#also there's two systems of race over there. the global colour system that's a result of european colonization of the other continents | Explore Tumblr Posts and Blogs

aangussca · 2 months

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Gallery visit: GOMA - SIS: Pacific Contemporary Art 1980-2023 PART 2 (31.1.24)

Context: The following exhibition was a collection of contemporary artworks by artists from the Pacific. Despite addressing a broad spectrum of themes (from cultural/personal identity and history to colonialism and political inequalities to the natural landscape), they are underpinned by one term: "Sis". "Sis" (sister), with variations used across the Pacific, is associated with family and community.

Exhibition description: "'Sis' is a term of familiarity and endearment used throughout the Pacific, and 'SIS: Pacific Art 1980-2023' honours and celebrates the work and stories of women artists from across the Pacific, as told through the QAGOMA Collection. 'SIS' offers a deeper understanding of the contribution that our Pacific sisters make to the art of the region by redressing past wrongs and engaging in new conversations about the world and our place in it. The exhibition explores how, over many years, a sisterhood of women and non-binary artists has challenged inequalities involving race, gender, sexuality, representation and power. Though not always overtly political, many artists' customary practices are nonetheless deliberate and powerful responses to the loss of sovereignty, land and culture resulting from histories of colonialism, conflict, nuclear testing, resource extraction and climate change. This continuation and revival of tradition can be found in the mats, quilts, weavings, tapa and body adornments by artists from the Marshall Islands, Tonga, Hawaii and the Autonomous Region of Bougainville. These customary works represent a host of strident voices, which are echoed by a group of politically engaged 'sisters' whose performance, video, photography and installation works are more traditionally aligned with the contemporary art world. Though using markedly different media, each artist's practice is focused on the importance of cultural resilience and self-determination in the face of immense change and environmental peril. We hope you are inspired by the intimate, relational and deeply caring nature of the artworks featured in the exhibition, which continue the stories and legacies of this Pacific sisterhood."

Reflection: This exhibition intrigued me as someone who:

Is familiar with and interested in learning about Pacific cultures and histories (courtesy of my grandmother who grew up in Fiji as a 3rd generation European decades before Fiji gained its independence).

Is passionate about botany and the natural landscape.

Appreciates the different narratives artists explore within their works.

This exhibition not only showcases the diverse cultures and personal experiences of the artists showcased, but also a diverse range of artmaking practices (film, textiles, sculpture, photography/photocollage, etc.). Havini's film Habitat: Konawiru (2016), Jetñil-Kijiner's film Eorak for Section 177 (2021) and the works by Bernice Akamine, the Wotje Weavers, and Kapulani Landgraf stood out to me the most. I believe that any of them could potentially act as inspirations for my future works.

Kathy Jetñil-Kijiner's Eorak for Section 177 (2021, film installation - colour short film (1 mins 49 secs) and sculpture with coral and woven coconut leaf)

Description: "Kathy Jetñil-Kijiner uses political and creative platforms to highlight the effects of global issues on the people and knowledge systems of her homeland, the Republic of the Marshall Islands. Her recent work has focused on ideas of ritual to process grief. Eorak for Section 177 (2021) invites visitors into a space of remembrance. Eorak refers to the last stage of Marshallese funeral rites, in which family members scatter sun-bleached coral over a grave to cleanse the site. Comprising four mounds of eorak (white coral) and handwoven coconut-leaf baskets, Jetñil-Kijiner’s work presents this ritual in the context of the foreign military occupation of Marshallese lands following World War Two. Between 1946 and 1958, the Marshall Islands were subjected to numerous devastating nuclear tests conducted by the United States .

It was not until the 1980s, when both the Marshall Islands and the Federated States of Micronesia became independent nations, that the US formally addressed this damaging history in the first Compact of Free Association, specifically Section 177, which offered ‘just and adequate settlement’. Although the US promised millions of dollars in compensation, claims quickly eclipsed the promised payout, and a vast majority of cases remain unresolved. Jetñil-Kijiner’s Eorak for Section 177 uses delicate imagery and thought-provoking poetry to create a sanctuary for remembering, understanding and grieving the far-reaching implications of the unfulfilled promise of Section 177."

Wotje Weavers' Flowers (2021, Teneriffe needlework using coconut fibre and wire (from electrical cabling))

Description: "The women from Wotje (Wōjjā) Atoll in the Marshall Islands first experimented with creating woven flowers in the 1980s. Using reclaimed copper wire to shape the petals of the blossoms, they would then weave into the petals with fine Teneriffe needlework. The reclaimed wire was from electrical cabling that was buried underground during the 1930s, when the atoll was used by Japanese military personnel and Korean forced labourers as a major seaplane base. Many Marshallese, and most of those deployed from Japan, were killed in a World War Two Allied bombardment in 1943, which destroyed the base.

Today, the resourceful women of Wotje continue the tradition to demilitarise their atoll by excavating and repurposing the cabling into colourful flower petals. In the process, they transform this symbol of colonial militarism into motifs of beauty and love. In 2021, seven of Wotje’s most experienced weavers — Leindrik Jacob, Keju Alvin, Ketty Boktok, Naer Kiotak, Buoj Hax, Janice Gold and Almitha Lanwi — collaborated to tell their story as part of 'The 10th Asia Pacific Triennial of Contemporary Art' (APT10) at QAGOMA. The flowers were exhibited as if blooming from a mass of knotted cables, referencing the ways in which Marshallese culture has become entangled with the histories of other nations and peoples. For the ‘sis’ exhibition, the same installation snakes through the exhibition space, highlighting the sustained resourcefulness of these Marshallese women, who continue to transform the detritus of a devastating war into an expression of beauty, ingenuity and resilience."

Bernice Akamine's Nā Waiho'olu'u Hawai'i, The Colours of Hawai'i series (cotton with natural plant dyes)

1st Row: ‘Iliahi (Santalum ellipticum) (Sandalwood) (2006 - reworked 2019), 'Olena (Curcuma longa) (Turmeric) (2005 - reworked 2019)

2nd Row: 'Uki'uki (Dianella sandwicensis) (Hawaiian lily) (2006), Hau (Hibiscus tiliaceus) (Sea hibiscus) (2006)

3rd Row: Kalo (Colocasia esculenta) (Taro) (2006 - reworked 2019), Mao (Gossypium tomentosum) (Hawaiian cotton) (2006), Noni (Morinda citrifolia) (Indian mulberry) (2005)

Description: "Deeply informed by her Hawaiian heritage, Bernice Akamine explores a range of environmental and cultural issues in her practice. Chief among these is her people’s ongoing struggle for sovereignty over their ancestral lands, and the devastating effects of plantation culture, militarism and tourism on the earth, air and waters of Hawai‘i.

Drawing on her expertise as a kumu (teacher) in waiho‘olu‘u (Hawaiian natural dyes), her embroidery series documents seven native Hawaiian plants traditionally used by Kanaka ‘Ōiwi (Native Hawaiians) to make kapa (barkcloth). The work emerged from Akamine’s 2005 internship at the Amy BH Greenwell Ethnobotanical Garden, on the Big Island of Hawai‘i, where the artist was asked to produce a book of 20 dye samples to pair with photographs of the corresponding plants.

In her embroideries, the artist draws on her deep knowledge of the plants and their dyes to create closely cropped compositions that evoke each plant’s character. These include the lyrical, long, thin stems and delicate petals of the uki uki plant (Dianella sandwicensis), the voluptuous noni fruit (Morinda citrifolia), and the broad expanse of the majestic taro leaf (Colocasia esculenta). The artist combines soft muted greens and creams with brighter oranges and yellows to demonstrate a rich spectrum of colour.

Bernice Akamine’s evocative botanical portraits recall a history of women’s still-life painting. They also highlight how Kanaka ‘Ōiwi women have embraced new techniques — embroidery and quilting — and combined them with traditional knowledge to create works that remain deeply connected to culture and place."

Lehuauakea's Ua ka ua, Kahe ka wai (2022, kapa (barkcloth made from paper mulberry))

Description: "Kapa-making (barkcloth) is central to Lehuauakea’s interdisciplinary art practice, which honours the ‘āina (land) and Native Hawaiian wisdom. The kapa-making process involves caring for the wauke (paper mulberry) plant; harvesting, soaking and beating the bark into delicate pieces of cloth; and sourcing and preparing pigments from local earth and plant materials. It also involves preparing the intricately engraved i‘e (wooden beaters) and ‘ohe kāpala (bamboo stamps), and then printing the intricate motifs and patterns onto the textured surface of the kapa.

The work Ua ka ua, Kahe ka wai (2022) celebrates the relationships to people and place that allow the artist to practise kapa-making as a māhū Kanaka ‘Ōiwi (third gender Native Hawaiian) practitioner living and working in Santa Fe, in the United States. The title of the work translates as ‘the rain falls, the water flows’ — a Hawaiian proverb that touches on nature’s predisposition to maintaining balance. The proverb also implies that nature will prevail against the mounting effects of humankind’s interventions.

Through the layered use of colour and pattern, the kapa embodies Lehuauakea’s reflections on this conviction. The red ochre and black charcoal/soot pigments are significant to Native Hawaiian peoples and speak to cycles of creation, destruction and fertility, while 12 different ‘ohe kāpala (bamboo stamp) patterns highlight the multitude of natural elements needed to sustain thriving ecosystems. The pigments and patterns also honour the Kumulipo (Native Hawaiian creation chant), which states that everything comes from pō (darkness/night), a space fertile with possibility."

Verna Apio-Takashima's kapa works (wauke/paper mulberry, kukui/candlenut, tumeric (in Untitled and Huina’kolu’like) and green tea (in Huina’kolu’like)):

Left to right: Mahina Poepoe (2016), Untitled (yellow with black designs) (2021), Huina’kolu’like (2021)

Description: "Verna Apio-Takashima traces her family’s connection to kapa-making (barkcloth) across five generations. She first started creating kapa at the age of 58 – motivated by a responsibility to honour her ancestors and to uphold the role that kapa plays in nurturing the vitality of Hawaiian communities and culture. Apio-Takashima has one of the most extensive collections of carved tools – and, therefore, repertoire of signature patterns – in Hawai‘i, and is recognised as a foremost kumu (practitioner and teacher) of kapa-making across the archipelago. The artist’s brother, Solomon Ku‘ulei Apio, creates the i‘e (wooden beaters), ‘ohe kāpala (bamboo stamps) and kua kuku (anvil) that she uses in her practice.

For each work, Apio-Takashima dedicates hundreds of hours to preparing the natural pigments and beating the wauke (paper mulberry) bark, sometimes up to five layers thick, to produce soft kapa cloth. Her distinctive approach to texture, colour and design explores the potency of pattern to communicate personal stories and celebrate the land and culture of Hawai‘i. In Mahina Poepoe, each unpainted circle reveals a distinct ‘ohe kāpala print and arrangement that honours the Hawaiian knowledge system of the phases of the moon. Huina’kolu’like and an untitled work explore pattern and geometry to highlight significant memories in the artist’s relationship with her grandmother.

Mahina Poepoe (The many faces of the full moon) was completed in 2016 for the ‘Hulia ‘Ano: Inspired Patterns’ exhibition at the Bishop Museum. It honours sophisticated and socially embedded Hawai’ian knowledge systems of phases of the moon. Each unpainted circle reveals a distinct ‘oho kapala print and arrangement."

