city:toronto

  • Pourquoi la #silicon_valley ne devrait pas être le modèle de l’innovation - Harvard Business Review
    http://alireailleurs.tumblr.com/post/103713093983

    Dan Breznitz, responsable de la chaire d’étude de l’innovation et co-directeur du laboratoire des politiques de l’innovation de l’université de Toronto, explique dans une éclairante tribune pour la Harvard Business Review, que le modèle d’innovation de la Silicon Valley que tout le monde souhaite imiter et égaler n’est plus le modèle de l’innovation d’aujourd’hui et encore moins celui de demain. Tous les pays aspirent à créer leur propre Silicon Valley, oubliant primo qu’un tel éco-système d’innovation est impossible à recréer, mais surtout, qu’il n’est plus le paradigme de l’innovation. Pourquoi ? Parce que la production de bien et de services est désormais globalisée et que la spécialisation régionale de la production est là pour rester. “Les smartphones sont désormais développés, conçus, fabriqués et (...)

    #économie #innovation

  • L’open data dans les transports - Harvard Business Review
    http://alireailleurs.tumblr.com/post/101663288925

    La version française de la Harvard Business Review revient sur l’open data dans les transports et rappelle que si dans les grandes villes (Paris, Londres, Madrid, New York, Toronto et Singapour) l’ouverture progresse (+58% en 2014), c’est l’ouverture de jeux de données en temps réel qui progressent le moins.

    #open_data #transport

  • Dans la tête des ratons laveurs
    http://www.courrierinternational.com/article/2014/10/24/dans-la-tete-des-ratons-laveurs

    Apparemment, l’environnement urbain pourrait avoir contribué à développer leurs capacités cognitives. Les ratons des villes sont plus curieux, plus téméraires, plus intelligents, plus débrouillards que les ratons des champs. C’est ce qu’ont démontré les travaux menés par Suzanne MacDonald, qui a étudié le comportement des ratons laveurs de Toronto, et notamment leur capacité à résoudre des problèmes. En clair, face à de nouveaux systèmes de fermeture de poubelles, les spécimens urbains trouvent rapidement un moyen d’ouvrir les conteneurs pour y piocher de la nourriture... Ils sont même parvenus à ouvrir la porte du garage de la chercheuse. Des capacités d’adaptation qui les rapprochent plus des primates que des chiens et des chats.

  • The Intelligent Life of the City Raccoon - Issue 18: Genius
    http://nautil.us/issue/18/genius/the-intelligent-life-of-the-city-raccoon

    Toronto resident Simon Treadwell wheeled a garbage bin onto a snow-bound lot next to his property one evening this past winter. Inside the bin was a smelly mixture of wet and dry cat food, sardines, and fried chicken. Treadwell sprinkled some of the mix on and around the bin, made sure his three motion-activated night vision cameras were on, and went back into his house. Treadwell was testing a new lid latch he had devised in response to the city of Toronto’s request for proposals: The city needed help keeping raccoons out of people’s garbage. For over a decade, residents had been asked to place organic compostable materials such as vegetables, meat, bones, and even paper towels into green bins. But raccoons had learned to overturn the bins, causing the latches to give way when they (...)

  • Géographie et cartographie radicale.

    En août 2012 s’est tenu à Toronto une conférence de géo et carto radicale (Mapping Transnational Space,July 23/24 2012,CCGES, York University). Je n’ai pas pu y aller, mais j’avais demandé à Cécile Gintrac (qui est géographe et enseigne dans le secondaire) de me dire quelles présentations elle avait préféré. Voici ses réponses :

    1 - Christian Bittner « Old Game, new Rules ?
    Web 2.0 Mapping in Israel/Palestine », sur les nouveaux outils de cartographie en ligne (ex : Zochrot.org qui représente les villages détruits en Israël ; Palestine Crisis Maps qui recense les accrochages et représente le conflit ; le site de Steven Feldman, Gaza and the Rockets) Dans une certaine mesure, cette démocratisation de la cartographie, certes limitée, correspond à l’émergence de nouveaux acteurs.

    Zochrot and the Nakba map

    http://zochrot.org/en

    Nakba is an Arabic word that means “catastrophe.” The Nakba was the destruction, expulsion, looting, massacres and incidents of rape of the Palestinian inhabitants of this country. It was keeping refugees out by force at the end of the war, in order to establish the Jewish state. And it is the ongoing destruction of Palestinian localities, the disregard for the rights of refugees and displaced people, and the prohibition against teaching and commemorating the Nakba in schools and civic groups.

    Zochrot will act to promote Israeli Jewish society’s acknowledgement of and accountability for the ongoing injustices of the Nakba and the reconceptualization of Return as the imperative redress of the Nakba and a chance for a better life for all the country’s inhabitants.

    Zochrot will act to challenge the Israeli Jewish public’s preconceptions and promote awareness, political and cultural change within it to create the conditions for the Return of Palestinian Refugees and a shared life in this country.

    Zochrot carries out different projects to advance understanding of Nakba and Return. This website is one of those projects. The site presents information about the Palestinian localities that Israel destroyed in 1948 and about the Nakba’s place in our lives today. The Nakba and Return are spoken in different voices on this site — in photographs, testimonies, maps, prose, and more. Zochrot’s is one of these voices, a voice that seeks recognition for injustice and new paths toward change and repair.

    2 - « Jess Bier The Colonizer in the Computer : the Bristish Influence in Palestinian Authority Cartography » : cette géographe montre comment la cartographie palestinienne s’est faite à partir des anciennes cartes coloniales britanniques. Digitalisation des cartes britanniques. Cela a toujours des impacts : les cartes britanniques avaient laissé de côté certains lieux ce qui conduit Jérusalem à les revendiquer.

    3 - « Mapping the External Borders of the European Union through Emergency Measures : Frontex and Rapid Border Intervention Teams » : le travail sur Frontex de Andrew Burridge, The RABITs Rapid Border Intervention Teams, qui interviennent en cas d’urgence et de pression migratoire exceptionnelle à la demande des Etats qui le demandent.

    #cartographie_radicale

    #israël #palestine #nakba #europe #migration #asile #frontex

  • Canada Border Services deports man to DRC in secret

    The CBSA won’t say whether it deported a Toronto man earlier this week, citing privacy concerns. It waited more than 24 hours after he left to confirm that he had been detained for three months.


    http://www.thestar.com/news/gta/2014/07/16/canada_border_services_deports_man_to_drc_in_secret.html#

    #Canada #renvoi #expulsion #déportation #RDC #Congo #migration #asile #réfugiés

  • ESPAGNE • Des quartiers premium dans les villes espagnoles | Courrier international
    http://www.courrierinternational.com/article/2014/06/24/des-quartiers-premium-dans-les-villes-espagnoles

    En suivant le modèle de Toronto ou de New York, certaines zones de Madrid ou de Barcelone pourraient être gérées par des entreprises privées. Ainsi les services sont améliorés, la réputation des quartiers grimpe... Sans oublier la flambée des prix.

