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Chuck E. Cheese's Melissa McLeanas joins hosts Damian Fowler and Ilyse Liffreing on The Current Podcast to discuss how Chuck E. Cheese is leveraging its iconic IP for the streaming era, what advertisers are excited about and more. Episode TranscriptPlease note, this transcript may contain minor inconsistencies compared to the episode audio.Damian Fowler (00:00):I'm Damian FowlerIlyse Liffreing (00:01):And I'm Ilyse Liffreing,Damian Fowler (00:02):And welcome to this edition of The Current Podcast.Ilyse Liffreing (00:09):This week we're thrilled to be joined by Melissa McLeanas, Vice President of Global Media Licensing and Entertainment at Chuck E. Cheese.Damian Fowler (00:18):For people who grew up in the us, Chuck E. Cheese means childhood birthday parties. It's long been a go-to destination for pizza games and the giant mouse that knows every kid's name.Ilyse Liffreing (00:29):In short, it's a pop culture icon with over 500 worldwide venues. But under Melissa's leadership, the brand is leveling up by launching the CEC Media Network in partnership with programmatic platform future. Today,Damian Fowler (00:42):It's a big move that signals a shift from just a physical play space to a full on entertainment platform, think digital storytelling in store screens, branded content and advertising that actually fits into the family experience.Ilyse Liffreing (00:57):We're going to jump in and talk about why in venue media might just be the next big driver of customer loyalty and growth.Damian Fowler (01:07):Chuck E. Cheese is such a nostalgic brand, especially in the United States, but here you are launching a full media network, which is a kind of big new chapter for you. Can you walk us through the vision and the strategy behind the CEC Media network and what is bringing it to life?Melissa McLeanas (01:26):Absolutely. First of all, thank you so much for having me. It is an incredibly exciting time at CEC Entertainment. Then Chuck Cheese, I would say it's a bold new chapter for the company and the Media network is really just a piece of that. The brand has been going through an incredible transformation over the last few years, and really at the heart of that is the vision to establish this brand as a global leader in entertainment. Now, I say that, but it's really reestablished the brand in entertainment. Chuck E. Cheese was born in entertainment. I don't know if you know, but the E in Chuck E. Cheese stands for entertainment. And really when you think back to where we started, we were a leader and really established the category of EAT entertainment. And as that space has evolved and family entertainment centers have really taken that center stage, we've continued to be a leader and an innovator in that space.(02:14):But a few years ago, I would say we probably hit a wall and it was a little bit tired. The bones were good as they would say, but it was really time for a reset and bringing a new leadership team to the forefront with a new background and experience in entertainment. We established several different strategic objectives, one of them being the division that I lead, and that's media licensing and entertainment. So really very simply put, the mission is to really drive incremental value and revenue for the company in a new way. So all US locations, we've invested over 350 million back into the business, a capital investment, and I'm happy to say that right now at this point we've completed the US all US locations, so just under 500, no small feat, and we're about to finish our own Canada locations as well. And what this looks like is cosmetically update to the interior and the exterior, a revamp of menu, all new games, and that entertainment package now features a large video wall. And then of course our character program.Damian Fowler (03:16):That's a lot right there. It's almost like you've had a complete perception shift in terms of what you're doing. It sounds like you are a channel in and of your own right and media channel. You mentioned out of home, but there's also CTV on all those points. This is a kind of multistream content strategy. And could you just talk a little bit more about how that will ultimately reach all of these consumers and how it'll deepen engagement, I guess, for families who go to all these different venues in the US and around the world?Melissa McLeanas (03:50):So yeah, that's a great point. So I guess let me step back and actually talk about what that content looks like. Within our fund centers, we have entertainment programming, let's call it a 90 minute loop, and it consists primarily of entertainment, content, family friendly entertainment content. Of all these initiatives, obviously the first and foremost most important thing for us is to make sure that we're delivering an amazing experience for our guests. And so that content must do that. It has to be relevant for our families, it has to be engaging, and it really has to convey everything that our brand stands for. So that's a mix of our own original content. So I talked about that, the library. And so we continue to create new content and then we pull from our library of content. So we really look for things that are a little young, but it has to be appealing to an older guest.(04:37):At the same time, there can be aspirational content, so maybe some of our 10 year olds and 12 year olds are there with younger siblings, and then you got your parents. So there's a lot of opportunity there. The other thing that digital screens in this update to programming does is it allows us to do regular seasonal updates. And I think that's also really important, especially as we're growing programs like our membership program, our past program, we've got some repeat visitation, we're consistently updating and keeping that fresh throughout the year. Now as part of that, there's a lot of partner opportunities. And so for our entertainment partners, like I said, you can get the latest clips from your newest release for some of the newer content creators. We've got an active captive audience sitting right there paying attention to those screens, and we've created an environment where they're tuning into those screens. And so bringing our characters, since we do all of that content ourselves and working with other content creators to create some co-branded content, there's a lot of different ways for partners to really be a part of that entertainment experience.Ilyse Liffreing (05:38):Now I know it's early days too, but perhaps you can talk about some of those partnerships that you have going on with needy buyers and national advertisers and then how important the media network is to Chuck E. Cheese's broader business evolution.Melissa McLeanas (05:54):Absolutely. I'll actually take that moment to do a quick and talk more specifically on the advertising opportunity. I think a lot of what we're doing with the content and the characters is incredibly exciting, but it's also a really exciting time in the digital out of home and out of home space. So if you look at other venue operators and retailers, they're debuting these owned media networks. And so we've really took a page out of their book and we said, Hey, we've got this updated experience, we have this traffic. How do we really bring this to partners in a big way? And so on the, I would say the tech solutions side, we've had some really strong relationships with Panasonic so that we've got media players in advertising solutions that are going to support the various types of advertisers locally, regionally, nationally. And then we most recently have a relationship with Vista Media, so we were able to integrate their supply side platform directly into that CMS.(06:44):So that gives us access to a wide array of advertisers, and they're coming straight through programmatic, so turnkey solution for those who are buying programmatic space. So we're seeing a lot of advertisers come through there. And then we've got some more strategic relationships in the entertainment space. Kids BOP is one of those. They've been a partner for many, many years. And in addition to some of the entertainment content, they've really leveraged these screens to advertise tours to localize and talk specifically to upcoming tours at a specific venue ahead of that. We've worked with the Harlem Globetrotters to do the same, and then we have a various CPG toy, again, family appropriate, parent appropriate that are really taking advantage of those screens. And then of course we're talking out of home, but I don't want to forget too that we also announced a partnership with Future Today.(07:33):And so in addition to having this opportunity around content in our venues, we also have this content online. So we've had a lot of this on YouTube and YouTube kids. We actually started putting our content there in 2012 and have been doing so in a more meaningful way in the past few years. And with this new relationship with Future Today, a leader in the CTV space, not only are we getting content on their Happy Kids channel and their network alongside the co melons and the Paw trolls, but in the future we're working towards launching our own streaming network. So Chuck E. Cheese branded Fast Channel, so ad supported, but again, leaning into the content and the IP and engaging those guests and those fans and then offering that opportunity to brand safe and family friendly advertisers.Ilyse Liffreing (08:17):I know Chuck E. Cheese has traditionally been mostly about the physical experience before all of this. I remember going there as a kid, my dad brought us there all the time growing up, and obviously that part of the business is not dying down at all. I'm curious how many screens you have at each of the 500 plus venues that will be part of this network.Melissa McLeanas (08:41):So every location has a video wall, and that's going to be the focal point of when you walk into Chuck E. Cheese and it's incredibly important. You really can see that almost anywhere in most locations. Every one of our locations is unique, they're like children. They vary in size and layout, but really that video wall is huge. And then screens and the number of screens is going to depend on that layout and how big the location is. So it can be anywhere from six to 15 to 18 in some of our larger locations. So it's done strategically to make sure that there's visibility no matter where you are. And then audio isn't tied to those screens, so audio is just piped uniformly throughout the entire locations.Ilyse Liffreing (09:21):Besides those giant screens, are there any other ways you guys are blending that physical presence within the new digital touchpoints that you're bringing?Melissa McLeanas (09:30):So like I said, the character program is, I mean the epitome of the live physical experience. And so we really try to find a balance between how we take the digital parts of our brand and our entertainment and balance that with the interactive and the physical. So when the character, when Chucky comes out, whether it be for a birthday or for a dance, there's also supporting content on the screen that really help families follow along, be able to follow and interact with their parents and their friends and all of that. So we want to make sure it's on an interactive dance floor. So there's a lot of different ways to bring that to life. We also just recently launched a STEAM program, and so that is rooted in the media that you see on those screens, but then as part of that curriculum, those kids go off into the game rooms and they're playing with the games and they're doing all the different tasks that they've learned.(10:21):We did that in partnership with stem.org and then just digitally throughout the locations, our menu boards are all digital now. We've done some tremendous and deep upgrades in terms of innovation and technology, so no more tickets, which some people get sad about because that visual of having that bucket of tickets feels so iconic. But etickets are far more efficient for families that are trying to get through the price counter and out the door. So we've got Etic, we've got Play Pass, no more tokens, the menu boards, the games. We're really leaning into digital. It makes us more efficient when we need to make changes. We think about testing menu items in certain local and regional rollouts that's all supported digitally. It's far easier to make those updates on the backside than it is to roll out new point of sale and printed materials. And so we're looking for those digital opportunities throughoutIlyse Liffreing (11:11):Life. Things are certainly changing.Damian Fowler (11:12):They really are. Let's talk a little bit about some of the takeaways from all of these innovations. Now, let's say you're a family, you've been exposed to the video wall and the games room and you go home. How is this exposure being measured across the network, if you like?Melissa McLeanas (11:28):Yes, feedback is everything. We actually have a really active fan base and we do have guests who are reaching out to give us feedback. We have an in-house insights team and we have regular surveys, and then they're asking questions across every element of Chuck E. Cheese because we want to make sure that we're understanding as we update and introduce new exactly what's working, what's not and what can be better and happy to, the screens in the entertainment continues to have a really positive score. A very high guest are seeing it, they're tuning in and they love the entertainment. And so we'll continue to watch that. And when it comes to the advertising campaigns, from a measurement perspective, we're working with companies like Place their AI and an IMP purview to measure the impressions through our door as well as impressions against our screens, both being well-recognized auditors, if you will, in that space.(12:20):We don't sell tickets, so that's important to make sure that when we do these campaigns we can accurately say this is how many folks we're actually exposed to those screens. And then as we continue to work with our partners, and then I think this is something you'll see, especially in the digital out of home space, it's constantly evolving. And so for us it's really important to work with partners on their campaigns and understand those KPIs because we are a unique platform and the guests are engaging with these screens maybe differently than they might and screens out in a different venue. And so we want to make sure that the content that we're delivering, one, again, great guest experience and it's appropriate for our families, but two, it's achieving what our partners are looking to do with these campaigns.Ilyse Liffreing (13:04):So you've spoken about how Chuck E. Cheese as a brand spans generations. How do you ensure that the content and messaging then stay relevant to today's kids while still honoring the brand's legacy from the past?Melissa McLeanas (13:18):It's an amazing gift to have a brand and a character that has touched almost five decades, and that comes with great responsibility first and foremost, at the heart of what we are still, where a kid can be a kid. So as we continue to innovate and evolve for these families, we never lose sight of that. We are a kid first space. So while our content could be developed with co-viewing in mind and there's some Easter eggs that maybe parents will understand, but it's just fun silly songs for kids, we want to make sure that kids still own their space. Chuck E. Cheese is a place for kids. Our parents obviously need to enjoy their space too. And so in addition to how that content comes to life within our fund centers, we take a lot of opportunity to find extensions outside our four walls that pay homage to the rich legacy that this brand has.(14:11):So licensing is an important part of the strategic objective of growing this brand and increasing its value and entertainment. And so we've really grown our license program over the past five years. We've got just over 35 licensees and we've been able to really segment our brand across these decades and offer a classic Chuckie for those who know the OG seventies, eighties, Chuckie with the bowler hat. And we've got our retro Chuckie who's skater and he's the nineties, two thousands, and we offer that up to teen and young adult audiences in various spaces that make sense. We've done a few other things like we've saved our animatronics and in a few different locations, we started that in Northridge, California, wildly successful, lots of feedback there. And so we were able to extend that to four additional stores. And so those animatronics are going to live in those locations.(15:02):They're still fully remodeled, they're still on the media network, they still have all the new, but for fans that want to pilgrimage to see the original band in that format, those are available and we continue to look for opportunities like that. We've announced Chuck Arcade, it's an arcade space that's really geared towards Martine and adult, and there's some really fun touch points. Again, paying ho much to the legacy. And so we want to make sure that, again, our brand is a brand and we're going to take care of those kids and those families, but there's a lot of opportunity to really extend that and talk to the other generations of fans.Ilyse Liffreing (15:36):I certainly appreciate that. I remember Skater, Chuckie, myself, ninetiesMelissa McLeanas (15:41):Chucky, everybody has their Chuckie.Ilyse Liffreing (15:42):Oh yeah. I know it's early days still, but how has the feedback been so far from the brands that you guys are starting to approach about the network? Is there excitement, interest?Melissa McLeanas (15:56):I think a takeaway that is for brands and partners and even a lot of our guests is because just as you said, everyone has their Chuck E. Cheese and this is a brand that has such incredible awareness and strong attachment to a very specific memory and time of when you had your Chuck E. Cheese experience. As we're going through this remodel and introducing the median network, it's a bit of a surprise when they actually go in and they're like, oh my goodness, this is not the Chuck E. Cheese that I used to know. And we hear it from guests and it's why we really lean into reopening events when we remodel a location and then really make a splash in the local community. And I'm hearing that a lot from partners. It's incredibly positive once they see how their brand is coming to life on these screens and we're hosting lunch and learns with agencies, you have to see it to get it because that memory is so strong in so many people and we're doing things so differently. And so it's been really positive and it's been exciting, but it definitely is. It's a space where you've really got to lean in and say, oh, wait a second. You're right. This is incredible.Damian Fowler (17:06):We seem to be in a sort of almost, you mentioned the ip, but we seem to be in a bit of a golden age as it were, of brand storytelling and more and more brands leaning into sort of that owned media channel to tell their stories. How do you see this whole media network fitting into that general trendMelissa McLeanas (17:23):From a brand storytelling perspective? It's funny. We always make this differentiation. Our characters are part of our experience. We never look at them to tell the experience. And so as we debut all of these new channels for our content and open up to a larger audience, we have the opportunity to really dive into these characters, their personalities and invest in telling their story and in a deeper way. And so we've got so much content, but there's so many new formats that we are excited about long form formats, animation, publishing, and so much of that can be supported and come to life on these channels. But when we think about a storytelling opportunity from a character perspective, there's a great path forward to really get these beloved characters out there and to continue to build their world, their ecosystem, and not just in content. How do we take them outside the four walls? How do we create more experiences? We've taken the band out on tour, how do we do that in a bigger way? And I think these channels and this content is the beginning of a much bigger journey for the characters.Damian Fowler (18:31):Yeah, I imagine. Is there a movie in the works?Melissa McLeanas (18:36):No comment. No. In all serious, that's where we're going. That's where we're thinking for these characters. And so while nothing has been announced, I think we've been fairly vocal in the fact that that is what we would like to do and how we are making decisions on content and bringing on partners.Ilyse Liffreing (18:55):It's amazing. Looking even further ahead, if the movie doesn't happen, if the movie does happenMelissa McLeanas (19:03):When the movie happens,Ilyse Liffreing (19:03):When it happens,Melissa McLeanas (19:04):Exactly when the movieIlyse Liffreing (19:06):Happens, I like it. It happens. What else do you see in terms of innovation, whether it's maybe gamified content, augmented reality, personalized experiences, is there anything else that you guys are hoping in the near future to evolve the Chuck E T's experience?Melissa McLeanas (19:26):Gaming is in our DNA. And so I mean we are the largest arcade operator in the world. We buy thousands and thousands of games. We've got 2 billion game plays a year. And so we're always looking and talking to different companies about how we can continue to innovate in that space. And so that's always on our radar. You've seen a change in even some of the games that have come through our doors, things like ar, you need to make sure that it's safe for our young kids, but we're always having those conversations and now that we've got more media driven experiences, there is opportunity to take that to the screens. And with the dance floor personalization, if you think about birthday and how important that is to our brand, personalization is something that we're always looking to do in a bigger way. So from tiering and offering different options to our parents who are booking parties, to giving something personal just to remind or say happy birthday to the kids and how we can do that with our characters and at scale is something that is starting to get more exciting as this technology evolves.Ilyse Liffreing (20:34):Amazing. Let's go into some of rapid fire questions now, some quick fun ones for you. So the first one here is actually about your background. You've held roles across licensing, entertainment and media. What would be one lesson from building these brand partnerships that served you especially well?Melissa McLeanas (20:55):Partnerships can be incredibly powerful and they can serve so many purposes. And I think right now in the industry, you're hearing the word collaboration a lot. And it's refreshing because I also think that if you look back a few decades, it was very rigid of this is the partnership, I need X, you get X, this is how we do it or we don't do it. And I think the openness and the receptiveness across all industries, entertainment, licensing, media of building something that is going to benefit both parties in a bigger way has really changed how a lot of these partnerships have come to life. And for us, and in this journey that we've been in, they've really been a huge benefit to us. And one telling our story, aligning with some of these best in class entertainment brands and putting Chuck E. Cheese in a conversation that frankly people weren't expecting. And as you said, I have been very fortunate to have worked with some amazing partners across my career and bring some of these different programs to life and building them around Chuck E. Cheese has been really fun.Damian Fowler (22:02):What other family or entertainment brand is doing something truly innovative in the media space that inspires you?Melissa McLeanas (22:10):So I'm a theme park nerd, admittedly because of my background, and this almost feels like a cop out, but it has been really exciting to watch Universal grow as a behemoth in this space and even their marketing and from a grassroots perspective of how they've been able to engage their fan base. It's just fun and it's exciting to watch someone in that space grow as they have. But all that said, what I think is even cooler in location-based entertainment is these snackable moments that are kind of emerging outside of these giant theme parks. I think in the beginning it was always like that can only happen if you're paying a high ticket price to go to a Universal or Disney. And now so many of the IP holders and the brands are bringing these really cool experiences to life outside of that, whether it be a mobile tour or a retail experience or maze that's themed for the season. And I think that's really elevating the space and it's giving a lot of us opportunity to activate in these ways that doesn't require a giant theme park build around it. And so I think that the location based entertainment and experiential space in general has been growing and being more creative over the past few years.Ilyse Liffreing (23:22):Do you have a favorite moment from launching the CEC Media network?Melissa McLeanas (23:27):I think something that I could really call out is the feedback from our operators. So when you work for a company that is really the life force is your field and your cast members and your operators on the ground. We've got some cast members and some managers that have been with us for over 30 years and they know this brand and they've been delivering this amazing experience and change is hard. So when this started testing in markets and we got not only good feedback, but outwardly positive feedback and managers were approaching me like, you know what you could do? I'm like, this is fantastic because not only are we updating the entertainment experience, we're delivering on all these new objectives, but we're bringing value to the team that's operating and they see this great opportunity to talk to their guests and to be more efficient. And so that was very satisfying and it made it all the better because they really are the ones that are doing the work on the ground and making sure that this brand is coming to the life in the best of ways.Damian Fowler (24:27):On that point, was there a personal moment that stands out that you've witnessed where the brand genuinely sort of moved you or surprised you in how it was being received?Melissa McLeanas (24:38):So yes, I mentioned this summer concert series, and I'll give you a little bit of context. So during the pandemic, we had to close a lot of locations and as we started to open them, we made the decision to keep Chucky outside the fun centers to our families. That message was that he was recording an album and we didn't realize that he was going to have to record a box set in the end, but when we did get to a place where we were getting comfortable to bring him back to our guests and it wasn't everywhere, we were trying to think of how best to do that. And again, this is still early for me and in my role at Chuck E. Cheese. And so we decided to, for the first time ever, create a fully choreographed scripted show, 30 minute show with our characters, took 'em out on the road, all free concerts, open air outside public parks so all guests could attend no matter where we were in the world in terms of what those restrictions looked like.(25:33):And it was just an amazing team building event. So it's all new music, upbeat, fun, I still have it on my playlist, but we have our birthday song as part of this concert and we do it under the guise of Does anyone have a birthday this year? Which is of course everyone. And if you're familiar with the Chuck E. Cheese birthday song, it's not just Happy Birthday, it's very specific to Chuck E. Cheese. And as it started, every single guest was up and singing along to the lyrics and dancing the food truck vendors, the parents, everybody knew this song. And from a moment that was needed, it was incredible. But from a brand perspective, that's really powerful and that's really something special. And so that really stood out in my mind of like, wow, this is something, we really got something. So that would definitely be it. And if you don't know the birthday song,Ilyse Liffreing (26:25):I do know we can practice it after do birthday song.Damian Fowler (26:28):We should play this podcast out with a birthday song soon.Ilyse Liffreing (26:30):Yes, we should.Damian Fowler (26:32):Well, first off, Melissa was so enthusiastic about this new brand, this new entertainment network that the company's launching. I almost couldn't keep up with the amount of innovation the brand is putting out.Ilyse Liffreing (26:45):So much, so much has happen isDamian Fowler (26:45):Incredible. But I feel like there were a couple of bits there where she almost gave us some news. She talked about Chuck E. Cheese streaming platform potentially on the horizon, and then we sort of joked about this, but Chuck E. Cheese movie. But in an era where IP is everything and we're thinking of Barbie, why not?Ilyse Liffreing (27:05):Yeah, no, there's so much value in it for other advertisers too, when they're building this media network across their 500 plus venues in the US and internationally, that's a lot of screens and advertisers want to be with kids and with their parents especially.Damian Fowler (27:24):Another thought that was interesting to me was the way she talked with the way Melissa talked about the digital out of home and Chuckie, she's venues being almost an extension of that channel that is on the up and up really, and especially when it comes to programmatic media. So that was also something that I found intriguing.Ilyse Liffreing (27:44):It's also nice to know that they're doing a good job of blending their physical footprint with the digital and keeping everything we like about Chuck E. Cheese still alive in some way. Even those who remember the brand from the seventies, eighties, nineties, check that mouse is still there.Damian Fowler (28:05):Yeah, well, I can't say I grew up with it, but I know you did. So it's reassuring that that nostalgia is still alive.Ilyse Liffreing (28:11):And maybe for my birthday next year, are you going to invite me? Yes, Damian, you're invited. Thanks. And that'sDamian Fowler (28:18):It for this edition of the current podcast.Ilyse Liffreing (28:21):This series is produced by Molton Hart. The current podcasts theme is by Love and caliber. The current team includes Kat Vesce and Sydney Cairns.Damian Fowler (28:29):And remember,Melissa McLeanas (28:30):Our characters are part of our experience. We never look at them to tell the experience. I'm Damian and I'm my, we'llIlyse Liffreing (28:38):See you.