#art gallery #thingstonoteforfutureprojects

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judyberrylawyer · 4 years

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The Unbreakable Laws of the Universe

To maintain a harmonious life, you must not only abide by the laws of your country, but also by the natural Laws of the Galaxy. If we transgress, there will be consequences. Like any country, the universe is also governed by certain laws. People refer to these as Universal Laws or Laws of Nature, 'whose content is set by nature and is therefore universal' (Wikipedia). The Law of Gravity is an example of a Universal Law. So is the Law of Conservation of Energy, that's, energy cannot be created or destroyed, only transformed from one form to another. However , unlike human laws, which can differ from country to country, Universal Laws are consistent and unchanging. You interact with these laws with every air you take. They govern your existence. Nothing about your life has been casual or accidental! The Universal Legal guidelines seem to be mysterious. They have hidden truths. When you identify these hidden truths and utilise them correctly, miracles or simply amazing results occur in your life. It may manifest as suddenly having money when you need it the most, reversing a life-threatening condition, or succeeding in a particular endeavour. These 'miracles', no matter how incredible they might be, are not unbelievable outcomes. They are all natural outcomes based on the correct application of specific laws of nature. Unfortunately, some of the Universal Laws are not as clear-cut as they might seem. There are unnoticed subtleties to the Universal Laws which, when understood and applied, can make all the change between happiness and misery, prosperity and poverty, peace and conflict, ease and struggle. It's easy to think that a lot of people are born to affluence and all good things happen to them. The truth is, these people aren't simply lucky; good things tend not to just 'happen' to them. They're just applying the Laws of the Universe more effectively, whether they're aware of it or maybe not. The laws are flawless; they work perfectly every time, all the time. If you seem to be doing all the right items, but your results are poor, consider the Laws of the Universe and how you are applying them. This book will help you. The amount of laws are there? Many. These laws govern every aspect of our existence. The supreme Law of the Universe is the Regulation of Cause and Effect, also referred to as karma or the parable of 'reaping what you sow'. For every effect you will find there's cause; for every action there is a reaction. Positive action equates to a positive result. The Law of Cause and Effect transcends time, space or form. It operates whether you are aware of it or not. Every human thought, phrase or deed is a cause that sets off a wave of energy throughout the universe, resulting in desirable or undesirable side effects. If there are undesirable effects, it simply means that at some time in the past, there was a thought, word or deed which caused a wave of undesirable energy. As normal, fully-functioning people we are quite literally responsible for everything within our lives. The following excerpt illustrates this concept. This is the suggestion a man gave to his subconscious mind over a amount of about two years: "I would give my right arm to see my daughter cured. " It appeared this his daughter had a crippling form of arthritis together with a so-called incurable form of skin disease. Medical treatment had never alleviate the condition, and the father had an intense longing for his daughter's healing, and expressed his desire in the key phrases just quoted. One day the family was out for a drive. Their car was involved in a head-on collision. This father's right arm was torn off at the shoulder. When he came home from the hospital, he found that his daughter's arthritis and skin condition had vanished. (Murphy, 2001) Everyone is subject to these same natural Laws for the Universe, regardless of race, colour, creed or gender. The laws exert their influence without our consent as well as awareness. When we choose the behaviour, we choose the consequences. Interestingly, the people who are frustrated in life consistently try to escape the natural laws. And, not surprisingly, successful people live in harmony with the natural Laws of the Universe. Deepak Chopra, an authority in mind-body medicine, identified these issues in his bestselling book, The Seven Spiritual Laws and regulations of Success, saying 'no debt in the universe ever goes unpaid. There is a perfect accounting system in this galaxy, and everything is a constant "to and fro" exchange of energy'. All of life is connected; what we complete to others, we do to ourselves. According to the principle of karma, any negative or positive thought or possibly action remains that way, until it expends (uses up) its energy by acting upon the originator. The force you create through your thoughts, words and deeds - either negative or positive - will rebound together with act on YOU. But, as it is the nature of energy to expand when it is put out into the world, you will at some point encounter much more than you caused others to experience. If you cause others to experience prosperity and wellbeing, it will come back to people and you will experience it as well, often multiplied. In like manner, if you hurt someone, the energy will eventually profit and cause you even greater hurt, unless of course you make amends in some way. Eighteenth-century German poet and philosopher, Wolfgang Von Goethe wrote: Nature understands no jesting; she is always true, always serious, always severe; she is constantly right, and the errors and faults are always those of man. The man incapable of appreciating her, she despises and only to the apt, the pure, and the true, does she resign herself and reveal her secrets. Regulations of Cause and Effect is the IRON LAW of the universe. It is unyielding. If you defy this law, you will have consequences - no 'ifs, ands, or buts' about it. It's fascinating (and often tragic) to observe how many people try to defy this law, especially when we pursue quick and easy gains. Often we strive for what we want by working at the exact opposite of what is in our best interest. This beautiful fable illustrates the mystifying and sometimes illusive nature of the Law of Cause and Effect. The Secret to Creating Affluence A young man went to the natrual enviroment and said to his spiritual master, 'I want to have unlimited wealth, to help and heal the world. What is the secret to help wealth? ' The spiritual master said, 'There are two Goddesses that reside in the heart of every human being: your Goddess of WEALTH and the Goddess of KNOWLEDGE'. 'Although you love both, you must pursue one of them to the exclusion within the other. Pursue her, love her, and give her your attention. Understand that only the Goddess of Wealth can allow you wealth, and you may pursue only one Goddess, not both'. 'But, here is the secret: If you pursue the Goddess involving Wealth, she will be pleased with you because she loves to be chased. The more you pursue her the more she'll elude you. However , if you pursue the Goddess of KNOWLEDGE, the Goddess of WEALTH will become extremely envious and pay more att ention to you. In fact , the more you seek the Goddess of Knowledge, the more a Goddess of Wealth will seek you. She will never leave you. She will constantly shower you with product blessings just to win your attention, and the wealth you desire will be yours forever'. Adapted from (Chopra, 1993) Your human tendency is to pursue the Goddess of Wealth, which seems like the logical choice. However , wealth is solely an effect, and like any effect it has a cause. In the fable, pursuing one goddess gets you the best associated with both worlds; wealth comes from the acquisition and proper application of knowledge. So let's be clear: ones goals and dreams will manifest when you and the Laws of the Universe are in harmony! It's a scientific fact that all the universe operates in absolute harmony with IRREVOCABLE natural laws and principles that have NEVER varied throughout in history. These laws prevail regardless of whether we heed them or not. Those individuals who live in harmony with the Laws of this Universe will emerge victorious. Bestselling author, Bob Proctor, summed it up perfectly when he said, You will be living and working in a dynamic global marketplace that leaves little room for error. In future, just those individuals whose beliefs are sound, in harmony with the laws of the universe, and have been integrated with the behavior, will emerge as real winners. (Proctor 2011) This much we know with certainty: you have unlimited potential and tap into and harness this potential by combining: 1 . a deeper understanding of yourself (your power of attraction) with 2 . specific efforts towards a desired outcome (your power of action). In other words, you'll experience the prizes (the Law of Receiving) when you truly understand that you have immense, untapped ability, and you combine that understanding using deliberate application of the Law of Attraction and the Law of Action.

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hatecrimeschoolblog-blog · 5 years

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ANTHROPOLOGY- How have hate crimes varied over time?

For the anthropology section i focused on a research given to me about how racism has switched from targeting the black community to white community in South Africa over time and how whites face racism and hate attacks in South Africa

According to South African History Online, apartheid was the ideology supported by the National Party (NP) government and was introduced in South Africa in 1948. Apartheid made laws forced the different racial groups to live separately and develop separately, and grossly unequally too. It tried to stop all inter-marriage and social integration between racial groups. During apartheid, to have a friendship with someone of a different race generally brought suspicion upon you, or worse. More than this, apartheid was a social system which severely disadvantaged the majority of the population, simply because they did not share the skin colour of the rulers. Many were kept just above destitution because they were ‘non-white’. This Act also got rid of 'black spots’ inside white areas, by moving all black people out of the city. Well known removals were those in District 6, Sophiatown and Lady Selborne. These black people were then placed in townships outside of the town. They could not own property here, only rent it, as the land could only be white owned.’’ (South African History Online.)

According to International Studies: An Interdisciplinary Approach to Global Issues,

A book by Mark Allen Peterson and Sheldon Anderson, the end of apartheid in South Africa and relatively peaceful transition from white to black majority rule happened in 1994. The collapse of communism Europe from 1989 to 1991 overshadowed this monumental political development. After decades of apartheid run by a seemingly intransigent white government, few scholars predicted its demise or a peaceful transition to majority rule. However things have become terrible for the white farmer community since then.

Taken from an article written by Wallen J following are few of many remarks made against the white community by influential people of South Africa since then:

The national spokesman of a key South African opposition party has said redistributing land from white farmers without compensation is justified because “it is not really their land”.

There have been concerns among South Africa’s white minority that the motion will encourage attacks on farmers

EFF’s leader Julius Malema has previously been convicted of hate speech for singing anti-white songs like “Shoot the Boer [Farmer]”.

Mr Ndlozi said he thought South Africa would be a better place without “whites”.

Mr Malema told a rally. “We are starting with this whiteness – we are cutting the throat of whiteness.” White people are having their land taken from them and forced to live in white camps because most homeless shelters are ‘black only’

Besides that, according to the reports by africacheck.org in 2017/18, the police recorded 62 murders during 58 attacks. Of those murdered, 52 were the owners or occupiers of the farm/smallholding, 9 were farm workers and one was a farm manager. Forty-two murders took place on farms, 15 on smallholdings and one at a cattle post. The majority of the murder victims (46) were white.

This kind of research is important to look into the “reverse-racism” phenomenon, something that has been declined by majority. This might make you wonder if something like that does exist and therefore in the upcoming time can take form at other different places too.

A limitation to this research is that The South African police did not collect statistics on attacks and murders on farms and smallholdings prior to 1997. Henceforth one can’t tell if the crimes saw an exceptional rise after 1994 or it has always been around which creates a blurry line between what is a myth and what are the facts. Future researchers should keep in mind to look into and analyze data set prior to 1994 too so that they can provide with better and more reliable results.

Here is a video showing the inside of South Africa’s white displacement camps:

youtube

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secret-diary-of-an-fa · 3 years

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A Farewell to Tossers (Or ‘Trump is Out: Hooray!’)

TRIGGER WARNING: COVID; Discussion of Racism; ‘It’s the Great Rape Satsuma, Charlie Brown!’

Well then. Trump is no longer President Elect of the United States and the world breathes a sigh of relief. At last, we can all stop worrying that the increasingly unstable leader of the free world is going to blow us all up with nukes because he mistook the big red thermonuclear button for the ‘send’ button on fucking Twitter! It actually feels nice to go back to worrying about more nebulous threats that don’t come with a fuck-ugly face and a dubious web presence attached. This being space-year 2020, we still have to cower in fear of COVID, the collapse of the global economy and a slow, choking death courtesy of a climate and planetary ecology that are frankly sick of our bullshit, but it’s still good to celebrate the fact that there’s one less dangerous, narcissistic prick with serious political power. The last four years have felt like a deeply disturbing docudrama answering the question ‘What if the Annoying Orange Ever Got its Hands on Real Power’, but the nightmare is over now. Well, I say ‘Annoying Orange’. He’s really more of a Rapey Satsuma, but let’s not split hairs of semantics. The tosser’s on his way out and that’s a cause for delight.

Now, obviously, this blog is somewhat overdue. Sorry, humans, but I just haven’t had the time to compose snarky think-pieces on major news items in real time. I’ve been busy being in love with- and making love to- an amazing woman (who’s also my sometime glamorous assistant over on my Youtube channel where I post magic vids), writing four novels, playing through the recent rash of Crash Bandicoot games and trying weed for the first, last and only time in my life (the only effect it had on me was to make me crave Mars Bars, which happens to me on a semi-regular basis anyway). However, don’t mistake my taciturnity for ambiguity! I am overjoyed that America has finally gotten rid of the psychotic Cheesy Whatsit who spent not quite half a decade shitting on the poor and disenfranchised while stumbling disastrously around the international stage like a very stupid, ill-tempered bear that’s suddenly found itself in the middle of a production of The Importance of Being Earnest. Like most of my American readers and probably every sane, right-thinking person outside America, I greeted the news that he was on his way out with a fist-pump and a little dance of happiness. I might have twerked. I can neither confirm nor deny twerking.

But what lessons can we learn from this election and the fact that Trump clawed his way into power in the first place? Surely the last four years weren’t just the result of one nation’s collective brain-fart and their abrupt end nothing more than a spontaneous return to sanity? Well, no. The main reason Trump managed to grab hold of power was because he pretended to care about the American working classes. He didn’t, obviously: as soon as he got into power, he started taking away the social securities on which many of the poorest depend and dismantling their access to healthcare, because he’s a megalomaniacal rich dickhead. But he pretended to care well enough to convince an enormous quantity of people who felt alienated and disenfranchised by modern politics and- in particular- by a version of liberalism that seemed entirely focused on city-dwelling, self-consciously woke hipsters and regarded everyone else as a joke. A large part of the reason Joe Biden was able to wrest power back from the tantrum-throwing saveloy wanker was because he bothered to go out to the most impoverished parts of his country and remind that them that yes, the Democratic party did know they existed and did give a shit. Admittedly, he wasn’t the best candidate for working class voters- that would have been Bernie Sanders- but he was the best guy to get the message across in a way that wouldn’t seem patronising. So, Lesson One: ignore the gargantuan body of unskilled and menial labourers who power your country’s economy only at your own peril.