    #privatisation #espace_public #ville #urbain #marchandisation #inégalités

  • Nollywood in Paris
    http://africasacountry.com/nollywood-in-paris-june-2014

    The Nigerian Diaspora has always been the main vehicle of Nollywood’s expansion, namely in cities like London, New York and Toronto among other places. The city of Paris on the other hand, was not included in this and did not develop any special relationship with Nollywood. If Paris is undoubtedly an African culture hotspot, the attention […]

    #FILM #MEDIA #cinema #France #Nigeria #Nollywood_Week_Paris

  • Pourquoi ne se rappelle-t-on pas avoir été un bébé ? - Sciences - Actualité - LeVif.be
    http://www.levif.be/info/actualite/sciences/pourquoi-ne-se-rappelle-t-on-pas-avoir-ete-un-bebe/article-4000622658185.htm

    Pour quelle raison n’a-t-on pratiquement pas de souvenirs avant l’âge de trois ans ? Une étude publiée dans le magazine Science a peut-être trouvé une explication à cette amnésie infantile.

    Des médecins de l’hôpital pour enfant de Toronto viennent de publier le résultat de leurs travaux dans la revue Science. Pour eux le souvenir de nos premières années s’efface, car il y a tellement de nouveaux neurones qui sont fabriqués à ce moment-là de notre existence que ceux-ci perturbent la mémoire. Tout au long de notre vie le cerveau fabrique, notamment dans l’hippocampe, des nouveaux neurones. Mais cette production est nettement plus active durant les premières années.

    L’énergie est tellement concentrée sur la production de nouvelles cellules que l’activité de stockage des informations est mal effectuée. N’étant plus facilement retrouvables, les souvenirs s’effacent. Ce qui expliquerait aussi pourquoi il faut répéter sans cesse la même chose aux jeunes enfants. ....

    #bébé
    #mémoire

  • Maple Leaf Foods Hikes Prices After Virus Wipes Out Millions Of Pigs
    http://www.huffingtonpost.ca/2014/05/01/food-price-hike-maple-leaf_n_5246841.html?ncid=tweetlnkushpmg00000067

    TORONTO - Canadian shoppers will face another hike in meat prices this month as Maple Leaf Foods Inc. (TSX:MFI) responds to the widespread impact of a virus in the U.S. hog industry.

    The Toronto-based meat processor, which makes bacon, hot dogs and deli meats, said Thursday that rising costs have forced it to act quickly to improve its margins.

    “We are reasonably confident that the entire market will react in similar ways, in the first instance, because the cost increases are an industry-wide issue,” president and CEO Michael McCain said in a conference call with analysts, noting that hog costs spiked 60 per cent in the quarter.

    It will be the second price increase Maple Leaf has put through in response to the Porcine Epidemic Diarrhea Virus, which has killed millions of piglets since it was discovered last year.

    The virus does not affect humans or the food they consume, but is estimated to have wiped out about 10 per cent of the U.S. pig population and has been blamed for recent increases in bacon and pork prices. Farmers have struggled to control the virus, because little is known about how it spreads and there is not yet a federally approved vaccine in the U.S.

    McCain, 55, said the widespread effect is unlike anything he has seen before.

    He cautioned about the impact on shoppers’ habits and the possibility that people could buy bacon and other pork products less frequently over the longer term.

    “What we don’t know, and becomes highly unpredictable, is what the demand response will be from that new higher pricing,” he said, after the company reported its latest financial results.

    The company announced the price increases as it reported a loss of $124.6 million in the first quarter, or 89 cents per share, as it dealt with costs from a massive seven-year revamp of its operations. That compared with a loss of $30.6 million, or 22 cents per share.

    Sales rose more than three per cent to $711.3 million from $689.4 million.....

    #Canada
    #virus
    #pig
    Europe not prepared for #U.S. #pig #virus #threat >
    http://www.reuters.com/article/2014/05/01/us-europe-pigs-virus-idUSKBN0DH2XV20140501

  • Chopines—A Bizarre Form of Platform Shoes from 500 Years Ago - Neatorama
    http://www.neatorama.com/2014/04/18/Chopines-a-Bizarre-Form-of-Platform-Shoes

    Pictured above and below are chopines of Venice—platform shoes worn by upper class women and their imitators during the Sixteenth Century. To learn more about this fashion oddity, Collector’s Weekly interviewed Elizabeth Semmelhack, a curator at the Bata Shoe Museum in Toronto.

    These extreme platform shoes may have been impractical for everyday life. But to an extent, that was the point. Semmelhack explains that ihey offered upper class women in Spain and Venice a way to show off their wealth. This is especially true in Spain, where women wore their dresses to the tops of their chopines. In Venice, dresses extended to the ground, so the chopine was regarded as an undergarment.

    As you can see from these examples, they were very fancy undergarments.

    • En cours de Morphologie aux beaux-arts Mr Debord nous montrais une diapo de la « déambulette » de la princesse de venise. C’etait une gente de chaise porte bébé en bois et à roulette tout à fait instable dans laquelle elle etait suspendu les jambes à 1m du sol et elle etait porté et poussé de gondole en places dans la ville. Je ne retrouve pas d’image de la machine mais avec ce model de plat-forme on imagine la hauteur à laquelle pouvais se trouvé la plus grande Dame de la ville.

      Debord racontais aussi que Veronèse, peintre emblématique de l’époque avais été décrit pas les psychanalystes comme souffrant d’un complexe d’infériorité vis à vis femmes ceci à cause de la grande carrure des femmes dans la peinture de Veronèse.
      comme ici par exemple :


      En fait c’était la mode de Venise qui faisait que les femmes riches de l’époque avaient de grands dimensions. La forme des robes accentuaient la largeur des épaules ce qui devais ajouter encore de la grandeur à ces femmes montées sur échasses.


    • Les deux dames vénitiennes de Vittore Carpaccio
      Museo Correr, Venise


      Tantour Head Dress « Urban woman, Druze woman and peasant woman from Damascus. Photo by Sebah, 1873 » Poemas del río Wang : Tantour

      Les images de ce pinterest ont l’air interessante
      http://www.pinterest.com/laceydaisyknits/historical
      #a_fouiller

    • Chopines are basically crazy (L) or not so crazy (R) flatforms, which, as I remember it, were introduced from the Iberian Peninsula into Europe and worn most famously in Italy (and associated most famously with her courtesans.)