Rik van Duijn keert terug aan tafel en vertelt hoe zijn bedrijven Zolder en Attic Security het Nederlandse mkb helpen veiliger te werken met Microsoft 365. We bespreken waarom Microsoft jouw omgeving niet vanzelf optimaal beveiligt, hoe Rik een app bouwde die security toegankelijk maakt, en waarom zijn klanten variëren van vier tot vijfduizend gebruikers. Verder duiken we in zuurdeeg, phishing-as-a-service, Teams-miserie en het hackverleden van Rik – inclusief virussen op z'n ouderlijk huisnetwerk. Kortom: een aflevering over digitale veiligheid, menselijke fouten, ethisch hacken én barcodescanners op 4G.Waar Zolder focust op consultancy en pentesten, biedt Etic een SaaS-oplossing die security-advies combineert met monitoring en eenvoudige instellingen via een app. Rik legt uit hoe het framework werkt, waarom het ook buiten Microsoft 365 toepasbaar is, en waarom hun grootste uitdaging geen techniek maar communicatie is. Daarnaast bespreken we business email compromise, money mules, en de culturele barrière die e-mail en Teams veroorzaken bij cybersecurity.ShownotesAttic SecurityZolderRSA Conference San FranciscoIC3 (Internet Crime Complaint Center) rapporten van de FBIAzure Sentinel SIEM van MicrosoftMicrosoft Security BlogOver backdoor software zoals NetBus en Back OrificeDe Pathé fraudezaakNIS2-richtlijnTijdschema0:00:00 Waarom Microsoft 365 extra beveiliging nodig heeft0:01:50 Zuurdesem maken uit de lucht, gisten en afvallen0:04:13 San Francisco sourdough en RSA Conference0:05:32 Wat doen Zolder en Etic Security precies0:09:30 Waarom Microsoft het niet zelf dichttimmert0:12:49 De Attic-app: security voor elke gebruiker via pushnotificaties0:16:19 Azure Sentinel en baseline securitychecks0:20:30 Business email compromise: fraude groter dan ransomware0:25:22 Phishing-as-a-service en cookie hijacking0:29:20 Groeien buiten Nederland met app-gebaseerde security0:34:01 Teams vs Slack: zware apps, matige UX0:39:03 Favoriete pentest-klussen: barcodescanners en cloudinfra0:44:26 Security-by-design en samenwerken met devteams0:48:46 Het hacker-verleden van Rik: NetBus, MSN en GTA warez0:52:44 Van kok in de keuken naar securityconsultant#security #microsoft365 #startups #ethicalhacking #zolder #attic #emailfraude #pentesting #teams #phishing #shownotes #mnodt #techpodcastZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.
Asociația Română a Traducătorilor Literari, ArtLit, s-a alăturat asociațiilor europene similare care solicită reglementarea rapidă și eficientă a dezvoltării și folosirii inteligenței artificiale în traducerile literare. Pentru că, se arată într-un comunicat al asociației, folosirea inteligenței artificiale în traducerile literare în lipsa unor reglementări clare poate duce la încălcarea legislației drepturilor de autor, „cu serioase implicații etice, socio-profesionale ṣi culturale”. ArtLit pledează pentru transparenţă şi solicită, printre altele, introducerea în contractele semnate de traducătorii literari „a unor clauze care să specifice dacă traducerea a fost făcută cu ajutorul programelor de inteligență artificială și textul generat automat a fost ulterior prelucrat de un traducător uman.” Dar cum îţi dai seama dacă un text a fost tradus cu ajutorul AI? Le-am întrebat pe traducătoarele Justina Bandol şi Simina Popa, membre ale asociaţiei ArtLit.Justina Bandol: „Foarte marele avantaj este că traducerile (prin AI) sînt făcute în decurs de cîteva minute, o oră, două – nu-mi dau seama exact cît durează să traducă o carte întreagă un asemenea program – şi nu cîteva luni, cît îi ia unui traducător. Ideea este că aceste traduceri brute sînt apoi prelucrate uman. Fie de traducători angajaţi cu contract, fie de oamenii din editură, redactori, în esenţă, care prelucrează textul. Cîtă vreme textul acela este în continuare lucrat de cineva care mai mult sau mai puţin reuşeşte să-i dea o voce, presupunînd că înţelege vocea originalului şi încearcă să o respecte, dacă textul AI-ului este prelucrat, cred că poate deveni extrem de greu să stabileşti. Poate asta ar fi o problemă pentru legiuitori: care sînt criteriile după care poate cineva să-i verifice sau să-i constrîngă pe traducători, pe editori.”Dar în ce măsură cititorii sînt interesaţi de lucrurile astea?Simina Popa: „Nu este un proces cu efecte imediate. Dar cu siguranţă – aici mi-aş paria toţi banii – este un proces cu efecte pe termen foarte lung, care se vor vedea în timp în primul rînd în ce se creează, în nivelul de creaţie şi apoi în această lenevire a creierului. În traducere nu transpui un limbaj, ci trebuie să înţelegi un mod de gîndire. Şi în momentul în care nu mai faci asta şi doar iei de-a gata un text făcut, care ţi se pune sub nas, nu mai vezi exact originalul, de unde s-a pornit şi unde trebuie să se ajungă, după puterile tale omeneşti. Am văzut într-o dezbatere tot pe tema asta, că o editură din Italia propunea trei iconiţe pentru fiecare tip de carte: una cu un om, cînd cartea a fost scrisă sau tradusă exclusiv de un om, o iconiţă cu robotul şi o iconiţă cu amîndoi. Era o ofertă de transparenţă. Modele şi idei încep să apară în sesnsul ăsta, trebuie văzut cum le putem adapta.”Apasă PLAY pentru a asculta interviul integral! O emisiune de Adela Greceanu și Matei Martin Un produs Radio România Cultural
În lumea rapidă a marketingului digital și a comerțului electronic, a fi cu un pas înainte nu este doar o opțiune – este o necesitate. În episodul de azi, vom arunca o privire detaliată asupra trendurilor care vor modela industria în 2025 și cum antreprenorii și marketerii pot folosi aceste informații pentru a-și construi strategii de succes. Poate cel mai important lucru pe care il detii tu, ca antreprenor, e mintea ta. Alegerile, actiunile si rezultatele tale depind de modul in care gandesti. Hai sa ne vedem la https://summit.gomag.ro/ Iar nu de putin timp, ti s-a deschis in cale o noua colectie de 365 de zile de oportunitati, in business, in viata personala si in cariera. Esti gata sa le valorifici la maximum? Stai alaturi de noi azi pentru o noua prezentare live concentrata, cu trenduri, sfaturi si idei pentru 2025! Afla aici cum sa iti optimizezi strategia si sa transformi acest an intr-unul 2x profitabil pentru tine. Hai sa tinem legatura: Academia Gomag: https://academia.gomag.ro/ Blog: https://www.gomag.ro/blog/ Comunitatea Gomag: https://www.facebook.com/groups/gomagro/ Instagram: https://www.instagram.com/gomag.ro/ TikTok: https://www.tiktok.com/@gomag.ro În acest episod detaliat, discutăm despre: 1. Analiza Avansată a Trendurilor: Oferim o evaluare detaliată a tehnologiilor emergente și a evoluțiilor în comportamentul consumatorilor, cu focus pe cum aceste schimbări vor afecta diferite industrii. Discutăm despre integrarea AI și automatizării în strategiile de customer engagement și efectele acestora asupra personalizării la scară largă. 2. Strategii Profunde de Adaptare: Explorăm modalități concrete prin care companiile pot construi agilitate în structurile lor operaționale pentru a răspunde rapid la schimbări, inclusiv cum să implementezi tehnologii care permit adaptarea rapidă a ofertelor și serviciilor în funcție de cerințele piaței dinamice. 3. Optimizarea și Inovarea în eCommerce: Detaliem tactici specifice pentru optimizarea lanțurilor de aprovizionare prin tehnologii avansate, cum ar fi blockchain și IoT, și cum acestea pot contribui la eficientizarea operațiunilor și la reducerea costurilor, totodată crescând transparența și încrederea consumatorilor. 4. Leadership Strategic și Cultura Organizațională: Discutăm despre rolul liderilor în modelarea unei culturi organizaționale care favorizează inovația și adaptabilitatea, și cum să cultive echipe care sunt nu doar reactive, ci proactive în abordarea schimbărilor. 5. Impactul Social și Etic în Marketing: Abordăm necesitatea de a integra considerente etice și sociale în campaniile de marketing, discutând despre cum practicile responsabile pot influența pozitiv reputația brandului și pot atrage o bază de consumatori loiali și conștienți de impactul lor social. 6. Dezvoltarea Durabilă în Afaceri: Evidențiem importanța sustenabilității în strategiile de afaceri și oferim ghiduri despre cum să implementezi practici care nu doar că reduc impactul ecologic, dar și optimizează procesele interne pentru a maximiza eficiența resurselor.
今回は、社会課題解決を目的に全国各地で活動しているNPO法人ETIC、その中でソーシャルセクターへの転職支援を行うチーム、DRIVEキャリアでキャリアコーディネーターとして活動する、宅和華月さんに、活動の内容や想いを伺いました。
Ascultați pe Jonathan Pageau care ne arată că religia, de fapt, nu este (numai) despre o viață etică, morală.Vizionare plăcută!Pentru Pomelnice și Donații accesați: https://www.chilieathonita.ro/pomelnice-si-donatii/Pentru mai multe articole (texte, traduceri, podcasturi) vedeți https://www.chilieathonita.ro/
Voice: Magda Neporová, Štěpán Švagr, Petr Hegedűs
Voice: Magda Neporová, Štěpán Švagr, Petr Hegedűs
05 Připomínka událostí 17. listopadu. Prohlídky a výstavy v Lešeticích by Zpravodaj Kahan
Anche oggi torna Francesco Graziani (seguilo su Twitter, Youtube e Twitch) e affrontiamo il tema dell'etica nell'intelligenza artificiale generativa, esplorando come l'AI stia trasformando la fotografia e i problemi che ne derivano, come la manipolazione delle immagini. Discutiamo anche dell'impatto sul mondo delle fake news e dell'educazione scolastica.Dimmi la tua su Twitter, su Threads, su Telegram, su Mastodon, su BlueSky o su Instagram.Mail jacoporeale@yahoo.it Scopri dove ascoltare il podcast e lascia una recensione su Apple Podcast o Spotify.Ascolta An iPad guy su YouTube Podcast.Supporta il podcast.
Process thinker Jared Morningstar joins me to discuss the relationship of metamodernism to traditional forms of religion. How can engaging the traditional frame be done without losing hard-won gains in complexity and perspective-taking? Here Jared advocates for an open, flexible, and epistemically humble form of experimentation and participation in different religious modalities. We consider the role of 'causal opacity' in religious functionality and whether reflection is inherently harmful to generating emergent potential in religious contexts. We also explore the ways traditional faiths may be genuinely engaging with hyper-complex phenomena and how tradition-specific language can be helpful in extending faith into metamodernity. Finally, we discuss the role of plurality and singularity, the general and the particular, in what it means to engage religion from a metamodern perspective. 0:00 Introduction 1:34 Reaction vs. Reconstruction: Which Direction Is Calling? 10:50 Unseen Causes: Participatory Experimentation and Epistemic Humility 17:43 Breaking the Frame: Causation, Disenchantment, and Etic vs. Emic Perspectives 24:25 Moving In and Out of Tradition: Looking Back or Going Back? 35:24 Superstition or Super-Complexity? Parsing Tradition's Relationship with Hyperobjects 50:03 Beyond Perennialism: Religious Pluralism and Traditional Particularity 1:03:09 Living the Openness 1:10:59 Orienting Value in the Uncertainty 1:18:46 Integrating the General and the Particular: Heading Out and Coming Home 1:23:33 Conclusion
Osada Rataje se rozkládá na rovinaté půdě v nivě kolem soutoku Šumice a Blaty. Dnes je obec součástí nedalekých Těšetic, s nimiž po staletí sdílela také část své historie.
Osada Rataje se rozkládá na rovinaté půdě v nivě kolem soutoku Šumice a Blaty. Dnes je obec součástí nedalekých Těšetic, s nimiž po staletí sdílela také část své historie.Všechny díly podcastu Od Pradědu na Hanou můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.
軽井沢Book Journey Vol.15 ゲスト：井上英之さん 先週は、井上さんが監訳された『21世紀の教育』についてのお話を伺いました。 今週伺いたいのは、井上さんの軽井沢での過ごし⽅について。井上さんは現在、 軽井沢町と⻑野市の⼆拠点⽣活だと伺っています。もともとは東京から軽井沢 へ移住し、そこから軽井沢と⻑野市の⼆拠点⽣活へと変わっていったと思うの ですが、そもそも軽井沢にはいつ頃移住されたのでしょうか？じっくりと お話を伺います。 『21世紀の教育 子どもの社会的能力とEQを伸ばす3つの焦点』 https://www.diamond.co.jp/book/9784478104545.html 【井上英之さんプロフィール】 ⼤学卒業後、外資系コンサルティング会社を経て、2001 年に NPO 法⼈の ETIC.に 参画。 ⽇本初のソーシャルベンチャー向けコンテストを開催するなど、社会起業家 の育成や輩出に取り組む。 2003 年には、社会起業向けの投資団体「ソーシャルベンチャー ・パートナーズ東京」を設⽴。この他、⼤学で社会起業論を教えたり、近年は、マインド フルネスとソーシャルイノベーションを組み合わせたリーダーシップ開発にも取り組んで いる。2022年からは「さとのば⼤学」の名誉学⻑も務めている。
Invitatul lui Marian HURDUCAȘ din această ediție s-a apucat în 2014 de alergat ca hobby - și gluma aici ar fi că de atunci nu s-a mai oprit -, iar un an mai târziu a pus bazele 321sport - cea mai mare comunitate de alergători din țară. Din 2018 este fondatorul agenției The Sports Architects care se concentrează pe marketingul și comunicarea în segmentul sportului, iar de la începutul acestui an a adăugat în portofoliul său și Alergado, aplicația care leagă alergătorii între ei și care în foarte scurt timp a ajuns în top 3 cele mai descărcate aplicații din categorie. Cum reușești să transformi un hobby într-o comunitate, apoi în mai multe business-uri etice? Și ce rol are tehnologia într-o astfel de poveste de succes? Află de la omul din spatele celor enumerate mai sus - Radu RESTIVAN.
Quel bruit fait le temps ? Quelle est sa cadence ? Le temps, c'est aussi une affaire de sensibilité : il s'étire, galope, s'enfuit selon les ressentis. Il est long à passer, vite passé. Composition polyphonique autour de l'onomatopée « tic-tac » et toutes ses résonances. Cet épisode a été réalisé en septembre 2023, dans le cadre d'ateliers de création sonore dirigés par Monica Fantini avec dix personnes étrangères apprenant le français au Greta (Groupement d'établissements publics locaux d'enseignements), à la médiathèque Maurice Genevoix, située à Blois, en France.Les illustrations de l'épisode ont été réalisées dans le cadre de l'atelier d'art graphique et dessin dirigé par Frédéric Chailleux avec les élèves de l'école de design Etic. Les élèves ont suivi et traduit en images toutes les étapes de l'atelier de création sonore.Merci aux participants : les élèves du cours de français Gayane Barkhudarova, Sahra Polat, Zainab Jalloh, Metin Kaya, Asma Djelil, Anintr Segaud, Veronika Prasolova ; Naïma Lazri, Elif Yalvac, Esra Yalvac. Merci également à Aurélie Venot, professeur de français et à Catherine Laveau, bibliothécaire à la Médiathèque Maurice Genevoix. Deux citations de poètes composent l'épisode :« Nous passons notre vie à écouter le tic-tac du temps… » Michèle Voltaire Marcelin« L'exil du temps est plus impitoyable que celui de l'espace. Mon enfance me manque plus cruellement que mon pays. » Dany LaferrièreLa médiathèque Maurice Genevoix est située à Blois, au cœur d'une des plus grandes ZUP de France, dont elle est une des structures culturelles essentielles, notamment auprès du public jeunesse, scolaire et familial. Elle a également une portée à visée sociale pour tenir compte de la grande mixité de la population, des langues parlées et de la richesse interculturelle. L'enjeu premier est de désacraliser le lieu de la bibliothèque, de le rendre engageant et socialisant, avec une attention particulière portée sur les ressources français langue étrangère (FLE). La médiathèque Maurice Genevoix est inscrite dans le réseau des bibliothèques de la communauté d'agglomération de Blois-Agglopolys.Le Greta Val de Loire de Blois est centre de formation pour adultes de l'Éducation nationale. Il dispense des formations de français langue étrangère d'une durée de deux mois à des adultes étrangers aux profils très variés (demandeurs d'asile, personnes vivant en France depuis de nombreuses années ou récemment arrivées sur le territoire, déplacés ukrainiens...). Le groupe ayant participé à l'atelier compte neuf femmes et un homme, âgés de 19 à 48 ans. Ils viennent de Turquie, de Thaïlande, d'Ukraine, du Maroc, d'Algérie et de Sierra Leone. Tous souhaitent développer leurs compétences en français afin de trouver un premier emploi, reprendre des études en France, réaliser une reconversion ou exercer le métier qu'ils avaient dans leur pays d'origine.Écouter le mondeTout à la fois émission de radio diffusée chaque dimanche dans plusieurs journaux d'information de RFI et plateforme participative, « Écouter le monde » donne à entendre les cultures, les langues et les imaginaires du monde à travers des sons d'Afrique, d'Amérique, d'Asie, d'Europe ou d'Océanie. Des centaines d'émissions sont à écouter en podcast sur cette page, tandis que la plateforme participative et évolutive www.ecouterlemonde.net propose des cartes postales sonores et des enregistrements. À ce jour, 245 captations sonores sont disponibles en libre accès. Auteure et coordinatrice d'« Écouter le monde », Monica Fantini écoute, enregistre et compose des pièces sonores à partir de sons du quotidien : claquements des portillons du métro parisien, harangues des vendeurs au marché de Bobo-Dioulasso au Burkina Faso, craquements des glaciers en Patagonie, roulements des calèches dakaroises ou encore cloches de la place Saint-Marc à minuit à Venise… Autant d'éclats de vie avec lesquels elle tisse des récits pour raconter le monde, créer des liens et partager des savoirs.