The second, related lesson should probably be something along the lines of ‘maybe prioritise rigorous analytical thinking as part of your country’s education strategy from a young age’. Seriously, it might seem obvious to you or I that Trump is a dangerous bullshit artist, but he hoodwinked a lot of people. And no, they’re not just naturally, randomly stupid. Okay, some of them are- nature bestows a fresh bounty of total fucking clods on the human race with every new generation, after all. But the point is that natural idiocy doesn’t adequately explain why so many people voted for a twat who clearly didn’t have their best interests at heart. The ability to recognise predatory charlatans is a subset of the ability to think critically about information with which you’re presented. Both the US and the UK education systems fail spectacularly to give people the mental tools they need to do this early on, with a heavier emphasis on learning rote facts and formulas which- while useful- only help to build crystallised intelligence not vital fluid intelligence (one is just stats and dry information, the other is the skills you need to navigate modern civilisation). Because fluid intelligence becomes harder and harder to acquire as one gets older, teaching people critical thinking skills early on is really important. Neither the UK nor US education systems really start to seriously teach it until pupils are almost adolescent, meaning that by the time they get to adulthood, they just don’t have the ability to peer through the miasma of obfuscating horseshit that surrounds most political candidates and accurately assess who is going to fuck them in the gall-bladder least. Biden was able to win this time round partly because he was really good at putting his message in a non-obfuscating way that helped to mobilise people regardless of their level of critical thinking. That’s great for him, and anything that helped oust Trump is a good thing, but it doesn’t address the underlying problem. The underlying problem, of course, is that, so long as education doesn’t take analytical skills seriously, the political system will always favour candidates with big, simple messages over more nuanced politicians with complex and ambiguous views, regardless of who the most qualified person is.

If Lessons One and Two were about understanding why people voted for Trump four years ago and why the didn’t this time, Lesson Three is our big ‘fuck humans’ moment, because one thing the election of Trump made is clear is that racism is alive and well in modern America. Yes, many of his voters were hoodwinked. Yes, many of them were legitimately alienated. But a significant percentage of them were also just xenophobic, racist arseholes who voted for him because they thought he’d get rid of some Mexicans for them. It’s tragic that these attitudes still persist in the modern world, but they do. Worse still, I’m not sure how you could easily address it. Fear and hatred of difference- even if it’s a superficial difference like skin colour or accent- seems to be hardwired into some people. While we can work to build a world where these attitudes aren’t acceptable, so long as we humans think of ourselves as belonging to different nations and groups, it’s almost impossible to extinguish them entirely. We’re just not at the point we need to be at: the point where we think of ourselves as a species with common goals and needs, not a disparate collection of tribes and interest groups. Trump and his election to power were symptomatic of this problem. His recent de-election might help alleviate it for awhile. However, only time and repeated, positive mutual interaction between different groups of people (on both the global and individual level) can ever cure the disease itself. And that shit’s going to take time. There’s years of genocide and exploitation and war and rivalry and mistrust to make up for and, frankly, it’s still going on, which just makes it harder to drag the human race in the right direction.

Fuck, that got deep. This was meant to be a funny, celebratory blog about how we no longer have to put up with that prat Trump, and instead it turned into a lengthy disquisition on the failure of education and the problems inherent in how humans relate to one another through Tajfel’s Social Identity Theory (that’s the whole in-group/out-group/fear-and-distrust-among-nations-and-peoples thing I was going on about). Sorry, folks, sometimes life is just like that: you tune in for laughs and get punched in the dick with a dry, depressing polemic on our failings as a species. Happy 2020, everyone! Anyway, tune in soon for a review of Crash Bandicoot 4: It’s About Time, which I promise not to turn into a didactic on the role of Nietzsche’s hypothetical superman in a civilisation that relies on the suppression of certain, key choices… aaaaaalthough…

#Secret Diary of a Fat Admirer

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pinarworks · 4 years

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HUMANS ARE NOT THE VIRUS AND ECOFASCISM IS BAD FOR YOU Text: Pınar Üzeltüzenci From economic to environmental panic and finally the current pandemic it seems like this century will be remembered as the age of global crises. Before panic over COVID-19 replaced the panic over climate crisis as the primary threat to our existence, we have seen the rise of new forms of exposure-intensive activism from the likes of Greta Thunberg and UK based activist group Extinction Rebellion. As COVID-19 spread from Asia to the Western world, it has ceased being a talking point about Asian’s dirty habits into a global emergency - sorry non-western world, ¯\_(ツ)_/¯. Nevertheless, the prominent catastrophic tone of late climate activism, as well as the media, seem to be interpreting the virus as an environmental/moral problem, framing it as the result of human wrongdoing against nature. The tendency to portray COVID-19 or global warming as a punishment, or an act of revenge from mother nature, has supported familiar far-right talking points. The Christchurch shooter who killed 52 people in June 2019 identified himself as an ecofascist in his manifesto. Just two months later, Patrick Crusius who shot 22 people to death in El Paso, Texas, wrote his own, in homage to Christchurch. In this manifesto, he mentions the danger faced by the USA because of the environmental crisis and “consumption culture’’, revealing the eco-fascist motivations behind the horrendous attack. The evil muse to all this is Anders Breivik, the Norwegian extremist who murdered 69 young Labor Party members in 2011, whose manifesto also made references to humanity losing its pureness by the taint of inferior races. This emerging movement might be posing a greater threat than imagined, since it’s ideological framework percolates into everyday discrimination and manifests as the moral policing of social life, as well as other narratives on the rise such as patriotism, anti-immigrant policies and racism. Academic Betsy Hartmann defines eco-fascism as “the greening of hate,” a term which implies an effort to cover something ugly with something nicer, cleaner, prettier. This approach naively assumes that the green movement is fundamentally incompatible with the fascist movement, on the grounds that one of them is profoundly good and the other profoundly evil. This assumption is ripe to be challenged; because ideas of pureness and cleanliness have long been an important, in fact innate part of racist ideologies. The drive to preserve a pure environment is an essential part of the totalitarian fantasy. A fantasy in which land, race, air and even the intestinal organs are expected to keep up with an impossible standard of “purity”. That’s why we have to problematize the idea of pureness/cleanliness first, so that we understand why these terms are darlings of the far-right and what political implications they make for racist ideologies. From the Hindu Caste system to the ideology of Hitler’s Third Reich; the fixation to keep the body and the environment clean and pure, has historically served an ugly purpose. The notion of “pureness’’, tends to imply what’s considered impure, contaminated, intoxicated and suggests a totalitarian understanding of bodies that need to be under perpetual surveillance to be disciplined, controlled and reduced in numbers. The idea that purity and cleanliness are inherently good, functions to underline class differences and ultimately racial discrimination. After all, we live in a society in which colours, food (just as I am writing this, the Turkish government declared a two day curfew. This caused widespread panic, many people ran to the markets in crowds. Some observers from the white-Turk twittersphere condemned panic buyers for buying snacks polite society considers unhealthy or redundant), body parts and even adjectives are hierarchically regulated and work in favor of certain living beings. In this hierarchy those who are fortunate enough to ratify their ‘’humanity’’, come first. But this is an ill-defined category that can easily be misused to justify injustice. Slavery was rationalized through coding black people as unveloved cousins of “humanity” (read: white European). A more recent manifestation of this long saga in Turkey, is Recep Tayyip Erdoğan’s proclamation in October 2019, questioning Kurdish people’s right to a country by disputing the humanity of YPG supporters. The category of “humanity’’ is often mobilised with an internal hierarchy. Such arguments were put forth by the leading figures of the eugenics movements. One such figure, Ernst Haeckel, became an instant hit within the nascent Nazi movement by arguing that “lower” humans evolved from different species. The Nazi Party’s fixation on pureness reflected on many political regulations involving a strict strain of environmentalism under the motto “blood and soil’’ both of which needed to be kept uncontaminated (from other people, coming from other lands, their blood and their bodies). Fascism and environmentalism went hand in hand in many instances like this. Owning a land, owning a body, owning the right to things through land and body are all totalitarian fantasies that refuse mingling with others hence “getting dirty’’. Eco-fascism historically relies on the idea that the environment can only be preserved if we spare it for a handful of people who really care about “mother nature”, overseeing the fact that nature is not pure in itself. Needless to say both the authors and the imagined beneficiaries of this utopian vision tend to be overwhelmingly white. This narrative has recently resurfaced with the spread of COVID-19, this time targeting Chinese people and blaming their dietary habits as the sole culprit for the global pandemic. The doomsday narrative of climate activism can sometimes get lost in translation or be wilfully misread by those who see land as race- something that must be defended and preserved in a ‘’pure and natural’ state’’. This fixation on pureness/cleanliness reaches beyond traditionalist politics which fethishise Norse mythology and return to the “virgin wheatfields” of the countryside. The notion of hygiene has long been a way to underline social status differences in urban life as well. The pressure on “individual change towards a cleaner and green future’’ also works in favor of class division through moral pressure in everyday life. Single usage plastic, especially bags and straws, may now be the most frowned upon thing in the world. In İstanbul for instance, everybody knows someone who is so ready to preach bartenders about putting plastic straws in cocktails, or someone who complains about Arab tourists being “dirty’’. Cleanliness is imagined as a moral imperative especially for city life, free from the effect/impact of education, class, gender, race and other major/minor grifts within the complicated stratas of society and it’s not even always about climate change. Labeling people “uncivilized’’ just because they don't stand on the right side of the moving staircases of the subway or leaving garbage behind, is a popular and often unquestioned metropolitan etiquette, so is naming them “peasants’’, “dirty animals’’, “savages’’ etc. Judging other people’s competence in constantly upgrading their decorum is sadly very common. It’s fair to say this expectation shares important similarities with the eco-fascism movement. They go hand in hand with hubris, elitism and other forms of discrimination. People who don’t do the “right things’’ in this binary logic, should please leave the city, ultimately the country. Here in İstanbul it's the unwanted Syrian population and the ‘’obnoxious’’ Arab tourists, people who are not ‘’smart’’ enough to wash their hands regularly or buy the right kind of food to eat in quarantine, as well as immigrants from other parts of Turkey who can’t speak “proper” Turkish: mostly Kurds. We see, the values that make a good human are accessible through certain capitals: racial, cultural and economic. This narrative of division, “deserving to live somewhere’’ by assimilating, resonates in a direct correlation between climate change and overpopulation. This also reinforces the idea that a form of natural cleansing is the solution for the environmental crisis. A process of “natural selection’’ in which species that cannot survive will naturally be wiped out. In this envisioned “distilled’’ future, the first ones to go of course would be the uncivilized non-human immigrants, black people, the poor and those who don’t have enough social capital to enable surviving the very conditions they are blamed for. But controls over means of survival are in a few hands and they are working to create a clean and pure future: a totalitarian utopia. This might be why many white supremacists and right-wing radicals are into catastrophic environmentalist narratives: A better nature for them means a whiter, (racially) cleansed future. Eco-fascism suggests that the most practical way to protect life on earth for human beings is to reduce human population. Carbon footprints are measured, and unprivileged people are exposed as the most responsible. In this vision, a research studying the great carbon footprint created by asthma patients’ plastic inhalers becomes conceivable. People who already carry the burden of racial/moral discrimination are once again blamed for not being moral enough and being too careless: Africans for Ebola, Chinese for Corona, homosexuals for AIDS. Protecting life means reserving it for certain people, people who come first, people who are worthy of it. People who are considered “human beings’’ enough. That’s why the discourse of population control harms disadvantaged groups first; immigrant, uneducated, poor and non-white people. Through declaring war and drone operations on other people’s homelands and not opening borders for them to flee war and oppression, through turning people into objects of negotiation and reducing them to pieces of paper, through not allowing them documents that would dress them up as ‘’human beings’’. All this cruelty is performed with the justification of protecting humanity from a vermin invasion. This dehumanising discourse is the first and most important step of setting up a eugenicist apparatus of population control. In a world that relies on rationality, science and “practicality’’, total solutions may equate to annihilation. This may sound very rational to some, because it is so clean cut and scientific: The earth has restricted resources left, it is way overpopulated and it’s too late to turn it back. Someone will do the math: Reduce the population! As the El Paso shooter wrote in his manifesto: “The decimation of the environment is creating a massive burden for future generations. Corporations are heading the destruction of our environment by shamelessly overharvesting resources, If we can get rid of enough people, then our way of life can be more sustainable.’’ That’s why the apocalyptic narrative dominant in climate activism needs to be abolished. Because people can do some very interesting things in times of crisis, as the saying goes “extraordinary times need extraordinary measures’’, and in a post-holocaust world, people are alarmingly good at rationalizing. To bring about cultural and spatial change, climate activism must also challenge the mainstream narratives of consumption which ignores class, race and gender. We have to recognize that this fight is first and foremost political and we have to start targeting the leaders, the rich, the corporations and the state. Otherwise climate activism may very well stay as a movement in which people are divided in two, as right doers and wrong doers, this will only end up in misanthropy and resentment that eventually labels vulnerable people as “parasites’’. This is the state of mind which justifies mass deportations, wars and ultimately mass shootings and murders. We can’t talk about climate change without talking about occupied lands, disability, displaced populations and gender equality. It’s a crisis yes, but it’s not transcendent. It’s important, yes; but not more important than any ongoing human rights struggle. It’s naive to assume that certain discourses would circumvent established connotations and reach transcending solutions; on the contrary, language has historicity and people interact on affective grounds. In the center of this world, stands whiteness with all its blinding “brightness’’, and this prevents everything, even climate change, from being a universal matter. Associated Press’s excisement of Ugandan activist Vanessa Nakate from an image (which featured Greta Thunberg with other young white activists) then defending the motive as being ‘’purely on composition grounds’’ is just a small example of how whiteness still stands as an invisible threshold in every little action. We must never forget what historical connotations the ideas of ‘’purity’’ and ‘’cleanliness’’ carry and how the collective unconsciousness remembers and interprets them. Overreading is a must and the historical baggage of environmentalist narrative cannot be challenged without being intersectional. http://www.mangalmedia.net/english/humans-are-not-the-virus-why-ecofascism-is-bad-for-you

#Ecofascism #climate change #climate crisis

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stockardbdhz465-blog · 4 years

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How to get FS17

Although simulation games have been around for ages, Farming Simulator kicked off the farming genre. Other farming games be, yet nothing competes with this iconic series. FS17 brings mod help with different pieces to Xbox Individual with PC, bar is to enough to help defend passing over your money?

