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Meet Jody Moore: Bold and Real Inspiring Mom
December 15, 2020 By Jessica
Jody Moore changed my life. Although this may come off as an attention-getting statement, it's the truth. And I'm not the only one who feels this way; in fact, I'm one of many, many people who have benefited from her sagacity. She delivers messages of hope, strength, and empowerment, which are particularly impactful during the COVID-19 pandemic.
Although I haven't yet joined Jody's Be Bold coaching program, I am a long-time loyal listener to her podcast "Better Than Happy" and I follow her on social media. Even with this limited exposure to what she teaches, I've still learned a lot. Some of Jody's powerful words that circulate around my mind include:
You can't control other people so don't try to. Just love them as they are and drop the expectations.
Other people can be wrong about you and that's ok.
You don't need to do anything to be valuable. You are enough just as you are.
If you read on, you will certainly glean more nuggets of wisdom from her and be inspired at the drive and passion she exhibited as she built her own successful business.
A Bit of Background
Based out of Spokane, Washington, Jody reaches people all over the world as a life coach. I find her to be refreshingly light-hearted with a great eye for humor as well as consistently rational and objective. She's also an excellent source of recommendations on all sorts of topics such as entertainment, managing curly hair, and which uplifting influencers to follow.
But she hasn't always been a life coach. With a bachelor's degree in Communications and a master's degree in Adult Education, Jody spent 15 years as a Corporate Trainer and Leadership Coach before starting her own business. Although she experienced growth there, she is especially proud of what came next.
After a colleague introduced her to The Life Coach School, Jody found "tremendous changes in [her] life from applying the tools." Subsequently she went through intensive training and became a certified life coach in 2014. Then in 2018 she earned her master level certification.
Starting Her Own Business
Jody has since coached thousands of individuals ranging from newlyweds to empty nesters, and she's built a multi-million dollar coaching practice "from the ground up with no knowledge of online business and a lot of people doubting me." Despite her experience and success, Jody humbly describes herself as "a woman trying to figure out how to minimize resentment, overwhelm, and guilt, and replace them with happiness, gratitude, and joy." She constantly reminds her fans that she is just like anyone else.
In the early days, Jody didn't have a defined office at home so she went to the mall to work. She sat outside the Apple store where the internet service was the strongest then drove to "the top of the mall parking structure where it was the quietest" and pulled out her mic to record podcasts.
But when I spoke with her the other day, she was working out of a beautiful at-home office with a door and a lock. Now she even has a producer who edits the podcast for her, which she used to do all herself. And three years ago her husband Jake left his career to work in the business with Jody. Today he "coordinates the back end" including customer service, website management, tech support, and the financials.
I find it extraordinarily inspiring that just a few short years ago Jody handled all aspects of her business on her own, but now she leads a team of six employees spread out all over the country. They've been Zooming for years so working from home is nothing new to them! I'm so impressed with how far she's come and how much she's achieved!
Starting a business was not easy, but it has proven to be exciting and fulfilling to Jody. She reflects, "I'm so glad I didn't listen to that fear. I'm so glad I stayed focused on helping people because it has blessed my life to get to watch people transform in ways I can't even describe." As I suspected, she receives "many messages from people about how their lives have changed" and she confided that "it is more rewarding than I even imagined it would be."
Jody's Message
Anyone who has listened to Jody talk knows that she operates off what she calls "the model." She boldly asserts that it provides the means to solve any problem. In a nutshell, the model consists of identifying one's circumstance, thoughts, feeling, action, and result, each one leading to the next.
She embraces the idea that although you often can't pick your circumstances, you can select the thoughts you have about what happens to you. This is a powerful concept since thoughts create feelings which fuel actions and ultimately leads to a result, imparting the idea that you can control the results in your life regardless of your circumstances.
Personally, I've learned several lessons from her but the main take-away I've gained, which relates to the model, is that we all get to choose how we feel by managing our thoughts. If left unchecked or unregulated, your brain may take you places you don't want to go. This is an empowering concept because it means that we can each choose who we want to be. As an example, I'll never forget when Jody coached a woman who felt resentful for being the only one to do the dishes in her house. The woman thought, "This is totally unfair!" Instead, Jody suggested entertaining an alternative thought, "Why not me? I can totally do this better than anyone else!"
Be Bold Coaching Program
If you're new to the idea of coaching, let me introduce you to it with Jody's own words: think of it as a "gym membership for your mind." Just as it's important to care for your physical health through exercise and nutrition, it's also essential to address your mental and emotional health. Jody's website describes her coaching program as a place to find "a way out of your pain" when you're done feeling hurt, guilty, resentful, inadequate, frustrated, or any other negative emotion. She works with people to individuals on all aspects of their lives including their relationships, health, and finances.
Members of Jody's Be Bold Coaching program take what they learn to the next level as they apply her tools to their lives. Not only does Jody send out a new course every month on various topics, she also supplies resources such as supplemental worksheets, several live calls a week which can be replayed later, and private coaching.
According to Jody, the most valuable aspect of Be Bold is listening to other people get coached. She suggests that is even more powerful than getting coached because not only are you out of the hot spot, but seeing others be vulnerable about their struggles gives you a sense of peace. "We really connect through our humanness," Jody said and I couldn't agree more.
During normal years, Jody's team hosts several popular live events: Be Bold Masters and Better Than Happy Live. At the 5-day Be Bold Masters event, participants work with Jody on extensive coaching and application of her tools. Better Than Happy Live is a full-day workshop consisting of writing exercises and in-person group coaching. I understand these events always fill up quickly and generate a lot of positive energy!
Jody believes in coaching so much that she has her own personal life coach. She expressed tremendous gratitude for her coach, mentor, teacher, and friend Brooke Castillo, the founder and CEO of The Life Coach School. Over the years Brooke has become someone Jody looks up to and genuinely loves. In addition to sharing tips about online businesses and coaching, Brooke has taught her much about life and how to navigate challenges.
The Podcast "Better Than Happy"
To date Jody has recorded over 200 episodes covering a wide variety of topics including parenting, financial success, relationships, and confidence. She is the predominant voice on most podcasts as she breaks down how to apply her coaching tools, but occasionally she invites exceptional guest speakers such as relationship therapist Dr. Jennifer Finlayson-Fife, motivational speaker Meg Johnson, professional organizer Shira Gill, and other coaches like Krista St-Germain, Brad Jensen, and her sister Natalie Clay.
Jody dives into important issues which are relevant and meaningful to everyone listening. For instance, episodes have titles such as "Help Your Kids Feel Their Feelings" and "When You Didn't Get Invited" and even "Discomfort Now or Later." Her substantial background in business, which I mentioned earlier, qualifies her to speak with authority on topics like "How to Make Achieving Your Goals Easier." And as someone who ran several marathons and even worked as a turbo kickboxing instructor for a while, Jody offers useful tips on weight loss and nutrition on several episodes as well.
She remarked that the podcast is one of her favorite things because she loves to learn and the podcast helps her connect the dots. Jody told me that she has a note on her phone full of podcast ideas which is several scrolls long so she's not going to run out of ideas any time soon!
Much has changed since Jody first started podcasting years ago. For starters, the podcast has gone through several name changes from "Nap Eclipse" to "Bold New Mom" to "Better Than Happy." "Nap Eclipse" referred to the magical time when multiple children napped simultaneously.
When listeners didn't seem to understand the reference, Jody changed it to "Bold New Mom" but rebranded as her audience grew. In addition to the growth, she also found that many women feel a "loss of identity that comes with being called mom." She ultimately changed the name to "Better Than Happy" where it settles today. This change focuses on the growth and development of women as individuals and acknowledges the truth that there is more to women outside of being someone's mom.
An Aspiring Author
One of Jody's traits which I personally admire is her writing style. As someone who appreciates brevity (and often gets lost in lengthy paragraphs although I find it difficult to condense my own), I love how succinctly she articulates her thoughts. If you're not sure what I mean, her "Take Tuesday" emails are a great example of this. Every Tuesday she sends out bite-sized pieces of wisdom to her followers. And I have to confess that I've kept some of these in my inbox for a long time so I can look back to read and reread them. Hence, I was thrilled when I learned she's currently working on compiling these Take Tuesday emails into a book.
I'd like to include one here so you can get a good picture of her insightfulness. I feel like I should present them spaced out as she does because doing so really affects the way they're received:
This week our family had some big plans get cancelled, and I noticed something interesting.
I noticed that I didn't feel very disappointed.
I noticed that none of the people in my family were terribly disappointed either.
And it's not because we wanted our plans to change.
These were plans we were very much looking forward to.
But we were not crushed when things changed and here's why.
We are all different today than we were this time last year.
We are more resilient.
We have fewer expectations that making plans means we know the future.
We have less drama when things need to change last minute.
Our brains are constantly rewiring themselves to navigate our world.
Sometimes this creates problems but other times… it creates resiliency.
After reading this, I'm sure you can see why I look forward to her collection of "Take Tuesdays." Jody is also pursuing a life-long dream of writing a book and is currently powering through the editing process. She confesses that "it's really overwhelming" and "a lot of work" but it should be published sometime next year. Stay tuned for what I'm sure will be another exceptional product from Jody!
A feature on Jody is not complete without a shout-out to her family because they are clearly a big part of her life. She talks lovingly of her "happy, healthy family" and laughs about fun dinner conversations that occur since three of her four siblings and her mother are certified life coach just like herself. While they often discuss business strategy, they each have unique personalities, specialties, and approaches to coaching.
It is safe to say that Jody enjoys her marriage to her husband Jake. I found her words about him very touching when she told me, "In hindsight I didn't realize what a jackpot I had won when I found him. I loved him, but only now after being married sixteen years do I really truly appreciate how amazing he is."
Jody and Jake are raising four children ranging in ages from five to fourteen. Sometimes podcast listeners get to hear from one of the children, and Jody often shares family anecdotes which help to illustrate her points. For example, she teaches mothers that children are supposed to experience all emotions, even negative ones like sadness, despite our natural instincts to protect them from feeling badly. She's learned to "hold space for [her] children to feel however they're feeling."
During our conversation, she told me that although she used to try to talk one of her sons out of being nervous to ride the bus, now she tells him it's ok to be afraid and that she feels afraid sometimes, too. She tells him, "If you want to cry, you can cry. There's nothing wrong with it. Part of the deal is that sometimes we feel emotions. I'm not afraid for you; I know it's safe for you to get on the bus, but it's ok to be afraid if you want to." This has resulted in a transformation for her young son who seems to feel much better when he doesn't try to resist his emotions.
Jody is quick to say that motherhood is the best and the hardest thing she's ever done. I chuckled with understanding when she said, "I'm proud of the four babies I carried and birthed and that I survived the toddler years with all of them." She also says that although her children "cringe a bit when people recognize me in public … they like what I teach even though they are slow to admit it."
On Managing a Business and Family
As an entrepreneur working with her husband, Jody enjoys the flexibility her work gives her family. She recognizes how fortunate she is that her family gets to "do what we love, make a great living, and do such important work in the world." Even her children understand the benefits of having both parents work from home; since Jody chooses her own hours she only works 3 days a week, leaving her plenty of family time. She's able to make this happen because she is focused when she works and has "learned the benefit of becoming a planner even though it's not natural for me." The trick, she says, is to create a routine and stick to it.
One would think that it would be challenging to juggle the demands of family life and run your own business from home. But Jody explains that it's possible because "I work when I'm supposed to work." Although this statement sounds simple, I can attest to the fact that it is quite difficult to get distracted by household tasks when I'm trying to work from home. And let's be honest: sometimes we may just not feel like working during work hours. Jody says that by focusing on work during her designated hours, "I am able to be present with my kids when I'm not working." This is truly timely advice when so many parents find themselves working remotely amidst the health crisis we find ourselves in.
Jody also says that her life coaching tools have very useful, practical benefits in her personal life. She told me, "They are the reason I am the happiest person I know. They are the reason I don't worry or stress about almost anything." If that endorsement doesn't get you interested in her tools, I don't know what will!
To the Mothers
Although Jody is in the business of sharing wisdom and guidance, she shares so much advice for other moms publicly free of charge. For instance, her Instagram page, podcast, and weekly emails are all bursting with profound insights. I think she graciously shares her tools because she sees that her message is life-enhancing and she wants to be an agent of goodness in the world.
While she is constantly helping to build up other moms with her tips, she succinctly summed up her number one piece of advice to other moms during our correspondence. Jody says, "Stop trying to be a better mom. Just embrace the mom that you are. Moms are supposed to mess it all up, half the time anyway. Half the time we do a great job and half the time we are human. Your kids are going to be fine. Be the mom you are. She's enough." This is consistent with the rest of Jody's work where she urges mothers in particular to see themselves as complete, despite all our shortcomings and mess.
"Can't Do Without" Items
As I mentioned earlier, Jody is bursting with stellar recommendations! (On a side note, Jody is well-read and seems to particularly enjoy psychology and anything to do with the brain. At one point she referred to Viktor Frankl's book Man's Search for Meaning which I'm reading now and am grateful for her endorsement.)
In addition to mind expanding books, Jody also has some favorite everyday items she shared with us. If you're looking to get a perfect tan without damaging your skin, she says that the Self Tanner from Beauty by Earth is the best! Jody also loves her noise-cancelling Apple AirPods. And while she gives glowing reviews to her Norwex microfiber cleaning cloths, she says she can't do without her house-keepers. In her words, "It's a luxury I can finally afford and I'm not ashamed to splurge on this."
Jody and I also share a love for TV. Right now she's watching The Queen's Gambit and loves it! I agree – it's definitely a show worth watching!
Jody has a thriving online presence. You can find her on Facebook and Instagram. Also, on her website you can learn more about her coaching programs, find resources to teach your children about her message, and read or listen to all of her podcast episodes. I highly recommend keeping up with Jody!
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Filed Under: Blog, Inspiring Moms, Parenting