We're back with a look at a throwback from 1990 - the fascinating George Romero/Dario Argento Poe anthology TWO EVIL EYES! And we have a big FIRST CHOP as we talk about some of the great movies we've watched for the Horror365 Challenge!
V Těšeticích vyráběla první československou whiskey potravinářská firma Seliko. A nevedlo se jí vůbec špatně. Právě na její tradici se rozhodl před sedmi lety navázat Jiří Omelka. „První čtyři sudy jsme udělali podle receptur ze sedmdesátých let,“ upřesňuje. Důraz klade na lokální suroviny.Všechny díly podcastu Přímo z místa můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.
Seguimos acompañando a Antonio, que dirige el equipo de tratamiento intensivo (ETIC), por las calles de la ciudad. Se reúnen con las personas que sufren un trastorno mental grave que viven en la calle o en diferentes dispositivos municipales. Hacen un seguimiento de sus vidas y les ayudan en lo que pueden. Escuchar audio
Acompaño al equipo de tratamiento intensivo comunitario Macarena Urbano en su rutina diaria para conocer quienes son, cómo funcionan y con qué problemáticas se encuentran. Atienden a personas sin hogar con trastorno de salud mental grave que no encuentran su lugar en los dispositivos que existen para este colectivo. No encajan. Y son personas que requieren de un acompañamiento personalizado y transversal para que su proyecto de vida tenga un recorrido digno.Escuchar audio
De quoi se compose notre mémoire sonore ? Avec dix personnes âgés de 19 à 48 ans, originaires de Turquie, Thaïlande, Ukraine, Maroc, Algérie et Sierra Leone, nous avons partagé des souvenirs sonores en plusieurs langues. Des fragments de mémoire s'entremêlent aux questions qu'ils font surgir… Cet épisode a été réalisé en septembre 2023, dans le cadre d'ateliers de création sonore dirigés par Monica Fantini avec dix personnes étrangères apprenant le français au GRETA (Groupement d'établissements publics locaux d'enseignements), à la Médiathèque Maurice Genevoix, située à Blois, en France.Les illustrations de l'épisode ont été réalisées dans le cadre de l'atelier d'art graphique et dessin dirigé par Frederic Chailleux avec les élèves de l'école de design Etic. Les élèves ont suivi et traduit en images toutes les étapes de l'atelier de création sonore.Merci aux participants : les élèves du cours de français : Gayane Barkhudarova, Sahra Polat, Zainab Jalloh, Metin Kaya, Asma Djelil, Anintr Segaud, Veronika Prasolova ; Naïma Lazri, Elif Yalvac, Esra Yalvac. Merci également à Aurélie Venot, professeur de français et à Catherine Laveau, bibliothécaire à la Médiathèque Maurice Genevoix.La médiathèque Maurice Genevoix est située à Blois, au cœur d'une des plus grandes ZUP de France dont elle est une des structures culturelles essentielles, notamment auprès du public jeunesse, scolaire et familial. Elle a également une portée à visée sociale pour tenir compte de la grande mixité de la population, des langues parlées et de la richesse interculturelle. L'enjeu premier est de désacraliser le lieu de la bibliothèque, de le rendre engageant et socialisant avec une attention particulière portée sur les ressources Français langue étrangère (FLE). La Médiathèque Maurice-Genevoix est inscrite dans le réseau des Bibliothèques de la communauté d'agglomération de Blois-Agglopolys.Le GRETA (Groupement d'établissements publics locaux d'enseignements) Val de Loire de Blois, est centre de formation pour adultes de l'Éducation nationale. Il dispense des formations de Français langue étrangère d'une durée de deux mois à des adultes étrangers aux profils très variés (demandeurs d'asile, personnes vivant en France depuis de nombreuses années ou récemment arrivées sur le territoire, déplacés ukrainiens...). Le groupe ayant participé à l'atelier, compte 9 femmes et un homme âgés de 19 à 48 ans qui viennent de Turquie, Thaïlande, Ukraine, Maroc, Algérie et Sierra Leone. Tous souhaitent développer leurs compétences en français afin de trouver un premier emploi, reprendre des études en France, réaliser une reconversion ou exercer le métier qu'ils avaient dans leur pays d'origine. Tous les épisodes de la série Le son qui reste – Drapeaux au vent - Écouter le monde (rfi.fr)Le son qui reste – Calle Paradiso - Écouter le monde (rfi.fr)Le son qui reste – Mosaïques des langues - Écouter le monde (rfi.fr)Écouter le mondeTout à la fois émission de radio diffusée chaque dimanche dans plusieurs journaux d'information de RFI et plateforme participative, « Écouter le monde » donne à entendre les cultures, les langues et les imaginaires du monde à travers des sons d'Afrique, d'Amérique, d'Asie, d'Europe ou d'Océanie. Des centaines d'émissions sont à écouter en podcast sur cette page, tandis que la plateforme participative et évolutive www.ecouterlemonde.net propose des cartes postales sonores et des enregistrements. À ce jour, 245 captations sonores sont disponibles en libre accès. Auteure et coordinatrice d'« Écouter le monde », Monica Fantini écoute, enregistre et compose des pièces sonores à partir de sons du quotidien : claquement des portillons du métro parisien, harangues des vendeurs au marché de Bobo-Dioulasso au Burkina Faso, craquement des glaciers en Patagonie, roulement des calèches dakaroises ou encore cloches de la place Saint-Marc à minuit à Venise… Autant d'éclats de vie avec lesquels elle tisse des récits pour raconter le monde, créer des liens et partager des savoirs.
La micuțul nostru jubileu - am ajuns la o sută de judecăți, oameni buni, vă mulțumim! - n-am avut vreun „platouaș” special, ci eternele tâmpenii ale acelorași nimeni în drum cu galoane de oameni de stat. S-au întrecut pe ei înșiși, totuși, zilele din urmă, căci, de pildă, în plină gravă a profesorilor din preuniversitar, în cea mai aprigă zi a grevei de până acum, președintele-mediator s-a fotografiat cu copii de școală care nu fac școală, în timp ce profesorii greviști blocau centrul Bucureștiului într-un protest spontan. Ba chiar nepotrivitul președinte Iohannis a încercat și o glumă cel puțin la fel de nepotrivită, făcând, practic, mișto de greva care paralizează de o săptămână educația românească. Asta după ce calificase acea impertinentă ofertă a guvernului de acordare a unor vouchere Gabi Firea style pentru profesori drept pași înainte în rezolvarea conflictului de muncă din Educație ajuns în fază terminală. Tot în zilele în care educația fierbe din cauza grevei profesorilor, o instituție profund nedemnă de literele care-i stau în nume, Consiliul Național de Etică, aflat în coordonarea speranței liberale Burduja de la Cercetare și Digitalizare, s-a apucat să-l spele pe plagiatorul Bode de la Interne. Un demers aproape sfidător, pe care l-am luat la judecat la detaliu pentru că arată scandalos. În tot acest timp, rotația cadrelor PNLSD la guvern, care părea unicul scop al establishmentului până astăzi la prânz, pare pusă pe pauză de același președinte absent. Astfel că, la închiderea ediției cu numărul 100 a Judecății, nu avem nici măcar bucuria că ediția următoare - care, apropos, va fi marți în loc de joi, pentru că vine o nouă mare punte! - ne-ar putea prinde fără Ciucă premier. Sigur, probabil cu Ciolacu în locul lui, dar măcar mai schimbam personajele. Până una-alta, prima sută de Judecăți a fost grea, dar frumoasă. Vă mulțumim tuturor pentru că ne-ați fost alături și pornim voinicește spre a doua. Mulțumim! ---------------------------------------------------------------------- Acest episod este produs și cu susținerea Fundatiei Friedrich Naumann pentru Libertate. Opiniile, constatările şi concluziile enunțate în această emisiune sunt ale autorilor şi nu le reflectă neapărat pe cele ale Fundației Friedrich Naumann pentru Libertate. ---------------------------------------------------------------------- Fiind un produs editorial al unor organizații de presă independentă - Dela0 și Centrul de Investigații Media (CIM) - Judecata de Acum se bazează pe suportul financiar al publicului. Ne puteți sprijini cu un abonament lunar prin patreon: www.patreon.com/judecatadeacum. Mulțumim!
Nejprve hrozil, že kvůli drahým potravinám zdvihá varovný prst. Pak se chlubil, že zařídil snížení ceny předraženého cukru. Následně se tvářil, že vyjednal slevovou akci v obchodním řetězci na mouku.Jako správný lidovec a rodák ze Znojma je ovšem nejšťastnější, že nedopustil konec privilegia pro víno, které jako jediný alkohol i nadále zůstává nezatíženo spotřební daní.Kdo je vlastně třiapadesátiletý ministr zemědělství Zdeněk Nekula, který se v posledních týdnech stal hlavním vládním otloukánkem a z něhož si lidé utahují na sociálních sítích? Téma pro politický podcast Seznam zpráv Vlevo dole.Podpořte Vlevo dole v anketě Podcast roku!„To je fakt skvělý příběh. Pan Nekula vstoupil do vlády jako zcela neznámý politik, neznali ho ani všichni v jeho KDU-ČSL. Bývalý bankéř, introvert, spíše úředník, rozhodně ne politik,“ říká Václav Dolejší a připomíná, že původně neviditelný ministr se nakonec stal hvězdou. Hlavně díky výroku, že víno není alkohol, ale kultura.Pravda, v interní diskusi v ministrově straně zazněly od některých členů výzvy k jeho rezignaci - hlavně po návštěvě Lidlu, kde Nekula děkoval za „dárek“: slevovou akci na mouku. Tím podle mnohých znemožnil sebe i celou vládu, když jen naletěl a udělal reklamu soukromé firmě. Nakonec převážel mezi lidovci názor, že i špatná reklama je reklama, a Zdeněk Nekula se tak alespoň zviditelnil.„Mě nejvíc dostávají jeho rady pro spotřebitele, aby omezili své nákupy, protože teprve pak prý budou zemědělci, potravináři a obchodníci nuceni zlevnit. Takže asi mají všichni najet na dietu a chléb bude příště lacinější,“ směje se Lucie Stuchlíková.Můžete za vysoké ceny potravin hlavně vy? Kde se vidíte na potravinové vertikále? A máte pro Václava Dolejšího nějaké rady na boj s mšicí a mandelinkou? Poslechněte si čerstvou epizodu politicko-zemědělské talkshow!-------- Vlevo dole řeší politické kauzy, boje o vliv i šeptandu z kuloárů Sněmovny. Vychází každou středu v poledne. Podcast pro vás připravují Lucie Stuchlíková (@StuchlikovLucie) a Václav Dolejší (@VacDol), reportéři Seznam Zpráv. Další podcasty, ale taky články, komentáře a videa najdete na zpravodajském serveru Seznam Zprávy. Poslouchejte nás na webu Seznam Zpráv, na Podcasty.cz nebo ve své oblíbené podcastové aplikaci. Své názory, návrhy, otázky, stížnosti nebo pochvaly nám můžete posílat na adresu audio@sz.cz. Sledujte @SeznamZpravy na sociálních sítích: Twitter // Facebook // Instagram. Seznam Zprávy jsou zdrojem původních informací, nezávislé investigace, originální publicistiky.
É comum pensar que falhar é algo negativo, mas será mesmo? Na realidade, falhar pode ser uma oportunidade para aprender e crescer. Quando falhamos, somos desafiados a enfrentar os nossos erros e encontrar formas de os corrigir. E não é só isso, ao lidar com a adversidade, somos incentivados a encontrar soluções criativas para resolver os nossos problemas. João Jesus era professor de Fotografia na Etic e foi lá que conheceu Peu (que na verdade se chama Luís, mas que prefere ser tratado por Peu). Ficaram amigos. Peu andava à procura de uma casa para morar e a família de João tinha acabado de se mudar para Inglaterra. Voilá! João arrendou um dos quartos ao amigo. Resolveu-se um problema, nasceu outro: fazer Peu Fraga cumprir horários. A ideia do Cuckuu nasceu em conversa com mais dois amigos. “Tinhamos de encontrar uma forma de fazer com que o Peu acordasse. E que ficasse bem-disposto. Depois reparámos que quando acordava com músicas ou telefonemas de amigos, isso acontecia”. A ideia era desenvolver uma plataforma que permitisse acordar as pessoas com músicas, telefonemas ou conteúdos escolhidos, e também motivar as pessoas a ir ao ginásio, ajudar marcas a lançar produtos e aumentar a partilha entre família e amigos. O Cuckuu recebeu um investimento de 230 mil libras em 2014, permitindo que os fundadores se dedicassem a tempo inteiro ao projeto. Após três meses na Índia a desenvolver a aplicação lançam a versão beta em 2015. Em 2016 ficou entre as 35 startups escolhidas pela Unilever e quando ultrapassou os 50 mil utilizadores e chegou a vários países, chamou a atenção da Sony, que a classificou como uma das três melhores apps apresentadas na edição de 2017 da Techweek de Londres. Apesar do sucesso inicial, a plataforma fechou e está em processo de encerramento. Aqui ficam alguns dos melhores momentos: 00:00 — Intro 01:19 — É preciso acordar o Peu 04:14 — O primeiro business plan 09:43 — Vender o sonho 14:18 — "Um mau investidor pode destruir uma empresa" 16:14 — Indianos VS Portugueses 19:08 — Aprender a programar na India 22:13 — O que correu mal? 24:35 — Acordar com o hino do Benfica 26:35 — Pedir feedback em troca de Starbucks 30:29 — A dificuldade de angariar dinheiro 39:05 — A queda do Social Media 42:06 — O que fazias de diferente? 44:59 — FRIGIDEIRA 47:24 — Como fazer um bom pitch 54:46 — Qual era o modelo de negócio da APP? 57:57 — Sabíamos o que as pessoas iam fazer 1:01:13 — O ecossistema de Startups está a mudar 1:05:41 — Empreendedorismo VS Startups 1:07:25 — Acabou o talento bom e barato 1:15:56 — Developer = Geek ? 1:23:28 — "Os Geeks são os donos do mundo" 1:27:35 — O segredo do negócio Uma produção GAFFVisuals https://gaffvisuals.com/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/bitalk/message
En este episodio hablaremos acerca del pódcast educativo, de sus prototipos y formatos que se pueden implementar en procesos de enseñanza-aprendizaje. Si deseas conocer más te invito a que leas las siguientes referencias bibliográficas. Referencias: Celaya, I., Ramírez-Montoya, M. S., Naval, C., & Arbués, E. (2020). Usos del podcast para fines educativos Mapeo sistemático de la literatura en WoS y Scopus (2014-2019). Revista Latina de Comunicación Social, 179-201. Obtenido de http://nuevaepoca.revistalatinacs.org/index.php/revista/article/view/384 Díaz, I. A., Maldonado, E. Z., & Rodriguez, R. (2019). Podcast Educativo Planeación, Análisis, Diseño, Desarollo y Evaluación. (D. D. HUMANIDADES, Ed.) Dictionary, New Oxford American. (2005). Obtenido de https://languages.oup.com/google-dictionary-es/ Hsiao, D.-L. P. (septiembre de 2015). Efectos de distintos tipos de podcast en la fluidez oral de estudiantes universitarios taiwaneses de español lengua extranjera. Línea de investigación: Enseñanza y Aprendizaje de Lenguas en Contextos Plurilingües. Barcelona, España: Universitat de Barcelona. Mochizuki, T. (2004). Apple's iPod is taking campuses by storm. The Nevada Sagebrush. Obtenido de Mochizuki, T. (2004). Apple's iPod is taking campuses by storm. The Nevada Sagebrush. (http://ipod.gcsu.edu/zzzzMedia/ Press_Articles/TheNevadaSagebrush.pdf). (22-06-2008). Otero, T. P. (enero de 2012). Los podcast en la educación superior-Hacia un paradigma de formación intersticial. Revista Iberoamericana de Educación Organización de Estados Iberoamericanos para la Educación, la Ciencia y la Cultura (OEI-CAEU)(n.º 58/1). Piñeiro-Otero, T., & Costa-Sánchez, C. (2011). Potencialidades del podcast como herramienta educativa para la enseñanza universitaria. Etic@net, 9(11), 124– 136. Solano Fernández, I. M., & Sanchez Vera, M. M. (enero de 2010). Aprendiendo en cualquier lugar: El Podcast Educativo. Pixel-Bit., pp. 125-139. Obtenido de https://www.redalyc.org/pdf/368/36815128010.pdf Solano, I. M., & Muñoz, L. M. (2008). Integración de podcast en contextos de enseñanza: criterios para el diseño de actividades. Edutec. Obtenido de http://hdl.handle.net/10201/1462 --- Send in a voice message: https://podcasters.spotify.com/pod/show/nancy-duarte4/message
Léa Nature ça vous dit quelque chose ? Mais si ! Jardin bio ETIC, So'Bio ETIC, BioSens, Dentavie… Léa Nature c'est le champion du bio alimentaire et cosmétique. Sur son CV, l'entreprise est pionnière des entreprises engagées et écoresponsables. Elle fait son bilan carbone dès 2009, un plan climat en 2013, réduit drastiquement l'usage du plastique depuis 2016 et devient la première ETI à mission en 2019. Ces engagements font partie de l'ADN de l'entreprise et en imprègne toute la culture. C'est ce que m'a raconté Hugo Faivre, directeur des Relations et des Ressources humaines de Léa Nature. Congés solidaires 1% for the Planet FICUS, le fonds de soutien aux initiatives citoyennes utopiques et solidaires constitué en 2021, et futur actionnaire majoritaire de l'entreprise. Ce qui touche particulièrement Hugo c'est que, chez Léa Nature “il n'y a jamais une intention qui ne parte pas d'une profonde sincérité, de fortes convictions environnementales et de considérations humanistes”. Un témoignage et une entreprise à découvrir au plus vite. Bonne écoute !
Vánoční výstavu v kreativním centru Hrnčířského dvora ve Zvířeticích na Mladoboleslavsku zdobí netradiční dekorace, návštěvníky pohladí vůně řezaných květin a zrak potěší 180 betlémů z různých materiálů. Prohlédnout si mohou i staré pokojíky pro panenky.
