“Legit can’t wait for #Toronto #WorldPride!”: Investigating the Twitter public of a large-scale LGBTQ Festival

This article investigates whether participation on Twitter during Toronto’s 2014 WorldPride festival facilitated challenges to heteronormativity through increased visibility, connections, and messages about LGBTQ people. Analysis of 68,231 tweets found that surges in activity using WorldPride hashtags, connections among users, and the circulation of affective content with common symbols made celebrations visible. However, the platform’s features catered to politicians, celebrities, and advertisers in ways that accentuated self-promotional, local, and often banal content, overshadowing individual users and the festival’s global mandate. By identifying Twitter’s limits in fostering the visibility of users and messages that circulate nonnormative discourses, this study makes way for future research identifying alternative platform dynamics that can enhance the visibility of diversity.

Budgie Smuggler: Selected work for 2015 Swell Sculpture Festival

Budgie Smuggler is the first work of a series entitled slang, reflecting upon other, often unintended meanings behind popular Australian expressions. Synonymous with Australian beach humour, the term budgie smuggler unintentionally masks the desperately tragic plight of wildlife trafficked every year within and beyond our borders. Bird wildlife are fiercely protectively of their kin, often flocking to a site of distress of those trapped or injured - a commotion ensues, helping to scare predators away. The work contemplates our own position and action in response to our captive feathered friends. Budgie Smuggler is a soft resin/silicon, cotton material, fibreglass and recycled object based artwork.

Using quantitative wastewater analysis to measure daily usage of conventional and emerging illicit drugs at an annual music festival

Introduction and Aims Wastewater analysis provides a non-intrusive way of measuring drug use within a population. We used this approach to determine daily use of conventional illicit drugs [cannabis, cocaine, methamphetamine and 3,4-methylenedioxymethamphetamine (MDMA)] and emerging illicit psychostimulants (benzylpiperazine, mephedrone and methylone) in two consecutive years (2010 and 2011) at an annual music festival. Design and Methods Daily composite wastewater samples, representative of the festival, were collected from the on-site wastewater treatment plant and analysed for drug metabolites. Data over 2 years were compared using Wilcoxon matched-pair test. Data from 2010 festival were compared with data collected at the same time from a nearby urban community using equivalent methods. Results Conventional illicit drugs were detected in all samples whereas emerging illicit psychostimulants were found only on specific days. The estimated per capita consumption of MDMA, cocaine and cannabis was similar between the two festival years. Statistically significant (P < 0.05; Z = −2.0–2.2) decreases were observed in use of methamphetamine and one emerging illicit psychostimulant (benzyl piperazine). Only consumption of MDMA was elevated at the festival compared with the nearby urban community. Discussion and Conclusions Rates of substance use at this festival remained relatively consistent over two monitoring years. Compared with the urban community, drug use among festival goers was only elevated for MDMA, confirming its popularity in music settings. Our study demonstrated that wastewater analysis can objectively capture changes in substance use at a music setting without raising major ethical issues. It would potentially allow effective assessments of drug prevention strategies in such settings in the future.

Participants in the Merzig Synagogue Festival Portraits Groups

Verso: "Merziger Synagoguenfest ca. 1922"

BIFF to BAPFF: considering 'festival memory' in the face of innovation and change

As an art form, film has arguably always functioned as a stronghold for memory. Memories unfold in the stories told on screen, and remain preserved in the experiences of the audience viewing the film, at a particular time and place. The environment of a film festival further alters the viewing experience and its relationship to memory. The Brisbane International Film Festival (BIFF) was founded in 1992. After considerable disruption due to economic and socio-political changes, it took place for the last time in 2013. The change in BIFF’s leadership and programming agenda significantly impacted the festival’s image and its position on the wider festival circuit. Through an examination of cinema and memory) it will be argued that film festivals operate as (temporary) sites of memory, through the programming and screening of films, engagement with local audiences, and promotion of film culture. This specific and unique ‘festival memory’ inextricably links to the audience and the venue, and is curated by the festival programmers and staff, who carry a wealth of knowledge (not necessarily recorded), of past festivals, successes, and failures. The people involved, the festival staff and audience, act as caretakers of this ‘festival memory.’ This essay will therefore examine how the BIFF and its home, the Regent Theatre, have functioned as crucial ‘sites of memory’ for film and film culture in Brisbane, Australia.

Farewelling the regent: Considering 'festival memory' in the face of innovation and change

The rapid expansion of the international film festival circuit has included the loss of smaller, but well established festivals, often due to the perceived need for constant innovation and change. The Brisbane International Film Festival was founded in 1992. After considerable disruption to the festival’s leadership, programme and location due to economic and socio-political changes, it was held for the last time in 2013. Nafus and Anderson cite the term ‘lieux de memoire’, meaning ‘sites of memory’, as a place of “remembrance that exist(s) in a social world that constantly seeks to get ahead of itself, to “innovate” (Nafus and Anderson in Cefkin 2009, 141). The concept of ‘festival memory’ has not yet been explored in any depth, but such significant shifts in festivals such as BIFF are arguably sites where festival histories and identities, and film knowledge itself, can be irretrievably lost.

