• De véritables photos de croisières afin d’y réfléchir à deux fois avant de réserver ses vacances !
    https://tops.easyvoyage.com/photos-croisieres/4

    Avez-vous déjà fait une croisière ? Cela peut certainement être très amusant. Et ces dernières années, les bateaux de croisière ont beaucoup à offrir aux gens qui choisissent de passer leurs vacances sur l’eau. Ce n’est plus seulement une piscine sur le pont, mais il y a des #restaurants, des #cinémas, des #spectacles et des #concerts, et beaucoup d’activités à bord.

    Mais parfois, la publicité peut être un peu fausse. Bien sûr, certains bateaux sont énormes et luxueux au-delà des rêves les plus fous, mais d’autres peuvent être plus petits, et beaucoup moins glamour que annoncé. S’il y a une chose que les gens qui ont fait des croisières savent, c’est que parfois les attentes ne sont pas tout à fait à la hauteur de nos espérances. Avant de partir en croisière, regardez ces photos et assurez-vous de choisir le bon type de bateau.

    #Croisières #imaginaire #rêve #réalité #fantasme #images #bateaux #luxe #tourisme #visualisation #croisiere #visualisation #représentation #publicité #humour

    Croisières : Embarquement – ce que nous imaginons
    Quand nous aurons clôturer notre valise avec tous nos vêtements, nos appareils électroniques, et à peu près tout ce que vous pouvez avoir besoin pour un voyage fou comme celui-ci, la première chose que nous devons faire est d’attendre dans la file d’attente pour pouvoir monter sur le bateau de croisière. Comme vous pouvez le voir ici, les sourires sur les visages de ces jeunes femmes laissent entendre que chaque moment d’embarquement est simplement pêche et crème. Mais pour ceux d’entre vous qui songent à partir en croisière, nous vous recommandons de ne pas faire confiance à l’image que vous voyez devant vous, parce que monter à bord d’un bateau de croisière n’est pas toujours amusant.

    https://tops.easyvoyage.com/wp-content/uploads/3/2019/04/1b-boarding-1.jpg

    Croisières : Embarquement à bord du navire – comment c’est vraiment
    C’est le jour et de nuit, non ? Lorsque vous considérez la dernière image que vous avez vue et que vous la comparez à ce que vous constatez maintenant, vous pourriez être choqué de la réalité. Comme vous pouvez le voir ici, monter à bord du bateau de croisière n’est pas toujours une expérience si agréable. N’oubliez pas, vous devez embarquer avec des centaines d’autres personnes, et cela signifie que vous devez faire la queue. La patience est vraiment une vertu dans ces types de scénarios, et bien que se tenir en ligne n’est pas la pire chose que vous pouvez faire !

    https://tops.easyvoyage.com/wp-content/uploads/3/2019/04/2a-boarding-2.jpg

    #attente

  • Piqsels – Images libres de droit
    https://blogs.lyceecfadumene.fr/informatique/2021/10/17/piqsels-images-libres-de-droit

    Il existe de nombreux sites proposant des images soit disant libres de droit. Souvent, il est difficile de savoir ce qu’on a réellement le droit de faire avec les photos proposées.

    Rien de tout cela sur Piqsels ! Les conditions d’utilisation sont très courtes et très explicites. Les photos sont sous licence CC0 (domaine public). Vous pouvez donc les utiliser dans pratiquement tous vos projets sans avoir à citer la source.

    #Photos #Images #Recherche #DomainePublic

  • France Culture sur Twitter : "Ce photographe a dupé tout le monde au festival « Visa pour l’image ». Son but : nous alerter sur notre crédulité face aux « fake news ». #CulturePrime https://t.co/0KyBSTLpfJ" / Twitter
    https://twitter.com/franceculture/status/1446354674286686214

    Ce photographe a dupé tout le monde au festival « Visa pour l’image ». Son but : nous alerter sur notre crédulité face aux « fake news ». #CulturePrime

    #Infox #Photographie #Images

  • Italian town faces backlash for ’sexist’ bronze statue of ’#La_Spigolatrice'

    Italian authorities in Sapri have defended a new bronze statue of a woman wearing a transparent dress.

    The sculpture is a tribute to La Spigolatrice di Sapri (The Gleaner of Sapri), an 1857 poem written by Luigi Mercantini.

    The poem refers to a female gleaner who leaves her job to join Italian revolutionary Carlo Pisacane’s failed expedition against the Kingdom of Naples.

    It was unveiled at a ceremony on Saturday in the province of Salerno, at a ceremony featuring local officials and former Italian prime minister Giuseppe Conte.

    But the statue has generated some backlash on social media, with many labeling its design “sexist” and others calling for it to be taken down.

    Italian authorities in Sapri have defended a new bronze statue of a woman wearing a transparent dress.

    Laura Boldrini, an MP with the centre-left Democratic party, said the monument was “an offense to women and to the history it is supposed to celebrate”.

    “How can even the institutions accept the representation of women as sexualised bodies,” she added on Twitter.


    https://twitter.com/MonicaCirinna/status/1442204598190714891

    Monica Cirinnà, a member of the Italian Senate, also stated that it was a “slap in the face to history and to women who are still only sexualised bodies.”

    “This statue of the Gleaner says nothing about the self-determination of the woman who chose not to go to work in order to stand up against the Bourbon oppressor”.

    The mayor of Sapri has defended the statue as “a very important work of art which will be a great tourist attraction for our town”.

    In a post on Facebook, Antonio Gentile said that critics of the statue held “a lack of knowledge of local history”.

    “Our community...has always been committed to combating all forms of gender violence,” he added.

    La nuova statua della Spigolatrice di Sapri è stata realizzata con maestria e impeccabile interpretazione dall’artista...

    –—

    Meanwhile, the sculptor #Emanuele_Stifano stated that he was “appalled and disheartened” by the criticism.

    “All kinds of accusations have been made against me which have nothing to do with my person and my story,” Stifano said on Facebook.

    “When I make a sculpture, I always tend to cover the human body as little as possible, regardless of gender.”

    https://www.euronews.com/2021/09/28/italian-town-of-sapri-faces-backlash-for-sexist-bronze-statue-of-la-spigol
    #image #femmes #travailleuses #statue #Italie #commémoration #sexisme #espace_public #spigolatrice #corps

    ping @cede

    • Anche no

      Sui social da qualche giorno è in atto una forte polemica su una statua commissionata dal Comune di Sapri (Salerno) allo scultore Emanuele Stifano. Raffigura una giovane donna voluttuosa, coperta solo da un abito succinto e trasparente, in stile camicia bagnata vedo/non vedo che mette in risalto seni e glutei. Ricordo una polemica simile per la statua discinta della Violata ad Ancona, commissionata per portare l’attenzione sulla violenza maschile sulle donne.

      Il riferimento stavolta è alla spigolatrice protagonista di una notissima poesia di #Luigi_Mercantini ispirata a un tragico episodio del Risorgimento italiano: la spedizione del socialista Carlo Pisacane, che aveva lo scopo di innescare una rivoluzione antiborbonica nel Regno delle Due Sicilie, ma al posto delle masse rivoluzionarie trovò una popolazione ostile che si unì alla gendarmeria borbonica per trucidarli. La contadina immaginata dal poeta assiste allo sbarco, affascinata da una speranza di libertà lascia il lavoro per seguirli e inorridita e incredula piange i trecento giovani morti.
      Siamo in presenza di un’opera a destinazione pubblica, esposta in pubblico, pagata con fondi pubblici, che ha una dichiarata funzione celebrativa.  Poteva essere il simbolo della presenza femminile nelle battaglie, nella storia, nella letteratura. È diventata l’ennesimo triste ammiccante tributo non alla rappresentazione artistica del nudo femminile, ma agli stereotipi che l’accompagnano.
      Giunta e scultore ovviamente difendono l’iniziativa. La perversione è nell’occhio di chi guarda, dicono.
      L’inaugurazione avviene alla presenza delle autorità locali e del presidente M5s Giuseppe Conte in tour elettorale nella zona. Uomini con responsabilità di governo, noti e applauditi, si fanno fotografare compunti, con la mano sul cuore, di fronte a una statua di donna che stimola reazioni pruriginose e a noi pare ridicola per la storia, per la dignità, per il buonsenso e per il buon gusto.
      Non si pongono alcun problema, sembra che la banalità di questa iconografia non li riguardi.
      Le intenzioni non bastano quando il messaggio è sbagliato.
      No, Prassitele o Canova non c’entrano. Non c’entrano «le fattezze fisiche delle donne meridionali», come sostiene un arguto senatore. Figuriamoci se pensiamo che il nudo in sé rechi offesa. Non è la presenza di modelle più o meno vestite a determinare una lesione alla persona, ma l’uso del loro corpo e il senso della posa e dell’atteggiamento, troppo spesso evidentemente allusivi a una disponibilità sul piano sessuale.
      Dietro alla statua bronzea di Sapri c’è la plastica rappresentazione non della forza femminile o del risveglio della coscienza popolare (come pretende l’autore) ma dei più scontati sogni erotici maschili.