      The Bata Shoe Museum has an amazing podcast series, “On A Pedestal”, covering the evolution of shoes from the Renaissance to the Baroque era, including these chopines. But it also (and rather elegantly) brings up some really fascinating ideas about the evolution of gender identity and expression through dress, primarily its formation—via shoes!—in the 17th century.

      Giving the nine episodes a listen is highly recommended for fashion history nerds and feminists alike.

      I found the Bata Shoe Museum online while doing some research for a pair of early 17th century shoe heels I’m carving. YUP. Goin for it, making some shoes. Never made shoes before, only have a tiny bit of very accident-prone experience with woodcarving, but when I put my mind to something fantastical and impractical, there is really no stopping me.

      Which stands to reason that, well, someday we might see a 1620s Genoese dress from me, complete with chopines hiding under that insane lux dress.


      http://s-melville.blogspot.fr/2012/10/van-dyck-17th-century-genoese-fashion.html

      #genre #femme #femmes

      http://www.batashoemuseum.ca/podcasts/oap3/images/Bardini%20MCF-MB%201922-834002.JPG

      Tall chopines literally put women on pedestals, a fact reflected in their design. The flared sole of these chopines is reminiscent of a flower and is an elegant solution to the need for stability. Italian, c. 1590-1600 On loan from Comune di Firenze – Museo Stefano Bardini, (MCF-MB 1922-813 and MCF-MB 1922-834). Florence, Italy. Photo: Comune di Firenze, Musei Civici Florentini – Museo Stefano Bardini. All rights reserved.

      http://www.batashoemuseum.ca/podcasts/oap3/onapedestal_pc3.mp3

    • La mode des chopines vénitiennes
      Publié le juillet 8, 2013 par modress

      Les chopines sont un type de chaussure datant du XVème siècle, dont la particularité est un très haut talon en bloc qui atteint parfois les 70 cm. Elles ont, au début été créées afin de protéger les habits de la saleté puisque les robes étaient portées très longues. Elles étaient initialement portées par les courtisanes de Venise et les patriciennes mais la mode s’est ensuite répandue parmi les femmes nobles et en Espagne.

      Ces chaussures pour femmes confèrent une démarche peu élégante et instable. Il s’agissait d’un frein imposé par les hommes vénitiens, puisqu’avec les chopines, les femmes ne pouvaient se déplacer et ne pouvaient pas exercer les activités qu’elles désiraient telles que la danse, mal vu d’un point de vue religieux. Les femmes qui les portaient avaient un ou deux domestiques à leurs côtés pour les aider à marcher. Un danseur italien de renommée, Fabritio Caroso, affirme cependant que lorsque les femmes apprenaient l’art de marcher avec des chopines, elles pouvaient se déplacer avec « grâce, sensualité et beauté ».

      1377183734L’utilisation des chopines était improbables et certains ne comprenaient pas le but de cette mode. Les voyageurs de tous les pays visitaient Venise pour rencontrer desfemmes portant des chopines, à leurs yeux ridicules. En 1430, une interdiction de porter les chopines émane du « Maggior Consiglio », l’organe politique vénitien. Elle vise a interdire les chopines car considérées comme dangereuses pour les femmes suite à une multitude de fausses couches dues à des chutes dont étaient victimes celles-ci. L’interdiction est renouvelée en 1512 sans succès. Les chopines sont définitivement abandonnées au XVIIème siècle.

      https://histoiredeschaussures.com/2013/07/08/la-mode-des-chopines-venitiennes

    • Alfieri, Bruno, editor. Il Gioco dell’Amore: Le Cortigiane di Venezia dal Trecento al Settecento. Milano: Berenice, 1990.

      Alfieri’s text is a compilation of articles on Venetian courtesans from ca. 1300-1700. Chapters treat their luxurious life-styles, courtesans and gambling, courtesans and venereal diseases, courtesans and their image in Renaissance literature, courtesans and foreign travelers, courtesans and their musical talents, and (most importantly!) courtesans and fashion. Text includes many color reproductions of courtesans in art.

      Allen, D.E. “Fashion as a Social Process” in Textile History 22, no. 2 (1991): 347-58.

      This brief article based on a number of sources provides an excellent introduction to terms and concepts used in describing fashion, fashion cycles, and the phenomenon of fashion in general.

      Anderson, Ruth Matilda. “The Chopine and Related Shoes” in Cuardernos de la Alhambra. Vol. 5, 1969: 33-50.

      This article is specifically on Spanish chopines as a footwear fashion in early modern Europe. The article states that the ’chapin’ was worn by important women and that early examples of men’s chopines exist as well. The construction of the Spanish version of the shoe is described, as it is usually made of two vamp sections, an insole, and a side part, all mounted on a cork platform. Anderson’s article is interesting since it refutes the common idea that chopines originated in Venice. Instead the author maintains the style was originally from the Iberian peninsula, where cork abounded and served as the base of all chopines. Possibly the first European example of chopines came from Alhambra. Spanish chopines were heavily decorated with designs of animals, scrolls, flowers, illustrations of the Pope, etc. (whereas Venetian models were simpler, often having only punched leather abstract designs). Anderson understands that these shoes are difficult to date yet refers to guild documents from several Spanish cities—proving that chopines were in existence in Spain in the fifteenth century, apparently before the first Venetian chopines existed. An interesting reference to a chopine-related expression is mentioned, “ponerse en chapines” meaning to raise one’s self above one’s condition.

      ’Escolta de una gran senora en Barcelona’ by Christoph Weiditz, Nationalmuseum, Nuremberg, Germany.

      Bata Limited. All About Shoes: Footwear Through the Ages. Toronto: Bata Limited, 1994.

      This book is a predominantly pictorial account of exceptional kinds of footwear worn by humans throughout the ages, and on all continents. All of the photographed examples included are part of Toronto’s Bata Shoe Museum collection. The compilation makes one ask what can be learned about beliefs and culture through shoes.

      Bata Shoe Museum Folders: each are compilations of articles, index cards, reviews, etc. relating to footwear in the following areas::

      “Fetishism, Footwear and Foot”

      “Medieval 500-1500”

      “Europe”

      “Italy”

      “Middle East”

      Bentivenga, Ferruccia Cappi. Abbigliamento e Costume nella Pittura Italiana nel Rinascimento. Roma: Carlo Bestetti Edizioni d’Arte, 1962.

      This massive volume is a comprehensive guide to Renaissance Italian fashion as portrayed in surviving paintings, frescoes and other fine arts. Pisanello’s depicted style of dress, French influence on Italian fashion, hairstyles, poor and artisan-class fashion, veils, laces, children’s clothing, Venetian styles, German-inspired styles, sleeve styles, fashion based on fantasy, ecclesiastical fashion and accessories, are included to name but a few topics included in this excellent reference-type work.

