process to be updated.
The Trotters boss is furious that the red card Gary Cahill was handed during Saturday's 4-1 defeat at Arsenal will stand after the club's appeal was thrown out by the FA.
Coyle does not believe Cahill's second-half challenge on Gunners striker Marouane Chamakh warranted the defender being sent off.
However, the FA decided to uphold referee Stuart Attwell's decision and Cahill will now serve a three-match ban, missing the Premier League games against Aston Villa and Manchester United and the Carling Cup clash with Burnley.
Coyle said:"The difficulty with the appeals is the criteria laid down for the panel reviewing the red cards. Some of the text says it needs to be a clear and obvious mistake by the referee. If it's a yellow card it's not clear and obvious because it's just an interpretation.
"Maybe the criteria needs to be looked at because I spoke to Mike Riley, the head of referees, over the weekend, and he felt it was a yellow card.
"When you've got somebody of that calibre saying that, it reinforced my belief there was a chance it would be overturned."


NEW YORK, July 11 (Reuters) - U.S. stocks looked set on Wednesday to snap a four-day winning streak after Washington's threat to impose tariffs on an additional $200 billion worth of Chinese goods fanned trade war fears, while a sharp drop in oil prices hit energy.
Industrial names including Boeing, 3M and Caterpillar, which have been among the hardest hit throughout the recent trade dispute, were among the Dow's biggest drags on Wednesday.
The materials index, down 1.7 percent, was another big negative influence among sectors, with Freeport-McMoRan down 3.7 percent as copper prices hit their lowest in about a year.
"The tone of today didn't start off well due to tariff fears," said Michael Antonelli, managing director, institutional sales trading, at Robert W. Baird in Milwaukee.
The S&P 500 energy index fell 2.1 percent, leading sector declines. U.S. crude oil futures settled down 5 percent on the trade dispute escalation and as expectations of growing supplies increased on news that Libya would reopen ports.
The Dow Jones Industrial Average fell 186.39 points, or 0.75 percent, to 24,733.27, the S&P 500 lost 16.59 points, or 0.59 percent, to 2,777.25 and the Nasdaq Composite dropped 32.84 points, or 0.42 percent, to 7,726.35.
The drop is not as steep as what was seen in late March and early April when the escalating trade rhetoric between China and the United States led to the S&P falling more than 2 percent on four occasions.
The market slide has been contained by the speculation that the Trump administration could change its mind by the end of August, when the tariffs are due to come into effect, some strategists said.
Investors are also looking forward to the earnings season, where S&P 500 companies are expected to post second-quarter profit growth of around 21 percent, according to Thomson Reuters data.
However, Morgan Stanley told clients that the earnings season could trigger risk aversion among investors if companies start warning of slower growth due to trade tariffs.
Chipmakers, which largely depend on China for their revenue, weighed the most, with the Philadelphia semiconductor index falling 2.4 percent.
The utilities sector was the only one in positive territory, with a 0.8 percent gain.
Twenty-First Century Fox fell 3.6 percent after the media company raised its offer for Britain's Sky, seeing off rival bidder Comcast for now. Comcast shares were up 1.2 percent.
Declining issues outnumbered advancing ones on the NYSE by a 2.31-to-1 ratio; on Nasdaq, a 1.61-to-1 ratio favored decliners.
The S&P 500 posted 12 new 52-week highs and 1 new lows; the Nasdaq Composite recorded 59 new highs and 43 new lows.


Omega's Martin Place, Sydney Boutique is the largest in the world. It includes a Retail area on the ground floor and an Events and Exhibition space, Customer Service and Technical Facility on the first floor.
An illuminated, curved ceiling cove leads customers into the retail aea and a new staircase provides a seamless link to the upper level.
The boutique features a full Customer Service area with vision to the Technical Facility, where watchmakers can be seen working on timepieces.


text:
STS-48 est la treizième mission de la navette spatiale Discovery.

Équipage
Commandant : John O. Creighton (3)
Pilote : Kenneth S. Reightler, Jr. (1)
Spécialiste de mission 1 : James F. Buchli (4)
Spécialiste de mission 2 : Charles D. Gemar (2)
Spécialiste de mission 3 : Mark N. Brown (2)

Le chiffre entre parenthèses indique le nombre de vols spatiaux effectués par l'astronaute au moment de la mission.

Paramètres de la mission

La mission consiste principalement à mettre en orbite Upper Atmosphere Research Satellite et effectuer diverses expériences.

Masse :
Navette à vide :
Chargement :
Périgée :
Apogée :
Inclinaison : 57°
Période : 96,2 min

Liens externes
  Résumé de la mission
  Vidéo de la mission

Voir aussi

Exploration de l'espace en 1991


text:
Advocate Aurora Health to close Wisconsin clinic Dec. 1
Alan Condon - Wednesday, November 9th, 2022
Milwaukee and Downers Grove, Ill.-based Advocate Aurora Health will close its Aurora Health Center in Sister Bay, Wis., Dec. 1, the Door County Pulse reported Nov. 9.
Primary and urgent care providers "are ready to continue care without interruption" at the Aurora's facility in Sturgeon Bay, Wis., the health system said in a Nov. 1 letter to patients, according to the report.
Aurora told the Door County Pulse the closure was due to "inconsistent patient volumes."
Door County Medical Center will open a $14.5 million clinic in Sister Bay spring 2023 and is looking to add a family practice physician in response to fill the need that will be left by the closure of the Aurora facility, according to the report.


Mike Young is the program manager directing day-to-day efforts across our many distributed teams at HP's LaserJet Core Firmware Lab. Mike has been involved in development of HP LaserJet Printers for 18 years, and he previously designed satellite control systems for Hughes Aircraft Company. He also is one of the strongest advocates of agile approaches and helped get the organization started down this path before anyone really knew we were doing agile. His hobbies are family (he's married, with two daughters and two sons) and playing racquetball. In agile, we've found that a program manager should spend most of his/her time watching the metrics and quietly coordinating behind-the-scenes to cater to the bottleneck. In our sprint checkpoints, we tend to minimize slideware and maximize problem solving and demos of new user stories.