      Non c’entrano la censura né la cancel culture, né il puritanesimo. Le opere d’arte non devono per forza essere “politicamente corrette”, né pudiche, né rappresentare fedelmente una scena storica. Tuttavia per un’opera pubblica il problema del contesto culturale è importante (già Facebook sta riportando autoscatti orgogliosi di maschietti che palpano il sedere della statua. E ve le immaginate le gite scolastiche con ragazzini in pieno tumulto ormonale?).
      Lo scultore afferma di «prescindere dal sesso», ma eroi risorgimentali in perizoma nelle piazze italiane o nei parchi io non ne ho visti mai.
      Rompere l’assuefazione.
      Si possono raccontare le donne senza spogliarle, senza ridurle allo stereotipo della fanciulla sexy offerta agli sguardi, inchiodata al ruolo-gabbia di oggetto di piacere che i maschi hanno costruito per lei? Si può prescindere dalla ricca elaborazione che studiose di molte discipline hanno prodotto sulla mercificazione a scopi promozionali e pubblicitari dei corpi femminili? Può chi ha responsabilità pubbliche non interrogarsi sulle condizioni del discorso, ignorare il risultato sull’immaginario collettivo di decenni di offerte di immagini scollacciate?
      Oppure la rappresentazione stereotipata della donna è considerata in Italia un tratto antropologico così radicato che non si pensa valga la pena di contrastarlo con politiche evolutive?
      I commentatori si appiattiscono su quell’altro cliché, “che noia queste femministe”. Nessuno sa o comprende che molte delle voci che si levano sono di persone che sul tema riflettono da anni. Probabilmente ben pochi leggono, molti rifuggono da firme femminili. L’importante è ridurre tutto a un quadro di donne frustrate che polemizzano su qualsiasi cosa.

      Il sessismo: c’è chi lo riconosce e chi no. C’è chi pensa, parla e agisce per contrastarlo e chi per preservarlo. C’è chi fa l’indifferente, perché gli va bene così.

      In copertina, Jean-François Millet, Le spigolatrici (Des glaneuses), 1857, Parigi, Musée d’Orsay.

      https://vitaminevaganti.com/2021/10/02/anche-no

    • Italy: bronze statue of scantily dressed woman sparks sexism row

      Sculpture based on the poem The Gleaner of Sapri was unveiled by former PM Giuseppe Conte on Saturday

      https://i.guim.co.uk/img/media/6e3f31968859d9d7365fb84bdc985fa5432a7582/146_54_1486_892/master/1486.jpg?width=620&quality=85&auto=format&fit=max&s=d07d56bfc81ea233dc82fb

      A statue depicting a scantily dressed woman from a 19th-century poem has sparked a sexism row in Italy.

      The bronze statue, which portrays the woman in a transparent dress, was unveiled on Saturday during a ceremony attended by the former prime minister Giuseppe Conte in Sapri, in the southern Campania region.

      The work by the sculptor Emanuele Stifano is a tribute to La Spigolatrice di Sapri (The Gleaner of Sapri), written by the poet Luigi Mercantini in 1857. The poem is based on the story of a failed expedition against the Kingdom of Naples by Carlo Pisacane, one of the first Italian socialist thinkers.


      https://twitter.com/lauraboldrini/status/1442235735478702081

      Laura Boldrini, a deputy with the centre-left Democratic party, said the statue was an “offence to women and the history it should celebrate”. She wrote on Twitter: “But how can even the institutions accept the representation of a woman as a sexualised body?”

      A group of female politicians from the Democratic party’s unit in Palermo called for the statue to be knocked down. “Once again, we have to suffer the humiliation of seeing ourselves represented in the form of a sexualised body, devoid of soul and without any connection with the social and political issues of the story,” the group said in a statement.

      They argued that the statue reflected nothing of the anti-Bourbon revolution nor the “self-determination of a woman who chooses not to go to work in order to take sides against the oppressor”.

      Stifano defended his work, writing on Facebook that if it had been up to him the statue would have been “completely naked … simply because I am a lover of the human body”. He said it was “useless” to try to explain artwork to those “who absolutely only want to see depravity”.

      Antonio Gentile, the mayor of Sapri, said that until the row erupted “nobody had criticised or distorted the work of art”.

      In photos of the ceremony, Conte, now the leader of the Five Star Movement, appeared puzzled as he looked at the statue, surrounded by a mostly male entourage.

      https://www.theguardian.com/world/2021/sep/27/italy-bronze-statue-of-scantily-dressed-woman-sparks-sexism-row

  • Violences sexuelles et sexistes : les enquêtes se multiplient dans l’#enseignement_supérieur, sommé d’agir

    En publiant un vade-mecum pour les #enquêtes_administratives, l’#inspection_générale_de_l’éducation, du sport et de la recherche veut inciter les établissements à mettre un coup d’arrêt aux violences sexuelles et sexistes, objet de multiples saisines depuis plusieurs mois.

    C’est le tournant #metoo de l’inspection générale de l’éducation, du sport et de la recherche (#IGÉSR) : en partageant, comme un modèle, lundi 27 septembre, un #guide très détaillé sur l’art et la manière dont ils conduisent une enquête administrative susceptible de suites disciplinaires, les inspecteurs généraux veulent appeler à leurs responsabilités les chefs d’établissement de l’enseignement supérieur sur des questions longtemps considérées comme mineures ou extérieures à la vie d’un campus.

    En 2020-21, l’enseignement supérieur a représenté 50 % des activités de contrôle de l’IGÉSR, avec vingt et une enquêtes administratives sur quarante-quatre. En septembre 2021, l’inspection a été saisie de trois nouvelles missions qui s’ajoutent aux cinquante encore en cours. Parmi elles, une majorité est liée aux #violences_sexuelles_et_sexistes (#VSS), au #harcèlement_moral ou à des #agressions lors de week-ends d’intégration. Viennent ensuite le « #management_brutal et inapproprié » ou encore la carence de dirigeants qui auraient pu faire cesser un scandale, comme celui du #Centre_du_don_des_corps de l’#université_Paris-Descartes, où l’ancien président #Frédéric_Dardel a finalement été mis en examen en juin.

    A l’échelle des #universités et #grandes_écoles, les #enquêtes_administratives menées en interne par l’administration de l’établissement – sans recourir à l’IGÉSR – sont un phénomène nouveau. « Il y a quelques années, nous n’en faisions quasiment pas et, aujourd’hui, certains établissements en sont à quatre par an », illustre Delphine Gassiot-Casalas, secrétaire générale de l’Ecole nationale supérieure d’architecture et de paysage de Bordeaux et présidente du réseau national des services des affaires juridiques, JuriSup, qui a publié, en juillet, un guide sur les #procédures_disciplinaires.

    Effet cathartique

    L’année 2021 a eu un effet cathartique dans la communauté universitaire et les grandes écoles. Les premiers à en faire les frais sont les #instituts_d’études_politiques (#IEP).

    Accusés d’#immobilisme voire de #complicité avec la « #culture_du_viol », ils ont été submergés en février par une déferlante de #témoignages d’étudiantes, sous le hashtag #sciencesporcs, rapportant avoir été violées ou agressées par des étudiants ou des personnels, sans qu’aucune sanction ait été prononcée. Aussitôt, Frédérique Vidal, la ministre de l’enseignement supérieur, avait diligenté une mission d’inspection, chargée de faire le tour des dix IEP et des sept campus de l’IEP de Paris.

    Remises fin juillet, les #préconisations de l’inspection invitent à dépasser la simple prise de conscience pour professionnaliser les missions de #veille et de #recueil_de_la_parole.

    Un #plan_national de lutte contre les violences sexuelles et sexistes doit être annoncé fin septembre ou début octobre par Frédérique Vidal ; il sera doté de #formations qui auront « vocation à être renforcées et pérennisées à partir de 2022 », assure le ministère. « Renforcer les cellules de veille et d’écoute est important, prévient Delphine Gassiot-Casalas. Mais il faut aussi recruter au sein des #services_juridiques, car ce sont eux qui gèrent les procédures, et nous croulons sous les affaires. »

    Qu’elle soit commise dans les locaux ou à l’extérieur, toute #agression doit faire l’objet d’un #signalement. « Au domicile d’un étudiant, il s’agit de la même communauté qui se regroupe, et le comportement déviant d’un des membres va nécessairement rejaillir sur le fonctionnement de l’établissement », appuie la présidente de JuriSup. Avec des répercussions immédiates en termes d’#image, de #réputation mais aussi d’#atteinte_à_la_santé et à la scolarité de la victime.

    « Un souci de #transparence »

    Trop longtemps tolérées, « les violences sexuelles et sexistes ne doivent plus du tout avoir cours et donc ne jamais être mises sous le tapis », affirme Caroline Pascal, chef de l’IGÉSR.

    Très régulièrement, lors de leurs missions, les inspecteurs généraux font face à des enseignants ou des responsables hiérarchiques qui ont « des habitudes de tutoiement, de bises, de contacts tactiles appuyés, qu’ils perçoivent comme des attributs de leurs fonctions, relate Patrick Allal, responsable du pôle affaires juridiques et contrôle à l’IGÉSR. Ils n’ont pas compris que le temps est révolu où l’on pouvait arriver le matin et hurler sur quelqu’un ou ne pas réagir au fait qu’un directeur de thèse impose des relations intimes à ses doctorantes ».

    A travers son #vade-mecum des enquêtes administratives, l’IGÉSR situe son action sur le volet de la #procédure. « C’est la première fois qu’une inspection générale rend publique la façon dont elle travaille, souligne Patrick Allal. Nous revendiquons un souci de transparence visant aussi à faire taire les critiques qui régulièrement entourent nos travaux : #opacité, absence de contradiction, enquêtes réalisées à charge, instrumentalisation par les ministres, etc. »

    En 2021, trois rapports ont été contestés par des personnes incriminées lors d’une enquête, soit à l’occasion de la procédure disciplinaire engagée conformément aux préconisations de la mission devant le juge administratif, soit lors des poursuites pénales faisant suite au signalement au parquet par l’inspection générale.