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Scientists at DESY have developed novel lenses that enable X-ray microscopy with record resolution in the nanometre regime. Using new materials, the research team led by DESY scientist Sasa Bajt from the Center for Free-Electron Laser Science (CFEL) has perfected the design of specialised X-ray optics and achieved a focus spot size with a diameter of less than ten nanometres. A nanometre is a millionths of a millimetre and is smaller than most virus particles. The researchers report their work in the journal Light: Science and Applications. They successfully used their lenses to image samples of marine plankton.
Modern particle accelerators provide ultra-bright and high-quality X-ray beams. The short wavelength and the penetrating nature of X-rays are ideal for the microscopic investigation of complex materials. However, taking full advantage of these properties requires highly efficient and almost perfect optics in the X-ray regime. Despite extensive efforts worldwide this turned out to be more difficult than expected, and achieving an X-ray microscope that can resolve features smaller than ten nanometres is still a big challenge.
To meet the required precision, Bajt's team combined a novel fabrication process with detailed understanding of the material properties, which often vary with layer thickness. The new lenses consist of over 10 000 alternating layers of a new material combination, tungsten carbide and silicon carbide. "The selection of the right material pair was critical for the success," emphasises Bajt. "It does not exclude other material combinations but it is definitely the best we know now."
"We produced the world's smallest X-ray focus using high efficiency lenses," says Bajt. Due to their penetrating nature, X-rays would usually pass straight through the lens materials. Such rays obviously do not contribute to the focus, and thus a long-term goal has been to produce lens structures that enhance the interaction with X-rays, to direct a high fraction into the focus. The new lenses have an efficiency of more than 80 per cent. This high efficiency is achieved with the layered structures that make up the lens and which act like an artificial crystal to diffract X-rays in a controlled way.
The high efficiency achieved here demonstrates the very high level of control in the production of the necessary nanometre structures. This accuracy allows projection imaging over a large range of magnifications as demonstrated by tests of the novel lenses. At beamline P11 of DESY's X-ray source PETRA III the scientists produced high-resolution holograms of Acantharea, single-celled Radiolaria belonging to marine plankton and the only organisms known to form skeletons from the mineral strontium sulfate (SrSO4) or celestite.
Bajt's team has also used the new lenses to image the biomineralized shells of marine planktonic diatoms. These single-celled organisms have intricate shells, which are highly complex stable but also lightweight constructions. They consist of nanostructured silica, which was observed in two dimensional analyses with electron microscopes before. Most likely because of this structuring, the strength of the silica is exceptionally high - ten times higher than that of construction steel - although it is produced under low temperature and pressure conditions.
"We hope that the novel X-ray optics will soon make it possible to image these nanostructures in 3D. This will enable us to model and understand the high mechanical performance of these shells and help us to develop new, environmentally friendly and high performance materials," says Christian Hamm from the Alfred Wegener Institute, Helmholtz Centre for Polar and Marine Research (AWI), who provided the samples and is a co-author of this study.
The new lenses can be used in a wide range of applications including nano-resolution imaging and spectroscopy. "These MLLs open up new and exciting opportunities in X-ray science. They can be designed for different energies and used with coherent sources, such as X-ray free-electron lasers," says Bajt. "This great achievement would not have been possible without a wonderful team with expertise in X-ray optics and theory, nanofabrication, material science, data processing and instrumentation. Since we now know how to optimise the lens design, our work paves the way to ultimately reach the goal of one nanometre resolution in X-ray microscopy."