      Birbari, Elizabeth. Dress in Italian Painting 1460-1500. London: John Murray, 1975.

      This book is about Italian fashion in the Renaissance focusing on shirts, doublets, dresses, sleeves, fastenings, and head veils. It does not include a formal chapter on footwear, but one can come to one’s own conclusions about styles and designs since color paintings are reproduced throughout the text in which shoes are ubiquitous.

      Blutstein, Elisabeth, editor. 4000 Ans d’Histoire de la Chaussure. Blois: Chateau de Blois, 1984.

      Although this book describes 4000 years of human footwear, it concentrates on the period from the Renaissance to the twentieth century. The book is includes a chapter on objects in the shape of shoes (but never used as shoes) including flasks, porcelain sculptures and wooden shoe forms. The history of shoe production in the city of Blois is highlighted since this publication is a catalog of an exhibition held at the Chateau de Blois in 1984.

      Bottero, Amelia. Nostra Signora la Moda. Milano: Mursia, 1979.

      This book is similar to that written by Silvia Giacomoni—both focus on the Italian Look and its origin in post-World War II Europe. Bottero explains technical aspects of fashion design and production and focuses on the masters of the craft since the Fifties.

      Cunnington, Phillis. Costume in Pictures. London: Studio Vista, 1964.

      Cunnington traces the history of mostly British (and later American) clothing styles from the Middle Ages to the twentieth century. “In the art of costume, the nature of the materials, their form and colour, combine to indicate, mostly by symbols, certain ideas: costume is far more revealing than nudity” is the basic thesis of this heavily illustrated guide to fashion. Cunnington demonstrates that clothes denote social rank, occupation, sex, and ideas.

      Ferretti, Massimo, editor. Roberto Capucci: I Percorsi della Creativita. Roma: Fabbri Editori, 1994.

      This is another glossy-paged Italian fashion text reproducing designs made by Roberto Capucci which were on display in Rome in 1994. Although not based on shoes, the Capucci collection makes one think of the meaning of fashion in general, demonstrating the twentieth century’s capacity to interpret design in a variety of ways by hundreds of artists in contrast to the Renaissance period, when fashion seems to have been more homogenous due to long ’fashion cycles,’ and when the importance of the individual designer seems to have counted less.

      Giacomoni, Silvia. L’Italia della Moda. Milano: Gabriele Mazzotta editore, 1984.

      This books reports on the current state of events (as of 1984) in the fashion world in Milan, Italy, focusing on brilliant designers: Versace, Armani, Cerruti, Fendi and Ferre. Giacomoni recounts public information on the world of Italian fashion while attempting to explain why the Italian look has been so successful worldwide. Giacomoni hypothesizes that the look was born in a traditionally poor country which finally liberated itself from elementary needs after the second world war, thus beginning to re-explore aesthetic realms.

      Grew, Francis and Margarethe de Neergaard. Shoes and Patterns: Medieval Finds from Excavations in London. London: Her Majesty’s Stationery Office, 1988.

      This academic text relates information on archaeological finds from ten separate excavations where footwear was discovered, mainly in thick anaerobic organic deposits, especially along the Thames. The author includes technical information on poulaines, additionally noting that the toes were stuffed with moss and that could be stitched in 4 or 5 different manners. Grew also dedicates chapters to wooden pattens, and shoes as represented in art and literature.

      Herald, Jacqueline. Renaissance Dress in Italy 1400-1500. ed. Aileen Ribeiro. London: Bell and Hyman, 1981.

      This is a comprehensive volume of fashion in Renaissance Italy which includes hundreds of reproductions of clothing-filled paintings. The author treats such subjects as: the importance of fashion and beauty in the Renaissance, dress as a narrative, extravagance at court, jewelry, and embroidery. An important glossary of Renaissance dress and textile terms follows and chopines here are interchangeably termed “pianelle,” which, however, seem to denote both slippers, as well as slippers mounted on platforms as part of chopine. Further, Carpaccio’s famous painting of two presumed courtesans is refuted to be just that—Herald upholds it to be a depiction of two Venetian ladies wearing typically Venetian styles. If one interprets contextual clues present in Carpaccio’s painting, including a peacock (representing vanity), doves (representing love; or birds as a sexual pun in Italian), and dogs (representing fidelity), removed chopines (representing availability), and a dwarf (representing sexuality), it is clear that the women are courtesans. Herald also lists the seven types of Renaissance Italian shoes, being: calcetto, calza, pedule, pianella, scarpe, stivale, and zoccolo. See Vocabulary section of this site for additional words and their meanings

      Heyraud, Bertrand. 5000 Ans de Chaussures. England: Parkstone Press, 1994

      This folio size glossy text illustrates and explains the general origins of shoes from the beginning of human history to the present, but is especially focused on twentieth century examples and developments.

      Jackson, Beverly. Splendid Slippers: One Thousand Years of an Erotic Tradition. Berkeley: Ten Speed Press, 1997.

      This book explains why tiny feet were so highly valued in Chinese culture for a period spanning roughly one thousand years. Although Jackson is particularly interested in lotus slippers as textile artifacts, she explains how footbinding was accomplished, why it was popular, and why small feet were regarded as erotic. Parallels between bound feet and chopines can easily be made from information present in this book.

      Kiernan, Matthew. “Stepping Out: Footwear in the Collection of the Museum of Fine Arts, Boston” in Dress, 1981: 9-29.

      This article includes photographs and explanations of shoes (including fourteen pairs of Venetian chopines) held at Boston’s Museum of Fine Arts. Several dates and places of origin of shoes mentioned in this article have been disputed by June K. Swann, an authority of footwear history. Although this article is not always factually reliable, it speculates (among other things) about the origin of chopines, which, according to Kiernan, came from Spain and were there known as “cow’s feet” due to their hoof-like base.

      Lawner, Lynne. Lives of the Courtesans: Portraits of the Renaissance. New York: Rizzoli, 1987.

      This folio sized text contains reproductions of nearly all surviving images of courtesans, prostitutes, and paintings of Venus, the goddess of love. Lawner reproduces primary sources on courtesans including examples of their poetry, sumptuary legislation aimed at their class, and foreigner’s impressions of them upon visiting Venice. These primary sources are interpreted throughout the book between chapter-length discussions on the courtesan in Rome and Venice, the courtesan in literature, the courtesan’s image in art, and the courtesan in Venetian, French, and Northern European painting.

      Laver, James. Costume and Fashion. London: Thames and Hudson, 1969.

      Laver’s book is a concentration on the forms and materials used to make clothing throughout the ages. Laver divides his discussion of costume into categories which include male and female, fitted and draped, and tropical and arctic. He notes that clothes were first worn in Genesis by Adam and Eve for reasons of modesty, but with time became reasons in themselves for display. He states as well that ancient Greek courtesans wore extravagant, gilded footwear, the soles of which were often studded with nails leaving a footprint which literally read, “FOLLOW ME.”

