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yiara
an undergraduate feminist art + art history publication
Laurence Philomène on the Beauty of Everyday Trans Existence – Sarah Hollyer-Carney
Interviews	by yiaramagazine December 3, 2019
Montreal-based photographer, director, and curator Laurence Philomène creates a warm and colourful world in their work. Their photographic practice serves as a vivid and beautiful visual archive of trans people's lives, bodies, and self-expressions. They explore non-binary identities in particular, and portray the joy and humanity in trans people's lives that are so rarely depicted in popular media. Through their intimate self-portraits and striking depictions of friends, Philomène shows the vibrancy and diversity of trans experience, pushing back against a narrow and homogenous landscape of mainstream trans representation.
Philomène's work draws upon the aesthetics and emotional tenor of the late 2000s and early 2010s Tumblr art community, where they created works alongside a new generation of queer and feminist artists. Their distinctive style features vivid pastel colours, minimalist compositions and warm intimacy, and highlights the beauty and humanity in a diverse range of genders and self-expressions. In addition to their artistic practice, Philomène offers photoshoots for low-income trans people, extending access to self-representation to those who are often denied it.
Their new series Puberty is an ongoing photographic project documenting the mundane, everyday activities that make up the lived experiences of transition and trans existence. It began in January 2019, and was originally meant to be completed over the course of a year –– Philomène now intends to extend it for another year, and eventually publish a curated photobook. The series documents the gradual process of physical change in hormone replacement therapy, practices of self care, and the kinds of minute details of transition and trans experience which are seldom represented. Philomène finds beauty in the ordinary by intimately depicting scenes of themselves taking a testosterone shot, eating food, lying in bed, or taking a bath. They humanize and demystify the experience of transition, and invite the viewer into an understanding of what trans lives look like outside of the spotlight.
Philomène spoke to contributor Sarah Hollyer-Carney about authenticity, activism, and the process of documenting the everyday moments of trans experience.
Talking with Nina in Bed, September 2019 from Puberty, Laurence Philomène (2019)
Sarah Hollyer-Carney (SHC): How did the project come about?
Laurence Philomène (LP): I started taking testosterone in April 2018, and I've been a photographer for over 10 years now. A big part of my practice is self-portraiture, so when I started testosterone, I always had [this idea] in the back of my mind that it was something I wanted to document, but I wasn't sure how. Then, around December 2018, I became really burned out, and I kind of forced myself to take a sabbatical. During that period, I realized I had basically forgotten how to take care of myself –– just basic things like taking a shower every day, making food for myself, stretching, journaling, and meditating. So, I was just trying to do all these things that are good for you. It took a few weeks to do that, and then I started to get bored. But I was also seeing a lot of beauty in this "living slow" thing I was going through. Around January 2019, I gave myself the challenge to take a photo every day, just to keep my artistic skills sharp, and it came naturally to me to photograph these acts of self-care every day because they felt meaningful to me. After a few weeks of doing these self-portraits, I realized this was also a really interesting way to document my transition that I hadn't seen before. So the project combines this idea of looking at a state of burnout, at the practice of self-care, and also witnessing the everyday moments in a transition, and humanizing the experience of being a trans person, and just being a human, really, in the 21st century.
SHC: What is the significance of this kind of documentary, everyday approach?
LP: A lot of photography projects that I see about trans people, and about transitioning specifically, only show one side of the experience, when you're "done" transitioning. Which to me is a false concept, because no one is ever really done becoming themselves. A lot of my work around non-binary identities came about when there started to be an increase in trans representation in the media. Specifically, a lot of the representations I was seeing were very much based on a binary idea, where this person changed from one gender to another, with these big celebrities like Caitlyn Jenner and Laverne Cox on the cover of magazines, and associating transition with surgery and "passing" as a gender. All of these things are important and are a big part of trans identity, but they're also not completely representative of myself and other trans people who don't fit within the binary. My idea was to show that transition is not an overnight process — I can't even see the change, I have to look back to begin to really see it. My initial idea was to do the project for a year, but now I'm applying for grants to continue for a second year. I feel like it's a really interesting project, but I don't think you really see that much change in a year.
Doing my Shot in my Bedroom, June 2019 from Puberty, Laurence Philomène (2019)
SHC: How do you see your work as speaking to other trans people?
LP: I think the dialogue is happening very differently with trans people than it is with cis people. I think with other trans people, a lot of the feedback I've been getting is "oh, I relate to this," especially with the photo of me doing my testosterone shot on my bed. That was something that I really wanted to humanize, because I think a lot of people don't really understand what goes on with that. [My mom] was like "I thought you had to do the shot every day!" (laughs). So that's been interesting. But I think it hasn't only been relatable for trans people, because I'm showing these very mundane moments that we all go through, like eating, taking a bath, scrolling through my phone. These things are relatable for cis people as well, which I wasn't intending on, but I'm starting to realize as I've developed the project that that's an important part of it for me. At the end of the day, we're all human, and we all go through similar experiences, and we all grow in different ways.
SHC: What would you say your relationship is with activism, and with the task of representing trans people externally to a cis public?
LP: I think I've taken on the role of activist willingly, from a pretty early age. Before I was making queer art I was making feminist art, and it's always been important to me to have some sort of message in my work. I also think that when a marginalized person does identity work, it is going to be an activist practice whether you want it to be or not, so you might as well just embrace it and use that. That's where my work is at these days. It's kind of twofold — with my art practice, I think it is activism to really humanize trans existence, and help people of all genders see the beauty in each other and in themselves. And then with my private practice, a lot of the work that I do is offering photo sessions to low-income trans folks and helping people feel beautiful. I guess that's a different form of activism that I do.
Playing Dress-Up in Billy's Room, March 2019 from Puberty, Laurence Philomène (2019)
SHC: How do you deal with the question of what authentic representation looks like? I know that a lot of your work is highly staged. How do you perceive the relationship between staging and authenticity?
LP: I think that's kind of the Big Question of my life (laughs). The thing with photography is that it really plays with that line of real and not real, and that's something that I like to explore in different ways. With this project, specifically, I'm trying to use as little staging as I can. Obviously, when you know you're being photographed, it becomes a staged moment. But it depends, too. There are multiple kinds of images in the project, and some are more obviously staged than others, like the reclining nude or a studio portrait. But the ones that are daily scenes, I do really just go about my day, and as I'm doing something, I think: "ok, this is the moment I want to document today," and set up the tripod. I'll click the remote a bunch of times until I kind of forget it's there, and I'll try to just recreate the exact pose that I was doing before I started taking pictures. So it is staged — it's a staged reconstruction of a reality that happened two seconds ago, but I think it's as un-staged as a self-portrait can be.
SHC: How has the project evolved over time? Where do you want to go with it in the next year?
LP: When I first started, it was just experimental, and kind of steering away from a lot of the work that I'd been doing, which was very studio-based, portrait based, and a lot more minimalist. So with this [project], I was playing with the different territory of just photographing a space, or myself, or whatever, really "as it is"— with a lot more elements, and with less control over the colours because you have to work with what's already there. At first I was just playing with it, doing it for myself and posting it on my personal instagram — my finsta (laughs). I was posting every day. I started getting positive feedback from friends who were looking at it. This was just a fun exercise, but people were interested. So I posted these photos on my public instagram, to see what the response would be there, and it was really positive. That's how I started to think: this can have an impact, people are really reacting strongly to it. So from there on it became more intentional, and then I think throughout this year, I've been looking at the different themes that come up naturally through it and repeating them, and just witnessing that repetition.
I'm not sure [about next year]. I just started thinking about it. It was going to be a year-long project, but now I feel like it needs to be longer, and a bigger slice of time in my transition. I think I want to keep looking at the element of repetition. Originally I was going to post every single image, but in the end I wanted it to be a more curated body of work, a selection from all the images. I've also been enjoying showing it both ways: as a small curated collection, which I'm hoping I'll publish in book-form when the project is done. Then when I exhibit it, I do a slideshow with every single image in chronological order. Something I'm trying to incorporate more into the project now is not only doing pictures of myself. Some days it'll be a still-life, some days it'll be a picture of what I see from my window, things like that. I think that helps, to see the passage of time, like the seasons changing. That's something I want to incorporate in it as well: that it's not just me that's changing, that everything is always in flux.
Brushing my Teeth with Nina before Bed, September 2019 from Puberty, Laurence Philomène (2019)
SHC: Were there any specific influences you were drawing on in this project?
LP: I grew up in my early teens using the website Flickr, around 2007, 2008 to 2010. When I was on Flickr, I felt like there was a community of other young photographers who were doing similar work, using photography as a tool for self-exploration. A lot of self-portraits, pictures of your friends, and there was a big trend of doing what we would call a 365, which was one picture every day for a year. It was really common, and you would try it and you would just give up after a week because it was too hard. So my idea was to bring that concept back, but instead of putting pressure on myself to make a great piece of art every day, because you can't do that, I'd just photograph and not put pressure on myself for it to be a masterpiece. Just photographing whatever was there, and seeing the beauty in that.
SHC: Did it have anything to do with social media, and the way we document our lives?
LP: Yes, definitely. A big part of it for me was this idea that I'm a content creator, and I have to constantly churn out content. At the very beginning it wasn't about my transition, it was saying: I'm going to give you content, but it's going to be really mundane shit. It's going to be brushing my teeth, and eating ramen, and literally just what we're actually doing, instead of showing off a picture of us on the beach. So that was a part of it at first, was playing with this idea of constant content creation, and what social media is doing to art. And I feel like I was doing it as kind of a joke at first, but then people really liked it.
SHC: I also wanted to ask you about your other new series, Huldufolk. I think it's similar to Puberty in that they're both about naturalizing transness in different ways. Do you see those as related processes?
LP: Definitely. A friend of mine moved to Iceland for this residency, and I thought it was an amazing opportunity. I knew I wanted to continue doing self-portraits while I was there, and she told me about this legend of the Huldufolk, which was about hidden people and elves that are invisible, that just exist in the landscape. And so from there, I kind of played with that idea of a trans body as something that is, at times, visible, but also invisible— no trans body looks the same, and there's not one thing that a trans body looks like. A lot of the dialogue that was happening was about trans identity as created and fake, and all of this stuff, and I wanted to push back on that and say: no, this is a natural body, coexisting with nature. I feel like I haven't seen a lot of pictures of things like that.
Self-Portrait in Lava Field from Huldufolk, Laurence Philomène (2019)
SHC: How do you feel about this question of the natural versus the artificial in how we understand the trans body?
LP: I think it just goes to show that there's not just one way to experience transness. For some people, it is about changing your body, and for others it's about accepting it as it is. I feel like my work specifically has been about stripping away the artifice and saying that, at the end of the day, even if I'm not passing as either gender, I'm still just a human being. I experience all of these things just like everyone else.
Puberty is currently on display alongside Huldufolk at La Cenne until January 24th. You can see both full series at laurencephilomene.com, and you can follow them on Instagram @laurencephilomene.
Featured image is Paint Me Like One of Your Pre-Raphaelite Boy-Girls, February 2019 from Puberty, Laurence Philomène (2019)
In Conversation with Fashion Business Uncovered – Angelina Mazza
EXPLANATIONS – Marika Madimenos