    « Fonctions nouvelles et chronophages »

    Le document de 65 pages détaille le déroulement d’une enquête étape par étape, de la préparation de la mission au recueil des pièces en passant par l’attitude durant l’audition des témoins et la procédure contradictoire préalable à la rédaction du rapport définitif.

    « #metoo a fait émerger une charge de travail nouvelle pour nous, sur un sujet qui était d’ordre individuel et qui devient collectif », analyse Caroline Pascal. « On s’interroge désormais sur l’amplitude de systèmes qui ont pu laisser prospérer des situations de harcèlement moral ou des violences sexuelles et sexistes, faute de réaction et de formation, avec à la clé un possible signalement au parquet », en vertu de l’article 40 du code de procédure pénale, qui prévoit que tout fonctionnaire qui acquiert la connaissance d’un crime ou d’un délit est tenu d’en donner avis sans délai au procureur de la République.

    En attendant que se professionnalisent réellement les missions exercées par les cellules de veille et d’écoute au sein des universités et des grandes écoles, l’IGÉSR restera le principal recours. « Ce sont des fonctions nouvelles et chronophages pour lesquelles les établissements ne sont pas forcément très armés, même si l’on constate souvent le souci de bien faire », observe Patrick Allal. En témoigne cette mission d’inspection à l’encontre d’un professeur d’université qui vient tout juste de démarrer au sujet d’une suspicion d’agression sexuelle. L’enquête menée en interne est restée vaine : aucun témoin n’a osé s’exprimer, par manque de #confiance dans l’administration de l’établissement.

    https://www.lemonde.fr/societe/article/2021/09/27/violences-sexuelles-et-sexistes-les-enquetes-se-multiplient-dans-l-enseignem
    #sexisme #violences_sexuelles #violences_sexistes #ESR #France

    ping @_kg_

    –—

    ajouté à la métaliste sur le harcèlement sexuel dans les universités :
    https://seenthis.net/messages/863594
    Et plus précisément sur la France :
    https://seenthis.net/messages/863594#message863596

  • Web Vitals
    https://web.dev/patterns/web-vitals-patterns

    Des modèles « optimisés Google » pour les composants fréquents des pages web (slider, image et vidéo, infinite scroll...)

    A propos de Web Vitals , le dernier avatar de Big brother pour imposer ses diktats sur l’architecture/référencement des sites web :

    Overview
    Web Vitals is an initiative by Google to provide unified guidance for quality signals that are essential to delivering a great user experience on the web.
    Google has provided a number of tools over the years to measure and report on performance. Some developers are experts at using these tools, while others have found the abundance of both tools and metrics challenging to keep up with.
    Site owners should not have to be performance gurus in order to understand the quality of experience they are delivering to their users. The Web Vitals initiative aims to simplify the landscape, and help sites focus on the metrics that matter most, the Core Web Vitals.

    #web_vitals #slider #image_responsive #Infinite_scroll #google

  • « Ce graphiste hongrois n’hésite pas à mélanger des personnages emblématiques de films et de séries avec des univers opposés pour obtenir un résultat loufoque réalisé à l’aide de Photoshop. Parmi les plus surprenants, on retrouve Tony Montana dans la scène finale de Scarface et la Reine des Neiges, Venom bien loin d’effrayer un Minion ou encore Kung Fu Panda devenir Neo de Matrix. Plutôt surprenant… et inattendu n’est-ce pas ? »

    https://creapills.com/pixelfaker-films-montages-humour-20210914

    #Photo #Images #Cinéma #Graphisme

  • S’arrêter sur le traitement d’un événement, n’est plus le seul apanage du sociologue, de l’historien ou du philosophe. Depuis quelque temps, les médias s’essayent à l’introspection publique. Très certainement, est-ce là le fruit, la résultante d’une critique toujours plus soutenue, voire violente de ces mêmes médias, venue du public. La fameuse perte de confiance. Alors, exposer les coulisses de la production de l’information, affirmer que l’on prend ainsi du recul permet (peut-être) de tenter de répondre aux procès en sorcellerie les plus divers. A commencer par l’antienne qui veut que l’audience - appelée aussi il n’y a pas si longtemps l’audimat - soit le seul guide pour des écrans tous plus cyniques les uns que les autres... Surtout lorsque les faits sont de nature terroriste.

    Face à son miroir, le monde médiatique se questionne donc vingt ans après : Qu’avons-nous fait ce 11 septembre ?

    https://www.meta-media.fr/2021/09/10/questionner-les-medias-du-11-septembre.html

    #Images #Médias #EMI #Réflexion #11septembre

  • Discover the best Apps for GNOME – Apps for GNOME
    https://apps.gnome.org/en

    Discover the best applications in the GNOME ecosystem and learn how to get involved.
    Apps featured in this curated overview are all built with the GNOME philosophy in mind. They are easy to understand and simple to use, feature a consistent and polished design and provide a noticeable attention to details.

    Wow, un site de présentation des applications “à la gnome” dans lequel je découvre quelques trucs que je ne connaissais pas :

    Curtail is an useful #image #compressor, supporting PNG, JPEG and WEBP file types.
    https://apps.gnome.org/app/com.github.huluti.Curtail

    Apostrophe is a GTK based distraction free #Markdown #editor, originally created by Wolf Vollprecht and maintained by Manuel Genovés. It uses pandoc as backend for markdown parsing and offers a very clean and sleek user interface.
    https://apps.gnome.org/app/org.gnome.gitlab.somas.Apostrophe

    #Webfont Kit #Generator is a simple utility that allows you to generate woff, woff2 and the necessary CSS boilerplate from non-web font formats (otf and ttf).
    https://apps.gnome.org/app/com.rafaelmardojai.WebfontKitGenerator

    #Contrast checks whether the contrast between two colors meet the #WCAG requirements.
    https://apps.gnome.org/app/org.gnome.design.Contrast

    Et plein d’autres à découvrir !

  • Data et nouvelles technologies, la face cachée du contrôle des mobilités

    Dans un rapport de juillet 2020, l’#Agence_européenne_pour_la_gestion_opérationnelle_des_systèmes_d’information_à_grande_échelle (#EU-Lisa) présente l’#intelligence_artificielle (#IA) comme l’une des « #technologies prioritaires » à développer. Le rapport souligne les avantages de l’IA en matière migratoire et aux frontières, grâce, entre autres, à la technologie de #reconnaissance_faciale.

    L’intelligence artificielle est de plus en plus privilégiée par les acteurs publics, les institutions de l’UE et les acteurs privés, mais aussi par le #HCR et l’#OIM. Les agences de l’UE, comme #Frontex ou EU-Lisa, ont été particulièrement actives dans l’expérimentation des nouvelles technologies, brouillant parfois la distinction entre essais et mise en oeuvre. En plus des outils traditionnels de #surveillance, une panoplie de technologies est désormais déployée aux frontières de l’Europe et au-delà, qu’il s’agisse de l’ajout de nouvelles #bases_de_données, de technologies financières innovantes, ou plus simplement de la récupération par les #GAFAM des données laissées volontairement ou pas par les migrant·e·s et réfugié∙e∙s durant le parcours migratoire.

    La pandémie #Covid-19 est arrivée à point nommé pour dynamiser les orientations déjà prises, en permettant de tester ou de généraliser des technologies utilisées pour le contrôle des mobilités sans que l’ensemble des droits des exilé·e·s ne soit pris en considération. L’OIM, par exemple, a mis à disposition des Etats sa #Matrice_de_suivi_des_déplacements (#DTM) durant cette période afin de contrôler les « flux migratoires ». De nouvelles technologies au service de vieilles obsessions…

    http://migreurop.org/article3021.html

    Pour télécharger la note :
    migreurop.org/IMG/pdf/note_12_fr.pdf

    #migrations #réfugiés #asile #frontières #mobilité #mobilités #données #technologie #nouvelles_technologies #coronavirus #covid #IOM
    #migreurop

    ping @etraces

    voir aussi :
    Migreurop | Data : la face cachée du contrôle des mobilités
    https://seenthis.net/messages/900232

    • European funds for African IDs: migration regulation tool or privacy risk?

      The first person you meet after you land at Blaise Diagne Airport in Dakar is a border guard with a digital scanner.

      The official will scan your travel document and photograph and take a digital print of your index fingers.

      It’s the most visible sign of the new state-of-the-art digital biometrics system that is being deployed in the airport with the help of EU funding.

      The aim is to combat the increasingly sophisticated fake passports sold by traffickers to refugees.

      But it also helps Senegal’s government learn more about its own citizens.

      And it’s not just here: countries across West Africa are adopting travel documentation that has long been familiar to Europeans.

      Passports, ID cards and visas are all becoming biometric, and a national enrolment scheme is underway.

      In Europe too, there are proposals to create a biometric database of over 400 million foreign nationals, including fingerprints and photographs of their faces.

      The new systems are part of efforts to battle illegal migration from West Africa to the EU.

      ‘Fool-proof’ EU passport online

      Many are still plying the dangerous route across the Sahara and the Mediterranean to reach Europe, but a growing number are turning to the criminal gangs selling forged passports to avoid the treacherous journey over desert and sea.

      There’s a burgeoning market in travel documents advertised as ‘fake but real”.

      Prices vary according to the paperwork: an EU Schengen transit visa costs €5,000, while a longer-stay visa can be twice as high.

      Some forgers have even mastered the ability to incorporate holograms and hack the biometric chips.

