A great story for Christmas
that will delight all who love and Citizen-Band Radio.
Happy holidays to all.
Hervé.
Thursday, December 23, 2010
Stalin Before And After Smallpox
the boy and the road
Thursday, December 16, 2010
How To Tryout For Mls Teams
day seminar on the representation from animals to Rennes 2 - 20-21 October 2011 Conference
Pour information - on m'a dit que ces journées d'étude seraient axées "civilisation": histoire des idées, de l'art, philosophie, politique, sociologie, culture.
Representing Animals [1] in Britain
International Interdisciplinary Conference
20 – 21 October 2011
University of Rennes 2, France
Britain is traditionally seen as a nation of animal lovers and evidence for this has cropped up with mounting regularity over the past two centuries:
· The first ever piece of animal welfare legislation was British. Martin’s Act (1822) made it a crime to treat a handful of domesticated animals -cattle, oxen, horses, and sheep- cruelly or to inflict unnecessary suffering upon them. The recent legislative history of the country attests to the same continuing concern, as encapsulated in the highly publicised Hunting Act (2004) which banned hunting wild mammals with dogs.
· Animal painter Sir Edwin Henry Landseer’s popularity in Victorian England was bewildering and his depictions of Newfoundland dogs as rescuers of humankind made their way from the higher rungs of society down to the biscuit tins of lower middle-class homes.
· According to the annual charity trends survey conducted by the Charities Aid Foundation in 2006, the RSPCA, founded in 1824, ranked among the top ten charities in the country [2] .
· Cases of animal suffering revealed by the media regularly horrify the country. In 1982, Sefton, the British army horse, became a national hero after an IRA bombing in Hyde Park. In August 2010, the CCTV footage of a woman dumping a cat in a wheelie bin in Coventry caused such outrage that she had to make a public apology.
All of this, and so much more, seems to bear witness to the widely circulated notion that the British have developed a unique relationship to the animals around them and that the story goes back a long way indeed, well past the Victorian era. Yet, for all these eminent symbols and tokens of affection, the essentially self-congratulatory idea that Britain is “a nation of animal lovers” and that their representations of animals are unlike any other people’s is currently being questioned, in both activist and academic circles.
In the visual arts and their criticism, much has been made of the long-standing British habit of commissioning portraits of one’s favourite pets, either as individual sitters or as part of the family unit. Yet Hogarth’s 1751 engraved series depicting The Four Stages of Cruelty has lately been singled out as a most useful prick with which to puncture the carefully composed and, in the main, upper-class picture of the doting master and his dogs and horses. These recent developments in art historical studies are very much in keeping with the nature of the attraction that animals hold for contemporary artists. In their rejection of classical beauty and desire to expose the evils of the modern age, ecologically-sensitive artists are currently putting animals to new uses in order to explore questions of morality and responsibility towards our environment. To quote Steve Baker, “the animal is now most productively and imaginatively thought about in art […] as something actively to be performed rather than passively represented, an event rather than a subject.” [3]
In so doing, art is connecting with issues articulated in the scientific and ethical fields with an urgency and an originality that seem singularly British.
Perhaps the single most significant work impacting these disciplines was Charles Darwin’s groundbreaking ideas published in The Origin of Species (1859) and The Descent of Man (1871). Darwin’s theory was indeed to have a deep but paradoxical effect on the representation of “beasts” in Britain. As is probably best remembered, it struck the anthropocentric ideal of human superiority a serious blow by showing our common origins with apes. Yet, indirectly, Darwin also gave his blessing to the rise in animal experiments, as animals were now seen as providing models for the study of human biology and physiology. These two elements -kinship between humans and animals, and the commodification of the latter- seem to be still very much at the heart of the British people’s relationship with animals, whether it be in the recent heated debates on live exports and animal testing, or in the legislative moves aiming to protect animals without hindering scientific research or agricultural production. In the light of this complex set of attitudes towards animals, what can one say of the representation of their interests? Can we go as far as claiming, as Robert Garner does, that there is a “growing political relevance of animals” [4] in Britain?