26M looking for a climbing buddy at CityROCK. Preferably to lead, but top rope is cool too. I'm really keen on taking some indoor falls and getting my lead confidence back. Climbing for about 1.5 years.
Inside at CR - flashing low 20s on top rope, usually sending low-mid 20s (up to 25) in a few tries. Haven't led there yet.
Outside lead - 17 at Higgovale. Bailed on an 18 at Silvermine.
Outside trips would be fun too. Pretty well kitted up. All necessary sport stuff and the a majority of a trad rack. Been super scared leading outside lately though.
Very flexible schedule. Would prefer mid day during the week to avoid the crowds, but can really make just about any time work!
Lukasz here, I recently moved over to CT.
I got back into climbing after couple of months and I do mostly top rope at City Rock, but want to go back into leading again.
Let me know if you want to meet to climb one evening this coming week?
Im not sure if you know, CityROCK has an application, you can check it out in the App Store or Google Play. The app has a section called Belaytionships, its a cool way to meet people looking for a "belaytionship"
The will also be a notice board going up at CityROCK where you can sign up for a belay partner.


The drone industry is soaring. It has become very popular as more and more people take an interest in drone potential. People who buy these drones may have more difficulty than expected when it comes to learning how to fly them properly. It's not as easy as it looks, but then again, it's nowhere near impossible. All you need to do is having a little patience and spending a lot of time practicing. You can learn how to fly the drone perfectly with some dedicated effort.
The first thing you should do is buy a good drone. There are several brands that are manufacturing these drones, so it is important to know the types of drones that are suitable for you. For example, military drones are very complex and expensive, and they aren't made for common use.
Other drones are used for recreational purposes. These drones are very simple and affordable. To create the better models, the expensive drones and the simple drones have been fused together to create high-quality flying machines. These models are known as quadcopters.
In a drone, there are four motorized arms, and there are propellers attached to the ends of each arm. Two of the rotors spin clockwise, while the other two rotors spin counterclockwise. They can carry an HD camera, which means you can take photos and record videos while the drone is in flight. These drones are also equipped with a crash-avoidance system, and they feature GPS as well. This type of drone can help in capturing the best images.
The new models are much easier to purchase, fly, and repair. If you end up crashing the drone for a few times in the beginning, don't worry — it will take some time to become efficient.
The input commands need to be understood before the drone is flown. You can practice with the drones before trying to fly them. This will help you become comfortable with the alleviation control of the drone. The alleviation should be mastered before learning how to steer it left and right.
Don't try to practice indoors. Always go outside and choose an open location. Be careful not to fly the drone in high winds. As the drone is flown, it is important that there is as little wind as possible. This is especially important if the drone is lightweight and features GPS stabilization. It is better if there are no people or pets around while you are learning to fly it.
Do these pre-flight checks before you fly your drone. These checks can save you from some trouble afterward.
Check that the batteries of the quadcopter and transmitter are fully charged.
Check that the battery of the quadcopter is secure and locked in place.
Check that everything is fixed and nothing is loose.
The propellers should be securely fitted.
Check the edges of the propeller and make sure that they are not hacked.
Do a visual check for the screws.
The important thing to remember is that if the drone crashes, you should throttle off immediately. If it crashes and the throttle is not off, the motor can burn out. If it hits the ground at full speed or comes toward you, it can do a lot of damage. Remember: turn the throttle off immediately so that the damage can be minimized.
Use the throttle to maintain the height. Keep it steady and then bring it down on a flat surface. Give a little extra throttle while landing. This will provide smooth landing.
Before the drone takes off, make sure that the back of the quad is facing you. Once height is achieved, go forward smoothly. Once the flight is smooth, move left and right. Keep the landing as smooth as possible. Practice the landing by picking a smooth spot and landing directly on the spot.


