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Design and development of satellite despin devic

Creating Change through Arts, Culture, and Equitable Development: A Policy and Practice Primer

Across the nation, artistic and cultural practices are helping to define the sustainability of urban, rural, and suburban neighborhoods. In the design of parks and open spaces; the building of public transit, housing, and supermarkets; in plans for addressing needs for community health and healing trauma; communities are embracing arts and culture strategies to help create equitable communities of opportunity where everyone can participate, prosper, and achieve their full potential. And artists are seeing themselves -- and being seen by others -- as integral community members whose talents, crafts, and insights pave the way to support community engagement and cohesion."Creating Change through Arts, Culture, and Equitable Development: A Policy and Practice Primer" highlights both promising and proven practices that demonstrate equity-focused arts and culture policies, strategies, and tools. The report describes the role of arts and culture across the nine sectors below. Within each policy chart there are goals, policies, and implementation strategies that can help achieve communities of opportunity. These policies have yielded such outcomes as: support for Native artists in reservation-based cultural economies, the creation of a citywide cultural plan, engaging low-income youth of color in using digital media, and efforts to address redevelopment, employment, food access, and environmental justice

Ampliando el escenario de la narración televisiva en el ecosistema mediático digital del siglo XXI

En aquest article pretenc tornar a examinar des d’una perspectiva crítica alguns temes relacionats amb l’escenari actual de la narrativa televisiva de ficció: els programes de ficció amb una producció, consum i reputació que han estat testimonis de canvis significatius en la dècada dels 2000. El meu interès se centra en el que anomeno «plenitud narrativa», la profusió excepcional de ficcions seriades que ara estan disponibles, en qualsevol moment i a qualsevol lloc, en la miríada de canals i plataformes de l’entorn de mitjans en expansió constant. Referent a això, en l’article es pararà atenció prioritàriament al cas de Netflix. En particular, tractaré de desentranyar la mescla coexistent de guanys i pèrdues com a aspectes clau del modus operandi adoptat per la plataforma de transmissió líder mundial. Després abordaré la disposició problemàtica d’una gran quantitat d’estudis de televisió contemporanis que es concentren únicament en un corpus concret de programes de ficció, que entren dins la categoria de «televisió de prestigi». M’afegeixo a la discussió de l’àmbit d’estudi d’autors que discrepen dels patrons d’elecció basats en gran manera en la dubtosa divisió cultural entre la televisió de nínxol de qualitat i la programació de transmissió en obert. A més, afirmo que aquesta tendència no explica l’amplificació sense precedents de l’escenari contemporani de la narrativa televisiva. Sembla que als estudis de televisió «els arbres no ens permeten veure el bosc».In this paper I intend to revisit from a critical perspective some issues related to the contemporary landscape of fictional TV storytelling: scripted shows whose consumption and reputation have witnessed significant changes in the 21st century. My interest focuses on what I call “narrative plenitude”, the exceptional profusion of serialized fictions that are now available, anytime, anywhere, on the myriad of channels and platforms in the ever-expanding media environment. In this context, priority attention will be given in the article to the case of Netflix. In particular, I will try to unravel the coexisting mixture of gains and losses embodied in key aspects of the modus operandi embraced by the world’s leading streaming platform.Then I will address the problematic readiness of contemporary television studies to concentrate a great deal of scholarship on just a select body of scripted shows, which come under the category of ‘prestige TV’. I join the dialogue among others in the field who take issue with patterns of choice largely based on the questionable cultural divide between quality niche TV and ordinary broadcast programming. Furthermore, I make the claim that this tendency fails to account for the unprecedented amplification of the contemporary landscape of storytelling, as if television studies “can’t see the forest for the trees”. En este artículo pretendo volver a examinar desde una perspectiva crítica algunos temas relacionados con el actual escenario de la narrativa televisiva de ficción: los programas de ficción cuya producción, consumo y reputación han sido testigos de cambios significativos en la década de los 2000. Mi interés se centra en lo que llamo «plenitud narrativa», la profusión excepcional de ficciones seriadas que ahora están disponibles, en cualquier momento y en cualquier lugar, en la miríada de canales y plataformas del entorno de medios en constante expansión. A este respecto, se prestará atención prioritaria en el artículo al caso de Netflix. En particular, trataré de desentrañar la mezcla coexistente de ganancias y pérdidas como aspectos clave del modus operandi adoptado por la plataforma de transmisión líder mundial. Luego abordaré la disposición problemática de una gran cantidad de estudios de televisión contemporáneos que se concentran únicamente en un corpus concreto de programas de ficción, que entran dentro de la categoría de «televisión de prestigio». Me sumo a la discusión del ámbito de estudio de autores que discrepan de los patrones de elección basados en gran medida en la dudosa división cultural entre la televisión de nicho de calidad y la programación de transmisión en abierto. Además, afirmo que esta tendencia no explica la amplificación sin precedentes del escenario contemporáneo de la narrativa televisiva. Parece que en los estudios de televisión «los árboles no nos permiten ver el bosque»