The Farming Simulator series created with Farming Simulator 2013. Since then, sequels have appeared every a couple days for PROCESSOR and console. Farming Simulator 16 became a vent of 15 for mobile and PlayStation Vita.

Everyone understands this is a simulation game in which people make tractors and other farming machinery, grow plants and horses, and administer the financial aspects of a farm. So let's look at most of that year's new pieces and how much they improve the game.

Of the two included maps, Goldcrest Valley is make different and from the USA. The other map, Sosnovka, happens in Asian Europe. Originally released as downloadable matter for Farming Simulator 15, it has been remastered with better picture quality. Farming Simulator games always launch with barely two maps, which is a bit skimpy.

For the first time in the series, we can choose to participate like any a man or woman farmer. This could be the game more encouraging to modern audiences. That definitely a step in the right track. However, the game even holds area for more variety.

The two figures you can select through, individual per gender, are both white. You can't alter the skin color, but you can go for the colour of their shirts. Giants Software is located in Switzerland, a largely white population. In games like this, targeting a global audience, developers should think players of additional races as well as their own.

The overall objective with Farming Simulator has always been to buy all the areas on the plot and strengthen the farm so heavy as possible. Which rack in '17, but the developers insert a greeting dose of construction using the original mission system.

Each buyable chart of territory is held by the farmer that offers to pay you for finishing missions. These missions become a great way to earn money. When you've completed all a farmer's missions, he'll advertise the subject instead of a much worse cost than if you'd chosen to get it outright.

Drivable trains add a fun new component for the game. Players have access to several points by both place. You don't have to purchase them before pay maintenance fees, and you can jump straight in them from where on the place.

Cruising almost inside chains and having the landscape is enjoyable on a, but they're also a great way to transport wheat with timber for sale. You use a claw-game like crane to pack stuff onto the train and go to the next selling point.

Farming Simulator 15 was not a attractive match. The worst prison became the structure maps. Comparing ground textures between '15 and '17 on Xbox One, I detect a limited advance in feature. The textures in '17 are well below standards for the console, which is a real shame. Still, '17 does apparently have expanded mip road, so textures retain detail for a higher distance than now '15. Vegetation is a little bit more detailed, and strike has urged better too.

As for sound, Giants has added two in-game radio situations to participants can toggle while taking cars (and optionally, on end besides). The melody is nothing special, but it forms for a more varied experience than listening to the look of life for hours on end.

Mod column was pushed as a key story of FS17 ahead of their launch, especially over the schedule which mods for the PlayStation 4 variety of Results 4 were staring rocky. Now that the game is here, the hoopla appears to contain occurred used for naught – at least on consoles.

Mods are numbered right for the label screen menu, so they're easy to attain. The deposit number seven distinct classes of downloadable items, and some extra groups like Latest and Most Downloaded. Problem exists, between all those categories, the Xbox One story simply takes 31 total mods in current.

All but among those mods are purely farming tools not a lot different from those involved with the sport anyway, although some seem to offer enhanced performance. The lone non-equipment mod changes gameplay somewhat by disabling camera clash with vehicles. Its author is Massive Software. The Roads category doesn't even have a single item yet.

Like Farming Simulator 15, '17 supports 6-player online co-op. Players could pick who can get into their activity – random players, friends, or ask only. As a person wants to join the game, you'll receive a prompt questioning whether to allow them to participate or maybe not. Nobody will be messing around with your farm and account without authorization, that is good.

The ability to join sport is unnecessarily obscured by the game's holding of downloadable content (DLC). Should the host allow any DLC or mods enabled, players want just be able to join the game if they own the same DLC. People find yourself having to go DLC away (a option thankfully presented each time you load a stop game) so as to tease multiplayer, really so which other people can meet.

A far better implementation would put the data for all DLC to all players, even if they don't acknowledge it. And then they could contact the host's vehicles with multiplayer, but not on their own. Alternately, the game may trigger you to download any missing DLC about joining the game. As it is, you can't even tell that information you're missing - you just get rejected.

Upon successfully joining a multiplayer game, everyone shares the same vehicles, capital, and reserves that go on the number. You can leave doing together like a unit. It is fun in the relaxing, social system. But as with other areas on the activity, technical concerns and decisions threaten to spoil the entertainment.

For example, player character standards have laughably bad animation. When you shoot, that appears toward new players like a person basically hung up in the look with eat once again. The paradigm doesn't have a flying animation. Hiking and riding looks awkward as well.

The other great challenge with multiplayer is Achievements. Persons who connect the host's game can't earn Achievements, which is bad, but not entirely unusual. Some sports only allow the primary player to have them. But '17 goes a stage out of by not even permitting the number participant to generate Achievements during multiplayer. You can load in the exact same road from a single person game, but if perhaps one other person joins in, you won't be able to earn Achievements.

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Games like this really need Achievements to provide targets and construct to players, so arbitrarily not being able to earn them after playing with friends is fully unproductive. I talk with the developers about the topic at E3 shortly after Farming Simulator 15 stretched out, but unfortunately, they desire not to address the issue in this sequel. I doubt when the people the boss of '17 play many other games.

Farming Simulator 17 offers 17 Achievements / Trophies upon most platforms, a stage down from the 26 Successes in Farming Simulator 15. I guess they care for the Achievements count to match the year with the sport. Some are easy, like while drop down 50 woods or do a 3-point killed in the original (but bad) basketball minigame.

This year, players only have to acquire one million currency rather than five million. You can apply the Easy Money Trick to make that a cinch, as well as beat revealed the 'play for ten hours' Achievement. There is once again a Achievement for locating 100 collectibles, but you just should find 10 before the rest appear on the drawing. The rest involve breeding animals, harvesting 10 hectares of catch, with ending all activities for the NPC farmers. Stay tuned for our full Achievement Guide with tips for all these.

Farming Simulator 17, like '15 just before it, can be a key strike on COMPUTER. We can safely think a pale console audience as well. That could seems different to action-addicted gamers, although a match with very no violence may certainly fun. This a calm experience somewhat akin to performing Minecraft with Creative mode.

We know this series manages a lot of currency. I barely want more of these money might be seen for the show. Farm Games www.farmsimulator.eu There's no mind Farming Simulator 2017 should expression what dangerous because it prepares. The physics are extremely terrible in several places. And a lot of clunky gameplay components such as hitching trailers might certainly become strengthened, only if the builder studied other sports.

Really, I desire they'd spend some good hours in Minecraft and give some of the theories of which remain mainly average with new activity to Farming Simulator. One must deal with a lot of hard edges to enjoy Farming Simulator 2017. But if you can do that, that surely offers a deep farming experience and plenty of realistic licensed machinery.

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effieworldwide · 5 years

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Winner Spotlight: “Vodafone Sakhi” by Vodafone India & Ogilvy India

September 12, 2019

2019 APAC Effie Awards GRAND EFFIE

All images and videos courtesy of Vodafone & Ogilvy India.

In 2017, a sinister new form of sexual harassment emerged in parts of India: local mobile phone retailers were caught selling their female customers’ phone numbers to predatory men – often for less than a dollar – subjecting victims to lewd messages at all hours within their own homes.

In response, Vodafone (India’s second-largest telecom provider) and agency partner Ogilvy India developed a free service, “Vodafone Sakhi,” which generated decoy phone numbers to safeguard women from predators. In addition to keeping women safe, Vodafone earned customers’ trust and loyalty in a challenging category.

“Vodafone Sakhi” earned the Grand Effie at the 2019 APAC Effie Awards competition, plus seven Effies across the 2019 Effie Awards India and APAC competitions (see below for the full list). Vodafone has also been ranked among the Effie Index’s Top 5 Most Effective Brands globally since 2013.

We asked Hirol Gandhi, EVP & Integrated National Head of Team Vodafone, and Kiran Antony, CCO, Ogilvy South & Team Vodafone at Ogilvy India about their effective case below.

Effie: What were your objectives for “Vodafone Sakhi”?

HG & KA: In 2017, mobile phones went from being a tool of empowerment to a channel of harassment. According to the National Crime Records Bureau (NCRB), India records a crime against woman every 1.7 minutes. In Uttar Pradesh (UP), women’s privacy and safety was under threat from a new front - a government helpline for women in UP received over 500,000 complaints from women about being harassed by unknown men via their mobile phone.

This was being facilitated by a bizarre new scheme: Prepaid phone subscribers had to share their phone numbers with neighborhood retailers to top-up their calling cards, and journalists uncovered several unscrupulous retailers in Uttar Pradesh selling the mobile numbers of their women customers. Numbers were valued based on their appearance; an ‘attractive’ woman’s number could fetch close to Rs. 500, while an ‘ordinary’ looking woman’s number would fetch Rs. 50. These victims were subjected to lewd messages and calls at unearthly hours.

Women in UP now had to be wary of unwanted attention in the privacy of their own homes, leading to declining usage of mobile phones.

Our objective was to grow share and usage in an underpenetrated segment - women subscribers in one state of India, Uttar Pradesh (UP).

Project Grow for Good: Vodafone needed to make more women in UP feel confident about using their mobile phones more frequently, leading to a higher ARPU (average revenue per user). To accomplish this, we set ourselves the following objectives:

Increase Vodafone’s acquisition of new women subscribers in UP.

Increase usage amongst women subscribers of Vodafone in UP

Increase average revenue per user amongst women subscribers of Vodafone in UP.

Increase retention of women subscribers of Vodafone in UP.

Effie: What was the strategic insight that led to your big idea?

HG & KA: The fundamental problem: In order to continue using their phones, women had to share their numbers with men they couldn’t entirely trust – for Prepaid calling card recharges, they had to share their phone number with retailers.

An advertising campaign was not going to help solve the problem.

To overcome this problem, we drew inspiration from a tried and tested tactic that women used to avoid sharing their number with undesirable men.

Women in urban India give out fake numbers to avoid sharing their real numbers with people they don’t trust. They sometimes switch the last two digits around or provide entirely fake numbers. This provided us with an elegant and workable solution.

Strategic Approach: Enable Vodafone women subscribers to give retailers they didn’t trust a fake number, to recharge their real number.

Effie: How did you bring the campaign to life?

HG & KA: A woman’s best friend in a man’s world The emphasis of our new service was on making women self-reliant. We wanted our offering to evoke a feeling of familiarity and trust amongst women. We named the service “Sakhi” which literally translates to “close female friend” in Hindi.

Vodafone Sakhi – A friend that helped safeguard women’s privacy While we had developed a solution, communicating it was another problem entirely. Traditional mass media such as radio and television would result in massive spillover, as it would also reach men. Vodafone also ran the risk of painting honest retailers with the same brush as unscrupulous retailers who were trafficking women’s numbers.

A service for women, propagated by women, at women-only touchpoints We created a communications ecosystem comprised of only women to promote Vodafone Sakhi. From explaining the service, to enrolling women, to verifying subscribers – every step was carried out by women. To ensure zero spillover, we used three women-only touchpoints:

Primary Health Camps: We enlisted women health workers at primary health camps, which women usually attended only with their friends or their female family members.

Women’s colleges: Safety sessions were conducted for students after classes, where students were taught how to activate the service.

Activation instructions in wrapping paper: We provided jewelry stores and women’s clothing stores with branded wrapping paper which contained instructions on how to activate the service.

To enroll non-Vodafone customers onto the service, we created a special Vodafone Sakhi information pack. Teams of female promoters were used to promote this pack at the touchpoints.

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Effie: What was the greatest challenge you faced when creating “Vodafone Sakhi,” and how did you navigate it?

HG & KA: Developing a solution that would work for smartphone and featurephone customers alike, given the limited penetration of smartphones amongst women subscribers.

We put forth the question – Would it be possible to credit prepaid calling card recharges using an alternative 10-digit number that was mapped to a woman’s original cell number?

This would allow women to continue with their existing recharge behavior without compromising their privacy. The product team responded with a simple and effective solution.

Product Innovation: An industry first service that combined the convenience of the neighboring retailer while assuring complete privacy via a proxy number

To maintain anonymity, we created a system wherein a machine-generated proxy 10-digit number could be delivered to individual phones. The request for this number could be generated by sending an SMS (Private to 12604), to ensure that feature phone users and smartphone users alike could avail the service. Women could give this number to the retailer and specify the amount they wanted to recharge while protecting their privacy.