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Zde se nacházíte: 25fps » English » Art and the Internet: A 25 year-old relationship full of passion
Art and the Internet: A 25 year-old relationship full of passion
Publikováno: Mary Meixner Publikováno dne: 04. dubna 2016 Rubrika: English, Experimentální film | Komentář : 0
EXPERIMENTAL FILM – review – BOOK: Art and the Internet (Phoeboe Stubbs ed., London: Black Dog Publishing, 2013) – MARIE MEIXNEROVÁ – translated by IVANA FORMANOVÁ –
Art and the Internet is a much-needed visual survey of art influenced by, situated on and taking the subject of the internet over the last two and a half decades.1
Art and the Internet
Over the past few years, several significant publications dedicated to Internet art, or "art and the Internet", has appeared on the international market. Besides the one which is reviewed here – after a long time the first of greater quality books ("a much needed visual survey") concerned with this topic – were released for example also: a must-have publication You Are Here: Art After the Internet (ed. Omar Kholeif, Cornerhouse & SPACE, 2014),2 a collection from Berlin mini symposium, published in the edition of e-flux journal, The Internet Does Not Exist (Sternberg Press, 2015),3 an anthology of Lunch Bytes No Internet, No Art (ed. Melanie Bühler, Onomatope, 2015)4 or one of the latest additions, Mass Effects: Art and the Internet from Laren Coernell and Ed Halter, following the legendary MIT Press edition and the institution in the field of exhibitions and promotion of the Internet art undoubtedly significant, the New Museum of Contemporary Art in New York.5
All of these publications have something in common; they view the phenomenon with appropriate distance, with no reason to question or defend the position of (Post-)Internet art as one of the major art forms of the 21st century; without the need to explain it or defend its existence theoretically; and with the awareness of the Internet omnipresence in the lives of their readers.
They already count with the "Internet awareness", embracing everyday life, culture and the arts. New literary achievements are a continuation of the debate which sees the past, the present (and possibly the future) of art and the Internet through the prism of contemporary, Post-Internet age, while also dealing with the contextualization of contemporary culture, fine arts and socio-cultural and political situation.
The book Art and the Internet6 was published as the first one out of the foregoing (according to the imprint in 2013, in fact up to February 2014). Indeed, it was an eagerly awaited publication and from the very beginning it was ranked among the Internet "must haves".
The thing is, that the art revolving around the Internet usually quite quickly becomes "outdated", considering how rapidly the Internet itself is evolving (software, visual codes) together with our usage of it, how the society and the political context in which it is placed evolve, how our viewing angle is changing (Post-Internet age passing into something when "Internet does not exist" and "Without Internet there is no art"). Therefore, the printed publications dealing with the issue of "Art and the Internet" can be very quickly transformed into archaic uselessness full of dead links.
Therefore, it was worth to wait a while and to view the reviewed publication at a distance – the time had proved its lasting quality the best.
Korakrit Arunanondchai: 2012–2555, 2012 two-channel video installation, 5,2 × 3,7 × 4,6 m
Over the twenty-five year history of the Internet, the relationship of art to it has transformed radically. (Official promo on the cover of the publication.) Art and the Internet focuses on visual exploration of this change, or the changes in Internet art, influenced by the Internet or topicalizing the Internet.
From the very beginning, the public has been addressed by this publication not only by its expressive design by João Mota (a truly large, 28 x 23 cm book on a colored, glossy chalk paper, based largely on consistent image documentation; photographs and screenshots), but also by carefully chosen terminology, including certain aversion to closely defined labels –something a lot of "Internet" artists are rightfully allergic to. A problematic term of "net art" and its offshoots is smoothly evaded in the very title: Art and the Internet.
The publication examines the legacy of art which has used, has been located upon or has referenced to the Internet during the last few decades (thus basically over the past 25 years).7
The issue of at the first glance relatively complex area, ranging from classical intangible digital works by net art legends such as Mark Amerika8 Alexei Shulgin9 etc. up to objects created as reaction to Internet memes by Eva ad Franco Mattes 10 or digitally rendered busts by John Ralfman11 is more or less clearly divided into several visually rich chapters which form a crucial part of the book: "net art", "Activist Art and Surveillance-Related Work", "Internet-Enabled Participatory, Interactive and Video Art", "Postinternet Art" and "Social Media Influenced Art and Identity Construction". The distribution into these categories is thematic, not chronological12, and therefore they can combine the names of several artists followed throughout the book, such is Aram Bartholl, Rollin Leonard, Aleksandra Domanović or Eva and Franco Mattes etc.13
The basis of the chapters is mainly the generous visual documentation of art works which is complemented by brief medallions of works and/or their authors.
From the early 1990s, the Internet has had multiple roles in art, not least in defining several new genres of practitioners, from early networked art to new forms of interactive and participatory works, but also because it is the great aggregator of all art, past and present. Art and the Internet examines the legacy of the Internet on art, and, importantly, illuminates how artists and institutions are using it and why.14
The publication is also complemented by three original theoretical studies. A historical insight, with an emphasis on the relationship between Internet art and gallery system, is provided by American educator and artist Nicholas Lambert ("Internet Art Versus the Institutions of Art", pp. 12–17), a leading Italian expert on Internet art Domenico Quaranta ("In Between", pp. 24–33) is also engaged historically and theoretically in a net(.)art discourse and the transformation of its exhibition strategies. Joanne McNeil in her loosely structured essay ("Connected by Camera", pp. 18–23) appoints and analyzes the first performative live-streaming web cam projects such as JenniCam (Jennifer Ringley, 1996), SeanPatrickLive (Sean Patrick Williams, 1997–2001), Anacam (Ana Voog, 1997–2009), 500 Men in a Month. I'm an Oriental Whore (Isaac Leung, 2003), Webcam Tears (Dora Moutot, 2012– present), Social Turkers (Lauren McCarthy, 2013) and many more.
For connoisseurs are also very valuable the original interviews in the "appendix" section; namely with an independent curator Attila Fattori Franchini (about her artistic practice and platform bubblebyte.org), a collective LuckyPDF, Eva and Franco Mattes (ie. 01s.org) and an artist and a pioneer of the term Post-Internet art, Marisa Olson.
At the end of the publication, there are also included reprints of old essays and manifestos which clearly consider the development of thinking about Internet art from the perspective of that-days artists and reflect the transformation of the media/genre. The texts are arranged chronologically15. Beside the fact that those are some of the (partly historical, partly subjective) "important" texts of the discourse on Internet art, there is no apparent clue for their selection which thus seems to be, apparently inadvertently, rather haphazard than relaxed.
As a reader, I would certainly welcome an introduction to each section or an editorial comment which could elucidate the selection of these particular texts. A lack of emphasis on the editor and an accumulation of singularities in the book, whose interconnections has to decode the reader all by themselves (with the help of three self-contained essays at the beginning), put high expectations on the recipient, however, it certainly contributes to a reduced clarity of the publication within the meaning of editorial statement (so Art and the Internet, and it is my most painful complaint, may give the impression of a larger magazine).
The seemingly most useful assistance to the reader-outsider – the final overview timeline providing an overview of the most important chronology of the "art and the Internet" – once again raises the questions after the selection of the presented events.
Based on what key precisely were these, and not other ostensibly perhaps even more important events, chosen? Especially the thickening selection of highly diverse range of events from nearly present time raises many questions on its merits, and even the most dedicated reader has difficulty decoding the selection (the key is probably the relation of net art to the brick-and-mortar institutions, but we cannot be sure – the absence of just two or three explanatory words by the editor can be explained only as unfounded buck-passing, or worse, a kind of glee to its own readers – but for whom is the publication actually intended?).
In working with the book, I was also quite limited by the total absence of any registers or such absolute commonplace as a list of references (far from all the mentioned literature appears in numbered footnotes, and even the "Selected Bibliography" at the end does not help much with it).
Occasional typos or some broken URL's can be attributed to the first edition and we can trust in their correction in reprint.
If we are to talk about the details, then, conversely the publication as an object turns out very well – although this is a paperback, thanks to a good quality of the cover and a sewn binding, even now it looks almost as good as new – despite the extreme strains I put it into during the year and a half I kept the book with me. (Which is a huge relief, especially in comparison with the already mentioned You Are Here: Art after the Internet which after one month seemed really quite disgusting already.) Such permanence and a physical beauty may be in the age of computers on of the main reasons why to reach for the printed book, which thus become appropriate documentation/archive of gradually disappearing digital projects.
Quaranta glosses one of his texts in a completely different publication16 saying that it was probably the most understandable to someone who was fond of net art a long time ago, but then fell into cryogenic sleep, and now, at the end of the 20th century, would like to catch up the deficit and orientate oneself in the current debate.
The reviewed publication could be characterized conversely – it is intended for contemporaries who often go to galleries or browse for art on the Internet and are interested in expansion of the horizons by providing a little historical background and insight.
From the Czech original "Art and the Internet" translated by Ivana Formanová.
MEIXNEROVÁ, Marie. "Art and the Internet: Pětadvacetiletý vztah plný vášně" [on-line]. 25fps, www.25fps.cz, Jan 26 2016. Available at www: <http://25fps.cz/2016/art-and-the-internet/>
Authors: Joanne McNeil, Domenico Quaranta, Nick Lambert
Editor: Phoebe Stubbs
240 pp, paperback
300 illustrations, color b/w
Date of publication: únor 2014
ISBN13: 978 1 907317 98 9
STUBBS, Phoebe (ed.). Art and the Internet. London: Black Dog Publishing, 2013.
Art and the Internet can be purchased directly through the publisher's website Black Dog Publishing or on Amazon.
Screencast of the The Royal Standard homepage during the Il Cavaliere website takeover by bubblebyte.org for the Liverpool Biennial 2012
More reviews:
DEBATTY, Regine, "Book Review: Art and the Internet". [on-line] 22. 1. 2014. We Make Money Not Art, http://we-make-money-not-art.com/. Available at www: <http://we-make-money-not-art.com/art_and_the_internet/#.Uukemnd_uoc>, 10. 12. 2015.
WILKES, Rob. "Staying Connected. Tracing the vital relationship between art and the internet…" We Heart, www.we-heart.com. [on-line] 24. 1. 2014. Available at WWW: <http://www.we-heart.com/2014/01/24/art-and-the-internet-black-dog-publishing/>, 10. 12. 2015.
official PR text [↩]
KHOLEIF, Omar (ed.) You Are Here: Art After the Internet. Cornerhouse & SPACE, 2014. [↩]
ARANDA, Julieta – WOOD, Brian Kuan – VIDOKLE, Anton. The Internet Does Not Exist. Sternberg Press, Berlin 2015. [↩]
BÜHLER, Melanie. No Internet, No Art. Onomatope 2015 [↩]
COERNELL, Lauren – HALTER, Ed (eds.) Mass Effects: Art and the Internet. MIT Press and the New Museum of Contemporary Art, 2015 [↩]
STUBBS, Phoebe (ed.). Art and the Internet. London: Black Dog Publishing, 2013. [↩]
On the other hand, it contains also the works where the connection was not quite obvious to me, not even from the work annotation – for example, the otherwise great work Whispering Pines (2002) by an American artist Shana Moulton. [↩]
Grammatron, 1993–1997 [↩]
Hot Pictures, 1994 [↩]
Catt, 2012 [↩]
New Age Demanded, 2012–present [↩]
even though within each individual category, the chronological key ordered by the date of origin of the works is chosen [↩]
It is yet uncertain whether this comes from the effort to connect individual chapters, to give the book the impression of coherent complex, and highlight the flexibility and versatility of represented artists, or if it is a matter of the personal limits of publication editorial team, whose interests focus on a group of artists. The inconsistency of such chapter connections and the absence of any notes or reference to it in the Foreword (or the missing editorial introductions to the chapters that I would have definitely welcomed) suggest the second option. [↩]
The official text by the distributor. [↩]
from Mentor's "Hacker Manifesto" from 1986, over "A Declaration of the Indepence of Cyberspace" by John Perry Barlow, 1996; Alexei Shulgin's "Desktop Is", 1998; "Introduction to Net.Art" by Natalie Bookchin and Alexei Shulgin, 1999; "A Few Things I Know About Neen" by Miltos Manetas, 2000–2006; less comprehensible essays "Dispersion" by Seth Price, 2002; "Flat Against the Wall" by Olia Lialina, 2007; "Media Art 2.0 (Manifesto)" by Aristarkha Chernysheva, Roman Minaeva and Alexei Shulgin, 2009; Postinternet: Art After the Internet, 2011 by Marisa Olson, and finally "We, the Web Kids" by polish journalist Piotr Czerski from 2012 [↩]
QUARANTA, Domenico. "Art and the Internet 1994–2014". Domenico Quaranta, domenicoquaranta.com [on-line] 27. 10. 2014. Available at www: <http://domenicoquaranta.com/archives/2864>, 10. 12. 2015 [↩]
Mary Meixner
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digital graffity by Glitchr, multiplied̊ ̊̊ ̊̊̊ ̊̊̊̊ ̊̊̊̊̊ ̊̊̊̊̊̊ ̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊ ̊̊̊̊̊̊ ̊̊̊̊̊ ̊̊̊̊ ̊̊̊ ̊̊ ̊̊ ̊̊ ̊̊̊ ̊̊̊̊ ̊̊̊̊̊ ̊̊̊̊̊̊ ̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊ ̊̊̊̊̊̊ ̊̊̊̊̊ ̊̊̊̊ ̊̊̊ ̊̊ ̊̊ ̊̊ ̊̊̊ ̊̊̊̊ ̊̊̊̊̊ ̊̊̊̊̊̊ ̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊̊ ̊̊̊̊̊̊̊ ̊̊̊̊̊̊ ̊̊̊̊̊ ̊̊̊̊ ̊̊̊ ̊̊ ̊ oo̍̍̍o̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍̍̍̍o̍̍̍̍̍̍̍o̍̍̍̍o̍oo̗̗o̗̗̗̗̗o̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗̗̗̗o̗̗̗̗̗̗̗̗o̗̗̗̗̗o̗̗o ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ digital graffity by Glitchr, multiplied ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ digital graffity by Glitchr, mash-up ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ guerilla curating by (c) merry ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ it took me two and half fucking hours to curate Glitchr onto wordpress on my computer
Watch online Film Festival "Filma". This year's theme is migration in times of war
Samantha Fuller, daughter of a famous American director, will be the main guest of the Noir Film Festival
Commander: Šokující příběh mladistvých radikálů
O filmovědné inspiraci, psychospirituální krizi, experimentálních filmech a jejich distribuci