Camera Deputaților votează astăzi moțiunea împotriva ministrului Afacerilor Interne, Lucian Bode. USR a sesizat CNATDCU şi Comisia de Etică a Universității Babeș-Bolyai în legătura cu lucrarea de doctorat a lui Lucian Bode. Tot USR cere în instanță desecretizarea dosarului de revoluționar al lui Marcel Ciolacu. Parlamentul European a votat în favoarea aderării României la Schengen. Gabriela Firea a propus o lege care obligă partidele să includă cel puțin 30 la sută femei pe listele de la alegeri. PSD cere din nou reglementarea prețurilor la energie și gaze. China a angajat zeci de mercenari britanici ca să-i învețe pe piloții chinezi să distrugă avioanele și elicopterele NATO. Tema muzicală: Jester Of No Court - Solidarity Forever
The Montana Environmental Information Center (MEIC) is proud to share our June issue with you in audio form! Catch up on the latest details of our work protecting Montana's air, water, land, and life-sustaining climate. This issue features articles about victory for the Smith River, fighting for clean air in Butte, and energy policy updates. Links from this issue: MEIC Action Center: www.meic.org/action-center MEIC Action Alerts: www.meic.org/take-action/ Read the online magazine: www.meic.org/down-to-earth How to Be an Advocate resources: www.meic.org/resources Become a member: www.meic.org/donate Meagher County Stewardship Council Map: https://meaghercountystewardshipcouncil.org/what-we-dohttps://dailymontanan.com/2022/02/14/fort-belknap-indian-community-responds-to-luke-ployhars-plans-for-mining-at-zortman-landusky/ Contact Anne Hedges about Held v. Montana: ahedges@meic.org MEIC's page about cryptocurrency: https://meic.org/cryptocurrency/ MEIC's page about nuclear energy: https://meic.org/nuclear-energy NorthWestern Energy op-ed: https://missoulacurrent.com/opinion/2022/03/viewpiont-net-zero/ ETIC meeting videos and minutes: https://leg.mt.gov/committees/interim/etic/
Weberson Santiago é brasileiro, vive em Lisboa. É ilustrador, autor e professor. Faz ilustrações para livros, revistas e boardgames. É professor universitário em Coimbra na ESEC, coordenador do curso de ilustração da Etic e tem dois cursos na Domestika: Livro infantil ilustrado e Laboratório gráfico de ilustração. Foi professor da Universidade de Mogi das Cruzes e professor coordenador da Quanta Academia de Artes. Formado em Design Gráfico pela UMC, especialista em Design Gráfico pela FAAP em São Paulo e ilustração pela Universidade Autónoma de Lisboa. Mestre em Desenho na Universidade de Lisboa. Participou de exposições e teve trabalhos publicados em diversos países: Inglaterra, EUA, Canadá, Alemanha, França, Itália, Espanha, Chile, Colômbia, México, Brasil, Portugal, Rússia, Angola, China, Polônia, Holanda, Tailândia e Japão. Vagas na Accenture: https://accntu.re/3ZhpV8P
First off we want to begin with a heartfelt apology to Etic, or Pure Stoke! We got so caught up in the excitement and as he put it "infectious joy" of sharing in hiking stories, that we did not even mention his trail name one time! Even after having a pre-show chat and apologizing beforehand about all the puns we would make from such a wonderful trail name. "Pure Stoke", Eric, we are sorry we must have gotten carried away...and we say it...purely stoked?!? Today we begin the show by experiencing high levels of stoke, as we chat the stoke master himself, Eric Kipperman. We begin by jumping right into Eric's first long distance thru-hike, this year on the CDT or Continental Divide Trail. Quite a trail to tackle as the first, and we fully unpack the feelings involved. We begin to chat about handling New Mexico that experienced a early and intense fire season this year, and how the concept of the CDT quickly became evident. It was a journey, a trail full of alternates, pick your way to Canada and go north! We talk about the feelings involved in having to tackle such a massive re-route only 500~ miles into his first thru-hike, and what it felt like to move forward. We then take a stroll north through the CDT itself. Touching upon the early season in Colorado and high intensity snow fields and traverses. We bounce up to the Great Basin in Wyoming, where we chat about the lowest point of the trail emotionally, and how it became a highlight. We dust ourselves off as we head into the Wind River Range, where loss of a trail family member becomes a defining factor. We gander at the enormity of the sky itself as we talk all things The Big Sky Alternate. Diving deep into the reasoning, feel, logistics and choice of creating your own adventure on the CDT. We put our hand upon the terminus and breath the words to life of the feelings of "done." We take deep dives into the feelings as Eric shares with us the journey, the thoughts, and the moments of a first thru-hike. Truly a special experience that he lets us feel and see through his eyes. From the beginning to the end, we feel the moments and learn what it means to go from avid outdoorsperson to one who is now "consumed" or "obsessed." We chat about techniques of squatting to be shorter than the person next to you in thunder and lightning storms, we chat about the difference between dollops of cherries and dollops of ketchup, we chat PB cookies and brownies as a diet, and we chat the 5 headed pressure was shower of Montana. We chat about coming to peace with a trail being over, this generations philosopher we all know as 50 Cent, and intimate and emotional relationships with pieces of gear. We chat Wild Bill and Open Carry, we chat homecoming feelings in a new perspective, we chat lowest lows and highest highs, we chat new confidence, mayors of small towns, connection and disconnection, closure, and opening a door that never again can be shut. We end the show with a Ramen Rating Review and are extremely happy to hear Eric's rating... until it takes a dark and personally painfully turn to our hearts. FAVORITE QUOTES: "The CDT is a full bucket list of trails." "It was a highlight because it was my lowest point on the trail." "Instead of a cherry on top...it was a dollop of Ketchup." "The Philosopher 50 CENT said: Sunny days wouldn't be so special if it wasn't for rain." "Where you been, where you are, where you want to be." To learn more about Eric Kipperman visit him on LinkedIn and Strava To learn more about us click below. Website: www.ElevenSkys.com
[Mature themes and violence] A modernization of the story "Hop-Frog" by Edgar Allen Poe, turning it into a 1980s frat house horror movie. A bunch of pranksters find out the joke's on them. Written and produced by Julie Hoverson Cast List Frogger - Brian Lomatewama Lydia - Megan Lane Rex - James Turpin Deanna - Chandra Wade Uno - Justin Charles Buzz - Lothar Tuppan Trey - Danar Hoverson Lucky - Cary Ayers June - Kate Waterous Lisa - Melissa Pang Bob - James Sedgwick Fred - Jonathon del Arroz Dora - Melissa Bartell Kathy - Suzanne Dunn Music by Persson (available on Jamendo) Editing and Sound: Julie Hoverson Thanks to Glen Hallstrom for sound assistance Cover Design: Dennis Hager "What kind of a place is it? Why it's a college locker room, in the classic era of frat-house prank films, can't you tell?" ****************************************************************** POE-etic Justice Loosely adapted from the story "Hop-Frog" by Edgar Allen Poe by Julie Hoverson (19nocturne@live.com) Cast: [Opening credits - Olivia] Frogger Lydia Tripp Deanna Dora Bob, Fred, Kathy, June FRATS: Rex Mason, fraternity head, etc. Uno Buzz Trey Lucky OLIVIA Did you have any trouble finding it? What do you mean, what kind of a place is it? Why, it's a college campus in the nostalgic era of screwball hijinks films, can't you tell? MUSIC LYDIA (Quotes from the original story) I never knew anyone so keenly alive to a joke as the king was. He seemed to live only for joking. To tell a good story of the joke kind, and to tell it well, was the surest road to his favor. Thus it happened that his seven ministers were all noted for their accomplishments as jokers. AMB LOCKER ROOM UNO Man! Did you see the look on his face! BUZZ Like he'd never seen it bald before. FRATS [Hearty laugh] TREY That was you guys? Oh, man. FROGGER [muttered] It's gonna itch. UNO [less chummy] What? FROGGER [laughs unconvincingly] When the hair grows back. It itches like a sonofabitch. TREY, UNO, BUZZ [chuckle] UNO [pretend serious] And Frogger would know! TREY, UNO, BUZZ [laugh hysterically] REX Cut him some slack, dudes. Frogger's our pal. He's a funny guy. MUSIC LYDIA About the refinements, or, as he called them, the 'ghost' of wit, the king troubled himself very little. He had an especial admiration for breadth in a jest, and would often put up with length, for the sake of it. MUSIC REX Are they gonna get here soon? BUZZ If Studs and Lucky got everything right. REX Cool, then. This is gonna be a laugh riot. BUZZ When the froshes come walking into the rooms, each thinking they're gonna "get a little", oh yeah. REX Got someone with a tapedeck in each bathroom? BUZZ Too right! We had to borrow an extra one from Delta pi, but that's cool. It was Deanna made the tapes anyway. REX Frogger, what'd you get her to say? FROGGER [sigh, then, putting on a matching tone] I gave her this script. Should be funny as hell. BUZZ Here! "oh, good! You got my note! I hope you don't mind that I'm a little... kinky. [laughing and having a hard time reading] I want you to undress and [collapses] REX What? BUZZ Gimme a minute! [laughing, deep breath] undress and put on my underwear. It's right there on the bed. BUZZ and REX [hysterical fit] REX Not laughing, Frogger? FROGGER Just saving it til I see their faces. REX [agreeing chuckle] That'll be boss. Hey, you're into all that educated stuff. What's up with this Woody Allen guy? BUZZ That's that little Jewish nerd, right? REX This chick I was with last week says he's all hilarious, but I watched this movie - well, some of it, I was mostly macking on another hottie, and it was all like whining. FROGGER You want the brainhead answer or the real life one? REX Hit me with the smart one. FROGGER Woody Allen specializes in observational humor - looking at the angst and neuroses inherent in modern life and stepping aside and commenting on them. BUZZ [elaborate yawn] FROGGER But mostly it is just whining. REX [laughs] I knew it! SOUND DISTANT DOOR OPENS BUZZ Shh! Here they come! MUSIC LYDIA I believe the name 'Hop-Frog' was not that given to the dwarf by his sponsors at baptism, but it was conferred upon him, by general consent of the several ministers. MUSIC AMB PARTY REX Grab me a brewski Frogger. FROGGER No problemo. DEANNA Why "Frogger"? I mean, that's not like his real name, right? REX Duh. You just gotta see him cross a street sometime. Freaking funny. DEANNA Why do keep a little toad like that around? Did you like lose a bet? REX Nah. Frogger's pretty frosty, for a complete nerd. He comes up with some truly awesome pranks. DEANNA He would have to. Just looking at him is like visual herpes. REX Nah, the guys like having him around, cuz next to a mini weenie like that, we all look like kielbassas. Not that I don't look good anyway. DEANNA [chuckles seductively] Yeah, takes a whole can of vienna sausage to measure up to one ball park frank. REX Plumps when you get it hot, babe. FROGGER Your beer. And a cocktail for you. DEANNA [cold] Thanks. REX Cool. Hop along now, dude. My term paper is due tomorrow. DEANNA See, that's where it's so much harder to be a girl than a guy. REX Why? DEANNA No matter how smart she was, I couldn't keep a dog like that around. We'd get a rep. MUSIC LYDIA I am not able to say, with precision, from what country Hop-Frog originally came. It was from some barbarous region, however, that no person ever heard of - a vast distance from the court of our king. Hop-Frog, and a young girl very little less dwarfish than himself, had been forcibly carried off from their homes. MUSIC AMB OUTSIDE LYDIA Hiya, Tim! FROGGER [warm] Hey Lydia. LYDIA You, um, doing anything tonight? FROGGER Me? No. Did you need some help with something? LYDIA Me? No. I was thinking there's a showing of L'annee Derniere a Marienbad in Culver Hall tonight. And after what you said about the surrealists [falters] I thought maybe-- FROGGER Like a date? LYDIA [backing off] Maybe. [covering] Or as friends. I mean, you don't have to pay or anything. FROGGER No, no! I'd love to. I'm just surprised you'd still speak to me. LYDIA Because you hang out with the jackasses? Nah. I understand. I wouldn't mind getting on someone's good side. FROGGER [deep] It's not worth it. Really. LYDIA But I'm lucky - I don't do anything that makes me a target. Back in Fulton County, I hated being invisible. Here, though? It's a blessing. FROGGER Even in Fulton, I didn't have much of a choice. Gotta run now. Rex is planning a big party for the long weekend. LYDIA He needs help? FROGGER Mostly he just wants people to give him ideas that he can take credit for later. MUSIC LYDIA The king was sitting at his wine; but the monarch appeared to be in a very ill humor. He knew that Hop-Frog was not fond of wine, for it excited the poor cripple almost to madness; and madness is no comfortable feeling. But the king loved his practical jokes, and took pleasure in forcing Hop-Frog to drink. MUSIC ALL FRATS Chug! Chug! Chug! Chug! FROGGER [drinking, gasping] REX Awesome. FROGGER [coughing] BUZZ Weenie. ALL FRATS [laugh] FROGGER [barely contained anger] Keep 'em coming. ALL FRATS [approval] REX Take a breather, dude. Mellow out first. Besides, before you kiss the sky, we need your brain. FROGGER [breathing deep, trying not to get sick] What do you expect it to do? ALL [laugh] REX We heard that Epsilon Omega is having a toga party. ALL Toga! Toga! Toga! Toga! REX Shh! We're pissed we didn't think of it first. UNO Very pissed. REX Since we don't want to look like copycatting dildoes, we need to come up with a better party. TREY And quick - it has to be Friday. LUCKY Their party is Saturday. BUZZ And it has to be awesome. UNO And chicks have to be nearly naked. REX Well? FROGGER Hmm. Garden of Eden. BUZZ We don't want any bible crap-- FROGGER You wanted less clothes than togas. UNO That's the dumbest-- REX Hold on. Are we talking fig leaves and stuff? [considering] Hmm... UNO I ain't gluing nothing to MY Johnson. FROGGER Paint the bikini? TREY What? FROGGER Get a bunch of tempera paint, have everyone arrive in bikinis, lay out a bunch of tarps and paint each other. REX You mean paint ON each other, right? FROGGER Duh. I would suggest finger painting. REX [considering] Yeah. FROGGER And then everyone has to shower off... REX [up] Yeah! That is so boss! Half naked chicks, AND you get to put your hands all over them. Frogger, you are the MAN. MUSIC LYDIA On some grand state occasion-I forgot what-the king determined to have a masquerade. Hop-Frog, in especial, was so inventive in the way of getting up pageants, suggesting novel characters, and arranging costumes, for masked balls, that nothing could be done, it seems, without his assistance. MUSIC AMB OUTSIDE LYDIA Hey Tim! FROGGER Lydia! Hey. LYDIA [amused] Is this your idea? FROGGER What? SOUND PAPER FROGGER "you are cordially invited to a bikini painting party--" Uh, no. LYDIA Hmm. Well, someone invited me. FROGGER [up] No! I mean, don't come. Those guys are dicks, and-- LYDIA I wasn't planning to, unless you were asking. FROGGER Good. LYDIA I'm not much for drinking - or being around a bunch of drunks. FROGGER Good! LYDIA I suppose... I suppose you're kind of stuck there? FROGGER I have to be there for a while. Until everyone's drunk enough that I can slip out. LYDIA Let's meet up later, then. SOUND SHE WALKS AWAY LYDIA [calling back] Maybe I'll even let you paint me. FROGGER I-- uh-- okay. TREY Dude. FROGGER [gasp of shock] TREY Nice little number. I bet you get her out of the glasses and baggy sweater and she's a total fox. FROGGER [desperately lying] Nah. She's got no tits at all. Just tissue. TREY Damn. Chicks are such fakers. FROGGER [relieved sigh] MUSIC LYDIA Hereupon the dwarf laughed (the king was too confirmed a joker to object to any one's laughing). Moreover, he avowed his perfect willingness to swallow as much wine as desired. The monarch was pacified. SOUND PARTY, LOTS OF LAUGHING, DISCO MUSIC REX Ni-i-ice. Blondes look good in green. JUNE [GIGGLES] REX But are you a natural blonde? JUNE Only my bikini knows. REX Maybe it will tell me later... JUNE [giggles] REX See ya. Hey Frogger. I notice your hands are clean. FROGGER Just - um- came from the bathroom. REX Hmm. Beauty idea about giving each guy a different color and starting a contest to see what girl can get the most colors. FROGGER Deanna's got quite a rainbow going. REX Is that a crack? FROGGER Huh? No - just admiration. REX Ah, new guests. Gotta mingle. LISA [giggle] Oh, look at you! Are you someone's little brother? FROGGER You ever hear the phrase "Say Hello to my leetle friend"? LISA Yeah? FROGGER That's me. LISA [wide-eyed] You said that? FROGGER [sighs] No that's Scarface. I'm "the leetle friend". LISA [giggles] LYDIA [off, calling] Oh, there he is! FROGGER Oh shit. Excuse me. MUSIC LYDIA There was a dead silence for about half a minute, during which the falling of a leaf, or of a feather, might have been heard. MUSIC FROGGER [hurried, whispered] What are you doing here? LYDIA Didn't you call? Dora, at the dorm said-- FROGGER No, I didn't. You need to get out of here. LYDIA [puzzled, but laughing] Why? It looks kind of fun. FROGGER [frustrated noise] No! They're gonna-- BUZZ I see someone wearing too much clothes! LYDIA Huh? LUCKY Did you bring your bathing suit, foxy lady? FROGGER She's not here for the party. It's a mistake. LYDIA [annoyed] No it's not. TREY Is this cuz of what you said about her? FROGGER Just drop it. You gotta go. LYDIA [sharp] What did you say? FROGGER Nothing. C'mon, let's bail. TREY He said you got no boobs under there. LYDIA What? What is wrong with you? God, Tim, I thought you were my friend. FROGGER Lydia! Don't! I can explain-- TREY Want to prove him wrong? BUZZ Of course, if you don't have a suit‑‑ SOUND RUSTLING LYDIA Actually, I only have a one-piece. FROGGER Don't! LYDIA Chill out. SOUND RUSTLING AS SHE TAKES OFF HER TOP ALL FRATS [approving noises] TREY [walking away] Why don't I start - I am curious. And I'm yellow. FROGGER [weak] No... REX C'mon dude. Bottoms up. SOUND RATTLE OF ICE IN GLASS MUSIC LYDIA Poor fellow! his large eyes gleamed, rather than shone; for the effect of wine on his excitable brain was not more powerful than instantaneous. He placed the goblet nervously on the table, and looked round upon the company with a half-insane stare. They all seemed highly amused at the success of the king's 'joke.' MUSIC SOUND PAINT SLOSH LYDIA [laughing uncomfortably] That's cold! TREY I could warm you up a bit. Maybe a hot shower. I'll scrub your back. LYDIA [uncomfortable] I didn't say stop. TREY I haven't seen you at one of these before. What are you, a hermit? LYDIA Just busy studying. TREY [suggestive] Do you study... anatomy? LYDIA I'm an english major. TREY This--[he's painting on her] is the bicep... LYDIA Yeah, I know. TREY And this-- is the [drawn out] pec-to-ral... LYDIA [gasp of shock] I think I'm - out of my depth. I should go. TREY Nonsense. There's seven more colors to go. Everybody wants to get his hands on you. LYDIA No. No, look, this was a bad idea. TREY This-- is the gluteus maximus. LYDIA Stop! SOUND SLAPPING NOISE TREY Oh come on. You don't want to leave this masterpiece unfinished, do you? LYDIA Let go of me! REX [overplayed] OK, what's going on? TREY Models. They're so high strung. REX You should have a drink. Frogger did. LYDIA I just want to go. REX [raising his voice] Hear that everyone? She just wants to go. ALL [everyone laughing] DEANNA Who does she think she is? ALL [more laughing, mostly guys] SOUND POUNDING ON A DOOR FROGGER [in closet] Stop! No! REX You know, these picnic bottles were a really good idea. SOUND SQUIRTS PAINT LYDIA [surprised shriek] ALL [laugh] LYDIA [crying] Stop! REX Well, being the king, I had her first. Who's next? BUZZ I got red, how bout I KETCHUP! [squirting] ALL [laughing] FROGGER [in closet] Nooooo! MUSIC LYDIA The tyrant seemed quite at a loss what to do or say - how most becomingly to express his indignation. At last, he pushed the girl violently from him, and threw the contents of the brimming goblet in her face. MUSIC SOUND BREATHING IN A CLOSED SPACE. OCCASIONAL THUMPS AS FROGGER BEATS HIS HEAD AGAINST THE WALL; the party has run down SOUND DOOR OPENS REX Damn. Almost forgot about you. C'mon out. Everyone's all gone home. SOUND FROGGER SCRAMBLES TO HIS FEET, THUMP AS HE SLAMS REX AGAINST THE WALL REX Unh! FROGGER You bastard! You sonofabitch! REX C'mon dude. It was just a joke. No big deal. SOUND DRINKS FROM A BOTTLE REX Here. mellow out. SOUND OFFERS THE BOTTLE FROGGER No big deal? You- you--! REX Have a drink and get frosty, dude. Or I might forget I have a big paper coming up and that you need fingers if you're gonna write it for me. SOUND FROGGER SNATCHES THE BOTTLE, DRINKS DEEP REX There you go. That's a pal. SOUND FROGGER THROWS THE BOTTLE ACROSS THE ROOM, BOTTLE SMASHES REX [laughs heartily] Yeah! You cool? FROGGER [grim, teeth gritted] I'm completely frozen. MUSIC LYDIA Hop-Frog endeavored, as usual, to get up a jest in reply to these advances from the king; but the effort was too much. MUSIC SOUND SHOWER RUNNING SOUND PHONE RINGS, DISTANT, IS PICKED UP DORA Yello? [up] Lydia! LYDIA [yelling, still upset] I'm in the shower! SOUND A MOMENT, THEN POUNDING ON THE DOOR DORA It's that guy you like. He wants to talk. LYDIA Tell him to sit on it! MUSIC LYDIA "The beauty of the game," continued Hop-Frog, "lies in the fright it occasions among the women." MUSIC TREY Man, he went total meltdown. BUZZ His eyes were all bugging out. UNO Gets all squeaky, like a little bitty piggie. REX Shh, Here he comes. [up] Frogger, my man. Have a brewski - we need you at the top of your game tonight. FROGGER Whatever. [drinks] REX Jeez, check out Mr. Dickweed. He needs to mellow out. Bring on Mr. Cuervo. SOUND LIQUID POUR FROGGER Just tell me what you need. REX Nuh-uh. Not until you got a good buzz. [serious] Drink. FROGGER [sighs] MUSIC LYDIA "What do you mean by that? Ah, I perceive. You are Sulky, and want more wine. Here, drink this!" and the king poured out another goblet full and offered it to the cripple, who merely gazed at it, gasping for breath. MUSIC REX I don't know how we didn't hear about it sooner, but Epsilon Omega is doing this medival banquet thing - and it's tonight! It's sposed to be totally off the hook, with jousting and shit. FROGGER [muttered] Jousting's on