This service could be activated via a missed call from any number. Once Vodafone Sakhi was activated, Vodafone call centres sent out a verification call to authenticate that the number was owned by a woman, to prevent misuse.

Effie: How did you know the work worked? What was the most significant result of the campaign?

HG & KA:

1. Women on Vodafone Sakhi showed a higher usage on both voice and data. 2. There was an increase in APRU amongst Vodafone Sakhi subscribers. 3. Churn amongst Vodafone Sakhi subscribers was reduced.

Effie: What were the biggest learnings you took away from this effort?

HG & KA: Creating inclusive innovation The usage and penetration of mobile internet is limited amongst women subscribers in India. Creating a solution that used SMS, instead of a mobile internet-based solution, helped increase the adoption of the service amongst smartphone and feature phone (mobile phones without internet) users.

Building communication ecosystems composed entirely of women Women-only communication touchpoints helped create safe spaces where women could talk about the issue at hand with other women who faced a similar problem. Partnering with women influencers and promoters helped Vodafone demonstrate a greater level of empathy for the problem and added to the solution being offered.

Building on existing behavior With Vodafone Sakhi, women didn’t have to change their existing behaviour. Because they could recharge at the same retailer without revealing their number, there was little hesitation around adopting the service.

***

Hirol Gandhi is Executive Vice President and Integrated National Head of Team Vodafone, Ogilvy India Avid biker, cricket player & enthusiast, and die-hard F1 fan.

Hirol Gandhi happens to share his last name with the great Mahatma. And that adds a lot of weight on his shoulders. He started with Trikaya Grey in 1998. As a part of his first assignment, he made colour televisions accessible to millions of households in India with Akai. After a brief stint at Contract, Hirol joined Ogilvy at the start of the new millennium. He spent his first 6 years urging Indians to dip only Parle Biscuits in their tea. The next 3 years were devoted to showing India how to celebrate joyous occasions with Cadbury’s Dairy Milk, instead of Mithai (Ironic, given his fondness for Indian sweets). Eager for new challenges, he spent the next 6 years consolidating the market leader position for Unilever tea portfolio, Bajaj Motorcycles and SBI Life insurance. In the last five years, he has dedicated himself to making Vodafone, the most loved telecom brand in India.

Hirol is a hardcore cricket fan and is hoping that India will win the next T20 cricket world cup. This to him would be a fitting farewell for India’s best ever captain – ‘Mahendra Singh Dhoni’. Even though cricket is his first love, most of his weekends are spent watching F1 races, when there is no crisis that needs to be averted.

Kiran Antony, CCO, Ogilvy South and Team Vodafone, Ogilvy India

Kiran Antony joined Ogilvy as an intern way back in 2001 and shortly after that began working on Orange/Hutch. He has been an integral part of all major campaigns on Hutch/Vodafone over the years. In 2004, he moved to Ogilvy Bangalore to work under V Mahesh (late) and Rajiv Rao who were the creative heads leading Ogilvy South at the time. Other than Vodafone, he has also worked on brands like Ceat, Bru, Federal Bank, Mid-Day, Star Sports.com, Akanksha Foundation, Poker Stars, Lenovo, Future Group, Vedanta, Al Jazeera, L&T to name a few.

Kiran is also the recipient of several national/international awards at Cannes, CLIO, London International Awards, Kyoorius and the Creative ABBY Awards.

Awards earned by “Vodafone Sakhi”:

2019 APAC Effie Awards: GRAND EFFIE GOLD – IT/Telco SILVER – Positive Change: Social Good – Brands BRONZE – Branded Utility

2019 Effie Awards India: GOLD – Small Town & Rural Marketing GOLD – Direct Marketing SILVER – Positive Change: Social Good – Brands BRONZE – Services – Telecom

Read more posts from APAC Effie >

#Winner Spotlight #marketing effectiveness #marketing effectiveness playbook #APAC Effie Awards #APAC Effie #Effie Awards India #Effie India #Ogilvy #Vodafone

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rosario616785-blog · 6 years

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Yahoo News Singapore.

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ofelia03s0455-blog · 6 years

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Ayurveda And Also The 6 Flavours

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watchilove · 4 years

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Bentley is set to return to the beautiful grounds of Blenheim Palace from 22 to 26 September for this year’s Salon Privé, to unveil a three-strong showcase handcrafted by Bentley Mulliner.

Bentley to return to Salon Privé with Mulliner showcase

Three cars to make world public debuts on 22 September

New members of Bentley Mulliner Collections and Coachbuilt portfolios to be displayed

Bentley Mulliner Bacalar makes public debut

Restored 4½-Litre Supercharged Team Blower makes global debut

First time cars from all three Mulliner portfolios to be shown together

Iconic cars from Bentley’s own heritage collection to be present, marking the significant moments of Mulliner’s past

Bentley resumes live events with comprehensive suite of health and safety measures to protect staff and guests

As Bentley’s in-house bespoke and personal commissioning division, Bentley Mulliner now operates a trio of portfolios to deliver exceptional craftsmanship across the Bentley model range – and beyond. All three portfolios will be represented together for the first time at Salon Privé. A new member of the Mulliner Collections family will be unveiled, alongside the public debut for the Bentley Mulliner Bacalar and a post-restoration debut for one of the most famous Bentleys in history.

The Bentley Mulliner Classic offering was introduced last year with the announcement – at Salon Privé – that Bentley’s 1929 Team Blower was to be reborn with a new build of 12 supercharged 4½-litre examples of the iconic car. These models, each individually handcrafted by a team of specialists from Bentley Mulliner, will form the world’s first pre-war race car continuation series. This subdivision of Mulliner also completed an immaculate restoration of the 1939 Bentley Corniche in 2019, which made its debut at Salon Privé last year. This year, the Classic portfolio will be represented by revealing the stunning result of the last 12 months of work by a dedicated team of engineers and artisan craftspeople in restoring Bentley’s own Team Car, as raced by Sir Tim Birkin – the very car that’s provided the data and blueprints for the Continuation Series.

The Bentley Mulliner Bacalar – the rarest two-door Bentley of the modern era, and the ultimate expression of two-seat, open-air luxury – will make its public debut at Salon Privé. This definitive Grand Tourer spearheads a return to coachbuilding by Bentley Mulliner – the oldest coachbuilder in the world. Just 12 examples of this striking, limited-edition model are being created, guaranteeing rarity and exclusivity, and offering supreme luxury and breath-taking performance. Bacalar looks to the future of bespoke luxury motoring – each model will be handcrafted in Bentley Mulliner’s workshop in Crewe, according to the individual customer’s personal tastes. The Bacalar is the first car to be created as part of Bentley Mulliner’s new Coachbuilt portfolio.

A roofless Barchetta design with all-new and highly muscular coachwork, embracing a myriad of options and materials, each Bacalar will be truly unique, the result of direct interaction between the Bentley Mulliner design team and the individual customer. A masterpiece of craftsmanship, the Bacalar is a seamless fusion of materials with an intelligent curation of technology. It draws on design DNA from the beautifully sculpted, award-winning EXP 100 GT which was recently crowned ‘Most Beautiful Concept Car of the Year’ at the prestigious French Festival Automobile International and ‘Concept Car of the Year’ by GQ magazine. All examples of the exquisite Bentley Mulliner Bacalar have already been allocated to customers from around the world.

The third branch of the business – Bentley Mulliner Collections – will continue to offer customers pinnacle luxury derivatives of the core Bentley range, such as the new Continental GT Mulliner Convertible, as well as the opportunity to personalise their new Bentley. An expansive number of options is available across the full line-up of current production cars – from unique colour-matched paint, hide and thread combinations, to bespoke feature content. The Collections portfolio will be represented by a new model, due to be announced the week before Salon Privé.

To mark the history of Mulliner, Bentley will also bring two very special cars from the Heritage Collection. Bentley’s own 1930 8-Litre – previously the company car of W.O. Bentley himself, and wearing an HJ Mulliner body – will lead a convoy of modern Bentleys arriving at the event. It will be joined in that procession by perhaps the most iconic Mulliner-bodied car in history – the R-Type Continental of 1952, still considered one of the most beautiful cars of all time. The fastest, four-seat sports car of the era, the R-Type’s iconic beauty continues to influence design today through the Bentley Continental GT.

Bentley Mulliner – the Oldest Coachbuilder in the World

The legend of Mulliner is woven into the very fabric of Bentley. The tradition of bespoke craftsmanship has been passed down from generation to generation since the 1500s, when Mulliner was founded as a saddler.

In the 1760s, the Mulliner family business refocused on coachbuilding and rose to prominence when it was commissioned to build and maintain carriages for the Royal Mail postal service. With the arrival of the motor car, the company stepped away from horse-drawn carriages and focussed on coachbuilding for mechanical propulsion.

The then independent Mulliner crafted a bespoke, 3-litre, two-seater Bentley for the 1923 Olympia Show in London, creating a bond between the two companies that would last for decades. Mulliner bodied over 240 Bentley chassis in the 1920s alone and became renowned as the very best of the new coachbuilding firms.

Mulliner cemented its partnership with Bentley in 1959 by becoming part of the business. It later moved into the old engineering experimental department at Bentley headquarters in Crewe and has remained there ever since. Today, around 40 employees, ranging from specialists with over 40 years of Mulliner experience to apprentices learning the skills that have been honed over decades of manufacturing, work for the company.

Bentley Returns to Live Events

Bentley has been widely recognised for its leading role in the UK automotive industry during the COVID-19 crisis. The introduction of 250 changes to the company’s headquarters and factory in Crewe meant that production could restart safely and effectively, and has since reached 100% capacity. Now, the same meticulous and careful approach will be extended to Bentley’s live events programme, starting with Salon Privé.

Thorough measures being taken by the event organisers include temperature checks for all attendees before admittance, and a five-times-daily schedule of fogging with Hypochlorous Acid, a non-toxic and proven coronavirus-destroying disinfectant. Beyond that, the Bentley Mulliner stand will require mandatory wearing of face masks for all staff and guests, and a full track-and-trace system will be in place for all visitors. The stand will be designed in a way that visitors are automatically socially-distanced from staff, and not able to enter the cars on display. A one-way system will ensure that socially distancing between guests is easy to maintain, hand sanitiser will be readily available to all, and the stand and its cars will be constantly cleaned by a dedicated team.

Bentley Mulliner prepares trio of debuts for Salon Privé Bentley is set to return to the beautiful grounds of Blenheim Palace from 22 to 26 September for this year’s Salon Privé, to unveil a three-strong showcase handcrafted by Bentley Mulliner.

#automotive #Bentley #Bentley Mulliner Salon Privé #Mulliner #news #Press release #Salon Privé

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sunnykrblog-blog · 5 years

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Human Rights | Global Compact Network India

Human Rights For more information on the Global Compact’s business and human rights programme, please see also our Human Rights issues page.

Principle One Businesses should support and respect the protection of internationally proclaimed human rights; and

Principle Two make sure they are not complicit in human rights abuses.

The Origin of the Human Rights Principles Human rights are universal and belong to everyone equally. The origin of Principles One and Two is in the 1948 Universal Declaration of Human Rights (UDHR). The aim of this Declaration was to set basic minimum international standards for the protection of the rights and freedoms of the individual. The fundamental nature of these provisions means that they are now widely regarded as forming a foundation of international law. In particular, the principles of the UDHR are considered to be international customary law and do not require signature or ratification by the state to be recognized as a legal standard. The UDHR is a keystone document, it has been translated into over 3000 languages and dialects. While some principles may not be directly applicable to business, consistency with the declaration is important.

What does the Universal Declaration Say? Equality The Declaration begins by laying down its basic premise that “all human beings are born free and equal in dignity and rights.” The Declaration then goes on to give content to its understanding of equality by prohibiting any distinction in the enjoyment of human rights on such grounds as race, colour, sex, language, religion, political or another opinion, national or social origin, property, birth or another status.

Life and Security The rights to life, liberty and security, and the right to be free from slavery servitude, torture or cruel, inhuman or degrading treatment or punishment further develop the notion of personal dignity and security. The rights of the individual to a just national legal system are also set out. The right to recognition as a person before the law, to equal protection of the law, to a judicial remedy before a court for human rights violations, to be free from arbitrary arrest, to a fair trial before an independent court, to the presumption of innocence and not to be subjected to retroactive penal laws are all set out in the Declaration.

Personal Freedom Rights protecting a person’s privacy in matters relating to family, home, correspondence, reputation and honour and freedom of movement are all part of the Universal Declaration. The right to seek asylum, to a nationality, to marry and found a family and the right to own property are also proclaimed by the Declaration. Freedom of thought, conscience and religion and freedom of opinion and expression are set out along with the right of peaceful assembly and association and the right to take part in government.