SKU: #8908722 Please Note: COACH™ items cannot be shipped to military addresses (APO or FPO) and a..
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At Close Range: Review and Giveaway
Posted on February 22, 2021 by beccarose04
AT CLOSE RANGE: A MEMOIR
OF TRAGEDY AND ADVOCACY
By Leesa Ross
Categories: Nonfiction / Memoir / Personal Transformation / Advocacy
Publisher: Texas Tech University Press
Publication Date: April 15, 2020
Leesa Ross did not expect to write a book. Neither did she expect the tragedy that her family endured, a horrific and sudden death that led her to write At Close Range. Her debut memoir is the story of what happened after her son Jon died in a freak gun accident at a party. Ross unsparingly shares the complexities of grief as it ripples through the generations of her family, then chronicles how the loss of Jon has sparked a new life for her as a prominent advocate for gun safety.  Before the accident, Ross never had a motivation to consider the role that guns played in her life. Now, she revisits ways in which guns became a part of everyday life for her three sons and their friends.
Ross's attitude towards guns is thorny. She has collectors and hunters in her family. To balance her advocacy, she joined both Moms Demand Action and the NRA. Through At Close Range, the national conversation about gun control plays out in one family's catalyzing moment and its aftermath. However, At Close Range ultimately shows one mother's effort to create meaning from tragedy and find a universally reasonable position and focal point: gun safety and responsible ownership.
Purchase: Texas Tech University Press
At Close Range: A Memoir of Tragedy and Advocacy is a gripping account of a mother's story and the loss of her child from a gunshot wound. Leesa Ross delves deep into her recount, her raw grief, how she picks up the pieces, and sets out on a path of safety advocacy. It was just one freak accident that completely changed her life. The painful details, how this affected her marriage and life. Her boy Jon was an adult when he had died. As a mother of a two and a half year old, this memoir really pulled me in it. What if that was me? I can't even imagine that pain and heartache this woman had to go through, but reading her story pulled at the strings of my heart and really made me pause and listen.
I grew up in a small country town. My father owned guns. I grew up around them and they have very much been a part of my life. But as an adult, and now that I have a child of my own, and reading this story, it really makes me ponder the pro and anti gun organizations. Where do I fall? I'm somewhere in the middle on the issue. But I appreciated and understood Leesa's point of view on the topic. You completely understand why she journeys down the path that she does. And her voice, one filled with trepidation and pain, is a powerful voice that deserves to be heard.
As for the writing, I really enjoyed getting lost in Leesa Ross' story. Her experience is heartfelt and profound. The details and description she uses easily draws the reader in. Though a hard read from an emotional standpoint, her narrative pulls you in, easily. And once I started reading it, it was hard to put down.
I feel like this book is a great perspective on a very important issue, especially in our country. Though I may not agree with some of her beliefs, I can and do appreciate hearing her side, seeing her story, reading about what had happened to her. It's a book for discussing, for feeling, for considering. It's thought provoking and heart wrenching. A non-fiction read unlike any I have read. It makes us think, gets us talking. And most importantly, it makes us feel.
I hear you Leesa Ross.
I hope others will too.
Leesa Ross is a debut author who's transformed a tragedy into a mission for safety. After losing a son to a shooting accident, she formed Lock Arms for Life, an educational organization teaching gun safety. A Texas mother of three, she leads Lock Arms, sits on the board of Texas Gun Sense, and belongs to the NRA.
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FIVE WINNERS each get a hardcover copy of At Close Range.
US Only. Ends midnight, CST, 2/26/21
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1 thought on "At Close Range: Review and Giveaway"
Kristine Hall on February 23, 2021 at 10:55 am said:
Great review, and I think any mother will hear this author's message. Hope lots of people read & learn.

redpajama_set_name: RedPajamaCommonCrawl


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Thanks, Arthmoor. Those were good times and simpler times. I thought some of those games were pretty sweet at the time, yet here we are - living in the future. I thought we'd all be killed by robots by now, so I'm pretty pleased to still be around.
It has always seemed to me that the dome on the Blue Palace in Solitude should be lit up. Now it is. As far as I know, this is lore friendly. If not, I do not care to discuss it. Either you like the way it looks, or you don't. There is no canon but our imagination. If you tfc in console and look closely, you will notice there are no realistic light sources. Looking at it from the courtyard, you should never notice this. This mod is just for aesthetic purposes. This should be compatible with all lighting and weather mods, unless they touch the dome area of the Blue Palace specifically. I use NAT and Relighting Skyrim with ENB, and it looks good in my game. The lights stay on all day. It looks good, and Jarl Elisif pays the utility bills, so don't worry about it. I made this mod just for me to suit my own personal tastes. If you would rather have the lighting done differently, feel free to create your own mod. You can even edit mine and publish your own version. (Just credit me.) There's room for more than one Blue Palace Dome illuminating mod - variety is the jazbay of life! Please let me know if you find any problems with the mod itself so I can try to fix them. Thanks, and I hope you enjoy!
Hello everybody, I'm ShibePatrol, and I've just joined today. I guess I'm a veteran gamer of sorts because I started on the Atari 2600 and Commodore 64. Yes, it really was that long ago. I taught language arts, reading, speech, and psychology, in the US public school system for nearly two decades, and I actually started playing Skyrim on the recommendation of one of my students. I'll never forgive him. I work with a nonprofit organization now, teaching adult learners who need help learning to speak English or get their high school equivalency certificate. I've made a few silly little mods for SE. Mod Organizer 2 is my favorite game. I have all the DLC for it. My favorite DLC is Xedit, and I do play through the CK sometimes to get the full experience. Oh, and sometimes I play Skyrim SE. One of my favorite experiences has been building and upgrading my PC. I also like to play Magic the Gathering, but I only play EDH anymore with my playgroup, and my decks are a bit outdated now. In all of these areas, I've made a few mistakes along the way, but I've learned much in the process. I'll stop now because I tend to be long winded and overshare, and I wanted this to be concise. I'll just finish by saying I'm happy to be here.


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Kathryn Yu and Anthony Robinson -- the keystones of our editorial board -- join Noah Nelson for a talk about the state of immersive as we see it now.
So grab your beverage of choice and pull up a chair, it's NoPro After Dark.
The 49 Boxes is a singular puzzle based storytelling event, the latest incarnation of which focuses on the life of Floyd G. Thayer-- one of the most famed illusion creators of all time.
Sara Beil and KJ Knies are one of LA's most interesting behind the scenes pairs in immersive.


The Lansdowne No Place for Hate Committee presents a free screening of the 2001 film Billy Elliot. The film tells the story of a young man from Northern England who aspires to become a ballet dancer despite the objections of his father and brother, who consider ballet to be an unmanly endeavor for a young man from a tough, mining town. Discussion after the film. Popcorn will be provided; bring your own beverage.
Please join Lansdowne No Place for Hate for this free screening of 2009 Academy Award winning film, "Precious". This is not an easy film to watch. Bigotry, Abuse, Prejudice, Hatred. All the things that NPFH educates against are there. But so are Love and Hope. As the new school year begins, share this difficult experience with us. And then participate in the discussion after the film.
Lansdowne No Place for Hate Committee presents a free showing of Hawaii's Last Queen at 7:00 pm August 23 at the Lansdowne Library. This one-hour long PBS documentary revisits the 1898 annexation of the Hawaiian Islands by the United States, and the dramatic power struggle leading up to it. Free popcorn will be provided, feel free to bring a beverage. A discussion will follow the film.
NPFH will participate for the 2nd year in National Night Out – America's Night Out Against Crime. Co-sponsored by the SEPTA and Lansdowne Police Forces, this community event is open to the public. NPFH will have our usual display under our tent, giving out free materials and information. Held this year in the Municipal Parking Lot adjacent to the Fire House, between 5:00-8:00 p.m. Please stop by. A volunteer or two would be helpful to hand out balloons and collect email addresses.
Please join Lansdowne No Place for Hate for this free screening of Stanley Kubrick's 1957 Paths of Glory. WWI is the setting. Impossible orders are imposed by the Commanders. Is cowardice or common sense the response? And is this really an anti-war film? Decide for yourself and share in the discussion.
Please join Lansdowne No Place for Hate for this free screening of the 1951 Golden Globe Award winning film, The Day The Earth Stood Still. Alien culture arrives on Earth to warn us of the consequences of our aggressive behavior. Will we listen? This classic science fiction flick will have you chanting "Klattu Barada Nikto" for days. Discussion after the showing.
Please join us for the first Community Day of the 2012 season at the Lansdowne Farmers Market. This will be on Saturday June 30, 2012 from 9:00 a.m. to 1:00 p.m. Our application is in the mail to participate. We will have our tent to welcome shoppers old and new with an assortment of free items, including the Lansdowne NPFH tote bag. Please plan on stopping by to say hello. We will also be recruiting folks to march with us in the July 4th parade, just four days after Market Day.
Told by those who took part – from drag queens and street hustlers to police detectives, journalists and a former mayor of New York – and featuring a rich trove of archival footage, Stonewall Uprising revisits a time when homosexual acts were illegal throughout America. Hunted and often entrapped by undercover police in their hometowns, gays from around the U.S. began fleeing to New York in search of a sanctuary. Hounded there still by an aggressive police force, they found a semblance of normalcy in a Mafia-run gay bar in Greenwich Village, the Stonewall Inn. When police raided Stonewall on June 28, 1969, gay men and women did something they hadn't done before: they fought back. As the streets of New York erupted into violent protests and street demonstrations, the collective anger announced that the gay rights movement had arrived.
Discussion will follow the film. Free popcorn provided. Bring your own beverage.
Join ADL for our second 5K WALK Against Hate on Sunday, May 20, 2012. Take part in a one of a kind initiative in which people from various backgrounds are united to stand together to embrace diversity!
Funds raised through the WALK Against Hate will be used to support ADL's mission and the research and development of programming such as No Place For Hate®, the A WORLD OF DIFFERENCE® Institute, and the Bearing Witness™ Program.
The Friends of the Lansdowne Public Library have a program called Book-a-Year-Forever. For a $500.00 donation, the Library will purchase a book in honor of whomever (NPFH) in any category selected. There is no shortage of titles to choose from, as evidenced by the ADL suggested reading list.
Please consider making a contribution toward this worthy cause. This project will ensure that each year a book devoted to fighting bigotry and discrimination will be added to the Libray collection. Inside will be a book plate stating that it comes from NPFH. Checks can be made out to "Friends of the Lansdowne Library", and mailed to Donald Verlenden at 226 Glentay Ave. Lansdowne. Please note on the subject line that this is for NPFH. Donations are tax deductible.
Come immerse yourself in WATER at The Lansdowne Public Library in partnership with the Anti-Defamation League of Philadelphia's NO PLACE for HATE initiative has been presenting thought provoking movies with open discussion following the film presentation on the last Thursday of the month.
"Water" is a beautiful, tragic, sad, emotionally available film about the deplorable situation in India in regards to its many millions of widows: who are segregated into Ashrams, forced to beg on the street, some into prostitution to support the Ashram and are viewed as if not Untouchable…then unavailable for remarriage.
"Water" focuses on the very young, Chuyia (age 9) and a beautiful young woman named Kalayani, both widows and the story unfolds as a young Ghandhi follower, Narayana, falls in love with the forbidden Kalayani.
Water can cleanse, Water can heal, Water brings forth life and renewal and "Water" is full of these images, but it is also about Hope for the future and Redemption through the restorative power of Love.
For 10 years, the Free Library of Phila. has had a program called "One Book One Philadelphia". This years selection is Create Dangerously: The Immigrant Artist at Work.
Please join us on Thursday February 16, 2012 at 7:30 p.m. in The Bany room at the Lansdowne Public Library, to have a discussion about Create Dangerously: The Immigrant Artist at Work. There will be several copies of the book at the Lansdowne Public Library on reserve for NPFH members.
Please join Lansdowne No Place for Hate for this free screening of the 2006 Academy award winning film, Pan's Labyrinth. The setting is 1944. Marxist rebels battle Fascist Spain. A young girl is caught in the middle with only her imagination to help her. Or are her fantasies real? Rated "R" for violence. In Spanish with English subtitles. Discussion to follow the film.
in partnership with Upper Darby School District present our 10th Year of Service Honoring Martin Luther King, Jr.
Click here to learn more about DONATIONS NEEDED & SCHEDULE & PROJECTS!