      “Morphing” is an image processing technique that merges two people’s photographs into a single new face that appears to contain entirely new biometric data.

      Frontex, the EU’s border guard agency, says 7,000 people were caught trying to enter the Schengen area in 2019 carrying such documents — but it admits the true figure could be much higher.

      Sending migrants back

      Last year, the largest number of travellers with fake documents arrived via Turkish and Moroccan international airports.

      Many were caught in Italy, having arrived via Casablanca from sub-Saharan countries like Ghana, Mali, Nigeria and Senegal.

      A Frontex team responsible for deporting migrants without the correct paperwork was deployed this year at Rome’s Fiumicino Airport.

      It’s the first sign of a new European Commission regulation expanding the agency’s role, which includes access to biometric data held by member states, according to Jane Kilpatrick, a researcher at the civil liberties think-tank Statewatch.

      “The agency’s growing role in the collection of data, it links overtly to the agency’s role in deporting individuals from the EU,” she said.

      Over 490,000 return decisions were issued by member states last year, but only a third were actually sent back to a country outside the EU.

      There are multiple reasons why: some countries, for example, refuse to accept responsibility for people whose identity documents were lost, destroyed or stolen.

      Legally binding readmission agreements are now in place between the EU and 18 other countries to make that process easier.
      There are no records

      But a bigger problem is the fact that many African countries know very little about their own citizens.

      The World Bank estimates the continent is home to roughly half of the estimated one billion people on the planet who are unable to prove their identities.

      An absence of digitisation means that dusty registers are piling up in storage rooms.

      The same goes for many borders: unlike the scene at Dakar’s airport, many are still without internet access, servers, scanners and cameras.

      That, the Commission says, is why EU aid funds are being used to develop biometric identity systems in West African countries.

      The EU Trust Fund for Africa has allotted €60 million to support governments in Senegal and Côte d’Ivoire in modernising their registry systems and creating a national biometric identity database.

      Much of the funding comes through Civipol, a consulting firm attached to France’s interior ministry and part-owned by Milipol, one of the most important arms trade fairs in the world.

      It describes the objective of the programme in Côte d’Ivoire as identifying “people genuinely of Ivorian nationality and organising their return more easily”.
      Data security concerns

      European sources told Euronews that the EU-funded projects in West Africa were not designed to identify potential migrants or deport existing ones.

      A Commission spokesperson insisted no European entity — neither Frontex, nor member states, nor their partners — had access to the databases set up by West African countries.

      But the systems they are funding are intimately connected to anti-migration initiatives.

      One is the Migrant Information and Data Analysis System (MIDAS), a migration database that can send automatic queries to Interpol watchlists to detect travel documents and people possibly linked to organised crime, including human trafficking.

      Connections like these, and the role of French arms giants like Thales in the growing biometric market, has led data protection experts to become worried about possible abuses of privacy.
      World’s newest biometric market

      As Africa becomes the coveted market for biometric identification providers, the watchdog Privacy International has warned it risks becoming a mere testing ground for technologies later deployed elsewhere.

      So far 24 countries on the continent out of 53 have adopted laws and regulations to protect personal data.

      A letter by Privacy International, seen by Euronews, says EU must “ensure they are protecting rights before proceeding with allocating resources and technologies which, in absence of proper oversight, will likely result in fundamental rights abuses.”

      It has published internal documents tracking the development of Senegal’s system that suggest no privacy or data protection impact assessments have been carried out.

      Civipol, the French partner, denies this: it told Euronews that the Senegalese Personal Data Commission took part in the programme and Senegalese law was respected at every stage.

      Yet members of Senegal’s independent Commission of Personal Data (CDP), which is responsible for ensuring personal data is processed correctly, admit implementation and enforcement remained a challenge — even though they are proud of their country’s pioneering role in data governance in Africa.

      For the Senegalese cyber activist Cheick Fall, the charge is more serious: “Senegal has sinned by entrusting the processing of these data to foreign companies.”

      https://www.euronews.com/2021/07/30/european-funds-for-african-ids-migration-regulation-tool-or-privacy-risk

      #biométrie #aéroport #Afrique #étrangers #base_de_données_biométrique #empreintes_digitales #passeports #visas #hologramme #Morphing #image #photographie #Frontex #EU_Trust_Fund_for_Africa #Trust_Fund #Civipol #Milipol #armes #commerce_d'armes #Côte_d’Ivoire #Afrique_de_l'Ouest #Migrant_Information_and_Data_Analysis_System (#MIDAS) #Interpol #Thales #Sénégal #Senegalese_Personal_Data_Commission #Commission_of_Personal_Data (#CDP)

  • #Eyal_Weizman : « Il n’y a pas de #science sans #activisme »

    Depuis une dizaine d’années, un ensemble de chercheurs, architectes, juristes, journalistes et artistes développent ce qu’ils appellent « l’architecture forensique ». Pour mener leurs enquêtes, ils mettent en œuvre une technologie collaborative de la vérité, plus horizontale, ouverte et surtout qui constitue la vérité en « bien commun ». Eyal Weizman en est le théoricien, son manifeste La Vérité en ruines a paru en français en mars dernier.

    https://aoc.media/entretien/2021/08/06/eyal-weizman-il-ny-a-pas-de-science-sans-activisme-2

    #recherche #architecture_forensique #forensic_architecture #vérité #preuve #preuves #régime_de_preuves #spatialisation #urbanisme #politique #mensonges #domination #entretien #interview #espace #architecture #preuves_architecturales #cartographie #justice #Palestine #Israël #Cisjordanie #Gaza #images_satellites #contre-cartographie #colonialisme #Etat #contrôle #pouvoir #contre-forensique #contre-expertise #signaux_faibles #co-enquête #positionnement_politique #tribunal #bien_commun #Adama_Traoré #Zineb_Redouane #police #violences_policières #Rodney_King #Mark_Duggan #temps #Mark_Duggan #Yacoub_Mousa_Abu_Al-Qia’an #Harith_Augustus #fraction_de_seconde #racisme #objectivité #impartialité #faits #traumatisme #mémoire #architecture_de_la_mémoire #Saidnaya #tour_Grenfell #traumatisme #seuil_de_détectabilité #détectabilité #dissimulation #créativité #art #art_et_politique

    • La vérité en ruines. Manifeste pour une architecture forensique

      Comment, dans un paysage politique en ruines, reconstituer la vérité des faits ? La réponse d’Eyal Weizman tient en une formule-programme : « l’architecture forensique ». Approche novatrice au carrefour de plusieurs disciplines, cette sorte d’architecture se soucie moins de construire des bâtiments que d’analyser des traces que porte le bâti afin de rétablir des vérités menacées. Impacts de balles, trous de missiles, ombres projetées sur les murs de corps annihilés par le souffle d’une explosion : l’architecture forensique consiste à faire parler ces indices.
      Si elle mobilise à cette fin des techniques en partie héritées de la médecine légale et de la police scientifique, c’est en les retournant contre la violence d’État, ses dénis et ses « fake news ». Il s’agit donc d’une « contre-forensique » qui tente de se réapproprier les moyens de la preuve dans un contexte d’inégalité structurelle d’accès aux moyens de la manifestation de la vérité.
      Au fil des pages, cet ouvrage illustré offre un panorama saisissant des champs d’application de cette démarche, depuis le cas des frappes de drone au Pakistan, en Afghanistan et à Gaza, jusqu’à celui de la prison secrète de Saidnaya en Syrie, en passant par le camp de Staro Sajmište, dans la région de Belgrade.

      https://www.editionsladecouverte.fr/la_verite_en_ruines-9782355221446
      #livre

  • Handling #Text Over #Images in #CSS - Ahmad Shadeed
    http://ishadeed.com/article/handling-text-over-image-css

    You might come across a UI component that has text above an image. In some cases, the text will be hard to read depending on the image being used. There are some different solutions like adding a #gradient overlay, or a tinted background image, text-shadow, and others.

    • Ça c’est le truc le plus fun dans mon boulot : tu peux être certain que quand le graphiste propose les maquettes au client où il y a du texte sur des images, il va à tous les coups choisir la plus belle image possible, avec de très beaux aplats de couleur (la mer bleue jusqu’à l’horizon, un grand champ de blé bien flou au premier plan…) sur lesquels il prendra bien soin d’installer son texte. Oh c’est beau. Et la première image que le client mettra en ligne sera évidemment une photo super-moche, avec des micro-contrastes épouvantables partout, et parfois même (oh joie) déjà du texte dans l’image elle-même. Évidemment le texte devient illisible, et c’est à toi de trouver fissa une solution magique.

      L’autre caractéristique du texte sur une image, c’et que c’est souvent dans des blocs de dimensions fixes. Et là encore, le graphiste va soumettre des maquettes où les titre sont « Lorem ipsum », ou « Ici le titre ». Et le premier article que le client va publier sera titré « En réponse à la question posée par un interlocuteur à propos de la posture de notre entreprise quant au truc au nom duquel qu’on se positionne ». Et forcément, ça tient pas (mais le client veut désormais que ça tienne sans avoir à raccourcir son titre, tu penses bien).

      (Et je pourrais ajouter que, même dans les exemples illustrés de l’article ci-dessus, on n’échappe généralement pas à des problèmes de lisibilité et d’accessibilité avec ces différentes solutions. C’est assez chiant, mais si on fait dans le subtile et joli comme ci-dessus, on sera toujours très très limite sur le contraste et la lisibilité, et donc l’accessibilité.)