This conference, which will welcome the healthy confrontation of interdisciplinary viewpoints, invites in-depth examination of the representation(s) of animals in the fields of history, philosophy, sociology, politics, law, cultural studies, the visual arts and the media. How have animals been imagined, portrayed, idealised, regarded or disregarded, even effaced? In what ways has their evolving ontological, legal and political status shaped these representations? The answers to these questions and those brought up by the participants will aim at making sense of a supposedly unique and long-standing British relationship with animals.
Presentations will be in English.
Please submit 250-word abstracts by February 1st, 2011 to Emilie Dardenne (emiliedardenne [at] yahoo.fr) and Sophie Mesplède (sophie.mesplede [at] uhb.fr) with “Representing Animals in Britain Proposal Submission” noted in the subject line. Attachments should be in Rich Text or Word format only. Please include your name, professional affiliation, and contact information. Notification of acceptance will be made by April 1st, 2011.
The best papers will be subsequently selected for publication.
Keynote Speakers
Steve Baker, University of Central Lancashire
Robert Garner, University of Leicester
Hilda Kean, Ruskin College, Oxford University
Richard Ryder
Scientific Program Committee
Florence Burgat, INRA, University of Paris 1
Claire Charlot, University of Rennes 2
Emilie Dardenne, University of Rennes 2
Renée Dickason, University of Rennes 2
Elisabeth Hardouin-Fugier, University of Lyon 3
Jean-Baptiste Jeangène-Vilmer, King’s College London
Sophie Mesplède, University of Rennes 2
Brendan Prendiville, University of Rennes 2
Emmanuel Roudaut, IEP Lille
Conference Co-Chairs and Local Organising Committee
Emilie Dardenne, University of Rennes 2
Sophie Mesplède, University of Rennes 2
Conference website
http://www.sites.univ-rennes2.fr/ace/Bienvenue.html
This event is organised by the research group Anglophonie, Communautés, Ecritures (University of Rennes 2). It is a pre-conference for the International Minding Animals Conference 2, Utrecht 2012.
http://www.mindinganimals.com 
Pour information - on m'a dit que ces journées d'étude seraient axées "civilisation": histoire des idées, de l'art, philosophie, politique, sociologie, culture.
Representing Animals [1] in Britain
International Interdisciplinary Conference
20 – 21 October 2011
University of Rennes 2, France
Britain is traditionally seen as a nation of animal lovers and evidence for this has cropped up with mounting regularity over the past two centuries:
· The first ever piece of animal welfare legislation was British. Martin’s Act (1822) made it a crime to treat a handful of domesticated animals -cattle, oxen, horses, and sheep- cruelly or to inflict unnecessary suffering upon them. The recent legislative history of the country attests to the same continuing concern, as encapsulated in the highly publicised Hunting Act (2004) which banned hunting wild mammals with dogs.
· Animal painter Sir Edwin Henry Landseer’s popularity in Victorian England was bewildering and his depictions of Newfoundland dogs as rescuers of humankind made their way from the higher rungs of society down to the biscuit tins of lower middle-class homes.
· According to the annual charity trends survey conducted by the Charities Aid Foundation in 2006, the RSPCA, founded in 1824, ranked among the top ten charities in the country [2] .
· Cases of animal suffering revealed by the media regularly horrify the country. In 1982, Sefton, the British army horse, became a national hero after an IRA bombing in Hyde Park. In August 2010, the CCTV footage of a woman dumping a cat in a wheelie bin in Coventry caused such outrage that she had to make a public apology.
All of this, and so much more, seems to bear witness to the widely circulated notion that the British have developed a unique relationship to the animals around them and that the story goes back a long way indeed, well past the Victorian era. Yet, for all these eminent symbols and tokens of affection, the essentially self-congratulatory idea that Britain is “a nation of animal lovers” and that their representations of animals are unlike any other people’s is currently being questioned, in both activist and academic circles.