Economic, Social and Cultural Freedoms Touching other aspects of the daily lives of people, the Declaration proclaims the right to social security and to the economic, social and cultural right indispensable to human dignity and the free development of each individual’s personality. These rights are to be realised through national efforts and international co-operation in accordance with conditions in each state. The right to work is set out, and to equal pay for equal work and to just and favourable remuneration ensuring for the worker and the worker’s family am existence worthy of human dignity (which can be supplemented if necessary by other means of social protection). The Declaration also recognizes that right to form and join trade unions, the right to rest and leisure, reasonable limitations on working hours and periodic holidays with pay. The right to a standard of living adequate for health and well being, including food, clothing, housing, medical care, and to social services and security, if necessary, are also proclaimed as are the rights to education, and to participate in the cultural life of the community, and to the protection of the moral and material interests resulting from any scientific, literary or artistic production.

Global Compact Principles One and Two call on business to develop an awareness of human rights and to work within their sphere of influence to uphold these universal values, on the basis that responsibility falls to every individual in society.

For More : https://www.globalcompact.in/human-rights

#Human Rights #Human Rights Principles #social services

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soukacatv · 5 years

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What’s the High-definition television (HDTV)? Analog HD Systems & Rise of Digital Compression, HDTV Broadcast in USA | Soukacatv.com

High-definition television (HDTV) is a television system providing an image resolution that is of substantially higher resolution than that of standard-definition television. This can be either analog or digital. HDTV is the current standard video format used in most broadcasts: terrestrial broadcast television, cable television, satellite television, Blu-rays, and streaming video.

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HDTV may be transmitted in various formats:

720p 1280×720p: 923,600 pixels (~0.92 MP) per frame

1080i 1920×1080i: 1,036,800 pixels (~1.04 MP) per field or 2,073,600 pixels (~2.07 MP) per frame

1080p 1920×1080p: not a broadcast standard for ATSC 1.0

Some countries also use a non-standard CEA resolution, such as 1440×1080i: 777,600 pixels (~0.78 MP) per field or 1,555,200 pixels (~1.56 MP) per frame

The letter "p" here stands for progressive scan, while "i" indicates interlaced.

When transmitted at two megapixels per frame, HDTV provides about five times as many pixels as SD (standard-definition television). The increased resolution provides for a clearer, more detailed picture. In addition, progressive scan and higher frame rates result in a picture with less flicker and better rendering of fast motion. HDTV as is known today first started official broadcasting in 1989 in Japan, under the MUSE/Hi-Vision analog system.HDTV was widely adopted worldwide in the late 2000s.

History

The term high definition once described a series of television systems originating from August 1936; however, these systems were only high definition when compared to earlier systems that were based on mechanical systems with as few as 30 lines of resolution. The ongoing competition between companies and nations to create true "HDTV" spanned the entire 20th century, as each new system became more HD than the last. In the 2010s, this race has continued with 4K, 5K and 8K systems.

The British high-definition TV service started trials in August 1936 and a regular service on 2 November 1936 using both the (mechanical) Baird 240 line sequential scan (later to be inaccurately rechristened 'progressive') and the (electronic) Marconi-EMI 405 line interlaced systems. The Baird system was discontinued in February 1937. In 1938 France followed with their own 441-line system, variants of which were also used by a number of other countries. The US NTSC 555-line system joined in 1941. In 1949 France introduced an even higher-resolution standard at 819 lines, a system that should have been high definition even by today's standards, but was monochrome only and the technical limitations of the time prevented it from achieving the definition of which it should have been capable. All of these systems used interlacing and a 4:3 aspect ratio except the 240-line system which was progressive (actually described at the time by the technically correct term "sequential") and the 405-line system which started as 5:4 and later changed to 4:3. The 405-line system adopted the (at that time) revolutionary idea of interlaced scanning to overcome the flicker problem of the 240-line with its 25 Hz frame rate. The 240-line system could have doubled its frame rate but this would have meant that the transmitted signal would have doubled in bandwidth, an unacceptable option as the video baseband bandwidth was required to be not more than 3 MHz.

Color broadcasts started at similarly higher resolutions, first with the US NTSC color system in 1953, which was compatible with the earlier monochrome systems and therefore had the same 525 lines of resolution. European standards did not follow until the 1960s, when the PAL and SECAM color systems were added to the monochrome 625 line broadcasts.

The Nippon Hōsō Kyōkai (NHK, the Japan Broadcasting Corporation) began conducting research to "unlock the fundamental mechanism of video and sound interactions with the five human senses" in 1964, after the Tokyo Olympics. NHK set out to create an HDTV system that ended up scoring much higher in subjective tests than NTSC's previously dubbed "HDTV". This new system, NHK Color, created in 1972, included 1125 lines, a 5:3 aspect ratio and 60 Hz refresh rate. The Society of Motion Picture and Television Engineers (SMPTE), headed by Charles Ginsburg, became the testing and study authority for HDTV technology in the international theater. SMPTE would test HDTV systems from different companies from every conceivable perspective, but the problem of combining the different formats plagued the technology for many years.

There were four major HDTV systems tested by SMPTE in the late 1970s, and in 1979 an SMPTE study group released A Study of High Definition Television Systems:

EIA monochrome: 4:3 aspect ratio, 1023 lines, 60 Hz

NHK color: 5:3 aspect ratio, 1125 lines, 60 Hz

NHK monochrome: 4:3 aspect ratio, 2125 lines, 50 Hz

BBC colour: 8:3 aspect ratio, 1501 lines, 60 Hz

Since the formal adoption of digital video broadcasting's (DVB) widescreen HDTV transmission modes in the mid to late 2000s; the 525-line NTSC (and PAL-M) systems, as well as the European 625-line PAL and SECAM systems, are now regarded as standard definition television systems.

Analog systems

Early HDTV broadcasting used analog technology, but today it is transmitted digitally and uses video compression.

In 1949, France started its transmissions with an 819 lines system (with 737 active lines). The system was monochrome only, and was used only on VHF for the first French TV channel. It was discontinued in 1983.

In 1958, the Soviet Union developed Тransformator (Russian: Трансформатор, meaning Transformer), the first high-resolution (definition) television system capable of producing an image composed of 1,125 lines of resolution aimed at providing teleconferencing for military command. It was a research project and the system was never deployed by either the military or consumer broadcasting.

In 1986, the European Community proposed HD-MAC, an analog HDTV system with 1,152 lines. A public demonstration took place for the 1992 Summer Olympics in Barcelona. However HD-MAC was scrapped in 1993 and the Digital Video Broadcasting (DVB) project was formed, which would foresee development of a digital HDTV standard.

Demise of analog HD systems

The limited standardization of analog HDTV in the 1990s did not lead to global HDTV adoption as technical and economic constraints at the time did not permit HDTV to use bandwidths greater than normal television. Early HDTV commercial experiments, such as NHK's MUSE, required over four times the bandwidth of a standard-definition broadcast. Despite efforts made to reduce analog HDTV to about twice the bandwidth of SDTV, these television formats were still distributable only by satellite. In Europe too, the HD-MAC standard was considered not technically viable.

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In addition, recording and reproducing an HDTV signal was a significant technical challenge in the early years of HDTV (Sony HDVS). Japan remained the only country with successful public broadcasting of analog HDTV, with seven broadcasters sharing a single channel.

However the Hi-Vision/MUSE system also faced commercial issues when it launched on November 25, 1991. Only 2,000 HDTV sets were sold by that day, rather than the enthusiastic 1.32 million estimation. Hi-Vision sets were very expensive, up to US$30,000 each, which contributed to its low consumer adaption. A Hi-Vision VCR from NEC released at Christmas time retailed for US$115,000. In addition, the United States saw Hi-Vision/MUSE as an outdated system and had already made it clear that it would develop an all-digital system.[15] Experts thought the commercial Hi-Vision system in 1992 was already eclipsed by digital technology developed in the U.S. since 1990. This was an American victory against the Japanese in terms of technological dominance.By mid-1993 prices of receivers were still as high as 1.5 million yen (US$15,000).

On February 23, 1994, a top broadcasting administrator in Japan admitted failure of its analog-based HDTV system, saying the U.S. digital format would be more likely a worldwide standard. However this announcement drew angry protests from broadcasters and electronic companies who invested heavily into the analog system. As a result, he took back his statement the next day saying that the government will continue to promote Hi-Vision/MUSE. That year NHK started development of digital television in an attempt to catch back up to America and Europe. This resulted in the ISDB format. Japan started digital satellite and HDTV broadcasting in December 2000.

Rise of digital compression

Since 1972, International Telecommunication Union's radio telecommunications sector (ITU-R) had been working on creating a global recommendation for Analog HDTV. These recommendations, however, did not fit in the broadcasting bands which could reach home users. The standardization of MPEG-1 in 1993 also led to the acceptance of recommendations ITU-R BT.709. In anticipation of these standards the Digital Video Broadcasting (DVB) organisation was formed, an alliance of broadcasters, consumer electronics manufacturers and regulatory bodies. The DVB develops and agrees upon specifications which are formally standardised by ETSI.

DVB created first the standard for DVB-S digital satellite TV, DVB-C digital cable TV and DVB-T digital terrestrial TV. These broadcasting systems can be used for both SDTV and HDTV. In the US the Grand Alliance proposed ATSC as the new standard for SDTV and HDTV. Both ATSC and DVB were based on the MPEG-2 standard, although DVB systems may also be used to transmit video using the newer and more efficient H.264/MPEG-4 AVC compression standards. Common for all DVB standards is the use of highly efficient modulation techniques for further reducing bandwidth, and foremost for reducing receiver-hardware and antenna requirements.

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In 1983, the International Telecommunication Union's radio telecommunications sector (ITU-R) set up a working party (IWP11/6) with the aim of setting a single international HDTV standard. One of the thornier issues concerned a suitable frame/field refresh rate, the world already having split into two camps, 25/50 Hz and 30/60 Hz, largely due to the differences in mains frequency. The IWP11/6 working party considered many views and throughout the 1980s served to encourage development in a number of video digital processing areas, not least conversion between the two main frame/field rates using motion vectors, which led to further developments in other areas. While a comprehensive HDTV standard was not in the end established, agreement on the aspect ratio was achieved.

Initially the existing 5:3 aspect ratio had been the main candidate but, due to the influence of widescreen cinema, the aspect ratio 16:9 (1.78) eventually emerged as being a reasonable compromise between 5:3 (1.67) and the common 1.85 widescreen cinema format. An aspect ratio of 16:9 was duly agreed upon at the first meeting of the IWP11/6 working party at the BBC's Research and Development establishment in Kingswood Warren. The resulting ITU-R Recommendation ITU-R BT.709-2 ("Rec. 709") includes the 16:9 aspect ratio, a specified colorimetry, and the scan modes 1080i (1,080 actively interlaced lines of resolution) and 1080p (1,080 progressively scanned lines). The British Freeview HD trials used MBAFF, which contains both progressive and interlaced content in the same encoding.

It also includes the alternative 1440×1152 HDMAC scan format. (According to some reports, a mooted 750-line (720p) format (720 progressively scanned lines) was viewed by some at the ITU as an enhanced television format rather than a true HDTV format,and so was not included, although 1920×1080i and 1280×720p systems for a range of frame and field rates were defined by several US SMPTE standards.)

Inaugural HDTV broadcast in the United States

HDTV technology was introduced in the United States in the late 1980s and made official in 1993 by the Digital HDTV Grand Alliance, a group of television, electronic equipment, communications companies consisting of AT&T Bell Labs, General Instrument, Philips, Sarnoff, Thomson, Zenith and the Massachusetts Institute of Technology. Field testing of HDTV at 199 sites in the United States was completed August 14, 1994. The first public HDTV broadcast in the United States occurred on July 23, 1996 when the Raleigh, North Carolina television station WRAL-HD began broadcasting from the existing tower of WRAL-TV southeast of Raleigh, winning a race to be first with the HD Model Station in Washington, D.C., which began broadcasting July 31, 1996 with the callsign WHD-TV, based out of the facilities of NBC owned and operated station WRC-TV. The American Advanced Television Systems Committee (ATSC) HDTV system had its public launch on October 29, 1998, during the live coverage of astronaut John Glenn's return mission to space on board the Space Shuttle Discovery. The signal was transmitted coast-to-coast, and was seen by the public in science centers, and other public theaters specially equipped to receive and display the broadcast. The first HDTV logo was created by Washington, DC-based advertising firm Don Schaaf & Friends, Inc.

European HDTV broadcasts

The first HDTV transmissions in Europe, albeit not direct-to-home, began in 1990, when the Italian broadcaster RAI used both HD-MAC and MUSE HDTV technologies to broadcast the 1990 FIFA World Cup. The matches were shown in 8 cinemas in Italy, where the tournament was played, and 2 in Spain. The connection with Spain was made via the Olympus satellite link from Rome to Barcelona and then with a fiber optic connection from Barcelona to Madrid. After some HDTV transmissions in Europe the standard was abandoned in 1993, to be replaced by a digital format from DVB.