We sat down with Chef Liz Kaplan, Heilicher's Head Chef, to see what she had to say about working at Heilicher and what she has been making in the kitchen. Check out her nutrition tips and her favorite healthy recipes for you to try at home.
What excites you most about being Heilicher's Head Chef?
I really enjoy cooking for the kids and serving them nutritious Kosher foods. It is fun getting to know them and exposing them to new foods. You may not know, but 90% of our meals are made from scratch. Finding Kosher foods can be difficult, so I really enjoy the challenge of making things here in the kitchen myself. We end up making a lot of high quality nutritious food that I can tell the kids enjoy.
What should Heilicher parents to know about nutrition?
Be sure to offer good nutritional choices for your kids. The more you offer healthy options the more likely your kids are to try them. The other thing parents need to remember is that our bodies are wired to choose balance in our diets. Don't panic if one day all your child eats is carbs or protein. Their diets tend to even out as they feel they need a certain food group. As long as you continue to offer nutritional choices, healthy eating habits will develop. Also, if you feel like you are stuck in a rut when it comes to healthy meal options, reach out to me or your community to see what other kids are eating. It is a great way to expand your repertoire of healthy meals and snacks.
Check out Chef Liz's favorite healthy snacks to accompany any meal or just on their own.
Whether you love scrambled eggs or not, a great way to add protein to your typical cheese quesadilla is to add a scrambled egg. For kids who struggle with texture, this is an easy addition. Scramble an egg ahead of time, breaking the egg into small pieces. Add the scrambled egg to the quesadilla at the same time you put in the cheese. Serve it hot or cold with a side of veggies or fruit. It is an easy take along lunch and alternative to PB&J.
One of my favorite twists on traditional hummus is pumpkin hummus. Serve with celery, carrots, or pretzel crisps. It is great to have as an after-school snack or packed in a cold lunch.
A healthy snack we enjoy at our house is sautéed Swiss chard. I like to choose Swiss chard with all white stems. This is important because they tend to be the sweetest. When cooking for kids, be sure to cook foods, especially vegetables, a little longer than what we adults are used to. This way food is softer and tends to be more appealing to kids. Cook the greens in a little olive oil along with minced garlic and salt. Sauté until tender and top it off with a squeeze of lemon. Enjoy as an after school snack or a side to any meal.
I love blueberry muffins. They are a bit sweet and can be customized to any liking. My suggestion for blueberry muffins is to take your go-to recipe and cut the sugar in half and substitute half the flour for almond flour. This will cut down on the sugar and add a little protein to your muffin recipe.
If you have questions about nutrition or need some fresh food preparation ideas, feel free to reach out to Chef Liz.


It has been over a month since Kellyanne Conway excused her political deceit as "alternative facts" in a live NBC interview. However, I suspect we will be feeling the repercussions of this excuse-turned-political-doctrine for some time. The birth of "alternative facts" in the White House shows a shift in the way political institutions produce and share knowledge to a divisive public. The shift in relations between the press and the White House has set fire to journalistic conventions. President Donald Trump and his allies have made the White House unreliable and unpredictable. This cannot be ignored.
Jar Rosen, a professor of Journalism at NYU, has been advocating the barring of Conway from the press in order to strip her of a platform through which to spread lies. CNN responded by declining Conway airtime on the "State of the Union" news. Even though CNN dropped this policy after 48 hours, proponents of the media are beginning to ignore Conway and her "alternative facts", noting that her descriptions of events have little journalistic merit. Barring this political mess from the public eye is a compelling and satisfying thought, but a counterproductive one.
There are already multitudes of people who accept the Trump administration's claims as fact rather than fiction. The last time we underestimated the power of these "facts," Donald Trump was elected president. People's beliefs and the structures of those beliefs are of great interest to sociologists. Unfortunately, these objects of study have not received a lot of attention in the past. But times are changing. We have been rapidly thrust into a world of "post-truth" that allows "fake news" to spread. The problem is exacerbated further when the president calls reliable journalists "fake news." We are experiencing a shift in the way people understand and consume knowledge, as the lines between fact and fiction have become blurred. We have no choice but to critically analyze the news we consume. The sociology of knowledge must become an indispensable analytical tool as we face this increasingly unreliable style of politics.
With the changing paradigms of truth, a different perspective may be useful in combatting this complicated sociological issue.) Though an unpopular opinion, Kellyanne Conway was right: alternative facts are indeed facts. They illustrate how we understand the reality around us. People consume these facts and share them through social media, regardless of their reliability. Though seemingly harmless, these alternative facts have consequences that shape how people perceive and practice reality.
This existence of infinite truths can be referred to as "ontological politics"—a rather complex and perplexing philosophical understanding of how we perceive and understand multiple renditions of reality. It is a philosophical toolbox used by sociologists such as Annemarie Mol and John Law, though the ideas have been developed and implemented by many others. Ontological politics seeks to explain the messy world we live in. There are countless competing ethical and moral value systems based on diverse experiences of the world. Because there are so many different understandings of the world, reality is not fixed, but is in constant flux. Not only does reality change with time, people can harness resources to consciously shape it. From this perspective, it doesn't matter which ideas are the most factual. Instead, it is important to recognize how certain facts make up the belief systems that shape how people perceive the world.
Having accepted that there are multiple competing renditions of the facts that define reality, we can apply this perspective to the political issues at hand. The political issue is: which "facts" do we take seriously? Who benefits from a particular rendition of the "facts"? And how do we shape beliefs towards a more accountable and reliable system of believing?
Many of us, subscribe to scientific facts that are worked out by experts with rigorous methods and devices. But there are people who believe in facts that do not have scientific merit, such as the Earth being only six thousand years old, vaccines causing autism, and the idea that terrorists populate every disenfranchised group of refugees. These facts are not supported by rigorous methods, nor by the institutions for which the scientists, experts, and journalists do important work. These facts will never send someone to the moon or protect people from diseases and terrorists but instead can lead to horrible events. They lead to people like Trump storming the US political system. They lead to brutal, racist regimes.
Facts cannot be produced from nothing, because as John Law points out, they take a lot of work. Organizations are routinely practicing the art of "truth creation". These organizations include political parties, non-governmental organizations, religious organizations, academics, activists, and journalists. Great amounts of resources and efforts are pulled together in order to generate reliable, or at least practical, claims of truth. Each of these groups has followers that consume those "facts" and spread them around the world. To much of the left wing, the infamous "pro-life" sentiments are a prominent example of claims that ignore scientific facts in favour of a particular ethical system.
The many practices of ontological politics are not trivial, even if they are embedded in everyday life practices or "common sense" knowledge. They are important and have immense consequences. They are pre-meditated and produced by people with intentions to shape the world in particular ways. Ontological politics is a divisive battle of knowledge that serves to shape what is right and wrong, normal or abnormal, belonging or excluded.