redpajama_set_name: RedPajamaCommonCrawl


The aim of HiNews was to understand why social inequalities in health persist in European welfare states and what can be done to reduce them. The main findings of the HiNews project can be broadly split into: (1) analysis of new data on the distribution of health inequalities in European welfare states; (2) development of a new health care regimes typology; (3) development of new theoretical approaches to understanding the role of the welfare state in health inequalities; and (4) the first assessment of how the public health policy domain of the welfare state reduces health inequalities.
A special module examining the social determinants of health inequalities in Europe was included in the European Social Survey (2014). This was designed and analysed by HiNEWS team members, resulting in a special supplement of the European Journal of Public Health. We found considerable cross-national variability in the magnitude and patterning of health inequalities and the effects of health conditions, and also access to health care which was found to vary by socio-economic position. In addition, a new health systems typology was developed and used to analyse the role of health care system types in reducing inequalities in mortality amenable to health care. This concluded that educational differences in amenable mortality for European countries exist in all countries, regardless of their health care system type. However, the study also found important variations in inequalities in amenable mortality between countries, indicating a potential role for healthcare system factors. The HiNEWS team also has developed new institutional approaches to the study of health inequalities in Europe which unpack the role of the welfare state as an institutional arrangement that mediates the effects of socio-economic status and gender on health. Finally, we examined the role of the welfare state in reducing health inequalities through conducting a large evidence review of the role of public health policies. This examined the effects of primary and secondary prevention policies (fiscal, regulation, education, preventative treatment and screening) across seven public health domains (tobacco, alcohol, food and nutrition, reproductive health services, the control of infectious diseases, the environment and workplace regulations). It found that some policy interventions reduced health inequalities (e.g. food subsidy programmes, immunisations), others had no effect whilst some interventions appeared to increase inequalities (e.g. 20 mph and low emission zones).
Our work has highlighted health inequalities across Europe and offers tentative solutions which may be pursued by policy makers to reduce differences in health between groups of people.