Audience members watching the opening ceremonies of the Heidelberg festival, with opening speech given by Thomas Mann.

Typed caption: Festakt in der Stadthalle zur Eroeffnung der Heidelberger Festpiele 1929. Thomas Mann hielt die Festrede. Unsere Aufnahme zeigt einen Ausschnitt aus der Festversammlung, an der die geistige Prominenz Heidelbergs und zahlreiche bedeutende Persoenlichkeiten des deutschen Kulturlebends teilnahmen. Von links nach rechts in der 1. Reihe: Rene Schickele, Rudolf Rittner, Gustav Hargung, Prof. Dr. Martin Dibelius, Gerhart Hauptmann, Dr. Rudolf H. Goldschmidt, Oberbuergermeister Dr. Neinhaus, Thomas Mann und Frau, Kultusminister Leers, Rudolf G. Binding; In der 3. Reihe: Oberbaurat L. Schmieder, Nobelpreistraeger Dr. F. Bergius, Bankdirektor Fremerey, Prof. Hellpach, Prof. Radbruch

Effect of Time of Planting and Plant Size on the Productivity of ‘Festival’ and ‘Florida Fortuna’ Strawberry Plants in a Subtropical Environment

The effect of time of planting and plant size on the performance of ‘Festival’ and ‘Florida Fortuna’ strawberry (Fragaria ×ananassa) plants was studied at Nambour in southeastern Queensland, Australia, over 2 years. The main objective of the work was to determine whether small plants yielded proportionally less than large plants as planting was delayed. First, bare-rooted transplants of ‘Festival’ were divided into small (crown diameters ranging from 6 to 10 mm) or large plants (10 to 17 mm) and planted in late March, mid-April, or late April. Second, transplants of ‘Florida Fortuna’ were divided into small (5 to 8 mm) or large plants (8 to 17 mm) and planted in early April, mid-April, or early May. The early planting for each cultivar corresponded with the time that the transplants are first available from commercial strawberry nurseries. Yields were generally greater in plants planted in late March/early April compared with plants planted later. Differences in yield between the small and large plants were consistent across the different times of planting, with the small plants always having lower yields. Small transplants are an issue for the productivity of strawberry fields in this environment whether they are planted early or late. Producers should consider paying a premium for large transplants delivered early in the season.

Untersekunda Gymnasium Schalke; Excursion to Festival " Wilhelm Tell" Near Pond in Hohenstein Portraits; Groups

856 field created from CDN and IMN fields by JPALMISANO, 08/10/2010.

The culture digitally festival of memeology: An introduction

The collection of essays set to roll out on Culture Digitally over the next month began its life as a pair of panels spanning the last two annual meetings of the International Communication Association. At the 2014 meetings in Seattle, Washington and the 2015 meetings in San Juan, Puerto Rico, various configurations of the contributors in this collection met to discuss the cultures and communicative practices associated with internet memes and viral media. Our shared goal was to bring smart people together to start to think about these digital media genres—still emerging only a few years ago and now seemingly ubiquitous—above the level of the individual example. Together, we asked questions about how internet memes and viral media might be defined, their roles in popular culture, their relationships to far older scientific and scholarly traditions, and their public implications. Two years and two discussions that ended too quickly later, we decided to write up some of our key arguments from the panels. We’ve compiled these write-ups here, in what we’ve taken to calling “The Culture Digitally Festival of Memeology.” - See more at: http://culturedigitally.org/2015/10/00-the-culture-digitally-festival-of-memeology-an-introduction-ryan-m-milner-jean-burgess/#sthash.2KzDogso.dpuf

The growth and productivity of ‘Festival’ strawberry plants growing in a subtropical environment

Experiments were conducted over 5 years to understand the seasonal phenology of bare-rooted ?Festival? strawberry plants (Fragaria ?ananassa) growing at Nambour in southeastern Queensland, Australia. Yields ranged from 661 to 966 g/plant, and average seasonal fruit fresh weight ranged from 15 to 18 g. The growth of the leaves, crowns, roots, flowers and fruit over time followed a linear or sigmoid pattern. Maximum values of leaf, crown and root dry weight towards the end of the growing season about 190 days after planting were 30, 15 and 7 g/plant, respectively. The rates of leaf and crown growth were lower than those achieved in California under a Mediterranean climate. There were strong relationships between the allocation of dry matter to the leaves, crowns and roots and plant dry weight. Allocation to the leaves, and especially to the crowns and roots, declined as the plants grew. The number of fruit/plant increased initially over time with a decline later in the season. Average fruit fresh weight was generally higher early in the season and then declined as fruit production increased. There were strong relationships between the growth of the whole plant and the growth of the flowers and immature fruit, and leaf expansion, across the growing season and across the 5 different years. These results indicate that seasonal growth and potential productivity were strongly linked to the expansion of the leaves in this environment.