Study Guide for Technical Analysis of... - Murphy, John J.
Technical Analysis of the Financial Markets expands upon and updates Murph's classic Technical Analysis of the Futures Markets by adding important new material and applying his insights to all markets, not just the futures market.
"One way to get started in technical analysis is to read a good book on the subject. One of my favorites is Technical Analysis of the Financial Markets: A Comprehensive Guide to Trading Methods and Applications by John J. Murphy. It's an easy read."
-Ralph J. Acampora, CMT, Managing Director, Prudential Securities Inc.
"No one in this generation has contributed more to technical analysis than John Murphy. Through his series of books, he has both opened the door to many and raised the standard for all who use technical analysis. His books should be required reading for everyone in the securities business and are never more than a step away from my desk."
"John Murphy appears to have done it again ... only this time in a more contemporary fashion. Technical Analysis of the Financial Markets is a must read for the novice and the professional and most important the Chartered Market Technician (C.M.T.) candidate. As a long-time pointand-figure chart devotee, I was enthused to see the book's point-and-figure chapter not only cover some of the more popular methods such as Chartcraft and Dorsey Wright, but also explore the usefulness of the original point-and-figure methodology which we practice here at Salomon Smith Barney"


LOVE the update!! She is adorable and those braids are gorgeous!!
Ohmygosh!! She is really starting to look like a big girl. She is gorgeous and smart and amazing!!
Thanks for the update Jill. jI was wondering what you gals been up to? Mari's just toooo precious. I love her hair dooo .... and really all her pics .... too cute.
Loed the update. Great pictures and great memories.
Love the bedroom and cake pictures. Very cute. Mari is so sweet and is growing so fast. I enjoyed all the photos!
It's official, she's absolutely adorable and you're absolutely amazing - how on Earth do you find the time to do all of these things? Her room looks fantastic! I can't wait for her and Ash to meet one day, hopefully at the ET Camp in VA in July or the Blog Union in CHI in August - thanks for the update!
I was just thinking I haven't seen a Mari update in a while. She is getting so big. I need to add you at Facebook.
thanks for the update. I loved seeing/reading all that's new for Mari and Mom! Love the room and the cake. Did you decorate it? Cute! (you put me to shame with all you do).
Such a pretty party dress, too.
Loved the update!! You did a great job on the birthday cake and it looks like Mari got some great things for her birthday!!
She ran and hugged Daniel when he walked in yesterday morning...maybe I need to keep an eye on her?!?!?!
Jill she is absolutely gorgeous! I just wanted to thank you for all of the comments that you have left on my blog. You have been so encouraging and you have made me feel so much LESS abnormal! I really appreciate it, and appreciate your perspective! THANK YOU!!
I am also a single mom who adopted from Ethiopia....I stumbled upon your blog tonight...Just wanted to say Hi....and what a cute daughter you have. AND one of your cats looks like a bigger version of my 'twin' cats!!


text:
Watch the Films
Filmmaking Group
© 2020 Michael Connelly Contact Me
To enter the Film Festival please fill in the form below on or before 28 November 2021. Entry this year is free for AATG members and €25 for non-members. You will be sent a payment request for either bank transfer or PayPal. This fee permits you to enter up to three films. For each film to be entered please complete a separate form.
Which age group? 18 years and over 14 - 17 years 11 - 13 years 10 years and under
Film Category Narrative Documentary Animation Music or Art
Are you and AATG member? Yes No
Please give a summary description of your film
Please list the names of the director, producer, writer, cast and crew
Do you own the copyright on all the material in the film? Yes No
If you answered "No" then please give more iinformation
Congratulations! Your film was successfully uploaded.
I'm sorry, there was an error in the upload. Please contact filmmaking@aatg.nl and we will try to sort it out.
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text:
require 'spec_helper'
require 'timecop'

module ChannelAdvisor
  describe Shipment do
    describe ".new" do
      before(:each) do
        @attrs = {
          :shipping_carrier => "UPS",
          :shipping_class => "GND",
          :tracking_number => "1234567890"
        }
        @shipment = Shipment.new(@attrs)
      end

      it "sets @shipping_carrier" do
        @shipment.shipping_carrier.should == @attrs[:shipping_carrier]
      end

      it "sets @shipping_class" do
        @shipment.shipping_class.should == @attrs[:shipping_class]
      end

      it "sets @tracking_number" do
        @shipment.tracking_number.should == @attrs[:tracking_number]
      end
    end # .new

    describe ".submit" do
      use_vcr_cassette "responses/shipment/submit", :allow_playback_repeats => true
      before { stub.proxy(Services::ShippingService).submit_order_shipment_list }

      let(:original_shipment) do
        {
          :order_id => 123456,
          :client_order_id => "ABCD1234",
          :date => DateTime.new(2012,05,19),
          :carrier => "UPS",
          :class => "GND",
          :tracking_number => "1ZABCE09813473497",
          :seller_id => "999999",
          :cost => 5.99,
          :tax => 1.99,
          :insurance => 2.99
        }
      end

      context "with one shipment" do
        use_vcr_cassette "responses/shipment/submit/one_shipment"

        let(:actual_shipment) { original_shipment.dup }
        before do
          actual_shipment[:type]       = "Full"
          actual_shipment[:cost]       = "%.2f" % actual_shipment[:cost]
          actual_shipment[:tax]        = "%.2f" % actual_shipment[:tax]
          actual_shipment[:insurance]  = "%.2f" % actual_shipment[:insurance]
        end

        it "sends one shipment to the shipping service" do
          Shipment.submit(original_shipment)
          Services::ShippingService.should have_received.submit_order_shipment_list([actual_shipment])
        end
        it "returns an array of a single hash" do
          response = Shipment.submit(original_shipment)
          response.is_a?(Array).should == true
          response[0].is_a?(Hash).should == true
        end

        it "populates the hash with details about the shipment" do
          response = Shipment.submit(original_shipment)
          response[0][:order_id].should == original_shipment[:order_id]
          response[0][:client_order_id].should == original_shipment[:client_order_id]
        end

        context "without a ship date" do
          it "sends a shipment with the current date" do
            original_shipment.delete(:date)
            ::Timecop.freeze(DateTime.now) do
              actual_shipment[:date] = DateTime.now
              Shipment.submit(original_shipment)
              Services::ShippingService.should have_received.submit_order_shipment_list([actual_shipment])
            end
          end
        end

        context "without a ship cost" do
          it "sends a shipment cost that is nil" do
            original_shipment.delete(:cost)
            actual_shipment[:cost] = nil
            Shipment.submit(original_shipment)
            Services::ShippingService.should have_received.submit_order_shipment_list([actual_shipment])
          end
        end

        context "without a tax cost" do
          it "sends a shipment with a tax cost of nil" do
            original_shipment.delete(:tax)
            actual_shipment[:tax] = nil
            Shipment.submit(original_shipment)
            Services::ShippingService.should have_received.submit_order_shipment_list([actual_shipment])
          end
        end

        context "without an insurance cost" do
          it "sends a shipment with an insurance cost of nil" do
            original_shipment.delete(:insurance)
            actual_shipment[:insurance] = nil
            Shipment.submit(original_shipment)
            Services::ShippingService.should have_received.submit_order_shipment_list([actual_shipment])
          end
        end