  • ‘white charity’
    Blackness & whiteness on charity and posters

    Billboards of charitable organisations such as ‘Brot für die Welt’, ‘Welthungerhilfe’, ‘Kindernothilfe’ or ‘Care’ are omnipresent in streets, on squares, in train and metro stations in Germany.

    They have a large impact on how Black and white identities in Germany are constructed. The documentary analyses the charity aid posters from a postcolonial perspective.

    ‘white charity’ presents different perspectives: based on the charity ad posters, representatives of charities and scientists discuss about development cooperation, colonial fantasies, racism and power structures.

    ‘white charity’ is an exemplary analysis of racism in images which has relevance far beyond the horizon of development. It supports a sharper analysis of images in commercials, print and TV.

    A film by Carolin Philipp and Timo Kiesel

    With:

    · PD Dr. Aram Ziai, political scientist, Zentrum für Entwicklungsforschung, Bonn

    · Danuta Sacher, former head of the department of politics and campaigns, Brot für die Welt

    · Dr. Grada Kilomba, psychoanalysist and author, Humboldt Universität, Berlin

    · Prof. em. Dr. Klaus-Peter Köpping, anthropologist, Universität Heidelberg

    · Peggy Piesche, literary scholar and cultural scientist, Hamilton College New York

    · Philipp Khabo Köpsell, poet and spoken word artist, Berlin

    · Sascha Decker, press spokesman, Kindernothilfe

    Animations: Jana Döll

    Technical details:
    duration: 48 minutes
    picture: 16:9

    https://www.youtube.com/watch?v=kUSMh8kV-xw

    https://whitecharity.de/film

    #white_charity #charity #charity_aid #blackness #whiteness #Germany #documentary #Brot_für_die_Welt #Welthungerhilfe #Kindernothilfe #Care #posters #images #TV #print #racism #power_structures #postcolonialism #development #development_cooperation

    ping @cdb_77 @deka

    • Africa For Norway - New charity single out now!
      https://www.youtube.com/watch?v=oJLqyuxm96k

      produced by Radi-Aid:

      About

      Radi-Aid is a former awareness campaign created by the Norwegian Students’ and Academics’ Assistance Fund (SAIH). Although we will no longer develop this campaign, we will keep all the resources available. Visit the SAIH webpage for information about our current campaigning.

      Emerging from the satirical campaign and music video ‘Radi-Aid: Africa for Norway’, the campaign has focused on arranging the Radi-Aid Awards (2013-2017), celebrating the best - and the worst - of development fundraising videos. Along with this, we have produced several satirical, awareness-raising videos. In 2017, we also developed the Social Media Guide for Volunteers and Travelers.

      The goal with Radi-Aid is to challenge the perceptions around issues of poverty and development, to change the way fundraising campaigns communicate, and to break down dominating stereotypical representations.

      Since 2012, our videos have been selected as one of the best practices on development communication by OECD (2012), one of the best “Ads worth spreading” by TED (2014), and joined The Guardian’s list of the best aid parodies (2014). In addition to wide international media attention, we have been invited to speak about our work at TedX talks, workshops and a numerous of conferences around the world. Our campaign also been exhibited at various exhibitions, including the German Colonial Museum in Berlin (2016).
      Main objectives

      Radi-Aid aims at addressing the following issues:

      Charity campaigns risk being counterproductive to their own goals if they obscure the actual causes of poverty. We need more nuanced information about development and poverty, not oversimplified half-truths.

      In many charity ads, poor people are portrayed as passive recipients of help, without the ability or desire to make their country a better place to live. This kind of portrayal creates a significant distinction between us and them.

      The last years have shown increasing examples of creative and engaging portrayals in charity ads, demonstrating the many various ways a charity campaign can succeed without traditional and stereotypical representations.

      Stereotypes and oversimplifications lead to poor debates and poor policies. NGO communicators play a crucial role in people’s understanding of development in the world today, and therefore also a crucial role in fighting these representations.

      How we can do it better

      Previous nominees for the Golden Radiator in the Radi-Aid Awards have shown how powerful you can communicate in a nuanced, creative and engaging way, without using stereotypes – and still manage to raise money for your campaign. What characterize these campaigns, is that:

      They avoid one-sided representation and the single story

      The target group is presented with ownership and has an active role in providing solutions, they speak for themselves and no “white hero” is speaking on behalf of them

      Although the goal is to raise money, they avoid exploiting the suffering of people. People are portrayed with dignity – with potential, talents, strengths.

      Some take use of humour and positivity, which helps to not focus on people’s guilt or create apathy among potential donors/supporters, and highlights instead people’s strengths and common humanity. It is okay, and even good to create feelings, but not feelings like pity/feeling sorry for.

      They portray people in a way that resonate with the audience – situations, emotions etc. You feel solidarity and connected with them, instead of feeling sorry and disconnected from their reality

      The potential donors/supporters are inspired to take action beyond donating

      They respect their audience, by not exaggerating the story or suggesting that “with your donation, you have changed a life/saved the world”

      They are clear and transparent about their role in the project

      They provide context and manage to explain the underlying causes of problems, not presenting merely cheap and easy solutions to global issues.

      About SAIH
      The Norwegian Students’ and Academics’ International Assistance Fund (SAIH) is the solidarity organization of students and academics in Norway. In addition to long-term development work, SAIH works with advocacy activities in Norway and internationally, in order to improve the conditions for education and development globally. SAIH runs annual campaigns on topics related to academic freedom and access to higher education. Read more about SAIH.

      https://www.radiaid.com/about

      #radi-aid #song

  • États-Unis - #Détroit : une « #Shrinking_city », entre #crise_automobile, #ségrégation et #évitement

    Ville de 670 000 habitants dans une grande région métropolitaine de 6,3 millions d’habitants, Détroit fut le berceau de l’industrie automobile. Cette Motor City des Grands Lacs dominée par les Big Three - Ford, General Motors et Chrysler - traverse depuis les années 1970 une crise systémique, à la fois économique, industrielle, sociale et urbaine. Les processus de hiérarchisation, de ségrégation fonctionnelle et raciale et d’évitement ont débouché sur un effondrement de sa population, de son tissu productif et de son cadre urbain, la transformant en une icône des « Shrinking Cities ». Face à l’abandon de dizaines de milliers de pavillons sur 65 % de son territoire communal, les destructions massives ont créé un espace-mosaïque singulier alors que l’initiative privée réinvestit quelques sites privilégiés (CBD, Midtown, rives fluviales). Pour autant, la crise de la ville-centre alimente des dynamiques centrifuges bénéficiant largement à son espace régional, de plus en plus multipolaire. Replacer Détroit par emboitements d’échelles dans sa grande région permet alors d’éclairer les dynamiques urbaines, dont l’urban sprawl, d’une large partie des territoires métropolitains des États-Unis.


    https://geoimage.cnes.fr/fr/geoimage/etats-unis-detroit-une-shrinking-city-entre-crise-automobile-segregati
    #USA #Etats-Unis #images_satellitaires #visualisation

  • TikTok changed the shape of some people’s faces without asking | MIT Technology Review
    https://www.technologyreview.com/2021/06/10/1026074/tiktok-mandatory-beauty-filter-bug/?truid=a497ecb44646822921c70e7e051f7f1a

    Users noticed what appeared to be a beauty filter they hadn’t requested—and which they couldn’t turn off.
    by

    Abby Ohlheiser
    June 10, 2021
    An user opening TikTok on his iPhone
    Lorenzo Di Cola/NurPhoto via AP

    “That’s not my face,” Tori Dawn thought, after opening TikTok to make a video in late May. The jaw reflected back on the screen was wrong, slimmer and more feminine. And when they waved their hand in front of the camera, blocking most of their face from the lens, their jaw appeared to pop back to normal. Was their skin also a little softer?

    On further investigation, it seemed as if the image was being run through a beauty filter in the TikTok app. Normally, Dawn keeps those filters off in livestreams and videos to around 320,000 followers. But as they flipped around the app’s settings, there was no way to disable the effect:. it seemed to be permanently in place, subtly feminizing Dawn’s features.
    Related Story
    Beauty filters are changing the way young girls see themselves

    The most widespread use of augmented reality isn’t in gaming: it’s the face filters on social media. The result? A mass experiment on girls and young women.

    “My face is pretty androgynous and I like my jawline,” Dawn said in an interview. “So when I saw that it was popping in and out, I’m like ‘why would they do that, why?’ This is one of the only things that I like about my face. Why would you do that?”

    Beauty filters are now a part of life online, allowing users to opt in to changing the face they present to the world on social media. Filters can widen eyes, plump up lips, apply makeup, and change the shape of the face, among other things. But it’s usually a choice, not forced on users—which is why Dawn and others who encountered this strange effect, were so angry and disturbed by it.

    Dawn told her followers about it in a video. “As long as that’s still a thing,” Dawn said, showing the effect to their jaw pop in and out on screen, “I don’t feel comfortable making videos because this is not what I look like, and I don’t know how to fix it.” The video got more than 300,000 views, they said, and was shared and duetted by other users who noticed the same thing.

    congrats tiktok I am super uncomfortable and disphoric now cuz of whatever the fuck this shit is
    ♬ original sound - Tori Dawn

    “Is that why I’ve been kind of looking like an alien lately?” said one.

    “Tiktok. Fix this,” said another.