text:
No Shower, No Problem — Just Spritz With Bacteria
Published October 10, 2015 at 5:19 AM MST
There's a chemical engineer in Boston named David Whitlock who may have a new idea of chemical attraction. He hasn't showered for 12 years. Instead, he sprays himself with ammonia-oxidizing bacteria, which he says breaks down the scent of putrefying sweat more than soap and water. He collects the bacteria from the soil of barns, pigsties and chicken coops. Enjoy your breakfast, by the way. Mr. Whitlock, who's an MIT man, says he got the idea when his girlfriend - and, yes, he seems to have one - asked why horses roll around in dirt.
Mr. Whitlock found that's how horses slather themselves in the scent-destroying bacteria he now sprays on his own flesh. No one did clinical trials on people taking showers every day, he told a local television station, so what's the basis for determining that's a healthy practice? David Whitlock washes his hands before eating but otherwise just spritzes - and works with a company that puts bacteria into cleansing products. Imagine spraying yourself with chloroflexi number 5. Transcript provided by NPR, Copyright NPR.


SCFI are a company specialising in the treatment of liquid waste streams with a focus on super critical water oxidation processes. SCFI are working on several concept designs and completing FEED studies for a number of processing plants. The Mechanical Engineer shall assist SCFI with the mechanical design of waste processing plants and provide input with regards to the manufacturability and cost implications of various design options. SCFI are working on process streams operating in the 250 BarG and 500 DegC pressure and temperature regions with exotic materials of construction.


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Turtle Island Storyteller Josiah Pinkham
My Indian name is Tipyelehne Cimuuxcimux
Josiah Pinkham
My name is Josiah Black Eagle Pinkham. I'm a member of the Nez Perce tribe. I was born on the Yakama Reservation, but shortly after birth raised on the Nez Perce Indian Reservation. That's the only place that I've basically gone to school as far as my formal non-traditional education. Most of what I've learned comes from studying, listening and watching some of the old people. I guess they're the ones that reared me and taught me what I know.
My Indian name is Tipyelehne Cimuuxcimux and that's loosely translated as Black Eagle, a name passed onto me by my grandmother that was held by one of her brothers. It's a long line of Black Eagles. There are numerous Black Eagles that stretch back into the years, the early formative years of our Nez Perce people.
No telling how far it goes back because many of the stories that have to do with Coyote and various people or animal people that are key characters in our oral traditions. Black Eagle was one of them and so it is indeed a very old name.
I guess in a matter of a few words that's my personal history. My family history is the Pinkham name. The first Nez Perce Pinkham to have the name was a warrior in the Nez Perce War in 1877. After he survived that ordeal he was given the name in order to get an allotment here on the Nez Perce Indian Reservation.
We do have family members that served in the Nez Perce War. That's part of what I talk about amidst the Coyote stories and various other oral traditions that we know about. I also discuss the contemporary Nez Perce as well as Nez Perce language efforts to perpetuate the Nez Perce language.
There's a host of different things that I discuss in my presentations. Lewis and Clark stuff seems to be something that people are oftentimes interested in hearing about and I'm always eager to share some of the things that I learned from our old people over here on the Nez Perce Reservation—our perspectives and the arrival of Lewis and Clark, how they changed things, for good and bad, and how our old people prophesied that time and how those prophesies came to be true.
I guess another aspect is Nez Perce song and dance. Sometimes I'm asked to talk about those things as well.
Josiah and Tamahsat Pinkham
Josiah Blackeagle Pinkham is Nez Perce or Nimiipuu. He resides on the Nez Perce Reservation in Lapwai, Idaho. His Nez Perce name is Tipyelehne Cimuuxcimux and it is commonly translated as Blackeagle. Josiah's father, Allen Pinkham Sr., is a Nez Perce and Josiah's mother, Shirley Mosqueda, is a Yakama. There are many figures in his family that would be known by historians. Some of them are Red Grizzly Bear, elder Chief Joseph, and John Pinkham who fought in the Nez Perce War of 1877 as a young man.
Originally the Nez Perce occupied southeastern Washington, northeastern Oregon, the central area of the northern Pan Handle of Idaho and western Montana. Today the reservation is near Lewiston, Idaho, where the states of Washington, Oregon and Idaho meet. There are high mountains, lots of forested areas, beautiful rivers and valleys.
Josiah is an Ethnographer, which involves cultural research and documentation. He graduated with honors from Lewis and Clark State College in Lewiston, Idaho with a degree in Native American Studies and Psychology.
He shares storytelling, history, culture, very early oral traditions that were learned from elders, and stories that were documented a long time ago. Josiah often shares the Nez Perce creation story as well as numerous coyote stories. Some stories are about family history and the Nez Perce War. He also knows first contact stories of the Nez Perce with white people. He likes to give a variety of backgrounds of past and present life, and where the Nez Perce will be in the future. He is knowledgeable about Nimiipuu material culture and cultural and arts and crafts. When giving presentations, Josiah brings many items of material culture such as craftwork, beadwork, isaaptakay, or parfleches, which were used to carry food, clothing, tools, etc. A lot of the items he or his family made or were inherited from his people. He also discusses the history of some tribal dances and songs, and occasionally sings songs as a part of his presentation. One cultural practice he has learned about from his elders is the Qiloowawya. It is a ceremony that was held when the Nez Perce were sending people off to Buffalo country, battle or a long journey. He also discusses issues regarding the environment, health, tribal government, tribal politics.
Josiah has given presentations to groups of all ages and backgrounds. The groups include young children, college students, tour groups, elder hostel programs, museums, and interpretive centers. His talks have taken him all over the northwest in Washington, Oregon, Idaho, Montana and Wyoming, as well as several trips to Europe for cultural exchanges.
Lapwai, ID 83540
Tags:Idaho Josiah Pinkham Turtle Island Storytellers Turtle Island Storytellers Network
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The first thing you should do when you get a new tablet, is to set up a back up. You never know what'll happen to it and it'll be bad to lose all those memorable photos and videos along with the tablet. It'll be too late when you lose the tablet so better back up now!
Back up your data with no strings attached, literally! With Samsung account registered on your tablet, you can back up your data safe and sound on Samsung Cloud.
From Settings, search for and select Backup and restore. Touch Back up data under "SAMSUNG ACCOUNT". Select the data you want to back up, and then touch BACK UP. If you want to restore the backed up data, touch Restore data. Select the data you want to restore, and then touch RESTORE.
If you use Google services, you can back up your data automatically to Google Drive.
From Settings, search for and select Backup and restore. If you have more than one Google account added to the tablet, touch Backup account, and then select the Google account you want to back up to. To back up your data, enable Back up my data. To restore backed up settings and data automatically, enable Automatic restore.


text:
Norbert "Nobby" Peter Stiles (* 18. Mai 1942 in Collyhurst, Manchester, England; † 30. Oktober 2020 in Trafford) war ein englischer Fußballspieler. Bekannt wurde er als der zahnlose Mittelfeldspieler in der englischen Fußballnationalmannschaft, die bei der WM 1966 im eigenen Land Weltmeister wurde.

Sportlicher Werdegang
Stiles wuchs als Anhänger von Manchester United auf. Seine Fähigkeiten wurden bei einem Länderspiel für die englische Schülerauswahl erkannt, als er 15 Jahre alt war. Manchester United verpflichtete ihn im gleichen Jahr für die eigene Nachwuchsmannschaft.

Er war in mehrerer Hinsicht ein sehr ungewöhnlicher Fußballer. Als kleingewachsener Spieler in einer Zeit, als Vereine Talente schon aufgrund mangelnder Größe ablehnten, war Stiles zudem Träger von Zahnersatz, nachdem seine echten Zähne während eines Spiels zu Schaden gekommen waren (zeitweise spielte er davor ohne diesen Ersatz und schüchterte mit diesem Anblick so manchen Gegner ein). Zudem war Stiles stark kurzsichtig und musste während des Spiels Kontaktlinsen und außerhalb des Feldes eine Brille mit sehr starken Gläsern tragen.

Trotzdem erkannte der Trainer von Manchester United, Matt Busby, das Talent des ehrgeizigen Nachwuchsspielers. Stiles debütierte als Außenverteidiger im Oktober 1960 gegen die Bolton Wanderers.