horseback. UNO We gotta DO something! BUZZ We gotta get in there and mess with them! LUCKY Epsilon Omega are such douches, we gotta show em up! REX But see, they won't let anyone in that ain't in a costume. YOU need to get us in there. FROGGER You can't just rent some stuff? UNO All the shops are sold out! TREY We're like the only ones on the entire campus that didn't get an invite! LUCKY The pussies! REX And we gotta show them up at their own damn game! So it's got be really really medival. Come on! UNO And frogger, man, you're the king of this crap - the bikini painting party was completely the bomb! FROGGER [grim] That. Right. Pour me another one. MUSIC LYDIA The monarch was pacified; and having drained another bumper with no very perceptible ill effect, Hop-Frog entered at once, and with spirit, into the plans for the masquerade. MUSIC FROGGER There is this thing-- BUZZ Yeah? FROGGER Something really authentic and medival-- LUCKY Dude! Just spit it out! FROGGER I'm assuming you don't want to be lepers-- TREY Like the cat? I'd rather be a tiger. FROGGER No! Leper. Like all grody zombie-looking people. REX We could do that. FROGGER But this will be better. REX Yeah? TREY Dude, zombies are medival? FROGGER [sigh] No. No zombies. And it has to be a costume we can put together really fast. REX Duh. Party's tonight. FROGGER Back in the olden days, they had all sorts of weird party stuff they did. And one of them was something called the eight chained orangutangs. BUZZ Orangutangs? Man they rock! [makes farting sound] That's like Clyde in Every which way but loose, eh? ALL [start making monkey noises] FROGGER It does take eight guys, though... REX No problemo. There's five of us here, plus Ricky, Finn, and uh - Marco. FROGGER [dark] Exactly the ones I'd'a suggested. MUSIC LYDIA "The chains are for the purpose of increasing the confusion by their jangling. You are supposed to have escaped, en masse, from your keepers. Your majesty cannot conceive the effect produced, at a masquerade, by eight chained ourang-outangs!" MUSIC ALL [making monkey noises] FROGGER BUT we have to get you dressed up! Come on! REX [commanding] Shut up! Listen to Frogger. Save the monkey shit for later. LUCKY Yeah, man - monkeys throw their shit. We should have something to throw! BUZZ I'm calling the costume shop. FROGGER You can't. BUZZ Who says? FROGGER You want to be all historical, right? REX Duh. FROGGER OK, well they didn't have snazzy costumes way back when. TREY What did they do? FROGGER Covered themselves in tar, then rolled in flax. BUZZ What the hell is flax? FROGGER Fibers. Looks like hair. LUCKY Tar is gross. It never comes off. FROGGER You do it OVER clothes. Like a track suit. TREY You expect us to get all tarred up and roll around in hair? You're a complete-- REX Genius. We break into the party like this, and those dicks at Epsilon Omega will never be able to live it down. MUSIC LYDIA The king and his ministers were first encased in tight-fitting stockinet shirts and drawers. They were then saturated with tar. A long chain was now procured. First, it was passed about the waist of the king, and tied, then about another of the party, and also tied; then about all successively, in the same manner, making a circle. MUSIC SOUND CLANKING, SHUFFLING FEET ALL FRAT [muffled giggling] SOUND PASSING A BOTTLE REX Shh. Watch out for the post, dumbass! TREY There's a buttload of posts in an old warehouse. UNO Man, it's kind of cold. FROGGER [dark] Don't worry - you'll be warm later. SOUND MORE CLANKING FROGGER I checked out the layout earlier. They've got a horseshoe of tables surrounding the middle of the room, with knights and wenches and all seated on the outside. You should go round the outside of the room first, making trouble- TREY Grabbing chicks - "not my fault! Orangutans like boobies!" BUZZ Beep-beep. FROGGER [exasperated] Yeah. [up] But then get to the center of the room, and I'll come in and get the crowd going. REX Dude, you are truly the man. SOUND DOOR OPENS, CLANKING STARTS LOUD ALL FRATS [monkey noises] SOUND [distant screams] MUSIC LYDIA The eight ourang-outangs, taking Hop-Frog's advice, waited patiently until midnight before making their appearance. No sooner had the clock ceased striking, however, than they rushed, or rather rolled in, all together-for the impediments of their chains caused most of the party to fall, and all to stumble as they entered. MUSIC SOUND WALKIE TALKIE NOISE FROGGER [hushed] Ok, they're in. Wait for my signal. SOUND CRACKLE OF STATIC LYDIA [almost unrecognizable, on air] Gotcha. FROGGER We've got about five minutes... MUSIC LYDIA The excitement among the masqueraders was prodigious, and filled the heart of the king with glee. As had been anticipated, there were not a few of the guests who supposed the ferocious-looking creatures to be beasts of some kind in reality, if not precisely ourang-outangs. MUSIC SOUND [screams, laughing, monkey noises - behind doors] SOUND DOOR CRASHES OPEN FROGGER [squeaky british "jester" voice] Good folk! SOUND [some quieting, ape noises still going on] SOUND MICROPHONE SQUELCH FROGGER Good people! SOUND [quiet] FROGGER Good people! I spy beasts in our midst! FRATS [ape noises] CROWD [ripple of laughter] FROGGER they must have escaped from a keeper! REX Dude, is that my mister microphone? FROGGER [not on mike] Shh. [on mike, playing it big] It speaks! Perhaps it is merely a man in a fabulous costume? FRATS [hooting monkey noises] SOUND CROWD APPLAUDS FROGGER Leave them to me! I fancy I know them. If I can only get a good look, I can soon tell who they are! SOUND CHAIN RATTLES FROGGER Look at these muscles. If not a beast, then a beast of a man, don't you think? FRATS [very butch monkey noises] FROGGER Perhaps there is someone here who can help me identify them. You, Milady? NOTE [frogger is using the mike on the people he's talking with, but the frats are just yelling] SOUND SLOW MACHINE NOISE SNEAKS IN THROUGHOUT, A BIT OF CHAINS, TOO DORA Me? FROGGER I think you know that big one in front. Do you not? LUCKY [chuckling] Oh, yeah, she knows me. If you know what I mean. DORA [furious] He got me drunk and took topless pictures of me, that he posted all over the dorm! LUCKY What's a dog like her doing at an Epsilon party? DORA You ... you bastard! FROGGER That's a big clue, but I still don't quite recognize them. Maybe you, sir? BOB [stuttring] They - all of them - cornered me in the locker room and pelted me with jockstraps! BUZZ Dude, it was a joke! BOB Every day? For a semester! It wasn't funny! TREY It was to us. FROGGER And you, fair maiden? KATHY [crying] They tied me up and covered me in dip at one of their parties. UNO What's so bad about that? KATHY I got a rash! And a yeast infection! REX Okay, we're out of here. This ain't funny any more. SOUND CHAINS RATTLE, A COUPLE OF STEPS FRATS [reaction noises - ugh, hey, whoa! - as they trip, get pulled up short] UNO What the crap? REX The chains're caught on something. Frogger! Help us out here. FROGGER [annoucning] How blind they are, eh, gentle folks? SOUND APPLAUSE MUSIC LYDIA With the rapidity of thought, he had inserted the hook from which the chandelier had been wont to depend; and, in an instant, by some unseen agency, the chandelier-chain was drawn so far upward as to take the hook out of reach, and, as an inevitable consequence, to drag the ourang-outangs together in close connection. MUSIC SOUND MORE CHAINS, STRUGGLES BUZZ We're stuck! REX The chains got caught on that hook thing! Can you reach it? TREY Give me a boost! SOUND MACHINE NOISE, HOOK RAISING REX What the crap? UNO We're chained at the waist, dumbass, how far you think you're gonna get climbing? FROGGER Little do they know that this party was thrown in their [sour] honor. Is it not ironic that they were so caught up in their own amusement they didn't recognize a single one of the people they've wronged? REX You are so dead, you little shitball. The minute we get out of here, your life will go to hell. FROGGER My life has been hell, you evil douchbags! You think I liked being your little funny guy - your jester? You think I helped you because I thought it was fun? Every joke I helped with was like ground glass in my soul, and I still feel like I should be hanging up there with you. [to crowd] One more notch, and they'll be on tiptoe. What do you think? CROWD [roars approval] FROGGER It's not as funny when you're the butt of the joke, is it? UNO Dude, just cut it out. We've learned our lesson, and shit. man. FROGGER Lets see what the crowd thinks! CROWD [booo] FROGGER Sorry. Can't let it go just yet. How about you, milord? What's your beef? SOUND HAND OVER THE MIKE NOISE FRED [not on mike] They're gonna bury us. FROGGER [not on mike] Not a problem. C'mon. Think of it as group therapy. SOUND MIKE UNCOVERED FRED [quick, ashamed] They duct taped my - my butt. FROGGER [sincere] I'm very sorry. SOUND CROWD SUBDUED APPLAUSE SOUND ANOTHER CRANK OF CHAIN FRATS [whoa! They've been pulled off the ground] MUSIC LYDIA The jester suddenly uttered a shrill whistle; and the chain flew violently up - dragging with it the dismayed and struggling ourang-outangs, and leaving them suspended in mid-air. MUSIC FROGGER Ah, ha! I begin to see who these "people" are now! But it's so dark in here. Give me a tiki torch, someone. DORA Here. FRED Watch out - they'll kick you! FROGGER They could. But then they'll start swinging. It's not fun, hung up by your waist, is it? UNO You little shit! TREY Your ass is grass, man. SOUND STRUGGLING, CHAIN CREAKING, SWINGING FROGGER [to the crowd] How many of us have been hung like this - by you, or those like you? CROWD [agrees] FROGGER [over elaborate] Watch out! Don't swing too close to the fire! SOUND FIRE CATCHES WITH A WHOOMPH FRATS [screaming] CROWD [screams] FROGGER Whoops! MUSIC LYDIA "I now see distinctly." he said, "what manner of people these maskers are. They are a great king and his seven privy-councillors, - a king who does not scruple to strike a defenceless girl and his seven councillors who abet him in the outrage. As for myself, I am simply Hop-Frog, the jester-and this is my last jest." MUSIC AMB OUTSIDE, NIGHT SOUND DISTANT FIRE TRUCKS LYDIA I can't even feel sorry for them. FROGGER Nope. LYDIA It helps, to know I'm not alone. FROGGER You should never feel alone. I'm here. LYDIA I mean, that they hurt lots of people. FROGGER [self-loathing] And I helped. Too many times. LYDIA They would have done it anyway. FROGGER I can't forgive myself. LYDIA Could I? FROGGER Could you what? LYDIA Could I forgive you? FROGGER [a bit teary] That would be a good start. MUSIC LYDIA It is supposed that Trippetta, stationed on the roof, had been the accomplice of her friend in his fiery revenge, and that, together, they effected their escape. MUSIC THE END ...
Arhivele viitorului - ep. 34: Avem nevoie de etică în școli și universități? Cu Emilia Șercan
To BOOK an Astrological session with REX: CLICK HERE. Rex also talks with special guest Mz Neon (@mz_neon), a genre-bending musician, multi-instrumentalist, songwriter, producer, and multi-media artist using performance and lyrics to express her sexuality as a trans woman and defy misconceptions about herself and anyone who identifies outside of the binary spectrum - both gender wise and ideologically. Alyrical provocateur, Neon confronts issues of identity, sexuality, politics, spirituality, and lived experiences as a trans-femme-fatale. She is a triple threat of sharp wit, hypnotic sensuality, and musical virtuosity. Neon commands an elegantly tough, yet unapologetic ownership, of her visceral vulnerability─on and off the stage─to local and international audiences alike! You can find her music here: https://open.spotify.com/artist/1rabUd4M6hlJ0oR5QdMr9U and an amzing article on her, here: https://www.papermag.com/mz-neon-documentary-2636623007.html
Care este legătura dintre Sfinții Părinți și omul contemporan? Cum se poate diagnostica și vindeca omul de azi, chinuit de problemele care îl apasă, pe baza învățăturii Sfinților Părinți?Ascultați un cuvânt susținut de către dl. profesor Konstantin Kornarakis, profesor de Etică și Bioetică la Facultatea de Teologie a Universității Kapodistriene din Atena in cadrul Simpozionului internațional „Moștenirea paisiană în spiritualitatea, arta și cultura contemporană”, de la Mănăstirea Dragomirna, luni, 9 mai 2022.Audiție plăcută!
This month's episode is the first in a 2-part series about chaos magic. Dr. Christian Greer talks about the history of modern magical groups and how these earlier groups led to the birth of the chaos magic current. Christian begins by talking about why the topic of magic (in all its forms) is relevant as an area of research and study. He then gives a brief history of modern and contemporary ritual magic groups, and how these, along with other influential movements of the time, informed the major figures associated with chaos magic. We then move the discussion to talk about the larger chaos magic current in more detail. PROGRAM NOTESChristian's academia.edu page: (99+) J. Christian Greer | Harvard Divinity School - Academia.eduInstagram: @angelheadedhipstersarchive • Instagram-foto's en -video'sAlex Owen's The Place of Enchantment: The Place of Enchantment: British Occultism and the Culture of the Modern, Owen (uchicago.edu)Marco Pasi's 'The Modernity of Occultism': (99+) The Modernity of Occultism: Reflections on Some Crucial Aspects | Marco Pasi - Academia.eduChristopher Partridge's 'Occulture is Ordinary' + handbook: Occulture is Ordinary (Chapter 6) - Contemporary Esotericism (cambridge.org)Theodor Adorno's 'Theses Against Occultism': Ralph Dumain: "The Autodidact Project": T.W. Adorno's "Theses Against Occultism"John Carter, Sex and Rockets (Jack Parsons): Sex and Rockets: The Occult World of Jack Parsons: Carter, John, Wilson, Robert Anton: 9780922915972: Amazon.com: BooksAdam Gorightly, The Prankster and the Conspiracy (Kerry Thornley): The Prankster and the Conspiracy: The Story of Kerry Thornley and How He Met Oswald and Inspired the Counterculture: Gorightly, Adam, Robert Anton Wilson: 9781931044660: Amazon.com: BooksKenneth Grant 'Typhonian Trilogies Series': Typhonian Trilogies Series by Kenneth Grant (goodreads.com)Austin Osman Spare at Hermetic Library: Austin Osman Spare - Hermetic LibraryThee Temple of Psychick Youth (TOPY), Thee Psychick Bible : THEE PSYCHICK BIBLE (archive.org)Christopher Partridge (editor), The Occult World: The Occult World - 1st Edition - Christopher Partridge - Routledge BoOther scholars mentioned in this episode - (Theosophy) (99+) Mriganka Mukhopadhyay | University of Amsterdam - Academia.edu(Thelema) (99+) Manon Hedenborg White | Karlstad University - Academia.edu(Kenneth Grant) (99+) Henrik Bogdan | University of Gothenburg - Academia.eduTheme Music: Daniel P. SheaOther music: Stephanie Shea
https://youtu.be/ImO_1edJAbI Patronen is een boek van Danielle Braun dat gaat over herkennen en veranderen met een antropologische blik. Een boek voor ondernemers, managers, adviseurs en coaches om op een andere manier te kijken naar hun omgeving, bedrijf of team. Een mooi boek, rijkelijk gevuld met foto's en persoonlijke voorbeelden uit verschillende organisaties en reizen van Danielle. Ze heeft het geschreven in de coronatijd, en noemt verschillende voorbeelden uit deze tijd. Het boek kent 8 hoofdstukken: Patronen: in de wereld en in organisatiesWat zijn patronenPatronen herkennenPatronen duiden en vastleggenPatronen communicerenPatronen veranderenPatronen bestendigenVeel voorkomende patronen in organisaties 1 Patronen – mooie voorbeelden uit de praktijk, herkenbaar ook Reizen en grenzenKastenstelselCuratief en winstgevendEen corona-aanpak die past bij Nederland – polderenBraafste jongetje van de klas of ondeugende cowboyGrijze deken 2 Wat zijn de patronen? Waar gaat het over – 'Een patroon bestaat uit een herhaling van eenvoudige eenheden of de toepassing van dezelfde regels zodat zich een reeks vormt.' (Danielle Braun) – 'Een patroon is een "geheel" van ingesleten min of meer vaste relaties tussen aspecten of componenten van een cultuur, samenleving, groep, organisatie dat waarneembaar of af te leiden en te duiden is uit een concrete gebeurtenissen en processen. Het gaat om waarneembare, zich herhalende aspecten van de werkelijkheid.' (Arie de Ruijter)Patronen zijn repeterendPatronen zijn op meerdere lagen waarneembaarPatronen hebben een systemische samenhang – Bateson en MeadPatronen vormen energieveldenPatronen worden overgedragen 3 Patronen herkennen Drie manieren om naar patronen te kijken – dimensies, typologieën en grounded theory –Dimensies – herkenbaar (Trompenaar bijv)Typologieën – herkenbare-kleurentheorie (horoscoopgehalte)Grounded theory - schema van ScheinHoe antropologen patronen achterhalen – participatieShock omzetten in informatie – culture shock: honeymoonfase, negotiation, adjustment, adaption en reverse culture shockPatronen herkennen met al je zintuigenJe eigen neushoornhoorn – alles zien met je eigen schaduw 4 Patronen duiden en vastleggen Emic en Etic – binnenuit en van buitenaf – voorbeeld van besnijdenis van vrouwen. Beide perspectieven gebruikenTiming is everything – antropologisch verandermodel – verandering bepalen en verandering doen. Vaak door een anderOrdening: grip krijgen op patronen – alle informatie nu ordenenDe kern van het patroon benoemen – een kenmerkend beeld of kenmerkende metafoor, een dilemma of polariteit, een thematische beschrijving van de fractalen 5 Patronen communiceren Samen in de soep – weerstand is bullshit, niets anders dan een andere meningMondeling terugkoppelen: kampvuurgesprekken – kampvuurgesprekken, de magiër Schriftelijk rapporterenEren van het oude – fusies bijv.En nu? – van duiding naar verandering 6 Patronen veranderen De kunst van het stoppen – model van MarijeUitrollen of inrollen – inrollen – getest met een pilot en daarna verder de organisatie inVoodoo in organisaties: virtuele verandering (als een virus verspreiden met een tamtamgroep)Liminaliteit: de kracht van rituelen en verhalen – 3 fases oud – niets – nieuw. Verhalen gebruikenDe rol van de leider – twee soorten leiders nodig, liminale leider en going concern managerStructuren en processen 7 Patronen bestendigen Patronen – stollen en vernieuwenDiscipline – lijstjes en discipline, kracht van herhalingCadans, ritme, rituelen, traditieJe plaats in het geheel – pas je aan en blijf jezelfOrganisatiestructuur in flow – tribale rollen 8 Veelvoorkomende patronen in organisaties Beelden en metaforen – happy family, religieus system, eilandenrijkDilemma's en polariteiten:Diversiteit versus gelijkvormigheidInspraak versus directief leiderschapInterne versus externe gerichtheidThematische beschrijvingen: RitmeverschillenOntzielde organisatiesGetraumat...
https://youtu.be/ImO_1edJAbI Patronen is een boek van Danielle Braun dat gaat over herkennen en veranderen met een antropologische blik. Een boek voor ondernemers, managers, adviseurs en coaches om op een andere manier te kijken naar hun omgeving, bedrijf of team. Een mooi boek, rijkelijk gevuld met foto's en persoonlijke voorbeelden uit verschillende organisaties en reizen van Danielle. Ze heeft het geschreven in de coronatijd, en noemt verschillende voorbeelden uit deze tijd. Het boek kent 8 hoofdstukken: Patronen: in de wereld en in organisatiesWat zijn patronenPatronen herkennenPatronen duiden en vastleggenPatronen communicerenPatronen veranderenPatronen bestendigenVeel voorkomende patronen in organisaties 1 Patronen – mooie voorbeelden uit de praktijk, herkenbaar ook Reizen en grenzenKastenstelselCuratief en winstgevendEen corona-aanpak die past bij Nederland – polderenBraafste jongetje van de klas of ondeugende cowboyGrijze deken 2 Wat zijn de patronen? Waar gaat het over – 'Een patroon bestaat uit een herhaling van eenvoudige eenheden of de toepassing van dezelfde regels zodat zich een reeks vormt.' (Danielle Braun) – 'Een patroon is een "geheel" van ingesleten min of meer vaste relaties tussen aspecten of componenten van een cultuur, samenleving, groep, organisatie dat waarneembaar of af te leiden en te duiden is uit een concrete gebeurtenissen en processen. Het gaat om waarneembare, zich herhalende aspecten van de werkelijkheid.' (Arie de Ruijter)Patronen zijn repeterendPatronen zijn op meerdere lagen waarneembaarPatronen hebben een systemische samenhang – Bateson en MeadPatronen vormen energieveldenPatronen worden overgedragen 3 Patronen herkennen Drie manieren om naar patronen te kijken – dimensies, typologieën en grounded theory –Dimensies – herkenbaar (Trompenaar bijv)Typologieën – herkenbare-kleurentheorie (horoscoopgehalte)Grounded theory - schema van ScheinHoe antropologen patronen achterhalen – participatieShock omzetten in informatie – culture shock: honeymoonfase, negotiation, adjustment, adaption en reverse culture shockPatronen herkennen met al je zintuigenJe eigen neushoornhoorn – alles zien met je eigen schaduw 4 Patronen duiden en vastleggen Emic en Etic – binnenuit en van buitenaf – voorbeeld van besnijdenis van vrouwen. Beide perspectieven gebruikenTiming is everything – antropologisch verandermodel – verandering bepalen en verandering doen. Vaak door een anderOrdening: grip krijgen op patronen – alle informatie nu ordenenDe kern van het patroon benoemen – een kenmerkend beeld of kenmerkende metafoor, een dilemma of polariteit, een thematische beschrijving van de fractalen 5 Patronen communiceren Samen in de soep – weerstand is bullshit, niets anders dan een andere meningMondeling terugkoppelen: kampvuurgesprekken – kampvuurgesprekken, de magiër Schriftelijk rapporterenEren van het oude – fusies bijv.En nu? – van duiding naar verandering 6 Patronen veranderen De kunst van het stoppen – model van MarijeUitrollen of inrollen – inrollen – getest met een pilot en daarna verder de organisatie inVoodoo in organisaties: virtuele verandering (als een virus verspreiden met een tamtamgroep)Liminaliteit: de kracht van rituelen en verhalen – 3 fases oud – niets – nieuw. Verhalen gebruikenDe rol van de leider – twee soorten leiders nodig, liminale leider en going concern managerStructuren en processen 7 Patronen bestendigen Patronen – stollen en vernieuwenDiscipline – lijstjes en discipline, kracht van herhalingCadans, ritme, rituelen, traditieJe plaats in het geheel – pas je aan en blijf jezelfOrganisatiestructuur in flow – tribale rollen 8 Veelvoorkomende patronen in organisaties Beelden en metaforen – happy family, religieus system, eilandenrijkDilemma's en polariteiten:Diversiteit versus gelijkvormigheidInspraak versus directief leiderschapInterne versus externe gerichtheidThematische beschrijvingen: RitmeverschillenOntzielde organisatiesGetraumat...