    Videos like these circulated for days in late May, as a portion of TikTok’s users looked into the camera and saw a face that wasn’t their own. As the videos spread, many users wondered whether the company was secretly testing out a beauty filter on some users.
    An odd, temporary issue

    I’m a TikTok lurker, not a maker, so it was only after seeing Dawn’s video that I decided to see if the effect appeared on my own camera. Once I started making a video, the change to my jaw shape was obvious. I suspected, but couldn’t tell for sure, that my skin had been smoothed as well. I sent a video of it in action to coworkers and my Twitter followers, asking them to open the app and try the same thing on their own phones: from their responses, I learned that the effect only seemed to impact Android phones. I reached out to TikTok, and the effect stopped appearing two days later. The company later acknowledged in a short statement that there was an issue that had been resolved, but did not provide further details.
    Sign up for The Download - Your daily dose of what’s up in emerging technology
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    On the surface it was an odd, temporary issue that affected some users and not others. But it was also forcibly changing people’s appearances—an important glitch for an app that is used by around 100 million people in the US. So I also sent the video to Amy Niu, a PhD candidate at the University of Wisconsin who studies the psychological impact of beauty filters. She pointed out that in China, and some other places, some apps add a subtle beauty filter by default. When Niu uses apps like WeChat, she can only really tell that a filter is in place by comparing a photo of herself using her camera to the image produced in the app.

    A couple months ago, she said, she downloaded the Chinese version of TikTok, called Douyin. “When I turned off the beauty mode and filters, I can still see an adjustment to my face,” she said.

    Having beauty filters in an app isn’t necessarily a bad thing, Niu said, but app designers have a responsibility to consider how those filters will be used, and how they will change the people who use them. Even if it was a temporary bug, it could have an impact on how people see themselves.

    “People’s internalization of beauty standards, their own body image or whether they will intensify their appearance concerns,” Niu said, are all considerations.

    For Dawn, the strange facial effect was just one more thing to add to the list of frustrations with TikTok: “It’s been very reminiscent of a relationship with a narcissist because they love bomb you one minute, they’re giving you all these followers and all this attention and it feels so good,” they said. “And then for some reason they just, they’re just like, we’re cutting you off.”

    #Beauty_filters #Image_de_soi #Filtres #Image

  • Research looks at how Snapchat filters affect self-image - School of Education
    https://education.wisc.edu/news/research-looks-at-how-snapchat-filters-affect-self-image

    While observing heavy use of selfie apps such as Snapchat, UW–Madison graduate student Amy Niu found herself wondering about the effects that virtual makeovers have on college-age females.

    Apps such as Snapchat and others offer users photographic filters that change their look. In China, where Niu is originally from, apps similar to this are used even more heavily than they are in the United States.

    Popular apps among Chinese college-age females apply the filter as soon as the user opens the app while popular American apps require the user to select a filter before it is applied. Additionally, many Chinese students have phones that apply the filter directly through the phone’s camera so they are seeing their enhanced self every time they take a selfie. In other words, they are seeing themselves with the filter more often than their unedited face. 

    “I started to wonder how looking at a different self will change how people will view themselves,” said Niu, who is in the School of Education’s highly regarded Department of Educational Psychology.

    From this wondering, her research was born. Niu set out to conduct a study to find out if selfie-editing filters negatively or positively impact one’s evaluation of self, focusing primarily on Chinese college-age females.

    As a graduate student in the human development area of her department, Niu is also working on her dissertation that focuses on college student’s social-emotional adjustment and their use of technology and social media. Because of this, Niu is no stranger to research involving the effects that social media apps have on college students.

    Winning the UW Global Health Institute’s 2019 Graduate Student Research Award allowed Niu to begin her study. In order to collect her data, she experimented by asking one group of students to look at themselves with a filter applied and another group to look at themselves through a regular camera without a filter.

    “I will then be asking each group questions about their self-evaluation and comparing the results to see whether the self-evaluations for these two groups of students are different,” Niu said.

    An important part of the study is how it relates to social comparison theory. This theory says that when comparing yourself to others, people are more likely to compare themselves to someone who is better looking and this will negatively impact our self-evaluation. When comparing yourself to a better-looking self, the effects may be very different.

    “When comparing to a better-looking self, you may think ‘that’s a potential me’. By this kind of comparison, you may see the potential of being prettier or you may assimilate that image to your self-image. That assimilation may cause you to think ‘I look pretty good’ or ‘I may look as good as this if I make a little bit of effort on myself,” Niu said.

    Because of this, Niu believes that this different kind of comparison, which is the kind at play with selfie apps, may elicit a different response and cause students to lose perspective on what they actually look. This illusion of one’s self-image, she suggests, may cause people to temporarily feel better about themselves but later, when they are exposed to their actual look, their self-image may experience greater disturbance than traditional appearance comparisons.

    Though the grant Niu received will only be applied to the data collection in China, she conducted a primary experiment on American students in collaboration with Felix Zhan, a Consumer Science graduate student, as well. At this time, Niu has not completed the study but she has seen some interesting differences between the results from the two country’s samples.

    “In the American sample, it seems that their self-evaluation is not really influenced by this exposure to a better-looking self, even though the exposure will slightly increase their willingness to conduct cosmetic surgery. For the Chinese students, those who look at the enhanced images do feel better about themselves than those who look at their actual selves,” Niu said.

    The results for the Chinese sample were in line with her initial hypothesis.

    When she has completed the study in October, she is interested in finding what reasons for the difference in the results between the two samples may be. One of these reasons, she hypothesizes, may be the education in China about self-image. She hopes that the report she will generate will provide insights on how to promote healthy body image among Chinese young women.

    “College females need to know that physical appearance is not everything. It is risky to base one’s self-evaluation on appearance. Though one may think a filtered selfie makes her closer to the societal standard of beauty, the fact is that standard is always hard to meet in reality. The algorithm of the beauty filters will only further reinforce the standard in your mind. When you look at your bare face, you fall short. Hopefully, my findings can help us better understand the influences of this new technology’s impact on young women,” Niu said.

    #Beauty_filters #Image_de_soi #Filtres #Image

  • Les images de la révolte
    https://laviedesidees.fr/Les-images-de-la-revolte.html

    Dès le début du conflit syrien, les opposants au régime de Bachar al Assad ont multiplié les vidéos montrant les exactions du régime. Celui-ci s’est alors efforcé de décrédibiliser les images de la répression violente qu’il menait.

    #International #Syrie #image
    https://laviedesidees.fr/IMG/docx/20210517_syriesansimages.docx
    https://laviedesidees.fr/IMG/pdf/20210517_syriesansimages.pdf

    • Trigger Warnings | Centre for Teaching Excellence

      A trigger warning is a statement made prior to sharing potentially disturbing content. That content might include graphic references to topics such as #sexual_abuse, #self-harm, #violence, #eating_disorders, and so on, and can take the form of an #image, #video_clip, #audio_clip, or piece of #text. In an #academic_context, the #instructor delivers these messages in order to allow students to prepare emotionally for the content or to decide to forgo interacting with the content.

      Proponents of trigger warnings contend that certain course content can impact the #wellbeing and #academic_performance of students who have experienced corresponding #traumas in their own lives. Such students might not yet be ready to confront a personal #trauma in an academic context. They choose to #avoid it now so that they can deal with it more effectively at a later date – perhaps after they have set up necessary #resources, #supports, or #counselling. Other students might indeed be ready to #confront a personal trauma in an academic context but will benefit from a #forewarning of certain topics so that they can brace themselves prior to (for example) participating in a #classroom discussion about it. Considered from this perspective, trigger warnings give students increased #autonomy over their learning, and are an affirmation that the instructor #cares about their wellbeing.

      However, not everyone agrees that trigger warnings are #necessary or #helpful. For example, some fear that trigger warnings unnecessarily #insulate students from the often harsh #realities of the world with which academics need to engage. Others are concerned that trigger warnings establish a precedent of making instructors or universities legally #responsible for protecting students from #emotional_trauma. Still others argue that it is impossible to anticipate all the topics that might be potentially triggering for students.

      Trigger warnings do not mean that students can exempt themselves from completing parts of the coursework. Ideally, a student who is genuinely concerned about being #re-traumatized by forthcoming course content would privately inform the instructor of this concern. The instructor would then accommodate the student by proposing #alternative_content or an alternative learning activity, as with an accommodation necessitated by a learning disability or physical disability.

      The decision to preface potentially disturbing content with a trigger warning is ultimately up to the instructor. An instructor who does so might want to include in the course syllabus a preliminary statement (also known as a “#content_note”), such as the following:

      Our classroom provides an open space for the critical and civil exchange of ideas. Some readings and other content in this course will include topics that some students may find offensive and/or traumatizing. I’ll aim to #forewarn students about potentially disturbing content and I ask all students to help to create an #atmosphere of #mutual_respect and #sensitivity.

      Prior to introducing a potentially disturbing topic in class, an instructor might articulate a #verbal_trigger_warning such as the following:

      Next class our discussion will probably touch on the sexual assault that is depicted in the second last chapter of The White Hotel. This content is disturbing, so I encourage you to prepare yourself emotionally beforehand. If you believe that you will find the discussion to be traumatizing, you may choose to not participate in the discussion or to leave the classroom. You will still, however, be responsible for material that you miss, so if you leave the room for a significant time, please arrange to get notes from another student or see me individually.

      A version of the foregoing trigger warning might also preface written materials:

      The following reading includes a discussion of the harsh treatment experienced by First Nations children in residential schools in the 1950s. This content is disturbing, so I encourage everyone to prepare themselves emotionally before proceeding. If you believe that the reading will be traumatizing for you, then you may choose to forgo it. You will still, however, be responsible for material that you miss, so please arrange to get notes from another student or see me individually.