Seine Fähigkeiten im einfachen Passspiel und in der Ballgewinnung führten dazu, dass Stiles ins kontrollierende Mittelfeld rückte. Er hatte damit eine Position, die zwar bald in allen Spitzenvereinen vertreten sein sollte, damals war sie aber angesichts der vorherrschenden fünf Offensivspieler und einer Beschränkung des Mittelfelds auf vorgezogene Innenverteidiger in der Halbposition (sogenannte half-backs) noch eine Rarität. Stiles hielt sich zumeist in der Mitte des Spielfelds auf und war für die Neutralisierung der Kreativelemente im gegnerischen Spiel zuständig, was ihm zumeist auch gelang. Seine Stärke, die in der Ballgewinnung und -sicherung bestand, eröffnete technisch beschlageneren Spielern wie Bobby Charlton und später George Best mehr Möglichkeiten, ihre Fähigkeiten auszuüben.

Dies schloss nicht aus, dass Busby in einigen Fällen auf die Dienste von Stiles je nach Taktik verzichtete. Als Manchester United 1963 mit einem 3:1-Finalsieg gegen Leicester City den FA Cup gewann, wurde Stiles in dem Spiel nicht berücksichtigt. Er spielte in den anschließenden Jahren häufiger und gewann die englische Meisterschaft im Jahr 1965. In dieser Zeit wurde er auch erstmals in die englische Nationalmannschaft berufen.

Da England Gastgeber der WM 1966 war, musste Trainer Alf Ramsey keine Qualifikationsspiele absolvieren, so dass er zwei Jahre damit verbringen konnte, seinen Kader in Freundschaftsspielen und bei der British Home Championship sich einspielen zu lassen und zu testen. Bobby Charlton war der einzige gesetzte Stammspieler im Mittelfeld für die Weltmeisterschaft und Ramsey stand vor der Aufgabe, ein Trio von Spielern zusammenzustellen, das mit dem Offensivspieler von Manchester United agieren sollte. In diesem Trio sollte ein reiner Zerstörer des gegnerischen Spiels eingebunden sein. Stiles spielte diese Rolle am 10. April 1965 im Wembley-Stadion, als sich England mit 2:2 von Schottland trennte. Auch in acht der folgenden neun Spiele behielt er diese Position inne und schoss dabei das einzige Tor in einem Spiel gegen Deutschland, das ebenfalls im Wembley-Stadion ausgetragen wurde. Sein Platz in der Anfangself schien damit gesichert zu sein, als Ramsey seine 22 Spieler für die Weltmeisterschaft nominierte.

Sein 15. Länderspiel für England absolvierte Stiles bei dem torlosen Unentschieden gegen Uruguay. Er behielt seinen Stammplatz als aggressiver Spieler vor den vier Defensivakteuren und sorgte dafür, dass Charlton vor ihm genügend Platz und Zeit zur Entfaltung seines Spiels besaß. Stiles verpasste keine Minute auf dem Spielfeld, als England nach Siegen über Mexiko und Frankreich die Gruppenphase überstanden hatte, und dann im Viertelfinale gegen ein überhartes Argentinien gewann.

Im Halbfinale gegen Portugal überzeugte Stiles mit einer guten Leistung, als er den gegnerischen Spielmacher und Torjäger Eusébio in Manndeckung und weitestgehend aus dem Spiel nahm. England gewann das Spiel mit 2:1, wobei einige Anhänger des Fußballs die nur auf Zerstörung ausgelegte Spielweise kritisierten. Andere hingegen gratulierten Stiles zu diesem Spiel, in dem es ihm gelang, das Duell mit seinem Gegenspieler ohne Zuhilfenahme von unfairen Mitteln zu gewinnen. Ramsey äußerte sich zu einer kritischen Journalistenfrage mit Unverständnis und Gegenfragen, obwohl er sich bewusst über den Kern der Kritik war. Im Resultat hatte einer der besten Gegner Englands bei diesem Turnier in dem Spiel nur wenige Torchancen (mit Ausnahme des späten Elfmetertors) und England zog ins Finale ein.

Im Finale der Fußball-Weltmeisterschaft, dem nun 20. Länderspiel von Stiles, musste er keinen Gegner in Manndeckung nehmen und erbrachte eine starke Leistung in der Partie, als England eine 2:1-Führung gegen Deutschland in den letzten Minuten noch verspielte, dann aber durch den Hattrick von Geoff Hurst noch in der Verlängerung gewann. Obwohl der Einsatz von Stiles nicht in bleibender Erinnerung geblieben ist, was aber aufgrund seiner Aufgabe positiv zu werten war, ereignete sich unmittelbar nach dem Spiel eine Szene, die auch noch Jahrzehnte später hohen Bekanntheitsgrad haben sollte: Er hielt die Weltmeisterschaftstrophäe Coupe Jules Rimet in der einen und seine falschen Zähne in der anderen Hand. 30 Jahre später nahmen Frank Skinner und David Baddiel auf diesen Moment in dem Lied "Three Lions", das sie für die EM 1996 geschrieben hatten, Bezug.

Stiles wurde auch in den anschließenden vier Länderspielen eingesetzt, aber als England im Wembley-Stadion gegen Schottland im Jahr 1967 verlor und Stiles eine schwache Leistung zeigte, entfernte ihn Ramsey aus der Mannschaft. Er gewann im gleichen Jahr seine zweite englische Meisterschaft, aber dieser Erfolg sollte bald noch gesteigert werden.

Manchester United erreichte 1968 das Finale im Europapokal der Landesmeister und Stiles stand wieder Eusébio und einer starken Offensivreihe von Benfica Lissabon gegenüber. Stiles spielte erneut gut, konnte aber Eusébio nicht vollständig ausschalten. Als das Spiel kurz vor Schluss 1:1 stand, entwischte der portugiesische Weltstar der Defensive von Manchester und stand alleine vor dem Torhüter Alex Stepney, den er jedoch nicht überwinden konnte. Manchester United gewann die Partie mit 4:1 und war der erste englische Verein, der den wichtigsten europäischen Vereinstitel erringen konnte.

Stiles wurde in den englischen Kader für die Spiele zur EM 1968 berufen. Er war jedoch nur der Ersatzmann im Mittelfeld für Alan Mullery von Tottenham Hotspur. England schied im Halbfinale gegen Jugoslawien aus, und Mullery war der erste englische Nationalspieler, der eine Rote Karte erhielt. Stiles wurde daraufhin in dem Spiel um den dritten Platz gegen die Sowjetunion eingesetzt, aber es war offensichtlich, dass, abgesehen von dieser Sperre, Mullery nun Ramseys erste Wahl war.

Stiles kam 1969 nur zu einem und 1970 lediglich zu zwei Länderspielen. Er wurde von Ramsey in den Kader zur WM 1970 in Mexiko nominiert, aber auch dort war er nur Stellvertreter für Mullery und wurde in keinem Spiel eingesetzt, als England dann im Viertelfinale ausschied und seinen Weltmeisterschaftstitel somit nicht verteidigen konnte. Seine Nationalmannschaftskarriere war dann nach insgesamt 28 Länderspielen und einem Tor beendet. Stiles war dabei aus der Weltmeistermannschaft derjenige Spieler mit den wenigsten Einsätzen für England.

Nach 392 Spielen und 19 Toren verkaufte Manchester United im Jahr 1971 Stiles für 20.000 Pfund an den FC Middlesbrough. Zwei Jahre später wurde er Spielertrainer bei Preston North End, als Bobby Charlton den Verein hauptamtlich trainierte. Diese Konstellation hatte nur mäßigen Erfolg und Stiles wurde anschließend zwischen 1977 und 1981 Trainer des Klubs.

Stiles schloss sich 1981, wie zahlreiche andere alternde und zum Teil bereits zurückgetretene Spieler auch, der NASL an und war für die Vancouver Whitecaps aktiv. Nach drei weiteren Jahren trat er endgültig als aktiver Fußballer zurück.

Am 29. September 1985 wurde Stiles neuer Trainer von West Bromwich Albion. Im darauffolgenden Februar entließ ihn der Verein jedoch wieder, nachdem die Mannschaft unter seiner Führung nur zu drei Siegen gekommen war. Diese Trainerstation war dann auch seine letzte. Später offenbarte er, dass er während dieser Zeit unter Depressionen gelitten hatte und mit der Situation, in den Midlands zu arbeiten und täglich nach Manchester, wo seine Familie lebte, zu pendeln, nur schlecht hatte umgehen können.