      Ledger, Florence E. Put Your Foot Down. Wiltshire, U.K.: C. Venton, 1985.

      This general text covers the story of shoes from Ancient Egypt to the present, while focusing heavily on English sources. In relation to chopines, they are said to have reached Europe via the Orient by way of Venice. However, similar platform shoes are said to have been worn by tragic actors in ancient Greek drama. Ledger hypothesizes that the style could have been adopted in France by Anne of Brittany (1477-1514) to hide her limp. Generally, they were worn under long gowns and went unseen. The author also notes the difficulty encountered by Venetian ladies wearing the style since they had to climb into and out of gondolas with their stilt-like platforms.

      Mazza, Samuele. Scarperentola. Milano: Idea Books, 1993.

      This small-sized book is a collection of color photographs of sculpture based on the form of the shoe. The Italian artists who designed the photographed objects demonstrate much flexibility with regard to their various interpretations of the foot as an object aesthetically appealing in itself, independent of the idea of a shoe as an utilitarian foot covering.

      McDowell, Colin. Shoes: Fashion and Fantasy. London: Thames and Hudson, 1989.

      McDowell talks about fads in fashion, and lists the chopine as one of the earliest examples of such. McDowell claims that the chopine originated in the East, was subsequently worn by Greek actors (whose shoes were called ’cothurni,’) and later became the Venetian ’chopine.’

      Mulassano, Adriana. The Who’s Who of the Italian Fashion. Firenze: Edizioni G. Spineli & C., 1979.

      This text describes Italian high fashion, which supposedly came into existence in Florence in 1951, because of an extraordinary designer named Giorgini. The text then explores the image and careers, in alphabetical order, of forty protagonists of the ’Italian look’ which caught hold in America after 1956. Seeing many famous designers in photos reproduced here dating from the 1970s is amusing, as well as reading outdated information about their goals, ambitions, and the future of the fashion world.

      Origo, Iris. The Merchant of Prato. London: Penguin Books, 1957.

      This is a kind of ’case-study’ of the crafty merchant, Francesco Datini, of Prato. Information on the Tuscan merchant class, and on goods which circulated in and around Prato can be found here.

      Pellizzari, Piero. Multilingual Footwear Dictionary.

      Pellizzari’s dictionary includes hundreds of Western shoe-related terms, and is cross-referenced between five modern European languages.

      Pizzati, Gino, editor. I Mestieri della Moda a Venezia. Venice: Stamperia di Venezia, 1988.

      Pizzati’s is an excellent text describing the artisan and guild world relating to fashion production in Renaissance and early modern Venice. An entire section is dedicated to shoe production and repair carried out by the ’Calegheri’ and the ’Zavateri’ respectively. Numerous photographs of extraordinary chopines, zoccole, and other Venetian shoes made by masters of the craft fill these pages. Information about the guild structure, a glossary of shoe terms used in the Venetian past, sumptuary legislation relating to shoe styles, tools used by the guild, and all other relevant surviving documentation is included.

      Rosenthal, Margaret F. The Honest Courtesan: Veronica Franco, Citizen and Writer in Sixteenth-Century Venice. Chicago: University of Chicago Press, 1992.

      Rosenthal writes about the social and sexual climate in Venice before focusing her theme on the life and works of the talented courtesan, Veronica Franco. Rosenthal explains why Franco had enemies (and what they wrote about her), as well as interpreting what Franco herself wrote and published in sixteenth-century Venice.

      Ruggiero, Guido. Binding Passions: Tales of Magic, Marriage and Power at the End of the Renaissance. New York: Oxford University Press, 1993.

      This book is a collection of five tales dedicated to the kinds of people which usually go unmentioned in standard history books of the Renaissance period including: fortune tellers, courtesans and prostitutes, and practitioners of black magic.

      Ruggiero, Guido. The Boundaries of Eros: Sex Crime and Sexuality in Renaissance Venice. New York: Oxford University Press, 1985.

      This text is a helpful guide to understanding human relationships in fifteenth-century Venice by highlighting the line drawn between normal and abnormal sexuality (as determined by the ruling class).

      Ruggiero, Guido, editor. La Storia della Prostituzione. Firenze: Giunti, 1988.

      This colorful booklet gives a brief history of prostitution as well as illustrates Italian courtesan fashion. Text includes reproductions of a painting by Carpaccio, and of Vecellio’s etchings in which chopines and courtesans are present.

      Severa, Joan and Merrill Horswill. “Costume as Material Culture” in Dress: The Annual Journal of the Costume Society of America. Earlsville, MD: . Vol. 15, 1989: 51-64.

      This article is relevant to the creation of a methodology for studies pertaining to clothing as an example of material culture. The article starts by mentioning some familiar names in the field: Prown, Ames, Ferguson, Kubler, Fleming, and others. The authors note how costumes reveal information about a person’s attitudes, beliefs, and assumptions about their culture. The authors state that scholars in the field agree on the following ideas: 1) a formal study may be made of either verbal or non-verbal documents; 2) the study of objects is pursued by setting up a series of questions which can be asked of and answered by the objects themselves; 3) methodology for study must vary according to the subject matter studied, the object type, and the information one desires to extract from the material culture. Next, a detailed methodology for the study of costume is proposed, and then applied to three similar dresses from ca. 1840. For a methodology designed specifically for the study of Renaissance footwear, please see the section of this site entitled Artifact Analysis and Methodology.

      Thornton, J.H. “A Glossary of Shoe Terms” in Costume: The Journal of the Costume Society. London: Published for the Society. Vol. 11, 1977: 29-32.

      A brief yet helpful glossary for novices entering the world of shoe making and design where technical terms abound.

      Trasko, Mary. Heavenly Shoes: Extraordinary Twentieth Century Shoes. New York: Abbeyville Press, 1989.

      This text attempts at explaining the meaning of shoes on different levels. It includes numerous color pictures of shoes, especially those created by contemporary designers such as Yantourney, Ferragamo, Vivier, Perugia, Chanel, Prada, etc. Roger Vivier is quoted on footwear, which he considers to be “a sculptural problem in which the center is always void.” Another designersee them as our “spiritual contact with the earth.” Trasko herself calls shoes “capable of inspiring imaginative caprice and private longing on an extravagant and exultant scale.” Her basic thesis is that some of the greatest, most creative and inspiring designs can be found throughout history in shoe form. She also notes that for centuries women’s feet and their coverings have held an “oddly exalted position” and that psychologists maintain “a fascination with feet and shoes is the most common form of sexual fetishism in Western society.”