        context "with line items" do
          it "sends a partial shipment" do
            actual_shipment[:line_items] = original_shipment[:line_items] = [{:sku => "ABCD", :quantity => 5}]
            actual_shipment[:type] = "Partial"
            Shipment.submit(original_shipment)
            Services::ShippingService.should have_received.submit_order_shipment_list([actual_shipment])
          end
        end
      end # with one shipment

      context "with two shipments" do
        use_vcr_cassette "responses/shipment/submit/two_shipments", :allow_playback_repeats => true

        let(:shipment1) { original_shipment.dup }
        let(:shipment2) do
          {
            :order_id => 567890,
            :client_order_id => "EFGH1234",
            :date => DateTime.new(2012,05,19),
            :carrier => "USPS",
            :class => "PRIORITY",
            :tracking_number => "99999000000000",
            :seller_id => "555555",
            :cost => 5.99,
            :tax => 1.99,
            :insurance => 2.99
          }
        end
        let(:shipments) { [shipment1, shipment2] }
        before :each do
          @false_msg = "An unexpected error occurred involving Order 123456.  Please make sure sufficient unshipped quantity exists on the order and that the Carrier and Class Codes are valid."
        end
        it "sends two shipments to the shipping service" do
          Shipment.submit(shipments)
          Services::ShippingService.should have_received.submit_order_shipment_list(shipments)
        end

        context "with a true and false result" do
          it "returns an array of hashes with their sucess fields set to true or false " do
            result =[
              {
                :order_id        => shipment1[:order_id],
                :client_order_id => shipment1[:client_order_id],
                :success         => false,
                :message         => @false_msg
              },
              {
                :order_id        =>shipment2[:order_id],
                :client_order_id => shipment2[:client_order_id],
                :success         => true
              }]
            response = Shipment.submit(shipments)
            response.should == result
          end
        end

        context "with all true results" do
          use_vcr_cassette "responses/shipment/submit/two_shipments/both_true", :exclusive => true, :allow_playback_repeats => true

          it "returns an array of hashes with success = true" do
            result =[
              {
                :order_id => shipment1[:order_id],
                :client_order_id => shipment1[:client_order_id],
                :success  => true
              },
              {
                :order_id =>shipment2[:order_id],
                :client_order_id =>shipment2[:client_order_id],
                :success  => true
              }]
            response = Shipment.submit(shipments)
            response.should == result
          end
        end

        context "with all false results" do
          use_vcr_cassette "responses/shipment/submit/two_shipments/both_false", :exclusive => true, :allow_playback_repeats => true

          it "returns an array of hashes with success = false, also returns an error message  " do
            result =[
              {
                :order_id => shipment1[:order_id],
                :client_order_id => shipment1[:client_order_id],
                :success  => false,
                :message  => @false_msg
              },
              {
                :order_id =>shipment2[:order_id],
                :client_order_id =>shipment2[:client_order_id],
                :success  => false,
                :message  => @false_msg
              }]
            response = Shipment.submit(shipments)
            response.should == result
          end
        end
      end # with two shipments

      context "with a Failure status" do
        use_vcr_cassette "responses/shipment/submit/failure", :allow_playback_repeats => true

        it "raises a ServiceFailure error" do
          expect { Shipment.submit(original_shipment) }.to raise_error ServiceFailure
        end
      end

      context "with a SOAP fault" do
        use_vcr_cassette "responses/soap_fault", :match_requests_on => [:method], :allow_playback_repeats => true

        it "raises a SOAP fault error" do
          expect { Shipment.submit(original_shipment) }.to raise_error SOAPFault, "Server was unable to process request. Authentication failed."
        end

        it "stores the SOAP fault code" do
          begin
            Shipment.submit(original_shipment)
          rescue SOAPFault => fault
            fault.code.should == "soap:Server"
          end
        end
      end # with a SOAP Fault

      context "with an HTTP error" do
        http_status = {:code => 500, :message => "Internal Server Error"}
        use_vcr_cassette "responses/http_error", :match_requests_on => [:method], :erb => http_status, :allow_playback_repeats => true

        it "raises an HTTP error" do
          expect { Shipment.submit(original_shipment) }.to raise_error HTTPError, "Failed with HTTP error #{http_status[:code]}"
        end

        it "stores the HTTP status code" do
          begin
            Shipment.submit(original_shipment)
          rescue HTTPError => error
            error.code.should == http_status[:code]
          end
        end
      end # with an HTTP error
    end # .submit

    describe ".get_carriers" do
      use_vcr_cassette "responses/shipment/get_carriers", :allow_playback_repeats => true

      it "calls the get_shipping_carrier_list" do
        stub.proxy(Services::ShippingService).get_shipping_carrier_list
        Shipment.get_carriers
        Services::ShippingService.should have_received.get_shipping_carrier_list
      end

      it "returns an array of shipping carrier hashes" do
        results = Shipment.get_carriers
        results.each do |carrier_data|
          carrier_data.should include(
            :carrier_id,
            :class_id,
            :carrier_name,
            :carrier_code,
            :class_code,
            :class_name
          )
        end
      end

      context "with a Failure status" do
        use_vcr_cassette "responses/shipment/get_carriers/failure", :allow_playback_repeats => true

        it "raises a ServiceFailure error" do
          expect { Shipment.get_carriers }.to raise_error ServiceFailure
        end
      end

      context "with a SOAP fault" do
        use_vcr_cassette "responses/soap_fault", :match_requests_on => [:method], :allow_playback_repeats => true

        it "raises a SOAP fault error" do
          expect { Shipment.get_carriers }.to raise_error SOAPFault, "Server was unable to process request. Authentication failed."
        end

        it "stores the SOAP fault code" do
          begin
            Shipment.get_carriers
          rescue SOAPFault => fault
            fault.code.should == "soap:Server"
          end
        end
      end # with a SOAP Fault

      context "with an HTTP error" do
        http_status = {:code => 500, :message => "Internal Server Error"}
        use_vcr_cassette "responses/http_error", :match_requests_on => [:method], :erb => http_status, :allow_playback_repeats => true

        it "raises an HTTP error" do
          expect { Shipment.get_carriers }.to raise_error HTTPError, "Failed with HTTP error #{http_status[:code]}"
        end

        it "stores the HTTP status code" do
          begin
            Shipment.get_carriers
          rescue HTTPError => error
            error.code.should == http_status[:code]
          end
        end
      end # with an HTTP error
    end # .get_carriers
  end # Shipment
end # ChannelAdvisor