Von 1989 bis 1993 arbeitete Stiles als Jugendtrainer für Manchester United und war dabei zuständig für die Ausbildung von späteren Weltklassespielern wie David Beckham, Nicky Butt, Ryan Giggs, Paul Scholes sowie die Brüder Phil und Gary Neville.

Im Jahr 2000 wurde Stiles gemeinsam mit vier weiteren Nationalmannschaftskameraden von 1966 (Roger Hunt, George Cohen, Ray Wilson und Alan Ball) für seine Verdienste für den englischen Fußball mit dem Order of the British Empire als MBE ausgezeichnet. Der Ehrung ging dabei eine Medienkampagne voraus, die der Überraschung Ausdruck verlieh, dass die Beiträge dieser Spieler zu einem der größten Erfolge im englischen Fußball noch nicht gewürdigt worden waren.

Im Jahr 2003 veröffentlichte Stiles seine Autobiografie mit dem Titel After The Ball. Trotz seiner Tätigkeiten und Erfolge wurde "Nobby" durch den Fußball nicht wohlhabend: 2010 musste er sogar seine Weltmeisterschaftsmedaille versteigern lassen.

Gesundheit
Nobby Stiles litt seit 2012 an der Alzheimer-Krankheit.

Erfolge
 Weltmeister: 1966
 Europapokalsieger der Landesmeister: 1968
 Englischer Meister: 1965, 1967
 FA Cup-Sieger: 1963
 Community-Shield-Sieger: 1965, 1967

Quellen und Anmerkungen

Fußballnationalspieler (England)
Fußballspieler (Manchester United)
Fußballspieler (FC Middlesbrough)
Fußballspieler (Preston North End)
Fußballtrainer (Kanada)
Fußballtrainer (Preston North End)
Fußballtrainer (West Bromwich Albion)
Fußballweltmeister (England)
Member des Order of the British Empire
UEFA-Champions-League-Sieger
Teilnehmer an einer Fußball-Europameisterschaft (England)
Engländer
Brite
Geboren 1942
Gestorben 2020
Mann

redpajama_set_name: RedPajamaWikipedia


The perfect secluded spot for a quite drink and a bite to eat. With our new modern menu, our fully renovated Lounge offers a relaxed atmosphere. Serving light lunches and evening snacks, the lounge is a great place to enjoy a martini or sip a 15-year scotch.


We offer a variety of sites that are nestled in a wooded setting and are walking distance to the Swift River. All sites have a picnic table and fire ring. They are designed for one vehicle (a limited amount of extra parking is available near the showers for $5.00 a night).
Our tent sites are dry camping and are all located near a privy. Each site is designed for a 4-5 person tent with some sites allowing for multiple tents.
All RV guests may use the dump station upon check out.
Reservations must be made by an adult who is at least 21 years old.
All reservations require full payment at the time of booking or may be secured with a credit card.
We understand that travel plans can change and you may have to cancel or change your reservation with us. In order to obtain a refund, please adhere to the following policies.
To receive a full refund on campsite reservations, cancellations must be made at least 14 days prior to the reservation.
*Any cancellations made less than 14 days prior are non-refundable.
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No refunds will be granted for late arrival, premature departure, inclement weather, bugs, sickness or eviction by management or circumstances beyond control. No exceptions will be made.
Failure to notify and or arrive by noon of the day following your scheduled date of arrival will result in a cancellation of reservation, with no refund.
Any and all cancellation fees will be applied to the credit card that was provided to secure the site unless otherwise specified at the time of cancellation and a new card is provided. No checks will be allowed for cancellation fees.
2019 Rates are inclusive for 2 adults and 2 children. There is a two night minimum stay on the weekends and a three night minimum stay on Memorial Weekend, 4th of July Weekend and Labor Day Weekend.
Occupancy of a campsite shall not exceed 4 adults with a maximum of 6 people per site.
Check in time is 1:00pm and check out time is 11:00am. If you are planning to arrive after 7:00pm please call and notify the office.
Early check-in/late check-out requests will be allowed if the site is available. They cannot be guaranteed in advance and are subject to an additional fee.
For early check-in requests, guests must call the morning of their arrival to check for availability. Due to our limited parking accommodations we do not have extra space for parking prior to the site being ready.
For late check-out requests, guests must stop by or call the office by 10:00 a.m. Those who occupy a site later than 11:00 a.m. without contacting the office for availability are subject to a late check-out fee.
Monthly and Group Rates: Special rates are available for groups such as summer camps, girl scouts, boy scouts, church groups, clubs, or school sponsored trips. Please call the office to find out about shared sites and discounts.


text:
Review by David Jenkins @daveyjenkins
Algee Smith John Boyega Will Poulter
Anticipation.
A major director returns with – what looks like – a major film on a major subject.
Fascinating but deeply flawed.
In Retrospect.
A film to pick over and examine what went right and what went wrong.
Kathryn Bigelow returns with this expansive, rousing and overwrought cine-autopsy of the 1967 Detroit riots.
Just as a camera shifts its focus to capture the interplay between foreground and background objects, movie narratives too can sometimes switch from panoramic vistas to micro details, and then right back again. Kathryn Bigelow's Detroit, based on a screenplay by Mark Boal (this is the pair's third creative collaboration), is an exercise in bold focus shifting. It hurtles between perspectives, moments, episodes and emotions when, initially, it seems to want to capture the hubbub of an entire city in its roving lens. Which, let's be honest, is an exciting and ambitious statement of intent.
Yet, when glancing at this vast panorama, you can't help but wonder what fine details you're missing. And then, when you're able to see those details in gruelling close-up, it's hard to suppress the desire to know what other important events are happening elsewhere. It's a bind which Bigelow and Boal accept, but their film suffers from a skewed balance of emphasis. At one point we're seeing everything, and then, suddenly, we're seeing nothing.
From its widest vantage, the story starts with a montage of paintings by mid-century African-American artist, Jacob Lawrence, as a narration offers a précis of the Great Migration and the black experience in America. It then eventually lands on the city of Detroit in July of 1967, at the origin point of a large-scale race riot. An altercation at a speakeasy erupts into a prolonged tussle between armed police and tooled-up locals. The national guard are called in to curb dissent as businesses are ransacked and jail cells overflow. Certain members of law enforcement – young white men, in this case – see the whole sorry mess as an opportunity scratch those itchy trigger fingers and exercise some pre-emptive self defence.
Barry Ackroyd's roving camera whips from person to person as he emulates the hustle and flow of a never-say-die war reporter, getting right down there in the shit. The film showcases some of his best work – it feels purpose built for his intuitive, docudrama style which presses the viewer to question what's real and what's fiction. Bigelow inserts the occasional flash of newsreel footage as a way to emphasise her fidelity to reality, but it only serves to remind that we're watching a recreation, albeit a rigorous one.
There's a thrilling suggestion about 20 minutes into the film that Detroit is going furnish us with the architecture of a riot instead of contriving character arcs and miniature dramas. This initial rejection of convention seems logical, and for a short while, it genuinely feels like this instinctual, freewheeling approach, where the story just daisy-chains from one event to the next, is working. And then suddenly, the audible clank of gears shifting cruds up the soundtrack, and things begin to slow down and a lone, tragic hero hoves into view.
Larry Reed (Algee Smith) is a member of smalltime R&B outfit The Dramatics, and his shot at the big leagues is placed on ice when a curfew causes their slot on an evening playbill to be nixed. This won't be the worst thing to happen to Larry this evening, as his hidey-hole safe haven – the dingy urban-exotic paradise of the Algiers Motel – ends up accidentally beckoning a company of unsavoury cops, led by Will Poulter's maniac patrolman Krauss.
At this point, the film casts aside the larger scale machinations of the riot to capture an interlude which plays like a flip-flop of the famous "Be Black Baby" shock theatre segment from Brian de Palma's 1970 film, Hi, Mom!. This prolonged power-play sequence depicts a quasi-fascistic officer exerting unnecessary force over his (innocent) suspects, but his obvious racist attitudes are masked by a crooked internal logic – that he's just doing his job. It's a dangerous scenario where these men are primed towards racially-motivated violence, and they also spy a good chance to get away with it. The home guard and state police turn a blind eye rather than choose to curb any potential wrongdoing.
But where Detroit begins as an attempt to dramatise reality, this punishing central chapter plays like a schlock horror movie with a side of leering torture. Poulter comes across as the sort of cackling madman displaced from a classy giallo, and the violence is accentuated to the point of banality and back again. It's as if the only way Bigelow and Boal can represent this locus point of supreme suffering is to just lay it out clean, with unambiguously evil cops bullying unambiguously virtuous citizens. As such, the film becomes about a single instance of police brutality rather than a work connected to the grand sweep of its opening history lesson.
The intention is to inject a double shot of close-quarters drama into the proceedings, and it works in the most superficial, disengaged way possible. The opening salvo, where we're strafing through the flames of city on the brink, where the possibility of death lurks around ever bombed-out corner, is where the real drama lays. The idea that broad swathes of history – and the history of racial oppression at that – can be abbreviated in this single moment seems at best wrongheaded and at worst offensive.
John Boyega's doleful, blue-collar mama's boy Melvin Dismukes is given a front row seat to this outrage. He could be seen to represent the neutered, fearful onlooker watching with a camera phone as another white officer exploits a position of authority and metes out spectacular punishment on another black fall guy. For reasons of personal safety, he gags himself, yet this impartial position is milked for drama rather than any deeper insight into his helpless predicament. From the few scenes he has, Boyega manages to become film's most ambiguous and interesting character, but there's a point where he's left behind for larger concerns.
It's a fascinating and outraged work, one which is clearly trying to do something new with a fictionalised reality template. There's the feeling that it tries a little too hard to exist as a touchpoint for more contemporary concerns – its every frame craves relevance. Yet, the details of the story are seldom allowed to speak for themselves, with every angle and talking point pre-loaded, and every question given a satisfactory – but seldom revelatory – answer.
Tags: Anthony Mackie John Boyega Kathryn Bigelow Mark Boal Will Poulter
LWLies 87: The Mank issue – On sale now!
A new version of The Magnificent Ambersons restores Welles' vision
It's time to rethink the established film canon
How we filmed Pieces of a Woman's one-shot birth scene
Why a David Bowie biopic will always be doomed to fail
Detroit, Charlottesville and filming the American race war
By Nicholas Laskin
Kathryn Bigelow's new film is part of a larger, ongoing cultural problem.
A New Hope – Black empowerment and symbolic casting in contemporary blockbusters
By Caspar Salmon
Our Obama Era Cinema series continues with Caspar Salmon reflecting on the vitriolic online backlash to recent progress in Hollywood casting.
articles Obama Era Cinema
Is this the most powerful protest film ever made?
By Christopher Bruno
Peter Watkins' incendiary pseudo-doc Punishment Park feels as vital today as it did back in 1971.