In the visual arts and their criticism, much has been made of the long-standing British habit of commissioning portraits of one’s favourite pets, either as individual sitters or as part of the family unit. Yet Hogarth’s 1751 engraved series depicting The Four Stages of Cruelty has lately been singled out as a most useful prick with which to puncture the carefully composed and, in the main, upper-class picture of the doting master and his dogs and horses. These recent developments in art historical studies are very much in keeping with the nature of the attraction that animals hold for contemporary artists. In their rejection of classical beauty and desire to expose the evils of the modern age, ecologically-sensitive artists are currently putting animals to new uses in order to explore questions of morality and responsibility towards our environment. To quote Steve Baker, “the animal is now most productively and imaginatively thought about in art […] as something actively to be performed rather than passively represented, an event rather than a subject.” [3]
In so doing, art is connecting with issues articulated in the scientific and ethical fields with an urgency and an originality that seem singularly British.
Perhaps the single most significant work impacting these disciplines was Charles Darwin’s groundbreaking ideas published in The Origin of Species (1859) and The Descent of Man (1871). Darwin’s theory was indeed to have a deep but paradoxical effect on the representation of “beasts” in Britain. As is probably best remembered, it struck the anthropocentric ideal of human superiority a serious blow by showing our common origins with apes. Yet, indirectly, Darwin also gave his blessing to the rise in animal experiments, as animals were now seen as providing models for the study of human biology and physiology. These two elements -kinship between humans and animals, and the commodification of the latter- seem to be still very much at the heart of the British people’s relationship with animals, whether it be in the recent heated debates on live exports and animal testing, or in the legislative moves aiming to protect animals without hindering scientific research or agricultural production. In the light of this complex set of attitudes towards animals, what can one say of the representation of their interests? Can we go as far as claiming, as Robert Garner does, that there is a “growing political relevance of animals” [4] in Britain?
This conference, which will welcome the healthy confrontation of interdisciplinary viewpoints, invites in-depth examination of the representation(s) of animals in the fields of history, philosophy, sociology, politics, law, cultural studies, the visual arts and the media. How have animals been imagined, portrayed, idealised, regarded or disregarded, even effaced? In what ways has their evolving ontological, legal and political status shaped these representations? The answers to these questions and those brought up by the participants will aim at making sense of a supposedly unique and long-standing British relationship with animals.
Presentations will be in English.
Please submit 250-word abstracts by February 1st, 2011 to Emilie Dardenne (emiliedardenne [at] yahoo.fr) and Sophie Mesplède (sophie.mesplede [at] uhb.fr) with “Representing Animals in Britain Proposal Submission” noted in the subject line. Attachments should be in Rich Text or Word format only. Please include your name, professional affiliation, and contact information. Notification of acceptance will be made by April 1st, 2011.
The best papers will be subsequently selected for publication.
Keynote Speakers
Steve Baker, University of Central Lancashire
Robert Garner, University of Leicester
Hilda Kean, Ruskin College, Oxford University
Richard Ryder
Scientific Program Committee
Florence Burgat, INRA, University of Paris 1
Claire Charlot, University of Rennes 2
Emilie Dardenne, University of Rennes 2
Renée Dickason, University of Rennes 2
Elisabeth Hardouin-Fugier, University of Lyon 3
Jean-Baptiste Jeangène-Vilmer, King’s College London
Sophie Mesplède, University of Rennes 2
Brendan Prendiville, University of Rennes 2
Emmanuel Roudaut, IEP Lille
Conference Co-Chairs and Local Organising Committee
Emilie Dardenne, University of Rennes 2
Sophie Mesplède, University of Rennes 2
Conference website
http://www.sites.univ-rennes2.fr/ace/Bienvenue.html
This event is organised by the research group Anglophonie, Communautés, Ecritures (University of Rennes 2). It is a pre-conference for the International Minding Animals Conference 2, Utrecht 2012.
http://www.mindinganimals.com
Sunday, December 12, 2010
Blood Streaked Mucus Mid-cycle
What a beautiful restoration work!