      Vecellio, Cesare. Vecellio’s Renaissance Costume Book: All 500 Woodcut Illustrations from the Famous Sixteenth Century Compendium of World Costume. New York: Dover Publications, 1977. (originally: Habiti Antichi et Moderni. Venice: Damian Zenaro, 1590.)

      This book is a reprint of Vecellio’s late sixteenth century fashion guide composed of ca. 500 woodcuts relating to world costume, with particular focus on the author’s native land. Being a cousin of the great painter Tiziano, Vecellio accessed the art world by creating woodcuts, which have become one of our most reliable guides to fashion of his day. Vecellio’s guide represents the century’s greatest achievement in costume anthologies and does include numerous Venetian ladies wearing chopines. Both aristocratic women as well as courtesans don the shoe style, as well as near identical hairstyles, dresses, and fans. The modern-day publisher states in the introduction, “The sixteenth century was the golden age of the costume book. The great wealth of the mercantile classes was reflected not only in conspicuous consumption, clothes being a principle article [shoes as a part of clothing can fairly be interpreted here], but also in a great wave of travel and exploration in search of markets and raw materials, with the concomitant discovery of exotic modes of dress” (p.iii) which applies wholeheartedly to the presence of the extravagantly luxurious chopines in merchant-class Venice whose journeymen returned home with an Eastern prototype.

      Villa, Nora. Le Regine della Moda. Milano: Rizzoli Editore, 1985.

      This is a general book on contemporary Italian fashion and its place in Italian life. Villa examines four dominant names of the 1980s: Laura Biagiotti, Fendi, Missoni and Krizia and discusses their ability and capacity to find the best forms for fashion design.

      Wedeck, Harry E. Pictorial History of Morals. New York: Philosophical Library, 1963.

      This is a book of moral/immoral behavior as depicted in paintings in early modern Europe. Examples include a naked woman standing next to a pair of chopines by Jacob Jordaens (1593-1678) and a newlywed bride approaching her reclining husband while delicately stepping toward him in a pair of moderately-tall, exquisite chopines, painted by Giovanni da San Giovanni.

      Wilcox, Ruth Turner. The Mode in Footwear. New York: C. Scribner’s Sons, 1948.

      This is a general book on footwear fashions from the beginning of history to the present. Although some scholars do not interpret the information in this text as factual, Wilcox’s speculation is valuable and makes one question a more narrow kind of academic research, based on often scant textual documentation. Wilcox notes anecdotes and freely gives her opinions throughout, such as, “The Greeks felt more dignified to walk barefooted in order to freely enjoy the rhythmic movement of one’s body when walking.”

      Wilson, Eunice: A History of Shoe Fashions. London: Pitman, 1969.

      This academic text on shoes is based on information taken from books, paintings, sculpture, statuary, written evidence, and focuses mainly on the Anglophone world, tracing shoe history from pre-Roman Britain to English-speaking North America. One full chapter is dedicated to chopines, and illustrations represent the different kinds of uppers and soles designed. Wilson states that chopines “restricted a woman in her walking...and this itself served as a status symbol [since servants had to accompany these women; and since these women could not do any manual labor while wearing platform shoes]; they rendered her stance unstable and therefore added to the men’s feeling of superiority.” Wilson definitely believes that chopines originated in Venice (in contradiction to Anderson’s belief that they definitely developed in Spain). Chopines were the first European heeled shoe.

      Yalom, Marilyn. A History of the Breast. New York: Alfred A. Knopf, 1997.

      This book helps one understand the importance of breasts in relation to ideas about feminine beauty in Renaissance culture (and how these ideas evolved from the concept of the breast as a sacred, life-giving organ to an erotic one). The importance of the breast in Western culture can be seen in contrast to an Eastern symbol of beauty and eroticism, the foot.

      Yriarte, Charles. La Vie d’un Patricien de Venise au XVIe siecle. Paris: J. Rothschild Editeur, 1874.

      This nineteenth-century book is dedicated to presenting the noble Barbaro clan and their estates located throughout the Veneto. While describing the family, the author sidesteps by illuminating Venetian women of the sixteenth century, the Venetian government (including the Grand Council, the Senate, the Doge), and the Ponte Rialto which served as the commercial center of the city.

      Zorzi, Alvise. Cortigiana Veneziana: Veronica Franco e i Suoi Poeti. Milano: Camunia, 1986.

      I read this book hoping to find references to what Veronica Franco (one of the most famous Venetian courtesans of sixteenth-century Venice) wore on her feet. Unfortunately, I found no such reference, but, the text helped me understand (along with Margaret F. Rosenthal’s The Honest Courtesan and Pietro Aretino’s Sei Giornate) what the life of the courtesan was like, and how it compared to that of the Venetian patrician.

    • Depuis des siècles, les hommes placent les femmes sur des piédestaux. La mode, aussi parfois jusqu’au ridicule. Au XVIe siècle, à Venise, des chaussures appelées chopines élèvent les femmes à des hauteurs atteignant 75 cm, on dit que plus une femme était noble, plus ses Chopines étaient vertigineuses. Ces plates-formes de lèges ou de bois étaient habituellement recouverte de cuir ou de velours cousu de pierres précieuses et assortis à la chaussure. Dérivée d’un style de chaussures si répandu dans l’Espagne du XVe siècle que les ressources de liège du pays furent presque épuisées, la chopine vénitienne devient le symbole même de la richesse et de l’aristocratie. Il faut l’aide de deux domestiques pour marcher dans ces chaussures ridiculement peu pratique mais qui font l’orgueil des élégantes, en dépit des moqueries des voyageurs accourant à Venise pour voir ces femmes statufiées sur leurs piédestaux.

      La mode des chopines atteint la France et l’Angleterre. Là aussi, les femmes tanguent stoïquement sur des plates-formes trop élevées pour sortir sans assistances. Ces « escabeaux », comme on les appelle alors, tombent en désuétude deux siècles plus tard, quand on découvre qu’il suffit d’abaisser l’avant de la chopine pour pouvoir marcher. Le talon est né et les talons rouges allaient remplacer les chopines dans leur fonction symbolique. Les plates-formes n’atteindront plus jamais les hauteurs de la chopine mais réapparaissent périodiquement au XXe siècle, à des intervalles de vingt ans environs.

      Les chopines furent interdites après qu’un nombre impressionnant de Vénitiennes aient été victimes de fausses couches à la suite de chutes. Dans le reste de l’Europe, la vogue continua néanmoins jusqu’à la fin du XVIIIe siècle.

      Les maris vénitiens auraient imposé les chopines à leurs épouses pour les empêcher de s’égarer…

      L’église, par ailleurs peu soucieuse d’encourager les excès vestimentaires, voyait d’un bon œil le port de la chopine, en gênant le mouvement, décourageait certaines activités condamnables comme la danse.