redpajama_set_name: RedPajamaGithub


text:
Home / / Funnel / Press / Censorship: Caught in the Crossfire by Anna Gronau (Feb-March 1984)
Censorship: Caught in the Crossfire by Anna Gronau (Feb-March 1984)
Originally published in Parallelogramme, Vol. 9, No. 3, February-March 1984
Censorship became part of my life a few years ago when I was working at the Funnel Film Centre. Although I no longer work there, censorship still affects me, partly because of what I learned about it from practical experience, and partly because I happen to be a woman, a film artist, and a feminist. I want to talk about some of the questions that censorship has raised for me as a person in these positions, as well as some of the ways that I have tried to come to terms with them.
While there are many kinds of censorship, possibly the most aggressive is film censorship. There is legislation in the Criminal Code of Canada to punish people for obscenity in all media, but on the provincial level, we also have a system of prior censorship that applies to only film and video. This law requires that before anyone exhibits any film or tape publicly, the Censor Board must approve it and may ban it outright or demand cuts to it.
Imagine a government-appointed body that has the same power over the printed word. Anything – from pamphlets and newsletters to books of poetry and textbooks – would be kept from the public until they were approved with whatever deletions this body demanded. And books considered too unsuitable would be banned altogether. Although it seems outrageous in the case of books, the Censor Board's control over film and video amounts to legalized surveillance. As new media becomes more popular and accessible, censorship insidiously erodes the freedoms of the people using them – freedoms we took for granted with older media.
There is an underlying structure and purpose in the way censorship operates. For one thing, it is self-perpetuating. Mrs. Mary Brown, who is head of the Ontario Censor Board, recently told the Globe and Mail that "snuff" films are becoming commonplace and that's why we need censorship. Since the films can't be seen publically we have to take her word on this, despite her obvious vested interest. Or else we can visit the Censor Board and view their reels of horrifying out-takes. Even though this material would presumably be considered obscene by a court of law, and dangerous by the Censor Board itself, the Board seems to think it's alright for people to watch it, providing they are in control of the situation. As a matter of fact, the reason we have film censorship at all is an issue of control. When films first appeared they were seen as a threat to the social control of authorities such as the church, which felt that their monopoly on information was being usurped, particularly in so far as movies reached women, children, and the working class.
Since 1911 there have been numerous explanations given of the need for censorship. But the constant hidden agenda has always been control.
Today, of course, censorship, investment, and other facts keep the industry more-or-less in line with the status quo. For artists, however, business considerations are generally much less important than ideas and how they are expressed in a work of art. This arrangement of priorities reduces the incentive to tow the line, and artists are often concerned with making their work as out of line with the status quo as possible. This isn't nearly as gratuitous as it sounds. In fact, I believe that it is an extremely important way of posing questions and discovering new answers about all kinds of things. And the arts and art criticism have a lot to teach us about the3 ways that images work. Surely any discussion of censorship can benefit from insights into the nature of the material to be censored.
One of the challenges that artists working in photographic media face is trying to confront, understand and expose the reasons why people invest photographic images, particularly moving ones, with so much emotional authority, even if they know perfectly well that the event didn't really happen.
Some important artistic and theoretical work has already been done in these questions. In the theoretical area some of the most interesting work has been done by feminists. Among other things, they have shown the role of social conditioning in the production and viewing of photographic images: for example, the presence of a kind of complex code in narrative films that echoes and capitalizes on our conscious and unconscious understanding of a sexist social system. According to this theory, we superimpose our knowledge of the world onto the film and inject meaning into it. And what's more, because the film's structure is so deeply rooted in these understandings, it also works to reinforce the social system.
Work by artists has tried to provide alternative ways of experiencing images so that what is merely perceptual habit is called into question and new possibilities present themselves. The art/critical world deals with images constantly, but is finding indicate that images are not nearly as fixed in their meanings as those who would censor seem to believe.
There are other reasons why there has hardly ever been a call for censorship from these quarters. For one thing, it is recognized that artistic works are produced at least partly intuitively and so they may be surprising or shocking in form, but upon inspection can reveal important ideas. The arts exist in an atmosphere of discourse that I think is a good model for us to follow in trying to come to terms with the social importance of imagery. Artistic ideas meet with aesthetic, political and other ideas, and fight it out, so to speak. Generally, the most powerful argument wins but the failed argument isn't discarded, just set aside to be used again – even to emerge as the winner at a future time, the light of new evidence.
This is another reason by artistic and critical circles shun censorship: they recognize that we need time in which to build knowledge, so we can re-think and re-evaluate as we go along, and we need evidence to use in our discourse. But censorship takes away both the time and the evidence and hinders the acquisition of knowledge.
I've seen important issues raised by work on the nature of the media and its relation to social practice. And I've seen artists' work censored and the only discussion that has resulted has been about the censorship itself. I think we would do well to adopt artistic and critical strategies as an alternative to censorship.
But so far I've talked mostly about art's implications for censorship. In fact, censorship has grave implications for art and artists. Because artists' work is necessarily public, it is we, and not pornographers, who usually face obscenity charges. The artist whose work is controversial or unusual is the one who is most likely to get into trouble, but also the one least likely to be able to solicit the support of established and accredited institutions in his or her defense. Right now federal obscenity laws are being revised. No doubt their new parameters will be tested in the courts – probably with artists as the guinea pigs. Censorship affects artists by intimidating us into silence or euphemism on the one hand, or confrontation or martyrdom on the other. Freedom of expression may seem an abstraction to some, but for the artist it is a concrete and present need.
It probably seems a little schizophrenic to approach this subject from the point of view of various persona – as a woman as an artist, and so forth, but in fact, the reason I chose to do this is that this is how censorship has affected me. At times it has been very difficult to reconcile the feelings of one part of me with those of the other parts. This is particularly true when it comes to the pornography issue which affects me as a woman. Censorship and pornography are two different issues, but they do overlap.
I think that we women have disliked porn for a long time and for various reasons which sometimes get confused by others and even by ourselves. Back when women's only security was in their roles as wives and mothers (which wasn't that long ago) we saw porn as a threat to our security – in the same way we saw prostitution. However, now that the security of dependence for women has been seriously questioned, I think we have a much smaller psychological investment in denying the facts of our oppression. We can start to see the ways in which prostitution and porn actually reinforce our dependency. We still don't like porn, but now it is because we don't like what is shows us. Porn is a graphic metaphor for our position in the real world. For instance, when I get harassed by male strangers on the street I get very angry. I feel misrepresented by the popular image of women as loving pain and ridicule. The attitude of these men makes me feel powerless because I know they see me as powerless. I don't necessarily think these guys get their ideas from porn, but when I see porn echoing that attitude I get very angry.
And yet, like many other women, I feel ambivalent about representations of women. I enjoy reading fashion magazines, for example, but I hate violent porn, although I realize that at times they differ only in the degree to which they explicitly equate femininity with subservience. So where do we draw the line? It's a vey difficult question. Should women cut themselves off from traditionally "feminine" pursuits that give us pleasure? And if censorship is proposed as a solution, should we ban all images of women?
At this point it becomes essential to bring in the feminist perspective, first of all clarifying a distinction that I have made in talking about myself as a women on the one hand and as a feminist on the other. As a feminist I try to look at the historical and social frameworks that inform my identity as a women in that way, and to think beyond my own situation to ways of changing women's lives in general. A feminist perspective sheds lights on the internal conflicts that I have just mentioned, and I want to quote you an analysis that my friend Varda Burstyn once made:
"Freud said that every ego is stamped 'made in Germany' or 'made in France.' Surely we can also say that every ego also proclaims, 'sexually formed by capitalist patriarchy,' and from there decide two things: first to allow ourselves the pleasures of consensual play which enhances our present pleasure so long as it does not hurt others or violate our own sense of self. And second, start talking about the fact that the sexuality of a socialist, non-sexist and non-racist world would indeed be very different from the sexuality of ours in certain key respects."
From this analysis we can start to understand that although our sexuality was formed in a sexist society, we want to discard sexism – but there is no new alternative sexuality to step into. It will obviously take time before a new and fulfilling sexuality for us will emerge. It's difficult to envision such an alternative, and I think this is precisely why porn is so frightening. It fills this void with a vision of the future that is both concrete and horrifying. Our choice, however, it to allow ourselves to be scared back into the cloister, or to defy and replace porn's vision with one of our own.
I agree with Varda when she says that in the meantime we have to allow ourselves our pleasures so long as they don't hurt anyone. For a woman this might include the pleasure of reading a fashion magazine, but with the knowledge that part of the enjoyment is in the pretty lies it tells about how women live. Unfortunately, the situation of men consuming pornography is a little different because many people think that it presents a danger to women. As an artist I really can't agree with people who say porn is harmless because it is only an image. I believe that images can influence people. But, as I explained earlier when I was talking about film theory, I also believe that images get their power and their meaning from the real world; porn exploits sexism, but it doesn't invent it.
One of the best arguments against porn that I have heard comes from an analysis of research on pornography done by Thelma McCormack, a sociologist at York University. She suggests that porn's harm might lie in its ability to disinhibit feelings of hatred towards women that all men carry at an unconscious level, as a necessary result of their socialization as males in a sexist society. Yet she also notes that experiments show that normal males have a high resistance to disinhibition, whereas men inclined to rape are different. Nevertheless, it is a frightening thought that perhaps sufficient amounts of disinhibition could increase the population of rapists. But even if this is true, I still don't think that censorship is the answer.
To use censorship to inhibit misogynist feelings in men is to imply that there is no way that individuals or society can change – either at a deep unconscious level, or through conscious choice and work. Censorship enshrines the present inequality of the sexes in the law. If our laws imply that women are weak, acquiescent, and need protection from men who are violent and aggressive towards women, this is truly paradoxical, since it is these aggressors who would be in charge of doing the protecting. And if we point to sex as somehow being the same as, or the cause of, sexism, we will continue to regard women's gender as a liability.
Some feminists have suggested that censorship deals with violence and not sex, but this idea really just glosses over the misogyny, which is the problem we presumably want to correct. What's more, it doesn't analyze violence. Focusing on violence distracts from power – which is how misogyny usually operates, frequently with no violence at all. Besides, can you imagine a Censor Board censoring hockey games, boxing matches, war movies, or westerns? Of course not, because men fighting men, for whatever kind of pleasure they get out of it, is perfectly okay in this society. But imagine a film in which a feminist filmmaker is working through the depth of her rage and horror against men through explicit and graphic imagery. This would be a flagrant violation of the status quo, and I can't imagine the Censors putting up with it. Unlike equal pay laws, censorship laws can be used against women.
Porn and censorship serve the status quo. The Ontario Censor Board actually protects pornographers from obscenity prosecution – and it certainly doesn't stop women from being abused in the making of porn films. The people who get hurt by censorship are artists and people looking for a new kind of sexuality. Censorship might drive porn underground, but it won't get rid of it. I think we stand a much better chance of fighting it if it's out in the open where we can see it. And strangely enough, I think there have been some very interesting and positive things coming out of women looking at porn. Women are having the courage to face the presence of violence, sexuality and power – in the world, and even in ourselves.
The more we can confront and understand these powerful forces, the better we will be able to take the actions that will have the best results for us. From the point of view of someone who works with images, I think we can fight fire with fire. We can inform and educate ourselves and one another, and we can confound and confront sexism, through our work. The possibilities are limitless. We can discredit porn with work that reveals its hidden subtext, or by juxtaposing it with images that challenge its usual meaning, or by satirizing it. We can also use our art to discover new kinds of sexual representation for our own pleasure. Most of all we can name the real forces that oppress women and speak out against them. But in an atmosphere of censorship, our voices may well be silenced.
It is sexism in the real world that is the enemy of women. Censoring porn is like killing the messenger of bad news. But I think the messenger also brings a challenge, namely, that if this society really wants to end the harm that misogyny does to women, cloistering is no answer. Instead it must provide women with the means to refute porn's message with messages of our own, and it must provide programmes to ensure us equal opportunities socially and economically so that we can stand up for ourselves.