I want to thank Mr. Gilles. U gave me the plane, but also for the wonderful restoration work done on this plane, Robert and Daniel, who in addition to setting up the engine, battery, tank, etc. .. made the various adjustments of flight controls, and any development. Daniel even took care to tighten the stabilizer and embellished the air of a very pretty blue decor.
Bravo! and thank you.
I can not wait to fly them company.
Hervé.
I want to thank Mr. Gilles. U gave me the plane, but also for the wonderful restoration work done on this plane, Robert and Daniel, who in addition to setting up the engine, battery, tank, etc. .. made the various adjustments of flight controls, and any development. Daniel even took care to tighten the stabilizer and embellished the air of a very pretty blue decor.
Bravo! and thank you.
I can not wait to fly them company.
Hervé.
Saturday, December 11, 2010
Dirt Bike Race Party Supplies
a gem for the Christmas "enforcer Wave 64"
a small jewel of realization made in usa damage once again that in France it is not what ny style creator! for the curious I invite you to visit the site of the creator of this gem and so see more photos of the beast and realizations for fixed and mobile (watch for the price!) for anglophobes made a copy paste of site address and paste it into goggle translation! and! magic! c is not always perfect but it has the merit of understanding what you read http://www.angelfire.com/psy/mrcoily/id10.htm
a small jewel of realization made in usa damage once again that in France it is not what ny style creator! for the curious I invite you to visit the site of the creator of this gem and so see more photos of the beast and realizations for fixed and mobile (watch for the price!) for anglophobes made a copy paste of site address and paste it into goggle translation! and! magic! c is not always perfect but it has the merit of understanding what you read http://www.angelfire.com/psy/mrcoily/id10.htm Tuesday, December 7, 2010
Sunday, December 5, 2010
Long Travel Mini Sandrail Plans
a jump in kangaroos
a visit with our friends cibiste autralien panels that are above for anglophobes are translated as follows: for the first welcome Barcoo shire bottom left it says relay UHF channel 4 / 5 / 8 for the second and UHF Ormis the speed limit, police emergency channel 5 and UHF channel 13 UHF
hospital is believed to dream! no? it happens like that in (mc not do) but in Australia and new zealand!
hospital is believed to dream! no? it happens like that in (mc not do) but in Australia and new zealand!
set by the classic band has 40 channels of 27 MHz 26 965 MHz 405 MHz to 27 Australians are also entitled to 40 UHF channels 476,425 MHz to 477,400 MHz and 5 watts of power and external antennas up to 12 db of gain for the UHF band and in addition they are entitled to the relay, with the kind of position at the top of the page and a band plan Fit French Amateur bands with frequencies reserved for the input e output relays in general from 1 to 8, channel for fixed stations and mobile stations channel 40! since 1994 and need to charge for traffic on HF or UHF!
although home also died on 27 mhz uhf Gently is doing quite well because of the radio quality and scope
when we will do right if only half of that of the Australian France?
alas! I have many fear that this remains a sweet utopia!
Saturday, December 4, 2010
What Salary Of Ccie In India
In Sweden Father Christmas has already passed
whaou! there are furious in all countries 2 small photo of a station cibiste Swedish Division 21 there is something to drool! even for the best equipped of us! not dreaming! Santa Claus is closer to home than here!
whaou! there are furious in all countries 2 small photo of a station cibiste Swedish Division 21 there is something to drool! even for the best equipped of us! not dreaming! Santa Claus is closer to home than here! 
Friday, December 3, 2010
Full Head Sew-ins With Side Bang
nostalgia collector by Laura & Phil
(22 they come and they go hi)
(22 they come and they go hi)
(cb radio connection in November 2010)
(Manu 73)
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