      Surnommées « sabots de vaches » ou « gueules de bœuf », tournées en dérision par les contemporains, les chopines peuvent se classer parmi les monstruosités de la chaussure.

      Dans l’Angleterre du XVIe siècle, un mariage pouvait être annulé si la fiancée avait triché sur sa taille en portant des chopines.

      http://www3.sympatico.ca/blackpearl/italie.html

    • Impossible de retrouvé ce « suspenseur de princesse de venise » dont M.Debord mon prof de morphologie m’avait parlé et montré une diapo aux beaux-arts.
      Je sais pas si tu connais cet objet @simplicissimus mais voici un dessin que j’ai fait de mémoire de la chose


      C’etait en bois tourné avec un aspect assez fragile et instable avec des petites roulettes qui devaient pas être très efficaces pour se déplacé. Les pieds de la princesse étaient sensé flotté dans le vide.
      Ca semble être un objet unique, seule la princesse de venise avait droit à ce suspenseur. Ca devait être pratique à Venise entre les pavés et les gondoles !

      Sinon pour les chopines le mot viens du nom vénitien de ces plat-formes - « zoppieggi ».

  • #innovation : le plus dangereux mot de la techno - New York Times
    http://alireailleurs.tumblr.com/post/83087175007

    Quentin Hardy pour Bits, le blog techno du New York Times revient sur quelques présentations de la conférence organisée par l’Institut pour la nouvelle pensée économique (@ineteconomics) à Toronto, notamment celle de Mariana Mazzucato, auteure de l’Etat entrepreneurial, qui explique qui explique l’importance des contributions de l’Etat quant aux innovations que la Silicon Valley revendique. Les technologies qui rendent l’iPhone intelligent ont été lancées par les politiques de recherche publiques. Les autorités ne font pas que réparer les marchés, elle les créé. Or le sous-financement de la recherche publique et le courtermisme du capital risque ne vont pas aider à développer les technologies clefs qui sont à la base des innovations et qui mettent en moyenne 15 à 20 ans à passer de l’état de technos à (...)

    #innovation_publique

  • Chuck Berry - Rock and Roll Music - Toronto, Canada - 1969
    http://www.youtube.com/watch?v=1U_hRhImaBU


    Un concert filmé par D.A. Pennebaker

    PENNEBAKER HEGEDUS FILMS
    http://phfilms.com/films

    D A (Donn Alan) Pennebaker is widely regarded as one of the pioneers of cinema verite filmmaking. In the early sixties, Pennebaker and his colleague Richard Leacock developed one of the first fully portable 16mm synchronized camera and sound recording systems which revolutionized filmmaking and helped to created the immediate style of shooting so popular today. Pennebaker is the recipient of numerous filmmaking awards including the IFP’s Gotham Award. Pennebaker made his first film, the short DAYBREAK EXPRESS, in 1953. In 1959, he joined Drew Associates, which produced for Time-Life the highly acclaimed “Living Camera” series in the early 1960s. The filmmakers’ subjects ranged from the Broadway debut of Jane Fonda (Jane), to President Kennedy’s presidential primary run against Hubert Humphrey (Primary), to the desegregation of the University of Alabama (Crisis). In 1967, Pennebaker released the seminal film DONT LOOK BACK, which followed Bob Dylan’s last acoustic concert tour in England. The film broke box office records and is considered a classic of both documentary and rock filmmaking.
    ...

  • Sexual Harassment Really Is Rampant in Bars, Study Finds
    http://consumer.healthday.com/mental-health-information-25/behavior-health-news-56/sexual-harassment-really-is-rampant-in-bars-study-685428.html

    It’s official: Men drinking in bars often feel free to get grabby, make lewd remarks and otherwise sexually harass women who aren’t interested. And many of these guys can’t take a hint when women try to move away from them, a new study shows.
    (…)
    For the study, researchers made more than 1,300 visits to 118 large dance clubs, sports bars and concert venues in Toronto, Canada. They used trained observers to watch bar-goers interact on the sly.

    Out of more than 1,000 incidences that were recorded, about 25 percent involved some sort of unwanted sexual behavior. Ninety percent of those involved men harassing women.
    (…)
    Most often, Graham said, women would respond by simply trying to move away from the man who was harassing them. The next most common response was a direct confrontation, for example, telling the guy to stop. And attention club owners: The third most common thing women did to shake their pursuers was to leave the bar altogether.

    On average, women tried about four different things to signal that the attention was unwanted, researchers found. Still, more than half of the instances recorded for the study were classified as persistent, meaning the guy wasn’t taking no for an answer.

    Bar staff were largely unhelpful. Bouncers only intervened in 10 of 258 “aggressive” incidents, and in only one case was a guy tossed out of the bar for being sexually aggressive.
    (…)
    An expert who was not involved in the research said that as upsetting as these findings are, they probably represent the milder situations that women experience in bars, simply because they happened out in the open, where they could be observed.

    • L’abstract de l’article (le reste en #paywall)

      “Blurred Lines?” Sexual Aggression and Barroom Culture - Graham - 2014 - Alcoholism: Clinical and Experimental Research - Wiley Online Library
      http://onlinelibrary.wiley.com/doi/10.1111/acer.12356/abstract

      Methods
      We analyzed 258 aggressive incidents involving sexual advances observed as part of a larger study on aggression in large capacity bars and clubs, using variables collected as part of the original research (gender, intoxication, intent) and variables coded from narrative descriptions (invasiveness, persistence, targets’ responses, role of third parties). Hierarchical linear modeling analyses were used to account for nesting of incidents in evening and bars.

      Results
      Ninety percent of incidents involved male initiators and female targets, with almost all incidents involving intentional or probably intentional aggression. Targets mostly responded nonaggressively, usually using evasion. Staff rarely intervened; patron third parties intervened in 21% of incidents, usually to help the target but sometimes to encourage the initiator. initiators’ level of invasiveness was related to intoxication of the targets, but not their own intoxication, suggesting intoxicated women were being targeted.

      Conclusions
      Sexual aggression is a major problem in bars often reflecting intentional sexual invasiveness and unwanted persistence rather than misperceptions in sexual advances. Prevention needs to focus on addressing masculinity norms of male patrons and staff who support sexual aggression and better management of the highly sexualized and sexist environments of most bars.

  • Des abeilles sauvages utilisent du plastique pour construire leur nid
    http://www.maxisciences.com/abeille/des-abeilles-sauvages-utilisent-du-plastique-pour-construire-leur-nid_

    Raffa

    Des abeilles sauvages utilisent du plastique pour construire leur nid - http://www.maxisciences.com/abeille...