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SharePoint Designer 2013 has the flexibility to work with many tools. Using Visio or InfoPath? SharePoint Designer is like a flexible friend.
Before we jump into workflows, I would like to talk to you for just a few minutes about the tools that we will be using in this course. I'll be using SharePoint online. Actually SharePoint Server Enterprise 2013, running as part of Office 365. But, you don't need to have the same type of SharePoint or the same installation that I have. For example, your organization may have SharePoint Server Enterprise, or SharePoint Server Standard installed and hosted there. Or your organization might be using SharePoint Foundation which is the most broadly distributed version of SharePoint because it comes packaged with Windows Server.
So organizations that have a Windows Server, already have SharePoint Foundation and they could use it. Each of these versions of SharePoint allows your users to collaborate, to share documents and lists, and allows them to launch workflows that you've created. So yes, you can create workflows with SharePoint Foundation. You'll also need to have SharePoint Designer 2013 because this is our development environment, our primary tool. And we will use it to build workflows although it has other purposes. I can create lists and libraries, and entire SharePoint sites using SharePoint Designer 2013.
There are other course in the lynda.com online library that use SharePoint Designer for things like site branding. SharePoint Designer 2013 is a multi-use development environment, but we will be using it specifically for workflows. By the way if you have a prior version of SharePoint Designer, SharePoint Designer 2007 or SharePoint Designer 2010, those won't work. Microsoft has re-imagined, how workflows work with SharePoint 2013. And you can't create new workflows with the old tools.
So you will need to download SharePoint Designer 2013, even if you have a prior version. So some version of SharePoint in 2013 and SharePoint Designer 2013 are all you need to create workflows. But there's other software that's optional and very useful. For example, if you have InfoPath Designer 2013, which is another free download, then you can use that software to create forms for use in your workflows and we'll be doing that in this course. The forms you create can be filled out by users who are using InfoPath Filler.
But depending on the version of SharePoint you're using, you may also be able to create and host browser based forms using InfoPath. If your organization uses SharePoint Server 2013 Enterprise on premises or online, then it also includes the ability to have what are called services. Things that are hosted on the server. One example of a service is Excel services, which allows users to access large workbooks or to work with Excel, even if they don't have it on their computer because it's being hosted on the server.
There are also Visio services that allow your users to view Visio diagrams. Something that you will care about later in this course. But from our point of view, there is one service we care about more than any other in this regard, which is the ability to be able to host InfoPath forms in a browser. So if you are using SharePoint Server Enterprise on premises or online, then you can create forms that your users can open in a browser. This means that you don't have to worry about each of them having InfoPath Filler on their computers.
It means that it doesn't matter that they use a Mac or they use a PC. Anybody who can get to a browser, can fill out your forms. You might also have access to some version of Visio in your organization. And any Visio is great because it allows us to create diagrams of our workflows. We can take those diagrams then and print them or publish them and share them for feedback. And diagrams will allow us to get a high quality of information back from our users. But if I have Visio Professional, I get much more with it.
I have the ability with Visio Professional to create workflows right in Visio, to not only share them for feedback but to export them to SharePoint Designer or to take workflows that I created with SharePoint Designer, and turn them into diagrams that I can then, share with my users. If you have Visio Porfessional, you really have a second development environment. Because now I can design not only in SharePoint Designer but I can design in Visio. Take things back and forth. And, there's one more thing that's really cool about Visio.
Many organizations have a built in pool of current or past Visio users. Maybe people in engineering or some business analyst, some folks in IT, or some folks in, in marketing and creative. And any of those folks can create workflows using Visio. So, they can start a workflow in Visio Professional and then save it and give it to you, so that you can do more work with it, if you wish, in SharePoint. Developers in your organization, and you may be one of them, probably have Visual Studio which is a complete programming environment.
Visual Studio allows you to create forms, workflows, webpages, entire applications for use in SharePoint. At some point if you're creating very complex workflows, you may need to have some code written and that will be written for you in Visual Studio. Now in earlier versions of SharePoint, I hit that need to code wall pretty early. But now, there's so much power built into SharePoint Designer that I create entire workflows and, and rarely have a need for Visual Studio.
But know that it's here if you need it. And if you do need code, you can begin by completing as much of the workflow as you can in SharePoint Designer, then exporting that workflow so that it can be imported into Visual Studio. Remember though that despite all of these tools, and you may have a number of them already, the only thing you will absolutely need in this course is some version of SharePoint 2013 and SharePoint Designer 2013. If you have these two tools, you will be able to create some amazing workflows.
See how to boost your team's productivity using custom workflows in Microsoft SharePoint. Gini Courter explains how to design workflows in SharePoint Designer, and eliminate inefficiencies and leverage automation to avoid repetitive tasks. You'll learn to create a simple form for your workflow, set up email notifications, and work with list and utility actions. Gini also shows how to design workflows that are easy to maintain and reusable, and deploy your workflows into the wild in SharePoint.
Q: In the video "Creating a workflow with conditions," the email workflow generates the email and successfully changes the value in AreaCalc but the workflow does not complete, and raises no errors. How can I fix this?
A: There are different workflow configurations for SharePoint 2013; some use the Workflow Manager 1.0, which does not appropriately handle changes to Boolean (Yes/No) columns in workflows. The fix is to change any columns with the Yes/No data type used as workflow triggers to the Number data type.
1. Modify the data type of the AreaCalc, HRCalc, and FinanceCalc columns (which currently use the Yes/No data type) to Number.
2. Set the default value of each Calc column to 0.
4. In the Wait For Field Change in Current Item workflow actions, modify the conditions in the workflow to trigger based value of the Calc field changing to 1, for example, AreaCalc = 1.
After making these changes, test your workflow again.
You could choose any number values you wish, however, using 0 for False and 1 for True are standard and therefor make your workflow a bit easier to understand.
If you experienced the described behavior in your workflow, you may wish to avoid using the True/False data type while you're designing custom lists for your organization.
Q: Where do I get InfoPath Designer 2013 (mentioned in the "What you need to know" video)?
If you have Office 2013 Pro, you may already have InfoPath Designer 2013, but it may not have been installed. Try reinstalling Office and choose to install InfoPath Designer.
Sign up for a free 30-day trial of one of the Office 365 plans that include InfoPath Designer—for example, Office 365 Enterprise (E3) Edition, which also includes SharePoint, or Office 365 ProPlus, which does not include SharePoint. After the 30-day trial you will need to pay a monthly fee for Office 365.


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