Odată cu descoperirea vaccinurilor anti-Covid 19 se pune problema dacă e corect ca firmele producătoare să le breveteze și să-și protejeze astfel invenția sau dacă, dată fiind situația dramatică la nivel mondial, ar fi mai potrivit se renunțe la drepturile de proprietate intelectuală pentru ca serul să ajungă cît mai repede la cît mai multă lume. Am vorbit cu Radu Uszkai, cercetător în cadrul Centrului de Cercetare în Etică Aplicată, despre brevete, modele economice și felul în care e finanțată cercetarea. O emisiune de Adela Greceanu și Matei Martin. Un produs Radio România Cultural.
Așa spune datina și tradiția ca porcul să fie tăiat de Crăciun și mielul de Paște pentru o masă bogată de sărbători în familie. Ce se întâmplă când tradiția întâlnește etica? Pot fi acestea într-o relație continuă de prietenie?
Valul trei al pandemiei, imposibil de evitat (Adevărul) - Toată lumea bună a aplaudat revoluţia în politică, dar acum, când se propune o revoluţie în urbanism, sunt numai critici (Ziarul Financiar) citiţi mai departe
Talking Tribe on The Kenny & JT Show as Spring Training gets underway. So how will Zack be covering the team during this abnormal spring due to Covid? And if that’s not difficult enough, how will it be keeping up 53 guys in camp all with a chance to make the team? what’s the early workout schedule in Goodyear? What are Zack’s thoughts on the pickups of Eddie Rosario and others? Zack gives us other thoughts on this year’s Tribe. And, we ask Zack who he would put on a Cleveland Indians Mount Rushmore?
O dezbatere la „Timpul prezent”: medicul Gindrovel Dumitra și eticianul Radu Uszkai vorbesc despre vaccin & vaccinare din perspectivă etică. E bine să existe competiție liberă pe „piața” medicamentelor și, în particular, a vaccinurilor? E corect ca descoperirea unui vaccin să fie protejată prin brevet? În ce condiții poate fi exploatat acest brevet? Și cum se schimbă raporturile geopolitice dacă vaccinul rusesc Sputnik V va fi aprobat în Uniunea Europeană? O emisiune de Adela Greceanu și Matei Martin.Un produs Radio România Cultural.
Pour ce nouvel épisode des tables rondes d'Extra Classe, nous avons choisi de donner la parole à Pierre Pompier et Jean-Pierre Bielmann, chefs d'établissement, et à Philippe Roederer, inspecteur de l'Éducation nationale. Nous leur avons demandé comment le numérique avait influencé la gestion de leur établissement et de leurs équipes durant et après le premier confinement. Comment se sont-ils adaptés ? Qu'est-ce que cela a changé à leur gouvernance ? Autant de témoignages précieux au regard de l'usage grandissant des outils numériques. La transcription de cet épisode est disponible après les crédits. Retrouvez-nous sur : Extraclasse.reseau-canope.fr Apple Podcasts Spotify Deezer Google Podcasts Podcast Addict Extra classe, des podcasts produits par Réseau Canopé. Émission préparé par : Aurélie Dulin et Régis Forgione Animée par : Régis Forgione Enregistrée par : Aurélie Dulin Directrice de publication : Marie-Caroline Missir Coordination et production : Hervé Turri, Luc Taramini, Magali Devance Mixage : Simon Gattegno Secrétariat de rédaction : Valérie Sourdieux Contactez-nous sur : contact@reseau-canope.fr © Réseau Canopé, 2020 Transcription : RÉGIS FORGIONE | Au micro d'Extra Classe pour cet épisode, la parole est donnée à trois acteurs de terrain du monde de l'éducation. Ils se sont retrouvés en deuxième ligne durant la crise du COVID-19, juste derrière les enseignants. Nous recevons deux chefs d'établissement et un inspecteur de l'Éducation nationale. Ce sera l'occasion d'interroger la façon dont le numérique a pu changer ou influencer le pilotage et la gouvernance des établissements et équipes pédagogiques durant cette période charnière, c'est le moins qu'on puisse dire, dans l'histoire de l'éducation. « La nouvelle e-gouvernance », c'est la nouvelle émission d'Extra Classe. Jean-Pierre Bielmann, bonjour ! Vous êtes proviseur du lycée des métiers André Cuzin à Caluire-et-Cuire. Pierre Pompier, bonjour à vous aussi. Vous êtes principal du collège Gabriel Havez de Creil, situé en REP+ dans l'académie d'Amiens et Philippe Roederer, vous êtes IEN donc inspecteur de l'Éducation nationale dans la circonscription de Saint-Gervais/Pays du Mont-Blanc dans l'académie de Grenoble et également expert associé à l'IH2EF. Bonjour à tous les trois, messieurs. JEAN-PIERRE BIELMANN | Bonjour. PIERRE POMPIER | Bonjour à tous. PHILIPPE ROEDERER | Bonjour. RF | Une première question pour lancer l'émission. À quel degré d'acculturation au numérique était votre établissement ou votre circonscription avant la crise ? On commence peut-être par monsieur Bielmann. JPB | Pour les personnels du lycée André Cuzin, comme ils avaient une familiarité avec l'outil informatique, mais on avait quand même, parmi nos personnels, des enseignants qui étaient en grande difficulté, qui connaissait le b.a.-ba mais ça n'allait pas au-delà d'utilisation d'outils de suites informatiques classiques comme Microsoft Word ou quelques présentations sur LibreOffice, etc. Ça n'allait pas au-delà de ça et voilà la situation telle qu'elle était au départ au lycée André Cuzin. Chez les élèves l'acculturation a été aussi marquée par des problèmes de connexion. Et puis de matériel, parce qu'on a énormément d'élèves ici qui sont un peu en rupture avec l'informatique. Pas d'outils informatiques à la maison, seule connexion possible : le téléphone portable, pas toujours avec beaucoup de données. Voilà la situation telle qu'elle était au départ. RF | Merci. Monsieur Pompier de votre côté ? PP | La situation au collège Gabriel Havez était plutôt confortable puisque nous travaillons avec des outils numériques et des classes collaboratives, des espaces partagés avec l'ensemble des enseignants et des personnels. La moyenne d'âge des enseignants est assez jeune, on tourne aux alentours de 33-34 ans d'âge moyen pour les enseignants, ce qui a facilité la mise en œuvre de la mise en place des outils numériques pour la continuité pédagogique. Au niveau des élèves, nous sommes dans une situation un peu plus complexe mais nous avons été dotés par le conseil départemental de l'Oise et nous avons reçu une subvention de la part du rectorat qui nous a permis d'acheter du matériel, des classes mobiles, et donc de préparer des élèves tout au long de l'année à l'utilisation des usages numériques. Donc à ce niveau-là, c'était plutôt confortable pour mettre en place une continuité pédagogique tout au long de ces mois de confinement. RF | De votre côté, en circonscription, monsieur Roederer ? PR | En circonscription, au pays du Mont-Blanc comme ailleurs, je crois qu'il y a une grande hétérogénéité des cultures numériques professionnelles. Ça va des enseignants qui sont très présents sur les réseaux sociaux, qui ont l'usage d'outils collaboratifs, en équipe, avec leurs élèves, à des collègues qui ne maîtrisent pas du tout les b.a.-ba du numérique et de l'informatique. Après, au niveau équipement, on avait plutôt été bien doté dans la circonscription. L'enquête ETIC qui est menée chaque année montre qu'on est plutôt en avance par rapport à la moyenne nationale. On est sur un territoire plutôt favorisé avec des collectivités territoriales qui investissent régulièrement et depuis longtemps mais, finalement, ce qu'on observe dans les classes, c'est un bon équipement en tableaux numériques interactifs, en vidéoprojecteurs interactifs, en outils individuels. Mais tout ça n'est pas la garantie que, en période de confinement, on va pouvoir mettre en place une continuité pédagogique. On avance lentement dans le premier degré sur la question des ENT. On a encore du chemin par rapport au second degré avec les conseils généraux, des conseils régionaux qui ont investi depuis longtemps dans le premier degré, les communes s'y mettent, mais ça avance, progressivement. Donc on a démarré le confinement face à une très grande hétérogénéité, à la fois des cultures et des pratiques qui les ont accompagnées. RF | En préparant cet épisode, vous nous avez confié tous les trois d'ailleurs que les liens avaient changé dans vos établissements. Est-ce que vous pourriez, chacun, peut-être expliciter, donner quelques éléments concrets à ce sujet ? On commence peut-être par monsieur Pompier ? PP | Alors au niveau de la relation avec les enseignants, c'est vrai que nous avons fait des réunions, des visioconférences, régulièrement et, le regard porté au niveau de la pédagogie, de leurs contenus didactiques a changé. Ils ont été plutôt volontaires pour laisser rentrer l'équipe de direction sur ce qu'ils mettaient en place et la manière dont ils souhaitaient le proposer aux élèves et aux familles. Et donc on avait un vrai échange avec les enseignants sur le contenu pédagogique, la manière de le médiatiser. Puisque c'était ça la difficulté : entre faire un cours traditionnel et le médiatiser pour le mettre à distance, hormis mettre des documents PDF, il a fallu changer les pratiques et avoir un autre regard. On a été aidé, certes, par les inspecteurs, il y a eu énormément d'entraide entre les enseignants et des propositions qui leur ont été faites pour essayer de médiatiser au mieux leurs cours pour les élèves. Et ça, c'était vraiment quelque chose qui a changé la donne au niveau des pratiques pédagogiques pour la médiatisation des cours. RF | Justement, si je rebondis sur ce que vous dites monsieur Pompier, en passant la parole à monsieur Bielmann. Est-ce que vous auriez des exemples très concrets de ce qui peut être évoqué là, dans les pratiques enseignantes ou dans vos relations avec les enseignants ? JPB | Les enseignants, au lycée André Cuzin, ceux qui maîtrisaient les outils informatiques, n'avaient pas trop de soucis même s'ils sont se retrouvés confrontés, comme je le disais tout à l'heure, à la difficulté de certains élèves à communiquer. Les professeurs se sont très investis dans les cours par internet, pour rendre leurs cours plus accessibles, créer des classes virtuelles. Même ceux qui étaient en grande difficulté l'ont fait. Il y a eu beaucoup de travail en partenariat, des classes virtuelles à plusieurs. J'ai en tête des cours qui ont été faits par un collègue de lettres et un professeur du gros œuvre, du bâtiment. Donc ils ont essayé de maintenir le contact absolument avec les élèves. Pas forcément avec les outils classiques parce que comme je le disais tout à l'heure, on a des gros problèmes de connexion avec beaucoup d'élèves, mais par des applications que les élèves connaissent bien. Là-dessus ils se sont beaucoup investis. Sinon les liens avec la direction ont aussi été renforcés. Tous les jours, j'étais en contact avec les enseignants pour leur faire passer des informations diverses qui nous arrivaient au quotidien. J'avais mis en place un petit bulletin quotidien qui a permis de renforcer les liens entre l'établissement et ses personnels, l'ensemble de ces personnels et pas seulement les enseignants. RF | On est dans l'audio, mais je vois à l'image que monsieur Roederer hoche la tête. Est-ce que vous auriez aussi des exemples concrets en ce sens monsieur Roederer ? PR | Eh bien, nous, on est parti d'une situation où, comme tout le monde, on était sidéré par ce qui arrivait. Donc on a commencé à utiliser les outils classiques pour, très vite, prendre contact avec les directeurs d'école, on a mis en place des visioconférences régulières. Mais on en a assez rapidement mesuré les limites. D'abord,parce que tout le monde était très contraint dans son agenda. Ces visioconférences où on donne rendez-vous à l'ensemble des directeurs de la circonscription, à telle heure, n'était pas toujours très simples à organiser. Un nombre de participants qui ne favorise pas toujours les échanges. Dans ma circonscription, j'ai 33 écoles mais j'ai des collègues qui en ont parfois 45-50. Les visioconférences à 33, on sait que ce n'est pas très interactif, on n'est pas vraiment dans l'échange, on est plutôt dans la passation d'informations, quelque chose de très formel. Et puis, je passe sur les questions d'authentification. J'avais, je le disais tout à l'heure en introduction, des gens très peu acculturés au numérique professionnel et l'authentification qui est parfois complexe sur nos outils de visio institutionnels ont freiné certains usages. Donc on a mis en place ce qu'on a appelé « le bar virtuel des directeurs d'école ». Alors le terme, on ne l'a pas choisi au hasard. on était conscient que sémantiquement ça pouvait peut-être interroger, mais en tout cas, l'idée d'avoir un rendez-vous quotidien, sur des plages horaires fixées, mais sans obligation d'être présent. En fait, une connexion à cet espace virtuel de visioconférence au gré des besoins et des envies des directeurs d'école avec cette assurance de pouvoir y trouver un membre de l'équipe de circonscription : les conseillers pédagogiques, l'enseignant référent aux usages du numérique, moi-même, avec une parole libre, sans ordre du jour, sans obligation de présence, sans horaire d'arrivée ni horaire de départ. Bref, un lien unique, permanent. Je clique et j'ai au bout du clic, si j'ose dire, un membre de l'équipe de circonscription et des pairs. Et ça a changé pas mal la relation, finalement, pendant ce moment de confinement. RF | Quand on entend ça, on entend en creux l'horizontalité et vous avez évoqué le mot de « confiance ». Est-ce que c'est ça que vous avez constaté, chacun à votre niveau, ou peut-être mis en place ou encore amélioré ? En tout cas, on le sent dans vos discours à tous les trois, cette notion d'horizontalité et de confiance à vos équipes pédagogiques. Monsieur Pompier ? PP | En effet, au niveau de la confiance, c'est quelque chose d'important. C'est grâce à ça que tout a pu se développer. En fait, rien n'a été bridé en termes d'expériences, de possibilités au niveau des enseignants. Je leur ai laissé le choix de prendre les outils les plus adéquats pour répondre aux besoins. En revanche, j'ai contraint l'utilisation d'un outil unique. On avait fait le choix d'un Moodle parce que l'ENT n'était plus opérationnel pendant un certain temps à cause d'un trop grand nombre de connexions. Nous avons été un des premiers clusters de France. Tant que nous avons été seuls, on a pu fonctionner correctement, dès que toute le monde est revenu dessus, c'était ingérable donc on a pris une autre plateforme. Un Moodle qui nous a permis de centraliser tout ce qui était déposé. Mais dans tous les cas, on n'a pas bridé la créativité des enseignants. On est allé sur des chaînes YouTube, on a utilisé divers outils, les genially et d'autres, et recentré sur une même page pour que les enseignants, les élèves et les parents puissent avoir l'ensemble des contenus pédagogiques de leurs enfants. Et grâce à ça, on a pu tenir à la fois la charge de travail, suivre les élèves, avoir l'état de connexion et les rappeler au besoin. Et c'est ce qui nous a permis d'avoir une continuité pédagogique de qualité. Moi, je suis plutôt fier de ce qu'ils ont fait. RF | Monsieur Bielmann, je vois que vous vouliez prendre la parole et renchérir à ce sujet. JPB | Oui, c'est la même chose. Nous avons, au départ, utilisé principalement la plateforme Pronote parce que c'est celle qui était la plus facilement accessible à tout le monde, et puis très rapidement pour faciliter les relations avec les élèves, j'ai aussi laissé les professeurs utiliser YouTube. On a un professeur qui a créé une chaîne qui est très utilisée encore aujourd'hui pour ses supports. On a aussi utilisé des applications de messagerie et de communication par internet comme Whatsapp. Ce sont des choses qui se sont faites parce que, encore une fois, quand un élève n'a que son téléphone pour suivre les cours, ce sont bien les outils les plus facilement utilisables. On a prêté des ordinateurs à des élèves, mais le problème c'est que quelques fois, ils avaient eux-aussi des gros problèmes de connexion. J'ai des élèves qui sont dans des foyers et qui n'ont pas de connexion Wi-Fi notamment. Donc, ça a été plutôt le système de la débrouille, l'essentiel a été de réussir à maintenir le contact avec quasiment tous nos élèves. Heureusement, dans l'établissement, il y avait un travail qui avait été fait en amont sur la lutte contre le décrochage scolaire à travers un GPDS très important et qui se réunit toutes les semaines et qui a facilité la confiance des jeunes vers l'établissement, et moi-même je répondais tous les jours aux sollicitations, que ce soient des élèves ou des personnels au téléphone, à chaque fois que quelqu'un manifestait le besoin de me contacter. C'était maintenir le contact à tout prix et je dois dire qu'heureusement que cette confiance des personnels et des élèves existait, sinon ça aurait été très compliqué à conduire la gestion de cet établissement pendant toute la période de confinement. RF | La question qui vient naturellement puisque, effectivement, on a constaté qu'il y a eu des usages d'outils disons non institutionnels, avant de revenir à ces outils institutionnels. Est-ce que l'un ou l'autre, vous avez pu constater des dérives dans l'usage de ces outils non institutionnels dans vos établissements, dans votre circonscription ou pas du tout ? JPB | En ce qui me concerne, je n'ai pas eu d'alerte, sauf une fois où j'ai appelé l'élève et sa famille, et ça s'est arrêté là, un élève avait dérapé comme il aurait pu d'ailleurs déraper en cours. Il a dérapé, j'ai eu cet élève au téléphone, j'ai eu sa famille au téléphone et le professeur principal aussi, et tout est rentré dans l'ordre. RF | Monsieur Roederer ? PR | Oui, chez nous, ça a été aussi l'occasion de se réinterroger, une fois la sidération passée et quelques routines mises en place, sur les principes du RGPD et peut-être se rassurer un petit peu et se dire que le RGPD n'est pas nécessairement un texte qui bride les usages, c'est simplement porter l'attention sur ce que l'on fait des données personnelles des élèves, de leur famille. Ce qui permet des choses. J'entends souvent dire : « Tel ou tel outil n'est pas conforme au RGPD » et en fait je me dis que cette phrase n'a pas beaucoup de sens. Ce n'est pas tellement l'outil qui doit être conforme au RGPD, même s'il y a effectivement un certain nombre de garanties que l'outil doit apporter, mais c'est surtout l'usage que l'on en fait qui est conforme ou non. Quand vous déposez dans un genially ou sur un Padlet des séquences pédagogiques, pour moi il n'y a pas de difficultés particulières puisqu'on ne met pas de données personnelles, ni d'élèves, ni d'enseignants, ni de parents sur cet outil-là. Ça a été l'occasion, je crois, d'une réflexion qu'on n'avait peut-être pas eu le temps de mener sur cette question de l'usage des données personnelles. RF | Merci. Pour enchaîner, ça fait bientôt deux mois, quelques semaines en tout cas que l'école a recommencé avec la rentrée 2020. En cette rentrée, quelle est l'ambiance dans vos structures respectives ? Quelle place les enseignants ont pu laisser ou pas au numérique suite à ce déconfinement et ce retour en classe ? Monsieur Pompier pour commencer. PP | Alors là, ça devient plus compliqué. Entre le tout numérique pendant la période de confinement et le retour en classe, les premières semaines de classe ont été : « on laisse un petit peu de côté le numérique, même si on ne l'oublie pas », puisqu'ils ont quand même préparé des activités au cas où il y aurait des fermetures de classes, au cas où on devrait remettre en place une continuité pédagogique. Mais elle est bien moindre par rapport au premier temps de confinement. Néanmoins, ils y réfléchissent toujours, les chaînes YouTube sont toujours en action, les activités, certaines plateformes, puisqu'ils y ont vu de l'intérêt. Mais c'est bien moins utilisé que pendant la période du confinement, ce qui est logique aussi. Là, ils me disent tous, enfin tous les enseignants quasiment disent : « oh non, non, là on fait cours de façon traditionnelle avant qu'on reconfine ou qu'on ne soit plus en capacité d'avoir nos élèves en face. » Ils maximisent le présentiel, mais en même temps ils préparent les élèves à un potentiel reconfinement, soit de classe, soit d'absence, et on se sert de ce qu'on a mis en place pour les élèves absents au niveau du collège, c'est-à-dire qu'il y a des possibilités de rattrapage en dehors de Pronote, puisque Pronote c'est juste un dépôt de fichier, ou pour certains élèves, ils ont des cours qui seront mis en place pour pouvoir rattraper. Et ça c'est plutôt positif. Alors… Tous les