      Trigger warnings, of course, are not the only answer to disturbing content. Instructional #strategies such as the following can also help students approach challenging material:

      – Give your students as much #advance_notice as possible about potentially disturbing content. A day’s notice might not be enough for a student to prepare emotionally, but two weeks might be.

      – Try to “scaffold” a disturbing topic to students. For example, when beginning a history unit on the Holocaust, don’t start with graphic photographs from Auschwitz. Instead, begin by explaining the historical context, then verbally describe the conditions within the concentration camps, and then introduce the photographic record as needed. Whenever possible, allow students to progress through upsetting material at their own pace.

      – Allow students to interact with disturbing material outside of class. A student might feel more vulnerable watching a documentary about sexual assault while in a classroom than in the security of his or her #home.

      – Provide captions when using video materials: some content is easier to watch while reading captions than while listening to the audio.

      – When necessary, provide written descriptions of graphic images as a substitute for the actual visual content.

      – When disturbing content is under discussion, check in with your students from time to time: #ask them how they are doing, whether they need a #break, and so on. Let them know that you are aware that the material in question is emotionally challenging.

      – Advise students to be #sensitive to their classmates’ #vulnerabilities when they are preparing class presentations.

      – Help your students understand the difference between emotional trauma and #intellectual_discomfort: the former is harmful, as is triggering it in the wrong context (such as in a classroom rather than in therapy); the latter is fundamental to a university education – it means our ideas are being challenged as we struggle to resolve cognitive dissonance.

      https://uwaterloo.ca/centre-for-teaching-excellence/trigger

    • Why Trigger Warnings Don’t Work

      Because trauma #survivors’ #memories are so specific, increasingly used “trigger warnings” are largely #ineffective.

      Fair warning labels at the beginning of movie and book reviews alert the reader that continuing may reveal critical plot points that spoil the story. The acronym NSFW alerts those reading emails or social media posts that the material is not suitable for work. The Motion Picture Association of America provides film ratings to advise about content so that moviegoers can make informed entertainment choices for themselves and their children.

      Enter stage right: Trigger warning.

      A trigger warning, most often found on #social_media and internet sites, alerts the reader that potentially upsetting information may follow. The words trigger warning are often followed by a subtitle such as *Trigger warning: This may be triggering to those who have struggled with _________. Fill in the blank. #Domestic_abuse. #Rape. #Body_image. #Needles. #Pregnancy.

      Trigger warnings have become prevalent online since about 2012. Victim advocate Gayle Crabtree reports that they were in use as early as 1996 in chat rooms she moderated. “We used the words ‘trigger warning,’ ‘#tw,’ ‘#TW,’ and ‘trigger’ early on. …This meant the survivor could see the warning and then decide if she or he wanted to scroll down for the message or not.” Eventually, trigger warnings spread to social media sites including #Tumblr, #Twitter, and #Facebook.

      The term seems to have originated from the use of the word “trigger” to indicate something that cues a #physiological_response, the way pollen may trigger an allergy attack. A trigger in a firearm is a lever that activates the sequence of firing a gun, so it is not surprising that the word was commandeered by those working in the field of #psychology to indicate objects and sensations that cause neurological firing in the brain, which in turn cause #feelings and #thoughts to occur.

      Spoiler alerts allow us to enjoy the movie or book as it unfolds without being influenced by knowledge about what comes next. The NSFW label helps employees comply with workplace policies that prohibit viewing sexually explicit or profane material. Motion picture ratings enable viewers to select movies they are most likely to find entertaining. Trigger warnings, on the other hand, are “designed to prevent people who have an extremely strong and damaging emotional response… to certain subjects from encountering them unaware.”

      Say what?

      Say hogwash!

      Discussions about trigger warnings have made headlines in the New Yorker, the Los Angeles Times, the Guardian, the New Republic, and various other online and print publications. Erin Dean writes that a trigger “is not something that offends one, troubles one, or angers one; it is something that causes an extreme involuntary reaction in which the individual re-experiences past trauma.”

      For those individuals, it is probably true that coming across material that reminds them of a traumatic event is going to be disturbing. Dean’s definition refers to involuntary fear and stress responses common in individuals with Post Traumatic Stress Disorder characterized by intrusive memories, thoughts, or dreams; intense distress at cues that remind the individual of the event; and reactivity to situations, people, or objects that symbolize the event. PTSD can result from personal victimization, accidents, incarceration, natural disasters, or any unexpected injury or threat of injury or death. Research suggests that it results from a combination of genetic predisposition, fear conditioning, and neural and physiological responses that incorporate the body systems and immunological responses. Current theories suggest that PTSD represents “the failure to recover from the normal effects of trauma.” In other words, anyone would be adversely affected by trauma, but natural mechanisms for healing take place in the majority of individuals. The prevalence of PTSD ranges from 1.9 percent in Europe to 3.5 percent in the United States.

      The notion that trigger warnings should be generalized to all social media sites, online journals, and discussion boards is erroneous.

      Some discussions have asserted that because between one in four and one in five women have been sexually abused, trigger warnings are necessary to protect vast numbers of victims from being re-traumatized. However, research shows that the majority of trauma-exposed persons do not develop PTSD. This does not mean they aren’t affected by trauma, but that they do not develop clinically significant symptoms, distress, or impairment in daily functioning. The notion that trigger warnings should be generalized to all social media sites, online journals, and discussion boards is erroneous. Now some students are pushing for trigger warnings on college class syllabi and reading lists.

      But what?

      Balderdash!

      But wait, before people get all riled up, I’d like to say that yes, I have experienced trauma in my life.

      I wore a skirt the first time George hit me. I know this because I remember scrunching my skirt around my waist and balancing in heels while I squatted over a hole in the concrete floor to take a piss. We were in Tijuana. The stench of excrement made my stomach queasy with too much tequila. I wanted to retch.

      We returned to our hotel room. I slid out of my blouse and skirt. He stripped to nothing and lay on the double bed. He was drinking Rompope from the bottle, a kind of Mexican eggnog: strong, sweet, and marketed for its excellent spunk. It’s a thick yellow rum concoction with eggs, sugar, and almond side notes. George wanted to have sex. We bickered and argued as drunks sometimes do. I said something — I know this because I always said something — and he hit me. He grabbed me by the hair and hit me again. “We’re going dancing,” he said.

      “I don’t feel like dancing — “

      “Fine. Stay.”

      The world was tilting at an angle I didn’t recognize. The mathematician Matt Tweed writes that atoms are made up of almost completely empty space. To grasp the vast nothingness, he asks the reader to imagine a cat twirling a bumblebee on the end of a half-mile long string. That’s how much emptiness there is between the nucleus and the electron. There was more space than that between George and me. I remember thinking: I am in a foreign country. I don’t speak Spanish. I have no money. We went dancing.

      Labeling a topic or theme is useless because of the way our brains work. The labels that we give trauma (assault, sexual abuse, rape) are not the primary source of triggers. Memories are, and not just memories, but very specific, insidious, and personally individualized details lodged in our brain at the time of the trauma encoded as memory. Details can include faces, places, sounds, smells, tastes, voices, body positions, time of day, or any other sensate qualities that were present during a traumatic incident.

      If I see a particular shade of yellow or smell a sickly sweet rum drink, I’m reminded of my head being yanked by someone who held a handful of my hair in his fist. A forest green Plymouth Duster (the car we drove) will too. The word assault does not. The words domestic violence don’t either. The specificity of details seared in my mind invokes memory.

      Last year a driver slammed into the back of my car on the freeway. The word tailgate is not a trigger. Nor is the word accident. The flash of another car suddenly encroaching in my rearview mirror is. In my mid-20s, I drove my younger sister (sobbing, wrapped in a bed sheet) to the hospital where two male officers explained they were going to pluck her pubic hair for a rape kit. When I see tweezers in a hospital, I flash back to that awful moment. For my sister, other things may be triggers: the moonlight shining on the edge of a knife. The shadow of a person back lit in a doorway. An Hispanic man’s accent. If we were going to insist on trigger warnings that work, they would need to look something like this:

      Trigger warning: Rompope.

      Trigger warning: a woman wrapped in a bed sheet.

      Trigger warning: the blade of a knife.

      The variability of human #perception and traumatic recall makes it impossible to provide the necessary specificity for trigger warnings to be effective. The nature of specificity is, in part, one reason that treatment for traumatic memories involves safely re-engaging with the images that populate the survivor’s memory of the event. According to Dr. Mark Beuger, an addiction psychiatrist at Deerfield Behavioral Health of Warren (PA), the goal of PTSD treatment is “to allow for processing of the traumatic experience without becoming so emotional that processing is impossible.” By creating a coherent narrative of the past event through telling and retelling the story to a clinician, survivors confront their fears and gain mastery over their thoughts and feelings.

      If a survivor has had adequate clinical support, they could engage online with thoughts or ideas that previously had been avoided.

      According to the National Center for Health, “#Avoidance is a maladaptive #control_strategy… resulting in maintenance of perceived current threat. In line with this, trauma-focused treatments stress the role of avoidance in the maintenance of PTSD. Prolonged exposure to safe but anxiety-provoking trauma-related stimuli is considered a treatment of choice for PTSD.” Avoidance involves distancing oneself from cues, reminders, or situations that remind one of the event that can result in increased #social_withdrawal. Trigger warnings increase social withdrawal, which contributes to feelings of #isolation. If a survivor who suffers from PTSD has had adequate clinical support, they could engage online with thoughts or ideas that previously had been avoided. The individual is in charge of each word he or she reads. At any time, one may close a book or click a screen shut on the computer. What is safer than that? Conversely, trigger warnings perpetuate avoidance. Because the intrusive memories and thoughts are internal, trigger warnings suggest, “Wait! Don’t go here. I need to protect you from yourself.”