Gender and media studies : progress and challenge in a vibrant research field

Gender and media studies has witnessed in recent years a resounding revival, as is testified by number of published monographs and collections, articles, themed issues of international journals, conferences that bring into focus the diverse features of the relationship between gender and communication. The field has gone through an ebb and flow process over time, since it began to take shape inside the academia in early seventies, under the determining influence of the second-wave feminism, which had made the media a primary object of inquiry and criticism. Actually feminism, its waves and shifts and multiple voices, is a major factor to be considered - alongside equally shiftings conceptual frameworks and methodological tools underpinning research and analysis, and the changing media contexts and contents - in order to account for the constitution and development of the gender and media scholarship. This paper is aimed at drawing an overview of such a history, through a narrative of change and continuity that strives to render how the field has come to be configured and reconfigured over time, and has readjusted its mode of engagement with the fundamental challenge of disclosing and understanding the gendered and gendering dimensions of the media discourses and practices. More focus will be put on the strands of the vibrant debate that enlivens the current revival, much informed by competing ideas as regards gender and media in a postfeminist and media-saturated cultural environment.Los estudios de género y los medios de comunicación han sido testigo en los últimos años un renacimiento rotundo como atestiguan varias monografías, colecciones, artículos o ediciones temáticas en revistas internacionales. El campo ha pasado por un proceso de flujo y reflujo a través del tiempo desde que comenzó a tomar forma académica en la década de los setenta. Este artículo tiene como objetivo elaborar un resumen de su evolución histórica a través de una narrativa de cambio y continuidad

Women war correspondents: does gender make a difference on the front line?

Although there have been women reporters on the front lines since the First World War and their number has increased more and more in subsequent conflicts in the twentieth century, it was only during the first Gulf War that the phenomenon – fostered by the escalating feminisation of newsroom personnel in many countries – gained momentum. The visibility of women war correspondents on national and international television channels is now taken for granted; and women journalists from newspapers have stood by the side of, or replaced, their male colleagues when covering the conflicts. This paper deals with the controversial question of whether or not women journalists covering the news from the front lines ‘speak in a different voice’ from their male counterparts. War understandably offers a special opportunity for exploring such a question, since it is particularly in war that the agenda and the rules of the game of still mostly maledominated journalism come to the fore. This paper, which is based on research still in progress, aims at investigating whether women journalists (or at least some of them, in specific circumstances), once they have been admitted to the male preserve of foreign correspondents and furthermore to the most masculine of action systems such as war, are willing and able to create their own gender-based agenda and express their own point of view

Abbas Kiarostami ou l’épreuve de la finitude

L’oeuvre de Kiarostami, entièrement travaillée par les événements du seuil, interroge la figuration des marges. Le vent nous emportera et Le goût de la cerise retracent les moments liés au funeste, ce temps improbable aux confins de la vie crépusculaire. Le réalisateur, à chaque fois, pense une scénographie funeste : dévitalisation de la scène filmique et investissement des zones frontalières, valorisation de formes éphémères ou dégradées ainsi que d’une poétique miroitante.Shaped entirely by threshold events, Kiarostami’s oeuvre challenges how the margins are represented. The Wind Will Carry Us and A Taste of Cherry are accounts of moments linked to death, the improbable time at the far reaches of the twilight of life. He designs each film to evoke mortality; he creates lifeless onscreen images, pushes into boundary areas, and highlights forms that are ephemeral, faded and shimmeringly poetic

Retention and application of Skylab experiment experiences to future programs

Problems encountered on Skylab Experiments are listed in order that these experiences and associated recommendations might help to prevent similar problems on future programs. The criteria for selection of the data to be utilized was to identify the problem areas within the Skylab Program which would be of major significance with respect to future programs. Also, the problem had to be unique in that it would help identify to a designer/manufacturer an unforeseen or unanticipated occurrence which could cause failures, delays, or additional cost. Only those unexpected problems that may occur due to the nature of aerospace experiment environmental and operational requirements are included

Género y Media Studies: progreso y retos en un campo vibrante de la investigación

Els estudis de gènere i els mitjans de comunicació han estat testimoni en els últims anys d'un renaixement rotund com testifiquen diverses monografies, col·leccions, articles o edicions temàtiques en revistes internacionals. El camp ha passat per un procés de flux i reflux a través del temps des que va començar a prendre forma acadèmica en la dècada dels setanta. Aquest article elabora un resum de la seva evolució històrica a través d'una narrativa de canvi i continuïtat.Gender and media studies has witnessed in recent years a resounding revival, as is testified by number of published monographs and collections, articles, themed issues of international journals, conferences that bring into focus the diverse features of the relationship between gender and communication. The field has gone through an ebb and flow process over time, since it began to take shape inside the academia in early seventies, under the determining influence of the second-wave feminism, which had made the media a primary object of  inquiry and criticism. Actually feminism, its waves and shifts and multiple voices, is a major factor to be considered - alongside equally shiftings conceptual frameworks and methodological tools underpinning research and analysis, and  the changing media contexts and contents -  in order to account for the constitution and development of the gender and media scholarship.This paper is aimed at drawing an overview of such a history, through a narrative of change and continuity that strives to render how the field has come to be configured and reconfigured over time, and has readjusted its mode of engagement with the fundamental challenge of disclosing and understanding the gendered and gendering dimensions of the media discourses and practices.  More focus will be put on the strands of the vibrant debate that enlivens the current revival, much informed by competing ideas as regards gender and media in a postfeminist and media-saturated cultural environment.  Los estudios de género y los medios de comunicación han sido testigo en los últimos años un renacimiento rotundo como atestiguan varias monografías, colecciones, artículos o ediciones temáticas en revistas internacionales. El campo ha pasado por un proceso de flujo y reflujo a través del tiempo desde que comenzó a tomar forma académica en la década de los setenta. Este artículo tiene como objetivo elaborar un resumen de su evolución histórica a través de una narrativa de cambio y continuidad

The odontological collection at the Royal College of Surgeons of England: a short review

This short article will present an overview of the contents of the Odontological Collection based at The Royal College of Surgeons of England, London. This dentally relevant research source has been accrued over the past two centuries and contains both human and animal cranial material that place a focus on the development of the teeth and jaws. Currently used by a range of researchers in a variety of fields, it is hoped that this brief review will encourage those with a palaeodontological interest to consider the Odontological Collection in data collection or for more general dental investigation