enseignants ne le font pas, c'est une petite frange qui était déjà acquise au numérique, mais ça se fait, ça se développe, il y a des partages d'expériences à ce niveau-là, donc ça c'est plutôt bien, mais ce n'est pas aussi développé que sur le premier temps. RF | Monsieur Bielmann, vous confirmez ce côté : « on sent le côté hybridation, on est en présentiel maison se prépare quand même encore au distanciel » ? JPB | On a repris les cours en présentiel. Heureusement d'ailleurs, il fallait. Il fallait revenir en présentiel pour rassurer les élèves. Ici, pour les élèves de deuxième et troisième année, il n'y a pas de trop de soucis, la confiance est établie et s'il fallait retourner en visioconférence, en télé-enseignement, ça se ferait assez naturellement. Ce qui est inquiétant c'est plutôt avec les entrants, les nouveaux élèves que nous avons. Beaucoup n'ont pas été scolarisés pendant plusieurs mois depuis le mois de mars, certains ont perdu le contact avec l'école. Et nous rencontrons des difficultés avec ces jeunes-là parce que, que ce soit d'ailleurs le présentiel ou le télé-enseignement, pour l'instant, le but, c'est de les faire revenir à l'école, reprendre contact avec l'institution, avoir confiance en nous, ce qui n'est pas toujours gagné avec des enfants qui sont souvent cabossés par la scolarité au collège avant d'arriver au lycée professionnel. Et là je suis très inquiet, j'espère que nous n'aurons pas de reconfinement s'il doit y en avoir un, avant plusieurs semaines encore, voire plusieurs mois, parce que nous risquerions, à ce moment-là, d'en perdre beaucoup et de ne pas pouvoir établir de télé-enseignement avec eux, parce que ces jeunes-là, pour l'instant, il faut les réhabituer à aller à l'école. Et ce n'est pas gagné. RF | Monsieur Roederer, vous voulez ajouter un mot, je crois. PR | Oui. En fait, cette période, ça a été quand même un accélérateur assez formidable des usages numériques. Quand on fait de la formation d'usage du numérique depuis plus de dix ans, c'est mon cas, on se dit que finalement sur cette période, on a avancé sans doute beaucoup plus vite qu'en plusieurs années ces dernières années. C'est un accélérateur des usages vers quand même plus d'hybridation, vous avez utilisé le terme tout à l'heure. Je crois que le numérique c'était, en tout cas dans le premier degré, plutôt l'outil du maître, un outil pour faire la classe, pour ouvrir la classe sur le monde. C'est désormais un outil d'échange avec les élèves, en tout cas ça le devient. On voit des enseignants qui sans doute n'osaient pas, qui osent un peu plus parce qu'ils se sont rendu compte qu'on pouvait apprendre en faisant ce que les anglo-saxons appellent le learning by doing, on peut apprendre en faisant et on peut progresser ensemble. Puis vous posiez la question de l'ambiance en ce début d'année. C'est une ambiance où, effectivement, on capitalise sur des pratiques, il y a des choses qui s'installent de manière plus durable sur les pratiques numériques. Et il y a aussi beaucoup d'anticipation. On est dans cette phase d'anticipation, c'est-à-dire se dire : « on risque quand même d'avoir un hiver un peu chaotique ». Et on voit la demande d'ouvertures d'ENT qui a complètement explosé et une prise de conscience à la fois, et de la communauté éducative, c'est-à-dire à la fois des enseignants, des directeurs d'école mais aussi des collectivités territoriales. Que, peut-être, on n'est pas suffisamment bien outillé pour pouvoir, mettre en œuvre une continuité pédagogique si reconfinement il doit y avoir. PP | Je voudrais simplement rajouter une chose, c'est que la maîtrise de l'outil informatique qui n'était pas toujours au top pour un certain nombre d'enseignants, maintenant, il y a quasiment l'ensemble des enseignants qui n'ont plus d'appréhension vis-à-vis de l'usage informatique. Ça a énormément changé, notamment chez les professeurs qui étaient les plus éloignés des sciences ou de l'enseignement professionnel. Maintenant, tout le monde maîtrise très bien l'outil informatique et n'hésite pas, effectivement, à déployer ces outils pour échanger avec les élèves. On a maintenant des cours qui sont des devoirs envoyés par mail, ça se fait de façon assez courante aujourd'hui. RF | Si je résume un peu vos propos, c'est : plus d'agilité pour ceux qui étaient déjà acculturés et moins d'appréhension pour ceux qui avaient peur du numérique. PR | C'est ça ! RF | Un exercice de de concision maintenant pour arriver au bout de cette émission. Est-ce que chacun d'entre vous pourrait, en une phrase, expliquer un élément particulier sur lequel vous pensez que cette période a véritablement fait évoluer votre management ? PR | Je reprendrais la question de l'horizontalité. En tout cas dans le management d'une circonscription vers ses directeurs d'école, beaucoup plus d'horizontalité avec la mise en place de ce fameux bar virtuel des directeurs d'école, une évolution des postures professionnelles. RF | Merci monsieur Roederer. Monsieur Bielmann ? JPB | L'horizontalité, ici, elle existait déjà auparavant avec un conseil pédagogique qui prenait la forme de plénière, mais je dirais en ce qui me concerne, la facilité de passer du présentiel au virtuel que je n'avais pas avant. J'avais beaucoup de crainte avec ces outils de visio. Aujourd'hui ça me gêne beaucoup moins de passer de l'un à l'autre et en fonction des nécessités, je m'adapte et ça me permet de garder le lien avec mes équipes quoi qu'il puisse arriver, même si j'ai toujours envie que tout se fasse en présentiel, notamment les réunions avec les uns et les autres, mais quelques fois ce n'est pas possible compte tenu de la situation. RF | Monsieur Pompier ? PP | Ce n'est pas facile de passer après vous deux… [rires]. Je dirais plutôt une confiance envers les équipes, une confiance mutuelle et surtout permettre une expérimentation pour aller encore plus loin, pour faciliter les échanges, pour permettre de découvrir des champs que nous n'avions pas exploré jusqu'à présent. Et ça, c'est ce que cela a vraiment permis : laisser la créativité aux enseignants, leur faire confiance. Je suis allé encore plus loin. On avait déjà un conseil pédagogique qui était plutôt en plénière, où ça se passait bien, mais là, ils arrivent avec des propositions qu'ils n'osaient pas à faire avant. Et je crois que c'est ce qui a vraiment changé. RF |Confiance, horizontalité, c'est sur ces mots qu'on va conclure, on ne peut mieux, cet épisode. Messieurs Bielmann, Pompier, Roederer, merci à chacun de vous trois pour ces échanges qui, nous l'espérons, éclaireront et inspireront aussi vos pairs et les auditeurs de cet épisode. Merci d'ailleurs à ceux qui nous écoutent. C'était « La nouvelle e-gouvernance », un épisode d'Extra Classe.
Example: John MacArthur, Doug Pagitt, Mark Driscoll, NT Wright, Brian Mclaren, John Piper, Tim Keller, Etic . . . .
Marko and Tony are joined by owner and designer of Poïetic, Michael Welke. "For the month of May - for every mask purchased we will donate two to Mary’s Place (@marysplacewa). They do amazing work for families and women." - Michael WelkeShop | Head over to www.poieticdesigns.com today, for all your jock strap and face mask needs.Follow | Instagram: @poieticSupport the show (http://www.patreon.com/podrelationshit)
Ajută-ne ca să te ajutăm!Dacă îți place ceea ce facem și ai vrea să vezi mai multe videoclipuri similare, ne poți susține foarte ușor, vizitează https://www.patreon.com/endocupasiune și tu decizi ce faci mai departe. Luna Ianuarie, Întâmplări cu pacienți, Realitățile cotidiene, Calmul unui medic dentist și Etică și Moralitate.La final se rezolvă totul cu o cafea bună din partea celor de la Hot Pipes.
Technology has and continues to change the world. There's one technology center at New York Institute for Technology called the Entrepreneurship and Technology Innovation Center (ETIC). This center, located on Long Island, is changing the way we do business both here and around the world. About ETIC: ETIC fosters discovery, cultivating new businesses and products, and trailblazing fresh ideas in technology, engineering, and applied science. ETIC constantly creates partnerships between the academic community and professional organizations. ETIC's goal is to make a difference in IT and cybersecurity, bioengineering and medical devices, and energy and green technologies. ETIC has 8,000 square feet of state-of-the-art labs and facilities. The center is dedicated to supporting its partner companies and offering them access to funding through their investor networks. They also help students become transformative leaders in the field. Further, their goal is to spur the NYC community to develop excitement about scientific advances. Discussion on HTOA On this episode of Hilary Topper on Air, Dr. Michael Nizich was interviewed. Hear what he has to say about how ETIC contribute to the region. He also talked about how the ETIC is preparing the regional workforce. In addition, he discussed students benefit and how the ETIC is making students think about global change. About the Guest Michael Nizich is the director of the Entrepreneurship and Technology Innovation Center (ETIC) and is an adjunct assistant professor of computer science at New York Institute of Technology. He has more than 25 years of professional experience in information technology in a variety of industries, including aviation, education, law enforcement, biotechnology, and cybersecurity. Nizich has held IT leadership positions in both private and publicly held companies. With more than 10 years of college-level teaching experience, Nizich holds a Ph.D. in Information Studies from Long Island University, a master’s degree in Technology Systems Management from Stony Brook University, and a bachelor’s degree in Computer Information Systems from Dowling College. Through ETIC programs, Nizich regularly connects both domestic and international students with internships and full-time positions in cybersecurity. He also directs NYIT’s Center of Academic Excellence for Cybersecurity Education, designated by the U.S. Department of Homeland Security and the National Security Agency, and serves as a member of the CTEA committee for cybersecurity for Suffolk County Community College. For more information on ETIC, go to http://www.nyit.edu/etic.
Key Links Support Counting Countries, and check out these trips from G Adventures https://www.patreon.com/CountingCountries Counting Countries Apparel Group Trip To Bhutan In November Group Trip To Madagascar Visiting Sealand Principality of Sealand Extreme Travelers International Congress -----On today’s episode, I speak with eight extreme travelers at Sealand. Well, let me explain that, the interviews did not take place at Sealand, but at the nearby port of Harwich in England. And yes, these interviews are recorded, so it is really not live. But, I loved the title … Live From Sealand. I am reminding you that Counting Countries is now partnered with Patreon. Patreon is a platform that allows patrons, that’s you, to support creators, and that is me creating Counting Countries. Thanks to new patron, Adam Hickman, who is also a former guest. Make sure you check out his interview and his blog, Hick Hiker. And thanks to my other patrons, Bisa Myles, Ryan Gazder, and Ted Nims. As thanks, they are able to listen to additional interviews, only available to them. And a reminder, Counting Countries is offering its first group tour to Bhutan on November 7th. This is a great agenda which I consulted on and helped create. I have been to Bhutan three times and looking forward to returning for a fourth time. Besides seeing amazing things like Tiger’s Nest and the Punakha Dzong, I have scheduled this trip to coincide with two festivals. I have also negotiated a daily $25 discount from the mandated government minimums. Please go to GlobalGaz.com to see more information as well as disclosures. And I am announcing a new trip to Madagascar in August of 2020 with G Adventures. As some of you might know, the Extreme Travel International Congress met in June at the Principality of Sealand, considered by some to be the smallest country in the world. Sealand is a former military fortification built in the North Sea. ETIC is organized by Kolja Spori and has had previous meetings in places like Grozny, Mogadishu, and Baghdad. Twenty-five extreme travelers gathered at this congress; including the founders of Nomad Mania (Harry Mitsidis) and MTP (Charles Veley) as well as the president of TCC (JoAnn Schwartz). I was able to sit down with eight travelers for brief interviews during my visit. Some are familiar faces, and others are brand new to Counting Countries. I also want to thank ETIC for recognizing Counting Countries with their Community Award. The guests for this episode are - Kolji Spori Joao Paulo Peixoto Michael Runkel Jeroen Agneessens Gustav Adolf Junge Per Besson Mike Kendall David Yang And after the interview with the extreme travelers I am very excited to share that I will be speaking with Prince Michael of Sealand. Prince Micheal is a direct descendant of the Sealand’s founder, Prince Roy. Prince Michael shares with us the amazing history of Sealand. I encourage you to subscribe wherever you listen, Apple Podcast, Google Play, Stitcher, or Spotify and write a review, even better if it is 5 stars. But for now, here’s my conversation with eight awesome travelers and an extended interview with Prince Michael. Please listen in and enjoy. Thank you to my Patrons …. Adam Hickman, Bisa Myles, Ted Nims & Ryan Gazder. Be the first on your block to sport official Counting Countries apparel! You can purchase today on Amazon. And now you can listen to Counting Countries on Spotify! And Alexa! Subscribe on Apple Podcasts today! And write a review! Check out our friend: Large Minority. They organize international rallies around the world including: Sri Lanka, Cambodia, the Philippines and the Amazon. And watch my full length documentary in Cambodia when I traveled with Large Minority. About Counting Countries Counting Countries is the only podcast to bring you the stories from the dedicated few who’ve spent their lives on the singular quest of traveling to every country in the world. Less people have traveled to every country in the world than have been to outer space. Theme music for this podcast is Demeter’s Dance, written, performed, and provided by Mundi. About GlobalGaz Ric Gazarian is the host of Counting Countries. He is the author of three books: Hit The Road: India, 7000 KM To Go, and Photos From Chernobyl. He is the producer of two travel documentaries: Hit The Road: India and Hit The Road: Cambodia. Ric is also on his own quest to visit every country in the world. You can see where he has traveled so far and keep up with his journey at GlobalGaz.com How Many Countries Are There? Well… that depends on who you ask! The United Nations states that there are 193 member states. The British Foreign and Commonwealth office states that there are 226 countries and territories. The Century Club states that there are 327 sovereign nations, territories, enclaves, and islands. The Most Traveled Person states that there are 875 unique parts of the world. The Nomad Mania divides the world into 1281 regions. SISO says there are 3,978 places in the world. Me? My goal is the 193 countries that are recognized by the UN, but I am sure I will visit some other places along the way. An analysis of these lists and who is the best traveled by Kolja Spori. Check out our friend and his new book: The Curious Case of William Baekeland William is a former guest of Counting Countries. Harry Mitsidis, the author and extreme traveler, traces William’s arrival and unraveling in the travel community. It is a story worthy of a film … and this book. Disclaimer: I will earn a fee if you order from Amazon/Agoda. ----- Produced by Simpler Media
La non-violence est inefficace dans les mouvements sociaux! C’est la thèse de Peter Gelderloos, un anarchiste libertaire canadien qui veut montrer que la non-violence n’est pas une technique efficace de luttes sociales et, plutôt que de remettre en cause en profondeur le système, elle facilite le travail de l’Etat pour réprimer, critiquer et casser les mouvements sociaux et surtout ne rien faire. Le mouvement pour le climat est un très bon exemple: les activistes emploient des techniques non-violentes depuis des années avec un impact très limité. Et, alors que la France a connu un de ses plus grands mouvement de désobéissance civile le 19 Avril 2019, il est temps de revenir sur la question de la violence dans les mouvements sociaux, que les Gilets Jaunes, eux, ne rejettent pas.
Bună Dimineața, Coae! (cu Sîrb și Atănăsoae) PREZINTĂ Episodul al treilea, înregistrat cu întârziere dar totuși postat cu întârziere. În care rezolvăm dileme morale, discutăm idei de cariere alternative pentru Nicolae Robu și avem păreri despre manele. Nu e cine știe ce, dar hei, măcar se aude prost.
Carnet d’ADRESS avec le Mouvement Associatif Occitanie, Toulouse Métropole et la Caisse des Dépôts et Consignations. Découvrez le parcours d’entrepreneurs de l’ESS qui transforment la Métropole Toulousaine. L’association ETIC (Emballages Toulousains Innovants Consignés) lance une campagne de financement participatif sur la plateforme HelloAsso pour les aider à promouvoir la consigne dans l’univers de la restauration à emporter. Un secteur qui génère une grande quantité de déchets d’emballages. Pour remédier à ce gaspillage a fort impact environnemental, Jonathan CONAN, cofondateur d’ETIC lance au printemps 2019 l’opération "En boîte le plat", une offre alternative aux emballages alimentaires à usage unique. Un concept qui participe à un mouvement qui est dans l’air du temps, le grand retour de la consigne. Concrètement, quand vous irez acheter une part de quiche, une salade ou un risotto à emporter, le restaurateur qui fera partie de ce futur réseau pourra vous proposer votre repas dans un plat en verre consigné. De la commande au lavage des plats en passant par la construction du réseau de restaurateurs qui adhèrent avec enthousiasme au projet, Jonathan nous explique pourquoi et comment ils ont imaginé cette nouvelle offre. Une aventure entrepreneuriale pour cet ancien ingénieur généraliste formé à l’INSA qui aurait pu faire carrière par exemple chez AIRBUS mais a préféré s’engager dans un projet d’économie circulaire. Le parcours ADRESS Jonathan nous raconte comment est née cette idée et comment elle a évolué et s’est structurée grâce au parcours ADRESS qui lui a notamment permis d’avoir un regard extérieur pertinent sur ce projet, de découvrir et rencontrer les acteurs de l’économie sociale et solidaire, de l’aider à faire un budget prévisionnel, un plan de financement, et de lancer le 04 mars une campagne de financement participatif. L’occasion de parler avec lui de quelques moments de découragements ou de grandes satisfactions inhérents à la construction d’un projet et de l’importance de l’accompagnement dans cette opération "En boîte le plat" dont la première étape grandeur nature aura lieu au printemps. Une étape qui devrait permettre à ETIC de mettre à terme les petits plats dans les grands pour développer ce projet et d’autres qui s’inscrivent dans la même démarche. "Je commande, je mange, je jette c'est le rituel de dizaine de millier de Toulousains et de beaucoup de français. Avec ETIC emballages nous souhaitons casser ce rituel" https://www.facebook.com/ETICemballages/
You can know more about Angry Talks here: https://talks.angry.ventures/
In this podcast, Raffi Gabriel explains the martial arts renaissance happening now around the world. What is martial arts is explored in detail? The origin of all martial arts is explained. Hunting and Fighting are compared. Affective Aggression vs Predatory Aggression. Pattern practice in martial arts training. The useful terms Emic and Etic, are defined for use in discussing martial arts.Support the show (http://www.patreon.com/combativesacademy)
Para este segundo episódio do podcast Isto não aprendi na escola, convidei uma amiga de longas conversas e desafios constantes. Além da sua capacidade de transmitir uma energia inesgotável, a sua dedicação à educação, pessoas e novos projetos fazem da Manuela uma pessoa singular graças ao seu espírito insatisfeito e sempre inovador. Desassossego é a palavra de ordem desta conversa. p.s. O som será melhor em próximos episódios. É nisso que estarei a trabalhar nos próximos.