text:
Carol Broer
Program Co-ordinator Letters, Sounds and Words, Brant, Haldimand, Norfolk and Hamilton Region
Contact me for new program inquiries and information on the Letters, Sounds and Words program in Brant, Haldimand, Norfolk and Hamilton Region.
cbroer@strongstart.ca
Carol Broer has joined the Strong Start Team as the Letters, Sounds and Words Regional Program Co-ordinator for Brant, Haldimand, Norfolk and Hamilton Region. Carol retired from the Hamilton Wentworth District School Board with 32 years of experience in the field of education. She holds a Bachelor Degree in both English and in Music, and developed these parallel interests throughout her career as a classroom teacher, as a rotary teacher of Music (Grades 1-8), and as a system-wide leader in The Arts and as a Reading Specialist. Carol is eager to continue supporting children's early literacy skills and healthy development.
If you are interested in partnering with Strong Start or have questions related to our programs, please contact Carol.


Shingles is a disease that effects the skin primarily, and can put you out of work for roughly a week. It's caused by the Varicella-Zoster virus which is the same virus that brings on chicken pox and also known as an immune virus. It can be contagious, and is worth secluding yourself if you have it from those with weakened immunities, pregnant women, seniors, or infants.
Rashes- The shingles virus is easily determined by a medical team and nurses alike as many can quickly look at the rash and tell you that it is for certain a case of shingles. It tends to form a rash that is raised on the skin's surface and can be rather irritating.
Pain- Shingles is painful; there's no two ways about it. Anyone that has ever had it will tell you that it is terribly painful where the rashes develop, especially if you obtain blisters there as well. You will no doubt be given prescription level pain medications from your physician, and be sure to take them when the pain becomes a bit challenging.
Sensitive to Touch- When you have a rash that seems never-ending, it is typical to be sensitive on your skin all over. Some use ice packs to begin subduing that sensitivity, but be sure to wrap your ice inside a washcloth or small hand towel to avoid burning or damaging the skin where it is already tender.
Blisters- Nothing says you have a virus quite like developing painful blisters, right? It's often unavoidable with shingles, and sometimes the blisters can be filled with fluid or pus making them even more frustrating. Some swear by ice, others use warm milk baths to soothe the blisters that can often be troubling to wear clothing over, or sleep with.
Itchy- Rashes don't usually develop without some form of crazy itch to accompany it, and shingles are no different. Some over the counter anti-itch medications and allergy ones will help get to work on lowering the urge to scratch so much so they are certainly worth the few dollars at your local drug store.
Sensitive to Light- This is also a symptom of migraines, and so are headaches of shingles so if you were to combine the two you could think you have either ailment. If a fever starts, you may want to get it checked out as you could be on your way to a shingles outbreak.
Fever- These are super common for shingles patients and one of the telltale signs. You can try to break your fever with any over the counter fever reducers, and by placing a cold cloth over your head. If it doesn't seem to decrease, or starts to climb higher, contact your doctor.
Headache- Anytime you have a virus it is a general rule of thumb that a headache can easily soon follow the first signs of viral illness. Not to worry as most headaches go away within the same day they began. It's been said that if you submerge your hands and feet in hot/warm water, then place an ice pack on the back of your neck at the same time that your blood flow changes and it can totally cure your headache. Worth a shot?
Fatigue- Viral ailments love to try to break down your whole system at once. Don't be alarmed if you feel as if you are terribly fatigued as this is rather typical of shingles. Fatigue alone may not be enough symptoms to send you to the doctor's office, but if you begin to feel other symptoms such as developing a rash or getting a fever as well, it may be time to have it looked at.
Pain but no Rash- Believe it or not, there are cases of shingles where the patient doesn't develop the iconic rash associated with the illness. They will usually just experience pain on the skin where the rash would normally develop, and this form can often be slightly trickier for the medical team to diagnose.
Shingles are exhausting, there is no denying that, but they are also treatable and that's a beautiful thing. Always seek out the help of your medical team to ensure that you are getting the medications you need to start the healing process and lower your recovery time as much as possible. Drink tons of fluids, and try to lay down and relax until the illness subsides.


We have an issue concerning the resolution. GameWindow and Scene are set to 480×320 and multiplied by 2 as stated in the template for testing on our desktop pc. If we move our player on the Y-Axis it follows the mouse/touch input down to the borders, but any dynamically added objects that are shot by the player and thus set with startpositions calculated by the player's actual position appear to be not correctly placed.
E.g. if we multiply by 2 for Desktop PC -> Y-Position is appears to be only the half of the value it should be. X-Value is not the problem because it's fixed and not changed in those cases.
This happens as well on for example Nexus 7 (1280×800) and Galaxy S (800×480).
to make your game available for multiple screens, you should set the Scene size to 480×320 for landscape games and 320×480 for portrait ones, and only change the GameWindow size, not the scene size. Please also make sure you placed your objects and the player as children of the Scene element, not of the GameWindow element. You can quickly test how your game looks like on popular devices like iPhone4, Nexus S and Galaxy S by pressing the keys 1-6 (with Felgo version 1.0 this only works on Windows, the support for Mac & Linux was added in the Pro-Subscriber version 1.2).
we took the template project as a starting point and everything you mentioned above seems to be that way. There's only the Scene and the EntityManager in the GameWindow, all other objects are loaded in the Scene and the Level (only Level01 as we don't have more by now).
We change the position of our player by using a mouse area, when stopping and releasing the player a snowball is shot depending on the current position of the player, see the code below.
We've captured a perfect screenshot showing our problem. The debug output that shows the box colliders as well, is showing everything as expected, the actual game window doesn't draw the graphics correctly.
did you set the entityContainer property of EntityManager to your Scene? It is required so the new entities get created as child of the scene. If you set it correctly, could you please post your source code so we can figure out what else the source for your problem might be?
Thanks a ton, that made the trick!
I changed it to the code below and it works now.