The first regular broadcasts started on January 1, 2004 when the Belgian company Euro1080 launched the HD1 channel with the traditional Vienna New Year's Concert. Test transmissions had been active since the IBC exhibition in September 2003, but the New Year's Day broadcast marked the official launch of the HD1 channel, and the official start of direct-to-home HDTV in Europe.

Euro1080, a division of the former and now bankrupt Belgian TV services company Alfacam, broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts mean no HD TVs bought means no HD broadcasts ..." and kick-start HDTV interest in Europe.The HD1 channel was initially free-to-air and mainly comprised sporting, dramatic, musical and other cultural events broadcast with a multi-lingual soundtrack on a rolling schedule of 4 or 5 hours per day.

These first European HDTV broadcasts used the 1080i format with MPEG-2 compression on a DVB-S signal from SES's Astra 1H satellite. Euro1080 transmissions later changed to MPEG-4/AVC compression on a DVB-S2 signal in line with subsequent broadcast channels in Europe.

Despite delays in some countries,the number of European HD channels and viewers has risen steadily since the first HDTV broadcasts, with SES's annual Satellite Monitor market survey for 2010 reporting more than 200 commercial channels broadcasting in HD from Astra satellites, 185 million HD capable TVs sold in Europe (£60 million in 2010 alone), and 20 million households (27% of all European digital satellite TV homes) watching HD satellite broadcasts (16 million via Astra satellites).

In December 2009, the United Kingdom became the first European country to deploy high definition content using the new DVB-T2 transmission standard, as specified in the Digital TV Group (DTG) D-book, on digital terrestrial television.

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The Freeview HD service currently contains 13 HD channels (as of April 2016) and was rolled out region by region across the UK in accordance with the digital switchover process, finally being completed in October 2012. However, Freeview HD is not the first HDTV service over digital terrestrial television in Europe; Italy's Rai HD channel started broadcasting in 1080i on April 24, 2008 using the DVB-T transmission standard.

In October 2008 France deployed five high definition channels using DVB-T transmission standard on digital terrestrial distribution.

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Notation

HDTV broadcast systems are identified with three major parameters:

Frame size in pixels is defined as number of horizontal pixels × number of vertical pixels, for example 1280 × 720 or 1920 × 1080. Often the number of horizontal pixels is implied from context and is omitted, as in the case of 720p and 1080p.

Scanning system is identified with the letter p for progressive scanning or i for interlaced scanning.

Frame rate is identified as number of video frames per second. For interlaced systems, the number of frames per second should be specified, but it is not uncommon to see the field rate incorrectly used instead.

If all three parameters are used, they are specified in the following form: [frame size][scanning system][frame or field rate] or [frame size]/[frame or field rate][scanning system].Often, frame size or frame rate can be dropped if its value is implied from context. In this case, the remaining numeric parameter is specified first, followed by the scanning system.

For example, 1920×1080p25 identifies progressive scanning format with 25 frames per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i25 or 1080i50 notation identifies interlaced scanning format with 25 frames (50 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i30 or 1080i60 notation identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 720p60 notation identifies progressive scanning format with 60 frames per second, each frame being 720 pixels high; 1,280 pixels horizontally are implied.

50 Hz systems support three scanning rates: 50i, 25p and 50p. 60 Hz systems support a much wider set of frame rates: 59.94i, 60i, 23.976p, 24p, 29.97p, 30p, 59.94p and 60p. In the days of standard definition television, the fractional rates were often rounded up to whole numbers, e.g. 23.976p was often called 24p, or 59.94i was often called 60i. 60 Hz high definition television supports both fractional and slightly different integer rates, therefore strict usage of notation is required to avoid ambiguity. Nevertheless, 29.97p/59.94i is almost universally called 60i, likewise 23.976p is called 24p.

For the commercial naming of a product, the frame rate is often dropped and is implied from context (e.g., a 1080i television set). A frame rate can also be specified without a resolution. For example, 24p means 24 progressive scan frames per second, and 50i means 25 interlaced frames per second.

There is no single standard for HDTV color support. Colors are typically broadcast using a (10-bits per channel) YUV color space but, depending on the underlying image generating technologies of the receiver, are then subsequently converted to a RGB color space using standardized algorithms. When transmitted directly through the Internet, the colors are typically pre-converted to 8-bit RGB channels for additional storage savings with the assumption that it will only be viewed only on a (sRGB) computer screen. As an added benefit to the original broadcasters, the losses of the pre-conversion essentially make these files unsuitable for professional TV re-broadcasting.

Most HDTV systems support resolutions and frame rates defined either in the ATSC table 3, or in EBU specification. The most common are noted below.

Display resolutions

Video format supported [image resolution]

Native resolution [inherent resolution] (W×H)

Pixels

Aspect ratio (W:H)

Description

Actual

Advertised (Megapixels)

Image

Pixel

720p (HD ready) 1280×720

1024×768 XGA

786,432

0.8

4:3

1:1

Typically a PC resolution (XGA); also a native

resolution on many entry-level plasma displays

with non-square pixels.

1280×720

921,600

0.9

16:9

1:1

Standard HDTV resolution and a typical PC

resolution (WXGA), frequently used by high-end

video projectors; also used for 750-line video,

as defined in SMPTE 296M, ATSC A/53,

ITU-R BT.1543.

1366×768 WXGA

1,049,088

1.0

683:384 (approx. 16:9)

1:1

A typical PC resolution (WXGA); also used by

many HD ready TV displays based on

LCDtechnology.

1080p/1080i (full HD) 1920×1080

1920×1080

2,073,600

2.1

16:9

1:1

Standard HDTV resolution, used by full HD and

HD ready 1080p TV displays such as

high-end LCD, plasma and rear projection TVs,

and a typical PC resolution (lower than WUXGA);

also used for 1125-line video, as defined in

SMPTE 274M, ATSC A/53, ITU-R BT.709;

Video format supported

Screen resolution (W×H)

Pixels

Aspect ratio (W:H)

Description

Actual

Advertised (Megapixels)

Image

Pixel

720p (HD Ready) 1280×720

1248×702 Clean Aperture

876,096

0.9

16:9

1:1

Used for 750-line video with faster

artifact/overscan compensation, as

defined in SMPTE 296M.

1080i (Full HD) 1920×1080

1440×1080 HDCAM/HDV

1,555,200

1.6

16:9

4:3

Used for anamorphic 1125-line video in the

HDCAM and HDV formats introduced by

Sony and defined (also as a luminance

subsampling matrix) in SMPTE D11.

1080p (Full HD) 1920×1080

1888×1062 Clean aperture

2,005,056

2.0

16:9

1:1

Used for 1124-line video with faster

artifact/overscan compensation, as

defined in SMPTE 274M.

At a minimum, HDTV has twice the linear resolution of standard-definition television (SDTV), thus showing greater detail than either analog television or regular DVD. The technical standards for broadcasting HDTV also handle the 16:9 aspect ratio images without using letterboxing or anamorphic stretching, thus increasing the effective image resolution.

A very high resolution source may require more bandwidth than available in order to be transmitted without loss of fidelity. The lossy compression that is used in all digital HDTV storage and transmission systems will distort the received picture, when compared to the uncompressed source.

Standard frame or field rates

ATSC and DVB define the following frame rates for use with the various broadcast standards:

23.976 Hz (film-looking frame rate compatible with NTSC clock speed standards)

24 Hz (international film and ATSC high-definition material)

25 Hz (PAL film, DVB standard-definition and high-definition material)

29.97 Hz (NTSC film and standard-definition material)

30 Hz (NTSC film, ATSC high-definition material)

50 Hz (DVB high-definition material)

59.94 Hz (ATSC high-definition material)

60 Hz (ATSC high-definition material)

The optimum format for a broadcast depends upon the type of videographic recording medium used and the image's characteristics. For best fidelity to the source the transmitted field ratio, lines, and frame rate should match those of the source.

PAL, SECAM and NTSC frame rates technically apply only to analogue standard definition television, not to digital or high definition broadcasts. However, with the roll out of digital broadcasting, and later HDTV broadcasting, countries retained their heritage systems. HDTV in former PAL and SECAM countries operates at a frame rate of 25/50 Hz, while HDTV in former NTSC countries operates at 30/60 Hz.

Types of media

Standard 35mm photographic film used for cinema projection has a much higher image resolution than HDTV systems, and is exposed and projected at a rate of 24 frames per second (frame/s). To be shown on standard television, in PAL-system countries, cinema film is scanned at the TV rate of 25 frame/s, causing a speedup of 4.1 percent, which is generally considered acceptable. In NTSC-system countries, the TV scan rate of 30 frame/s would cause a perceptible speedup if the same were attempted, and the necessary correction is performed by a technique called 3:2 Pulldown: Over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second), giving a total time for the two frames of 1/12 of a second and thus achieving the correct average film frame rate.

Non-cinematic HDTV video recordings intended for broadcast are typically recorded either in 720p or 1080i format as determined by the broadcaster. 720p is commonly used for Internet distribution of high-definition video, because most computer monitors operate in progressive-scan mode. 720p also imposes less strenuous storage and decoding requirements compared to both 1080i and 1080p. 1080p/24, 1080i/30, 1080i/25, and 720p/30 is most often used on Blu-ray Disc.

Modern systems

In the US, residents in the line of sight of television station broadcast antennas can receive free, over the air programming with a television set with an ATSC tuner (most sets sold since 2009 have this). This is achieved with a TV aerial, just as it has been since the 1940s except now the major network signals are broadcast in high definition (ABC, Fox, and Ion Television broadcast at 720p resolution; CBS, My Network TV, NBC, PBS at 1080i; and The CW at either resolution depending on the local affiliate). As their digital signals more efficiently use the broadcast channel, many broadcasters are adding multiple channels to their signals. Laws about antennas were updated before the change to digital terrestrial broadcasts. These new laws prohibit home owners' associations and city government from banning the installation of antennas.

Additionally, cable-ready TV sets can display HD content without using an external box. They have a QAM tuner built-in and/or a card slot for inserting a CableCARD.

High-definition image sources include terrestrial broadcast, direct broadcast satellite, digital cable, IPTV (including GoogleTV, Roku boxes and AppleTV or built into "Smart Televisions"), Blu-ray video disc (BD), and internet downloads.

Sony's PlayStation 3 has extensive HD compatibility because of its built in Blu-ray disc-based player, so does Microsoft's Xbox 360 with the addition of Netflix and Windows Media Center HTPC streaming capabilities. On November 18, 2012, Nintendo released a next generation high definition gaming platform, The Wii U, which includes TV remote control features in addition to IPTV streaming features like Netflix. The HD capabilities of the consoles has influenced some developers to port games from past consoles onto the PS3, Xbox 360 and Wii U, often with remastered or upscaled graphics.

Recording and compression

HDTV can be recorded to D-VHS (Digital-VHS or Data-VHS), W-VHS (analog only), to an HDTV-capable digital video recorder (for example DirecTV's high-definition Digital video recorder, Sky HD's set-top box, Dish Network's VIP 622 or VIP 722 high-definition Digital video recorder receivers, or TiVo's Series 3 or HD recorders), or an HDTV-ready HTPC. Some cable boxes are capable of receiving or recording two or more broadcasts at a time in HDTV format, and HDTV programming, some included in the monthly cable service subscription price, some for an additional fee, can be played back with the cable company's on-demand feature.

The massive amount of data storage required to archive uncompressed streams meant that inexpensive uncompressed storage options were not available to the consumer. In 2008, the Hauppauge 1212 Personal Video Recorder was introduced. This device accepts HD content through component video inputs and stores the content in MPEG-2 format in a .ts file or in a Blu-ray compatible format .m2ts file on the hard drive or DVD burner of a computer connected to the PVR through a USB 2.0 interface. More recent systems are able to record a broadcast high definition program in its 'as broadcast' format or transcode to a format more compatible with Blu-ray.

Analog tape recorders with bandwidth capable of recording analog HD signals, such as W-VHS recorders, are no longer produced for the consumer market and are both expensive and scarce in the secondary market.

In the United States, as part of the FCC's plug and play agreement, cable companies are required to provide customers who rent HD set-top boxes with a set-top box with "functional" FireWire (IEEE 1394) on request. None of the direct broadcast satellite providers have offered this feature on any of their supported boxes, but some cable TV companies have. As of July 2004, boxes are not included in the FCC mandate. This content is protected by encryption known as 5C.This encryption can prevent duplication of content or simply limit the number of copies permitted, thus effectively denying most if not all fair use of the content.

Established in 2000, the Soukacatv.com main products are modulators both in analog and digital ones, amplifier and combiner. We are the very first one in manufacturing the headend system in China. Our 16 in 1 and 24 in 1 now are the most popular products all over the world.

For more, please access to https://www.soukacatv.com.