MSM 407: Synth-etic Boo! What Does That Sound Like? Jokes You Can Use: Middle School Science Minute by Dave Bydlowski (k12science or davidbydlowski@mac.com) Adolescent Brain http://k12science.net/Podcast/Podcast/Entries/2018/10/24_Middle_School_Science_Minute__Adolescent_Brain.html From the Twitterverse: #mschat every Thursday at 8:00 pm Eastern Standard Time. And as Troy says, “The Twitter never stops!” Strategies: Resources: The Sound of Text https://soundoftext.com/ 13 Alternatives to Google Image Search https://docs.google.com/document/d/1z8ySPgLOE0UNH01HMQ___-BF6cRxfytc-4_MrSTWA1o/edit Your Fallacy Is https://yourlogicalfallacyis.com/shop
"Pendant 3 ans on m'a prise pour un ovni, avant que je ne prouve que mon concept marche."Cécile Galoselva est fondatrice et directrice d'ETIC - Foncièrement Responsable, groupe d'espaces de travail pour associations et acteurs de l'ESS à loyers modérés, éco-responsables et financés par des actionnaires éthiques. Créée en 2010, l'entreprise compte 20 salarié.e.s et génère 2 millions de chiffre d'affaires 7 ans plus tard.Les 3 premières années de son activité n'ont pas été faciles : que ce soit dans le monde de l'économie classique, celui de l'Economie Sociale et Solidaire ou de l'immobilier en tant que femme, la réticence était grande face à son projet.Elle a tenue le cap et nous explique comment :1) Rejoindre des réseaux de pairs entrepreneurs positifs et bienveillants (03:13)2) Participer à des concours spécialisés pour prendre du recul, des retours, booster son réseau et prendre confiance (04:45)Son conseil pour gagner du temps : Avoir une bonne hygiène de vie (06:53)Son conseil pour gagner de l'energie : Prendre le temps d'échanger avec ses collaborateurs (08:06)La question qu'elle se pose : Comment vraiment déconnecter de son projet ? (09:15)Plus d'infos sur Etic - Foncièrement responsable : etic.coPour t'abonner à notre Newsletter, c'est par ici : bit.ly/Newsletter_VécusPlus d'infos sur Vécus : vecus.org Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.
A beleza física não o define mas talvez tenha ajudado quando foi contratado para barman no Lux. Aos 21 estava no curso de realização na ETIC e a seguir no Conservatório. Isto depois de ter sido “atirado aos leões” nos Morangos com Açúcar. Mas este podcast é sobre viagens e o poder de nos conhecermos em cada uma delas. Aconselha toda a gente a viver no estrangeiro. Recomenda a Amazónia como melhor destino para viajar sozinho e confessa que recusou o papel numa novela para poder fazer voluntariado.
Zatímco budování socialismu bylo v plném proudu, ve středočeských lágrech otročily tisíce nevinných lidí. Nechvalně proslulý byl tábor Vojna u Lešetic. Uran na atomové bomby tady těžili čeští političtí vězni spolu s vrahy a zloději.
This episode we feature Salimeh Tabrizi who is the founder of the Cannabis Hemp Conference and Expo (CHCE) which is happening May 6 & 7 at UBC. This is an incredible event bringing Cannabis into a very positive and integral light as we approach legalization across Canada and in many states of America. Graham Hancock is one of many featured speakers for this event among many others as well as panels, workshops, vendors and more. It is honestly one of the best events going and this 3rd year of it's existence is looking to be the best yet. In this episode she shares her Ayahuasca communicated inspiration and intentions behind creating this conference, fascinating story! TICKET 20% OFF DISCOUNT CODE: "DIVINE20" Tickets @: https://www.tix123.com/tix123/eTic.cfm?code=CHCE2017 Full Website: http://www.cannabishempconference.com/
One of our wish list guests joined us from across the pond via Skype for a riveting talk primarily around cannabis legalization. Graham Hancock is an international best selling author. He has an extremely controversial TEDx talk called "The War on Consciousness". And he's appeared several times on London Real and The Joe Rogan Experience podcast. This episode was made possible by the Cannabis Hemp Conference and Expo happening May 6 & 7 at UBC. Special thanks to Salimeh T. for making this interview happen! Graham will be speaking both days at the conference and will be joined by a plethora of other speakers, panelists, and workshops throughout the course of the weekend. This event is meant for patients, health care practitioners, industry members, and any one looking to share about or learn more on the amazing plants of cannabis and hemp. Get your tickets via the link below...Early Bird Tickets until April 9, 2017 WE'LL SEE YOU THERE! TICKETS -- https://www.tix123.com/tix123/eTic.cfm?code=CHCE2017 http://www.cannabishempconference.com/ Graham's website - https://grahamhancock.com/
Welcome to Mere Rhetoric, the podcast for beginners and outsider about the ideas, people and movements who have shaped rhetorical history. Today we’re going to talk about the method to the madness, if madness were writing studies research. That’s right, we’re going to talking about a little edited volume called Writing studies Research in PRactice and you never knew methodology could be so fun. But first, if you’re a regularly listener to the show, can I recommend you get on iTunes or whereever you find your podcasts and give Mere Rhetoric a review? It doesn’t have to be long or laudatory, but it would be nice for when I prepare reports for folks like the Humanities Media Project at the University of Texas. This way I can let them know that people like the show and want it to continue. Or if you want to, you can email us at mererhetoricpodcast@gmail.com and a word about that: sorry! I recently realized that my email forwarding on that gmail account wasn’t correctly forwarding to my personal email, meaning that many of the lovely email people had been sending hadn’t been getting to me! As you can imagine, I am properly mortified, and I will begin to respond to the backlog and get on people’s requests for episodes as I respond. I thought no one had been writing! But now that I know, I’ll be (1) a lot more satisfied with the lovely responses and (2) getting back to everyone who emailed by didn’t get a response. Okay, now on to the show. Writing studies research in practice is a relatively new book, published in 2012 and edited by Lee Nickoson and Mary P Sheridan. It would be a nice addition to a doctoral course on composition research and methods, or for an advanted graduate student who is beginning to think about the kind of research she wants to do to approach a new project. Honestly, I’m not sure I’d recommend it for a straight-up novice in research in compositoin. And here’s my reasoning why: this book mostly complicates some of the “traditional” methods of composition research, which might be a little disorienting for someone who isn’t familiar with the tradition. It’s a little like getting a triple-cake-chunk pineapple swirl mix-in sundae for someone’s first introduction to ice cream. It consists of three main parts: part one “reimagining traditional research practices” talks about strategies we think we know well, like narratives or ethnographies.Part two, revisioning research in composition looks at controversal strategies like teacher research and autoenography, and part three reconceptualizeing metholodology and sites of inquiry. So you can hear how this text emphasizes the variation rather than the plain ol’ vanilla of research. There is a feminist methodology bent, which probably isn’t surprising because Sheridan and Nickoson are great feminist researchers and they themselves recognize that there are a few big, meaningful gaps in their book, including, like case study-research and surveys. Pretty much it leans heavily on lived research, like ethnography. Here are some of the highlights of the text. First off, Doug Hesse, one of my favorite human beings and the reader on my dissertation has this fantastic chapter on “Writing Program Research” where he tells the story of how, plagued by the rumblings on campus that “students can’t even write a single correct sentence,” he “analyzed errors in a random sample of 215 papers selected from a corpus of 700 papers written by first-year students” and discovered “at least 85% of sentences were error free”--empirical proof that students can, in fact, write many correct sentences (144). But writing research isn’t just about snarky research design to stick it to your supercillious colleagues. Writing program research, like its cousin teacher research, seeks to advance actual practice as well as knowledge in the field. As Lee Nickoson puts it, “Teacher research is the study of a writing class conducted by one who teaches it with the ultimate purpose of improving classroom practice” (101). That means you care intimately about the results and you aren’t willing to sacrifice quality teaching for research, but that you create a holistic identity as teacher and researcher (105). You are always still a human being. That theme is also at the heart of Suresh Canagarajah’s chapter. We’ve done an episode on Canagarajah before and how deeply I love that man, so I refer you to it, but in this collection, he talks about autoethnography, an “emic and holistic perspective” where researchers “study the practices of a community of which they are members and they are visible in the research” (114). Quick sidebar to define one of the terms there. Emic, means insider, and it’s opposed to Etic, which is outside. Etic is the traditional perspective of ethnography: some white guy, probably British, and I’m thinking with a pith hat and a monocle, goes to Papua New Guinea or somewhere and frowns disapprovingly and makes notes in a notebook while the native eat bugs. Emic is about coming from the inside, where traditions and culture are part of the researcher’s understanding, so the research isn’t just observations and interviews, but also their own understanding. Autoethnography is the ultimate in this emic perspective, where researcher and subject are the same person. For narrative research, the individual is often also tied up. Debra Journet objects to the perspective that “narrative has sometimes been presented as a n almost direct way to represent qualities of personal experience” (15)--there are, she argues, many times of narrative that aren’t just personal, but a whole “range of narrative genres” (16). Cynthia Selfe and Gail E Hawisher, for instance, in their chapter about interviews point out that “we had grown increasingly dissatisfied with containing our questions to a standard set of prompts that elicited information but did not easily encourage follow-up questions and did not always encourage the kinds of narrative responses we found so richly laden with information” (39). These narrations don’t always come when the same list of questions are applied to each interviewee as traditionally happens in interviews. And because it’s Cynthia Selfe and Gail Hawisher, you know technology is going to come into play, and indeed, they talk about how participants in their interviews often supplement their answers with digital media, and how publishing should also include video clips and sound as well as alphabetic and static image representations (44-45). And lest you think digital research is going to be 100% easier than other types of research Heidi A McKee and James E Porter present “the ethics of conducting writing research on the internet” The internet is such a strange space for research because it isn’t entirely anonymous and it isn’t entirely private. When you study a text on the internet, some are obviously public, like a professional blog, but others have an expectation of privacy, or at least a limited audience, like the forum posts on a website for recovering alcoholics. Many people may feel like they are interacting in a space of limited publicity when they send text messages or post in a forum or even join a game like World of Warcraft, and they feel this way despite any small print on the site to the contrary. So even if sometime is technically permissible by your IRB department, you will want to considerate about consulting with representative audiences, being open about being a researcher online, and being aware of the regulations and laws of the online spaces you research (256). No matter what kind of research you do, the volume as a whole seems to say, be thoughtful about the participants you involve, the audiences you are writing for and your own involvement in the subject. Things aren’t always cut and dry in research and what starts as, for example, a survey, may end up expanding into a series of interviews or ethnographic observation. Research in writing studies is so variable and there are so many ways to do it, from discourse analysis to autoethnography. We study texts and we study people. We want to make sure that we do it responsibly, thinking about how what we claim to be studying will impact the folks we study, the folks we’re writing to and, ultimately, to us ourselves as researchers.
(Inspired by a story by Edgar Allen Poe) The pranks of a group of frat boys turn every hand against them. Music by Persson Cover art by Dennis Hager Thanx to Glen Hallstrom for sound help!
Andy and I get emic & etic–but hopefully not emetic–on the podwaves. Listen on and all will be explained.
This weeks mix is from Lorraine Psilocybe Tribe. A chilled progressive mix brimming with atmosphere and psychedelic grooves. Lorraine began Djing in 2002 and has quickly established herself within the UK psy party scene where she's built up a reputation as a friendly, positive DJ and promoter. Enjoy the mix :) Lorraine (Psilocybe Tribe/Sunrise/Anushka/Shanti/UV) Track listings: J & B Project-tschigibaem Terahert-solar noon J & B Project-sound like it Digital Drop-kammerad schwungrad Suntree-observation(Flegma & Nerso rmx) Etic-as it happens Sideform-santo diame E-Clip-equillibrium Aerospace-far off Aerospace-recently Artists Bio: 'I discovered psy trance in 2002 through my mate Ash (Celtic Psy forum keymaster/Psilocybe Tribe(prev.k/a DossePosse)), after 25 years of northern soul & 2 years of techno! I began accumulating tunes, going to club nights-Alien Resonance/Sunrise/U.V/Kulu/Cabbage & outdoor psy parties in North Wales. I never set out to be a dj, I just wanted to hear my taste in psy trance. I began by playing a few tunes @ the end of outdoor parties when everyone else was too wasted to play. Then, based on my enthusiasm & taste, (I think !?) Bez23(Kulu) asked me if I was up for playing @ Kulu (Bradford May 2005) WoW-my chance to play my favourite tunes. I wasn't gonna turn that chance down just because I couldn't dj ! I had 2 months to get to grips with the mechanics of dj ing, anyway its the tunes that count !! It's been & still is a slow but interesting learning curve this dj malarkey. But, hey I'm enjoying it & for as long as they keep making tickety boo tunes that make me move I'll keep wanting to play them. Thanks to Ash (celtic psy forum admin/psilocybe tribe & good friend) for getting me hooked on psy trance, for letting me practice on his cdj1000's and for sorting me my own decks & mixer. Thanks to Gerry Aum (Kulu/Sunrise) for 1st putting the headphones on my head and encouraging me. Thanks to Bez23 & Kulu for starting my dj ing ball rolling. Thanks to Messmedia's leap of faith by giving me my 1st residency. Thanks to Sunrise (Leeds) for my 2nd & current residency. Thanks to Anushka (Bristol), Shanti (Liverpool), UltraViolet (Wirral) & AudioAddictz (internet radio) for also taking me on as a resident Thanks to all who have let me loose behind their decks & have helped to make me the obsessed psy trance anorak I am today !!' About backtogoa: Connect with the show on our facebook: http://www.facebook.com/NorthSoundscape
Special Guest: Reaky (Discover / Slovenia).Continuing with his 'Rush Hour International Tour', Christopher Lawrence touched down in cities from Fort Lauderdale, Baltimore and San Diego to Portland and San DIego over the past few weeks, with Edmonton, Seattle, Las Vegas, Raleigh and more cities coming up this month. Christopher has a great show lined up this month with new tracks from Insert Name, Etic, Interactive Noise, Biotronic Project, Gordon Coutts, Ian_Booth, FeI_Fei, Nick Sentience and Diagnostic. His special guest this month is Reaky from Slovenia. Reaky began producing music at sixteen years of age. He began DJing in 2000 and by 2002 Reaky was booked in clubs all over Slovenia. Later that year Reaky founded Techno Jugend Organization and became a resident on 'Confusion' party series in club STUK in Maribor. From 2003 till 2005 Reaky was a co-promoter of a very successful Mature Minds parties. The year 2004 was very busy for Reaky, he was playing almost every weekend in almost every Slovenian club and also abroad in neighbouring countries becoming one of the most booked techno DJs in Slovenia at that time. In 2005 Reaky released his first single 'Fseko' on Omega Audio Recordings. By the end of the year he also entered the 'Dr.Motte - Open your mind' remix contest and won the 1st place. In 2006 Reaky started again organizing the 'Euphoria' parties, which became one of the hottest events in Maribor. The year 2007 came and after 8 years of producing Reaky was finally satisfied with the sound quality of most of his newest tracks, so releases started coming out more often. He also established his own label 'Penetration Nation Records' together with his friend, dj & producer Mark Ankh. By the end of the year 2008 Reaky has already released his driving techno tracks and remixes on labels like Penetration Nation, Omega Audio, Yin Yang, Insane Life, Analog Mode, Propulsion, Standbite Music, Emphatic, Soul Access, DJ Special Needs, Ambig, Sound Evolution, Drakos, Techment, Keep On Techno, Invalid Error, TMM... Most of his releases were very successful, constantly dominating top places of many techno charts and played by the biggest techno and trance DJs on the planet. One of the 2008 successes was also appearance of Reaky's track 'Absinthe party' on FIRE IT UP mixed CD compilation by superstar Eddie Halliwell, joining the names like Armin Van Buuren, Sander Van Doorn, Chris Liebing and others on this CD. Year 2009 was the busiest so far. Performing all over Europe, releasing tracks and remixes on the best techno and tech-trance labels, constantly being on top of the leading techno charts, appearing in dj sets, radio shows and CD compilations of the world's biggest DJs... After all these years of hard work Reaky has become internationaly recognised by his unique driving techno tunes. Instead of being seduced by new trends in the electronic music scene as most of the electronic artists in the world, Reaky maintains his own unique style and he is still even improving it. His primary goal in life is to continue with creating top quality music, contribute to electronic music development and to make the crowd go crazy with his driving and energetic tracks all around the planet. Visit the podcast episode page to find out more information, with links to artists featured in this podcast.
On Air With Alexey Sonar 01.Etic vs Orgapulse - Daylight Hookers (Cimi Remix) (Furthur Progressions) 02.Ruls - Sound Diving (Undergroove Music) 03.Insane Creation & DJ Shybe - Deep Mac (Furthur Progressions) 04.Squared Curves - Mini (Headstick Digital) 05.Mute - Slow Weed Nights (Iono Music) 08.Freya - You Dont Know (Hassan Rassmy & Sarp Yilmaz V1) (Deepsessions) 07.East Cafe - Come To Me (CDR) 08.Fitalic - Thousand Worlds (Tribal Vision) 09.Third Member - Tidal Flow (Jay Cox Fizzeek Dub) (Stoney Boy Music) 10.Fitalic - Electrix (Tribal Vision) 11.Python - Open Your Mind(Nicky C Remix) (CDR) 12.KosmetiQ - Phat Tuesday (QritiKal) 13.Aya Mavra vs Deeper Moments & Robert K - Teotihuacan Deeper Moments & Robert K Remix (CDR) 14.ID - ID 15.Kay-D - Lost Continent (Maindav Remix) (CDR) 16.Kay-D - Citrus (CDR) 17.Kay-D - Harmony Inside (CDR) 18.Made By Monkeys - Think Of You (Rui Da Silva Remix) (CDR)
On Air With Alexey Sonar 01.Etic vs Orgapulse - Daylight Hookers (Cimi Remix) (Furthur Progressions) 02.Ruls - Sound Diving (Undergroove Music) 03.Insane Creation & DJ Shybe - Deep Mac (Furthur Progressions) 04.Squared Curves - Mini (Headstick Digital) 05.Mute - Slow Weed Nights (Iono Music) 08.Freya - You Dont Know (Hassan Rassmy & Sarp Yilmaz V1) (Deepsessions) 07.East Cafe - Come To Me (CDR) 08.Fitalic - Thousand Worlds (Tribal Vision) 09.Third Member - Tidal Flow (Jay Cox Fizzeek Dub) (Stoney Boy Music) 10.Fitalic - Electrix (Tribal Vision) 11.Python - Open Your Mind(Nicky C Remix) (CDR) 12.KosmetiQ - Phat Tuesday (QritiKal) 13.Aya Mavra vs Deeper Moments & Robert K - Teotihuacan Deeper Moments & Robert K Remix (CDR) 14.ID - ID 15.Kay-D - Lost Continent (Maindav Remix) (CDR) 16.Kay-D - Citrus (CDR) 17.Kay-D - Harmony Inside (CDR) 18.Made By Monkeys - Think Of You (Rui Da Silva Remix) (CDR)
Você se incomoda com os deslizes que vê por aí, hein? E não sabe o que fazer? Pois esse é o tema do nosso Café Brasil de hoje, baseado numa frase de Lyndon Johnson, 36º. Presidente do Estados Unidos: Fazer o que está certo não é o problema. O problema é saber o que está certo.
Adopting a constructivist approach, individual constructions of the concept of human nature were investigated by using an 'adulthood interview' and culturally adapted dilemma stories. Subjects were young adults with higher education, including university students and individuals already in work from the US, Indonesia, Japan and Korea. The central hypothesis that subjects from different cultures conceptualize similar structures of understanding human nature at different levels of complexity was clearly confirmed. A second complementary hypothesis assumed that subjects from eastern cultures emphasize a more collective and interdependent identity compared with US subjects. Content analysis revealed that all subjects from eastern cultures elaborated characteristics of interdependency that were viewed as crucial for human nature, while US subjects emphasized aspects of individuality and independence. However, without exception, eastern subjects also simultaneously stressed autonomous identity. Conflict resolutions resulting from contradictions between independent and interdependent identity are described by examples from Indonesia (parent-child conflict) and Japan (self-other conflict). Finally, a combination of universal structural levels and of a culturally shaped conception of identity is suggested, assuming that the interdependent self, more pronounced in eastern cultures, and independent identities, more elaborated in western cultures, are conceived at different structural levels of increasing complexity that show universal characteristics.
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