      The argument that trigger warnings help to protect those who have suffered trauma is false. Most people who have experienced trauma do not require preemptive protection. Some may argue that it would be kind to avoid causing others distress with upsetting language and images. But is it? Doesn’t it sometimes take facing the horrific images encountered in trauma to effect change in ourselves and in the world?

      A few weeks ago, I came across a video about Boko Haram’s treatment of a kidnapped schoolgirl. The girl was blindfolded. A man was digging a hole in dry soil. It quickly became evident, as he ushered the girl into the hole, that this would not end well. I felt anxious as several men began shoveling soil in around her while she spoke to them in a language I could not understand. I considered clicking away as my unease and horror grew. But I also felt compelled to know what happened to this girl. In the 11-minute video, she is buried up to her neck.

      All the while, she speaks to her captors, who eventually move out of the frame of the scene. Rocks begin pelting the girl’s head. One after the other strikes her as I stared, horrified, until finally, her head lay motionless at an angle that could only imply death. That video (now confirmed to be a stoning in Somalia rather than by Boko Haram) forever changed my level of concern about young girls kidnapped in other countries.

      We are changed by what we #witness. Had the video contained a trigger warning about gruesome death, I would not have watched it. Weeks later, I would have been spared the rush of feelings I felt when a friend posted a photo of her daughter playfully buried by her brothers in the sand. I would have been spared knowing such horrors occur. But would the world be a better place for my not knowing? Knowledge helps us prioritize our responsibilities in the world. Don’t we want engaged, knowledgeable citizens striving for a better world?

      Recently, the idea of trigger warnings has leapt the gulch between social media and academic settings. #Universities are dabbling with #policies that encourage professors to provide trigger warnings for their classes because of #complaints filed by students. Isn’t the syllabus warning enough? Can’t individual students be responsible for researching the class content and reading #materials before they enroll? One of the benefits of broad exposure to literature and art in education is Theory of Mind, the idea that human beings have the capacity to recognize and understand that other people have thoughts and desires that are different from one’s own. Do we want #higher_education to comprise solely literature and ideas that feel safe to everyone? Could we even agree on what that would be?

      Art occurs at the intersection of experience and danger. It can be risky, subversive, and offensive. Literature encompasses ideas both repugnant and redemptive. News about very difficult subjects is worth sharing. As writers, don’t we want our readers to have the space to respond authentically to the story? As human beings, don’t we want others to understand that we can empathize without sharing the same points of view?

      Trigger warnings fail to warn us of the very things that might cause us to remember our trauma. They insulate. They cause isolation. A trigger warning says, “Be careful. This might be too much for you.” It says, “I don’t trust you can handle it.” As a reader, that’s not a message I want to encounter. As a writer, that is not the message I want to convey.

      Trigger warnings?

      Poppycock.

      http://www.stirjournal.com/2014/09/15/trigger-what-why-trigger-warnings-dont-work

    • Essay on why a professor is adding a trigger warning to his #syllabus

      Trigger warnings in the classroom have been the subject of tremendous #debate in recent weeks, but it’s striking how little the discussion has contemplated what actual trigger warnings in actual classrooms might plausibly look like.

      The debate began with demands for trigger warnings by student governments with no power to compel them and suggestions by #administrators (made and retracted) that #faculty consider them. From there the ball was picked up mostly by observers outside higher ed who presented various #arguments for and against, and by professors who repudiated the whole idea.

      What we haven’t heard much of so far are the voices of professors who are sympathetic to the idea of such warnings talking about what they might look like and how they might operate.

      As it turns out, I’m one of those professors, and I think that discussion is long overdue. I teach history at Hostos Community College of the City University of New York, and starting this summer I’m going to be including a trigger warning in my syllabus.

      I’d like to say a few things about why.

      An Alternative Point of View

      To start off, I think it’s important to be clear about what trigger warnings are, and what purpose they’re intended to serve. Such warnings are often framed — and not just by critics — as a “you may not want to read this” notice, one that’s directed specifically at survivors of trauma. But their actual #purpose is considerably broader.

      Part of the confusion arises from the word “trigger” itself. Originating in the psychological literature, the #term can be misleading in a #non-clinical context, and indeed many people who favor such warnings prefer to call them “#content_warnings” for that reason. It’s not just trauma survivors who may be distracted or derailed by shocking or troubling material, after all. It’s any of us, and a significant part of the distraction comes not from the material itself but from the context in which it’s presented.

      In the original cut of the 1933 version of the film “King Kong,” there was a scene (depicting an attack by a giant spider) that was so graphic that the director removed it before release. He took it out, it’s said, not because of concerns about excessive violence, but because the intensity of the scene ruined the movie — once you saw the sailors get eaten by the spider, the rest of the film passed by you in a haze.

      A similar concern provides a big part of the impetus for content warnings. These warnings prepare the reader for what’s coming, so their #attention isn’t hijacked when it arrives. Even a pleasant surprise can be #distracting, and if the surprise is unpleasant the distraction will be that much more severe.

      I write quite a bit online, and I hardly ever use content warnings myself. I respect the impulse to provide them, but in my experience a well-written title and lead paragraph can usually do the job more effectively and less obtrusively.

      A classroom environment is different, though, for a few reasons. First, it’s a shared space — for the 75 minutes of the class session and the 15 weeks of the semester, we’re pretty much all #stuck with one another, and that fact imposes #interpersonal_obligations on us that don’t exist between writer and reader. Second, it’s an interactive space — it’s a #conversation, not a monologue, and I have a #responsibility to encourage that conversation as best I can. Finally, it’s an unpredictable space — a lot of my students have never previously encountered some of the material we cover in my classes, or haven’t encountered it in the way it’s taught at the college level, and don’t have any clear sense of what to expect.

      For all these reasons, I’ve concluded that it would be sound #pedagogy for me to give my students notice about some of the #challenging_material we’ll be covering in class — material relating to racial and sexual oppression, for instance, and to ethnic and religious conflict — as well as some information about their rights and responsibilities in responding to it. Starting with the summer semester, as a result, I’ll be discussing these issues during the first class meeting and including a notice about them in the syllabus.

      My current draft of that notice reads as follows:

      Course Content Note

      At times this semester we will be discussing historical events that may be disturbing, even traumatizing, to some students. If you ever feel the need to step outside during one of these discussions, either for a short time or for the rest of the class session, you may always do so without academic penalty. (You will, however, be responsible for any material you miss. If you do leave the room for a significant time, please make arrangements to get notes from another student or see me individually.)

      If you ever wish to discuss your personal reactions to this material, either with the class or with me afterwards, I welcome such discussion as an appropriate part of our coursework.

      That’s it. That’s my content warning. That’s all it is.

      I should say as well that nothing in these two paragraphs represents a change in my teaching practice. I have always assumed that if a student steps out of the classroom they’ve got a good reason, and I don’t keep tabs on them when they do. If a student is made uncomfortable by something that happens in class, I’m always glad when they come talk to me about it — I’ve found we usually both learn something from such exchanges. And of course students are still responsible for mastering all the course material, just as they’ve always been.

      So why the note, if everything in it reflects the rules of my classroom as they’ve always existed? Because, again, it’s my job as a professor to facilitate class discussion.

      A few years ago one of my students came to talk to me after class, distraught. She was a student teacher in a New York City junior high school, working with a social studies teacher. The teacher was white, and almost all of his students were, like my student, black. That week, she said, one of the classes had arrived at the point in the semester given over to the discussion of slavery, and at the start of the class the teacher had gotten up, buried his nose in his notes, and started into the lecture without any introduction. The students were visibly upset by what they were hearing, but the teacher just kept going until the end of the period, at which point he finished the lecture, put down his papers, and sent them on to math class.

      My student was appalled. She liked these kids, and she could see that they were hurting. They were angry, they were confused, and they had been given nothing to do with their #emotions. She asked me for advice, and I had very little to offer, but I left our meeting thinking that it would have been better for the teacher to have skipped that material entirely than to have taught it the way he did.

      History is often ugly. History is often troubling. History is often heartbreaking. As a professor, I have an #obligation to my students to raise those difficult subjects, but I also have an obligation to raise them in a way that provokes a productive reckoning with the material.

      And that reckoning can only take place if my students know that I understand that this material is not merely academic, that they are coming to it as whole people with a wide range of experiences, and that the journey we’re going on #together may at times be #painful.

      It’s not coddling them to acknowledge that. In fact, it’s just the opposite.

      https://www.insidehighered.com/views/2014/05/29/essay-why-professor-adding-trigger-warning-his-syllabus

  • The Historical Importance of India’s Cartography Reforms

    https://swarajyamag.com/economy/the-historical-importance-of-indias-cartography-reforms

    Last week, the government of India announced far reaching liberalization of the cartography and geospatial sector. This is a major step towards enhancing indigenous capacity in this crucial sector by allowing private sector greater space to innovate as well as opening it up, with some restrictions, to international players to invest onshore. For hundreds of years, cartography has been at the cutting edge of technological innovation, and its military, geostrategic and commercial importance cannot be emphasized enough. Therefore, in order to understand the significance of the new policy, it is important to know the history of cartography.

    #inde #pakistan #image #cartographie #cachemire #frontières #territoire #différend_frontalier