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Tel : +86 0755 26909863

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Mobile : 13410066011

Email : [email protected]

Website: https://www.soukacatv.com

Source: Wikipedia

#HDTVHDAnalog HDDigital HDHDTV BroadcastDigital modulator，Digital modulator manufacturerDigital modulator supplieranalog modulatorChina Digit

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nikolinaboldero · 5 years

Text

Identity in Late Capitalism. Following reading on ‘Intersectional, Transnational Fashion Subjects’.

23/11/18

Links- positives and negatives of globalisation.

Overall positives are more interconnectedness between people around the world, greater developments in technology and fashion shared globally, ability to move more freely between countries.

Negatives: a more homogenous world, certain countries acquiring stronger political power than others, generally the western countries and Japan, US. Erosion of unique national identities, greater disparity between rich and poor, not everyone receiving the benefits of globalisation.

Cultural imperialism- Colonialism.

Colonialism definition: policy or a practice of acquiring political control over another country, ‘occupying it with settlers and exploiting it economically’.

‘Cultural imperialism refers to the enforcement of one group of people’s cultural ideas on another group’.

One culture may dominate other culture through their ideas and cultural/religious beliefs.

An example of cultural imperialism; During the British imperial rule in India, various policies were established, thus impacting the culture of the nation and creating cultural imperialism. One example of this is the language. British recognized English as a unified language, this altered the way in which Indian people communicated.

‘To be sure, there are now twenty- one national editions of Vogue… However, the content of these magazines fits a pretty, consistent pattern of a focus on local designers, shops and events, mixed with constant reference back to the established centres of fashion’s world order’.

- Gilbert 2013.

‘To appreciate a culture, one must step back and actively learn about it and how to support it without thinking about how they can benefit from the beautiful characteristics of it’. I took this statement from Teen Vogue, I strongly agree with the message they are trying to convey. Cultural awareness is essential, if people do not understand the culture and its traditions, rituals associated with that culture they begin to exploit it, they can appropriate it. Kim Kardashian has largely been inspired by black women, she has been wearing cornrows in her hair. This is most problematic because she has been awarded for her appropriation, whilst black women are often demonized or misjudged for those same styles. Cultural appropriation is harmful because it ‘glorifies or degrades cultural aesthetics based on skin colour, as if the value changes when something is expressed on one race as opposed to another’.

In one of Katy Perry’s performances she decided to dress in a kimono style dress, have her make up done to look similar to that of an Asian, wearing oriental flowers in her hair and the typical Japanese umbrella in her hand. ‘Katy’s performance reinforced the notion that it’s convenient to tap into Asian aesthetics for magical, sensual and mystical purposes, while disregarding the complexity and diversity of Asian identity.

Whiteness:

‘Whiteness as a racial position tends to be rendered invisible’. This marks out all of the other ethnicities as ‘Other’. Dyer therefore argues for the importance of making ‘whiteness strange’. Whiteness is not uniform as a category. I think that if white was portrayed as a strange it would help to reduce the amount of racism (self- assurance).

Flows and Fashion

‘If we apply this concept of disjunctive flows to dress, one might call this mixture of style a form of creolisation or hybridity where nothing is dominant entirely traditional, or fully modern’. Maynard 2004.

‘It is clear that diasporic cultures do not adopt western dress without consideration. They draw selectively and unevenly on the clothes of dual cultural systems and for a variety of reasons.

Diaspora refers to groups of migrants or refugees who have moved away from their country of origin to live in a new country. ‘Scattered population of a specific country or geographic place of origin’.

Tartan through the African Diaspora. Hidden cultural ties.

Tartan as a fabric is closely linked to Scotland but it also has strong ties to Africa as well. The Maasai is a semi- nomadic group of people from East Africa who are known for their unique way of life, as well as their traditions, customs. The Maasai identity is defined by its colourful beaded necklaces and the red shuka cloth. The Maasai wear these blue, striped and checkered cloths to wrap around their bodies. It is known to be quite durable and thick therefore protecting the Maasai tribe from harsh weather conditions and terrain of the savannah.

Intersectionality

Race, class, education, sexuality, ability, age, gender, ethnicity, culture, language. All of these words could be used to help understand someone’s identity.

Theory of the Leisure class- 1899.

‘conspicuous consumption is necessary to communicate the status of the leisure class’.

‘A cheap coat makes a cheap man’.

Victorian binaries-

Male characteristics; public sphere, art, mind, active, adult.

Female characteristics included: private sphere, nature, body, passive, childlike.

The gender binary, is the classification of sex and gender into two distinct, opposite and disconnected forms of masculine and feminine.

Binaries are the ‘simplest way of making difference’, however the issue with binaries is that they are extremely reductive and they are stereotypical. Binaries help us to establish meaning. However, binaries are not usually an equal categorisation. There exists the dominant binary, which results in there being negative connotations associated with the ‘other’ binary. For example, high and low, if someone has a high income that is the dominant binary whereas low income would be associated with negative connotations, same pattern follows with able- bodied people and disabled people. It is certainly not the best form of understanding identity.

Identity is intersectional- this idea suggests that threads of our identity overlap and intersect.

‘opens up imagination beyond binaries, allowing for more complex ways of thinking about identity and the self’.

‘My identity has been constructed from my own sense of otherness, whether cultural, racial or sexual. The three aspects are not separate within me. Photography is the tool by which I feel most confident in expressing myself’. It is photography therefore- Black, African, homosexual photography which I must use not just as an instrument but as a weapon if I am to resist attacks on my integrity and, indeed, my existence on my own terms’.

Rotimi Fani- Kayode.

I really enjoyed this lecture I think that it covered so many interesting topics. I found the reference to the Dolce and Gabbana campaign particularly interesting, I remember first seeing this advert and I didn’t think much of it, I thought it was taking a different approach but I didn’t think that it could be racist in any way. Watching it over again and looking at comments I could see how it would be insulting to the Chinese population. I have always found fashion journalism really fascinating, talking about different issues associated with the media which have impacted on the industry.

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mendytheblogger-blog · 6 years

Text

The ideal community in theory v. s Mariannridge community

Week 1 as a 4th year OT Student...

In the year 2015, the Sustainable Development Goals (SDG’s) were launched at the United Nations Conference, following the expiration of the Millennium Development Goals. The Global Goals or Sustainable Development Goals (SDG’s) are a universal call to action to end poverty, protect the planet and ensure that all people enjoy peace and prosperity. (United Nations Development Programme, 2018). They recognize that ending poverty must go hand-in-hand with strategies that build economic growth and addresses a range of social needs including education, health, social protection, and job opportunities, while tackling climate change and environmental protection. From the information, a question arises from me, why the need for formation and implementation of such declarations?

The MDG and SDG goals are true reflection on what would promote the community to flourish. The 17 sustainable development goals (SDG’s) to transform our world include:

GOAL 1: No Poverty

GOAL 2: Zero Hunger

GOAL 3: Good Health and Well-being

GOAL 4: Quality Education

GOAL 5: Gender Equality

GOAL 6: Clean Water and Sanitation

GOAL 7: Affordable and Clean Energy

GOAL 8: Decent Work and Economic Growth

GOAL 9: Industry, Innovation and Infrastructure

GOAL 10: Reduced Inequality

GOAL 11: Sustainable Cities and Communities

GOAL 12: Responsible Consumption and Production

GOAL 13: Climate Action

GOAL 14: Life below Water

GOAL 15: Life on Land

GOAL 16: Peace and Justice Strong Institutions

GOAL 17: Partnerships to achieve the Goal

(United Nations Sustainable Development, 2018.

Tim Cotter, a psychologist who focuses in embedding sustainability in community and organizational culture has a list of factors that he believes makes a community flourish. These factors include:

Internal Factors

· Pro-environmental behaviours

· Responsibility for sustainability in pro-environmental behaviours

· Perceived Control for sustainable behaviours

· Perceived Support for social norms

· Knowledge of sustainability behaviours

External Factors

· Community leadership

· Sustainability Activities

· Incentives

· Policies and Regulations

· Facilities

· Transport infrastructures

· Waste management services

· Spaces where citizens connect with nature

(Cotter, 2018)

In relation to all this information, its time I introduce you to my community of Marrianridge, which is situated in the Ward 13 of the Ethekwini Municipality in the province of KwaZulu-Natal. It was established in the mid 1970's as a coloured township, however currently accommodates individuals from the coloured and African races. The City Council built 600 family units comprising of two and three bedroom flats or semi-detached houses. (MCC, 2018). The community has no resemblance to the factors that are meant to make community flourish as mentioned above, even the MDG’s and SDG’s mentioned are poorly implemented in this community of Marrainridge .

My first exposure to this community was interesting as the setting is different from what I have been exposed too. In the sense that I come from a more developed background. The community of Marrianridge is an urban township with flats and four-room state housing.In South Africa, KZN bears a considerable part of the national burden of poverty. The District Health Barometer (HST, 2010) reports that 63% to 82 % of households live on less than R800 per month. This highlights the gap in the factor that are supposed to make Marrianridge flourish as a community. From my observation of the community, one can draw that poverty is the most prevalent issue evident in the community member’s lifestyle, over population and the housing seen in the community. When this is compared with the goals of MDG’s and SDG’s, Marrianridge has been unable to move past the poverty alienation and zero hunger. The high poverty in the community has contributed social issues such as high levels of crime and substance use/abuse amongst the youth of the community.

The community of Marrianridge also has issues such as unemployment, poor waste management, decent accommodation and poor education system which disadvantages the community to attain the goals of MDG’s and SDG’s as well as its ability to flourish. The community of Marriannridge has a history of protest action against the municipality of eThekwini. In 21st August 2017 being the latest where, the community members were unhappy with housing issues as four generations have been living in the same flats built by the apartheid government in 1976.They complained about living in overcrowded spaces and some residents have resorted to building wendy houses in order to free up space in the flats (Ngema, 2017). During the school visit, I noted that there is a lack of infrastructure and overpopulation in the class rooms, which may be causing the teachers to experience burnout as well as have difficulties in managing these classes. This further affects the quality of the education system in the community and ability for the community members to escape poverty cycle. This is evident on the previous years Matric Results where less than 5 % would pass. A few of the parents that I was able to talk to mentioned that they are willing to provide better education for their children , however it is difficult for them to achieve this as they have limited finances. In contrast, some children were not going to school as their parents would tell them not to go. This information was obtained from a group of children that were playing soccer outside MCC during school hours .

Upon reviewing the factors that allow communities to flourish. The community of Marrainnridge does not resemble the picture of a flourishing community due to many problems mentioned above, including poor service delivery. When I was interacting with some community members, they mentioned that they felt demotivated to better their community, as the government that they have voted for has not delivered on the promises that they made to them, so they won’t work towards bettering their community if the government fails to do so. This showed how the community presents as being apathetic.

In conclusion, after spending one week at Marriannridge community, one can only wonder if the community will ever flourish. Although I am flooded with hopelessness from what I have seen in the community, I am promising myself to be the spark that begins to ignite some sort of change through my role as a community OT.

Marrianridge will flourish slowly but surely!!

(Google.com, 2018).

References

Cotter, T. (2018). The 10 things a community needs for sustainability to flourish. [online] Linked in. Available at: https://www.linkedin.com/pulse/10-things-community-needs-sustainability-flourish-tim-cotter [Accessed 6 Sep. 2018].

Kznhealth.gov.za (2018). Available at : http://www.kznhealth.gov.za/family/mCWH/KZN-IMAM-Guidelines.pdf [accessed 6 Sep.2018]

MCC. (2018). Our Community. Retrieved from MCC: http://www.marianncc.org.za/our-gallery.php

Ngema, T. (2017). Mariannridge residents protest over housing promises | Daily News. [online] Iol.co.za. Available at: https://www.iol.co.za/dailynews/mariannridge-residents-protest-over-housing-promises-10877527 [Accessed 7 Sep. 2018].

United Nations Development Programme. (2018). Sustainable Development Goals | UNDP. [online] Available at: http://www.undp.org/content/undp/en/home/sustainable-development-goals.html [Accessed 6 Sep. 2018].

United Nations Sustainable Development. (2018). About the Sustainable Development Goals. [online] Available at: https://www.un.org/sustainabledevelopment/sustainable-development-goals/ [Accessed 6 Sep. 2018].

Google.com. (2018). welcome to marrianridge - Google Search. [online] Available at: https://www.google.com/search?client=firefox-b-ab&biw=1360&bih=613&tbm=isch&sa=1&ei=FWSSW6flJ6L1gAbSpbHoBQ&q=welcome+to+marrianridge&oq=welcome+to+marrianridge&gs_l=img.3...46819.50696.0.51130.11.11.0.0.0.0.479.1507.2-1j1j2.4.0....0...1c.1.64.img..9.0.0....0.gU6PkJU_P2A#imgrc=nya_KTFWPucuvM: [Accessed 7 Sep. 2018].

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