Evaluación de semilla sexual hibrida de papa (Solanum tuberosum L.) provenientes del Centro Internacional de la Papa e India en la zona de Miraflor, Esteli

Con el objetivo de seleccionar progenies promisorias de semilla sexual de papa, procedentes del CIP (11) y Programa de la India (3) se estableció este ensayo el 21 de septiembre de 1994, utilizando un diseño de Bloques Completos al Azar (BCA) con cuatro repeticiones, en la estación experimental del Instituto Nicaragüense de Tecnología Agropecuaria (INTA-RB-3), ubicada a 1 350 msnm, humedad relativa del 91 por ciento, temperatura promedio mínima 15 °C/máx 26 °C, cuyos suelos son de textura franca bien drenada, medianamente profundo a profundo, con una precipitación durante el ensayo de 622 mm. Los resultados obtenidos muestran que todas las progenies híbridas enviadas por el CIP mostraron buena velocidad de emergencia en especial SERRANA x LT-7, con respecto a los lubridos de la India. En general el porcentaje de sobrevivencia fue mayor del 80 por ciento para la mayoría de las progenies el cual es un índice aceptable, a excepción de 104.12 LB x TS-4.En la altura final de la planta no hubieron diferencias significativas entre híbridos, solo fueron superiores a KATADIN x TS-10. En cuanto al rendimiento, la progenie HPS­ II/67 mostró ser superior a las demás con 6.2 kg/m2. El número total de tubérculos por metro cuadrado {740) y tubérculos por planta (7) fue superior en la progenie TS-6 x TPS-67. Las progenies de ambos programas mostraron rendimientos por metro cuadrado de más del 50 por ciento con tubérculos mayores de 5 gramos. No se presentó incidencia de virus para ambas progenies, las tres progenies provenientes del Programa de la India presentaron mayor resistencia a tizón tardío (Phytophthora infestans, Mont. D.bary).

Estrategias discursivas y proverbios en la poesía del Marqués de Santillana recopilada en el Cancionero General de 1511

Integran este número de la revista ponencias presentadas en Studia Hispanica Medievalia VIII : Actas de las X Jornadas Internacionales de Literatura Española Medieval, 2011, y de Homenaje al Quinto Centenario del Cancionero General de Hernando del Castillo.

Introducción al documento de la Comisión Teológica Internacional

Resumen: El presente artículo propone una introducción al Documento de la Comisión Teológica Internacional, titulado “En busca de una ética universal: una nueva mirada sobre la ley natural”. En el análisis de la introducción del Documento se considera la relación entre naturaleza y cultura como cuestión subyacente al tema de la ley natural. Se aborda luego la estructura del documento en un análisis sintético de cada uno de sus capítulos con sus principales tópicos, procurando mostrar el orden y la consistencia de la exposición. El artículo valora la actualidad y oportunidad del documento y se detiene en la importancia de la relación entre la inmutabilidad de la ley natural y su historicidad. También rescata la apertura al diálogo con las religiones, las sabidurías y las filosofías, como así también la referencia a Cristo en el quinto capítulo como original y novedosa.

La maurofilia en la poesía épica medieval

Resumen: El hispanista francés Georges Cirot fue el primero en emplear el término “maurofilia literaria” (maurophilie littéraire) en 1938 para referirse a la representación del valor y la nobleza de los moros en la literatura española del siglo XVI. Pero como señaló Ramón Menéndez Pidal (1957, 202), ya en los siglos XIV y XV los castellanos se habían sentido atraídos por los musulmanes de Granada, por su exótica civilización, su lujo en el vestir, la espléndida ornamentación de sus edificios y su modo de cabalgar, armarse y combatir. Francisco Márquez Villanueva (1984, 117-118) indicó que aunque la literatura maurófila del siglo XVI fue elaborada bajo el signo avanzado del humanismo cristiano, cuyas características fueron “el inconformismo y la sensibilidad para toda suerte de realidades en divergencia del mundo oficial”, las raíces de la maurofilia literaria se encuentran en el viejo romancero fronterizo y morisco elaborado en el siglo XV. En su opinión, el Romancero fue la patria de la “maurofilia pura” y es donde encontramos un cuadro de referencias temáticas “hecho de toponimia y onomástica, armas, indumentaria, policromía y cabalgadas” tendiente a caracterizar al moro como un ser refinado y superior. Para María Rosa Lida (1960, 355), en cambio, la imagen caballeresca del moro se remonta a don Juan Manuel, pues en sus obras aparecen las cortes musulmanas como “centros de molicie refinada y suntuosa”. En efecto, en el Libro de los estados se afirma el valor del moro como guerrero y en el Conde Lucanor aparecen una serie de reyes moros magnánimos y discretos. Sin embargo, el árabe como personaje sabio o “ejemplar” figura ya en una de las fuentes del Conde Lucanor, la Disciplina clericalis, obra compuesta a principios del siglo XII por el judío converso Pedro Alfonso. Por otra parte, el análisis de la representación de los moros en textos épicos, Avengalvón en el Poema de mio Cid y Almanzor en la Los siete infantes de Lara, nos permite descubrir un importante e insoslayable antecedente de la maurofilia de los últimos siglos de la Edad Media