    1 hour ago

    from Bookmarklet

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    « Une nouvelle étude menée par un doctorant canadien fait part de l’existence de deux espèces d’abeilles urbaines sauvages qui utilisent à Toronto de la matière plastique pour construire leur nid. » - Raffa

  • #Toronto’s Afrofuture
    http://africasacountry.com/torontos-afrofuture

    Toronto’s downtown core feels like a city of the near-future these days. There’s the condo boom that, as someone said to me recently, makes TO feel like Gotham City on a sunny day; more and more surfaces are being used as a canvas for the bright barrage of shiny advertising, like a futuristic cautionary tale about corporatism and consumption; and there’s buildings you’ve long suspected are alien spaceships in disguise. Point is, Toronto lends itself to sci-fi imaginings, so it’s not surprising when Danilo the Artist says that he thinks Toronto could be a capital of #Afrofuturism.

    #ART #MEDIA #Black_Future_Month_3014 #SoTeeoh

  • Des cartes abstraites de différentes villes du monde | Urbabillard

    http://urbabillard.wordpress.com/2014/01/25/les-abstractions-cartographiques-de-jazzberry-blue

    via cdb_77 qui cite elle-même Bénédicte Tratnjek (merci béné !)

    Voici une exploration abstraite des villes du monde. L’artiste Jazzberry Blue est basée à Toronto et travaille à partir de cartes de grands centres urbains. C’est une nouvelle perception des différentes morphologies urbaines qui nous est offerte.

    #art #cartographie #urban_matters #voir_la_ville_autrement

  • Quand le marketing des Big Data devient de la #surveillance - Scientific American
    http://www.scientificamerican.com/article/when-big-data-marketing-becomes-stalking

    La chercheuse Kate Crawford revient sur Turnstyle - http://www.getturnstyle.com -, une entreprise qui a placé des centaines de capteurs le long des rues commerçantes de Toronto pour identifier les téléphones des passants afin de fournir des études marketing aux commerces locaux (cf. http://online.wsj.com/news/articles/SB10001424052702303453004579290632128929194 ). Et la chercheuse de s’inquiéter de la collusion entre le secteur public et privé pour promouvoir une collecte de donnée sans limite pour maximiser les possibilités d’affaires. Pour Kate Crawford, les entreprises de marketing ont bien lancé une charte de bonnes pratiques, mais cette charte pose de nombreux problèmes. D’abord parce que toutes les données sont devenues personnelles. Parce que l’opt-out pour indiquer qu’on ne désir pas être (...)

    #bigdata

  • Join Us. Stand up for Our Public Library.
    http://www.scoop.it/t/biblioteche-2-0/p/4012655306/2013/12/13/join-us-stand-up-for-our-public-library

    Toronto has the busiest and, by most measures, the best library system in North America. But this precious public asset, founded in 1883, is falling behind. How could it not, after 20 years of political neglect and budget cuts?See it on Scoop.it, via Biblioteche 2.0

  • Un nouveau gaz à effet de serre hautement résistant

    http://www.lemonde.fr/planete/article/2013/12/10/un-nouveau-gaz-a-effet-de-serre-hautement-resistant_3528186_3244.html

    Le perfluorotributylamine (PFTBA) est un gaz artificiel, utilisé notamment dans la fabrication d’équipements électriques et électroniques. Selon les analyses des chercheurs de Toronto, le PFTBA a l’effet radiatif le plus puissant de tous les gaz que l’on retrouve dans l’atmosphère.

    Le PFTBA n’a pas été répertorié jusqu’à présent dans la famille des gaz à effet de serre persistant, dont est notamment issu le dioxyde de carbone (CO2), mais en comparaison, sur une période de cent ans, son impact sur le réchauffement climatique est de loin supérieur au CO2, avancent ces chercheurs.

    AUCUN AGENT CAPABLE DE L’ÉLIMINER

    Une seule molécule de PFTBA dans l’atmosphère a le même effet que 7 100 molécules de CO2, remarque notamment Cora Young, une chimiste de l’Université de Toronto. De plus, ce gaz a une très longue durée de vie dans la basse atmosphère avant de se dissiper dans les couches les plus élevées et on ne connaît aucun agent capable de l’éliminer, affirment les cinq scientifiques responsables de cette étude.

    • C’est vrai que les CFC sont pires que le CO2 au niveau effet de serre et durée de vie.
      C’est d’autant moins une bonne nouvelle que les climato-négationnistes vont se jeter sur l’aubaine pour dire qu’on peut continuer à cramer du pétrole car le CO2 ne serait pas le vrai coupable du réchauffement (quand j’ai vu que cette étude venait du Canada, mère-patrie des sables bitumeux, je me suis même inquiété.. on devient parano, à force..)

  • Une femme refusée d’entrée aux #USA à cause de ses antécédants médicaux | Réseau International
    http://reseauinternational.net/2013/11/30/une-femme-refusee-dentree-aux-usa-a-cause-de-ses-antecedants-me

    Ellen Richardson, une résidente de la ville d’Ontario, au Canada , était à l’aéroport international Pearson à Toronto lundi, joviale et serviable pour son départ pour New York, d’où elle espérait commencer une croisière de 10 jours dans les Caraïbes, pour laquelle elle avait payé environ 6000 $, rapporte le « Portail The Star ».Toutefois, un agent des douanes et de la protection des frontières avec le ministère de la Sécurité intérieure a mis fin à son rêve en quelques minutes quand il a refusé l’entrée d’Ellen sur le territoire américain.

    « Il a été dit que mon entrée a été rejetée car j’ai eu une hospitalisation pendant l’été 2012 pour une dépression clinique », dit Richardson, qui est paraplégique. L’agent s’est retranché derrière la loi sur l’immigration et la nationalité aux États-Unis, l’article 212 qui interdit l’entrée aux personnes qui ont un trouble physique ou mental et qui serait une « menace à la propriété, la sécurité ou le bien-être de la personne ou d’autrui.

    #discrimination #santé #surveillance

    • Elle est paraplégique.

      Disabled woman denied entry to U.S. after agent cites supposedly private medical details | Toronto Star
      http://www.thestar.com/news/gta/2013/11/28/disabled_woman_denied_entry_to_us_after_agent_cites_supposedly_private_medi

      “I was turned away, I was told, because I had a hospitalization in the summer of 2012 for clinical depression,’’ said Richardson, who is a paraplegic and set up her cruise in collaboration with a March of Dimes group of about 12 others.

      Le motif tel qu’il est écrit :

      The agent gave her a signed document which stated that “system checks’’ had found she “had a medical episode in June 2012’’ and that because of the “mental illness episode’’ she would need a medical evaluation before being accepted.
      U.S. Customs and Border Protection media spokeswoman Jenny Burke said that due to privacy laws, “the department is prohibited from discussing specific cases.’’