LATINOS ARE A RICH culture of synthesis and fusion. With such a colorful array of fiesta-loving, family-centered, hard-working, tamale- and salsa-eating Latinos, one might wonder, what could possibly keep this sundry group together? What are the connecting points that give a shared identity to this camaraderie?
Much like the Jewish community, Latinos are an ethnic and cultural group. Latinos are bound together by the Spanish language, a shared history, a spiritual tradition, and common values that stem from both their Spanish and their indigenous roots. Cultural values are fastening points—the nucleus—shaping a collective identity from the many ingredients of the delectable Latino familia. As Arturo Vargas, president of the National Association of Latino Appointed and Elected Officials, observes, “I’ve met Latinos all over the country, and diverse as Latinos are, there’s a set of core values we hold. It’s about family, and the face of their children, and the face of the future. There’s a level of optimism and a sense of community.”
Th e native Texan warranting a spot in this coverage of bloodshed along the Rio Grande was product of a border county—just not a
Mexican border county. Eugene B. Hulen had been born in Cooke
County (Gainesville) adjacent to the Red River, the dividing line separating Texas and Oklahoma. Eugene’s parents, Harvey and Frances
“Fannie” Hulen, could rightly be proud of their family’s contribution to Lone Star State history. Th eir fi rst-born, John Augustus Hulen, would serve for a time as the adjutant general of Texas, the Rangers headman, and as brigadier general of the National Guard. During
1879 the month of March blew in with the breath of a proverbial lion and made her exodus leaving behind the gentleness of a lamb’s bleat—and baby Eugene, seven years junior to his oldest brother.1
Eugene would grow to manhood topping out at a middling fi vefoot, nine-inches, underneath a crop of light brown hair. Unlike so many fellows heretofore profi led, Eugene was not a career cowboy shielding his fair complexion and blue-grey eyes from beneath a wide-brimmed hat, spending long days and longer nights in a slickforked Texas stock saddle. Nope, Eugene Hulen was for the biggest portion of his allotted time as an adult, a “contractor.”2 Contracting for what is left unanswered, and for the unwinding episode at hand, really not too signifi cant. Th ere is, however, a critical point demanding explanation and consideration.
Labyrinthine function is important in the composition of coordinated movement and body equilibrium. Further, proper balance and posture require continuous information about the position and motion of all body parts, including the head and eyes. The head and eyes must be able to function independently of one another, allowing for visual fixation on a moving target, even when the head is in motion.
In addition, the position and movement of the eyes must be compensated on non-visual cues. These varied tasks are fulfilled by the vestibular system, so-named for its position in the vestibule of the inner ear.
The term vertigo means a turning sensation, sense of movement, either in the individual or in external space that involves a defect, true or perceived, in the equilibrium of the body. Almost all affected patients report slight or more interference with consciousness of the body often chosing terms of giddiness and dizziness to describe the sensation.
a whole and on the partiality to be expected of a PORTRAIT.
I think that film is essentially a poetic medium, and although it can be put to all sorts of other – creditable and discreditable – uses, these are secondary.
The great joy of directing BLUE BLACK PERMANENT was in working with the cast and the crew, each bringing their own qualities into the feeling of the whole thing.
It’s mainly the actors and actresses who give so much greater scope in a feature compared to a short. They and the characters they create bring it into quite a different dimension from what one can do working away by oneself with a camera and an editing bench. Even all the organisation associated with having performers affects the dimension. One of the miracles about film is that that, and all the complications of production on a wider scale, don’t have to quell the poetry that’s inherent in what’s being made, so long as it is there in the first place.
Published in Peter Todd (ed.), Poem Film Film Poem, 2, November 1997
Int'l Conf. Frontiers in Education: CS and CE | FECS'14 |
Tracking Attendance Pilot
The School of Computer Science, Carleton University, Ottawa, Ontario, Canada
Abstract – Students experiencing difficulty with their studies often don’t identify themselves as students in need of support.
The Science Student Success Centre at Carleton University actively seeks out these science students to give them the help they require. One approach is to look at a student’s grades as an indicator of need. Another indicator, along side of grades, is attendance in class. In this paper we look at the usage results of piloting an attendance tracking system in two classes, both containing less than 50 students. While our online card swiping attendance tracking system is usable for small class sizes, we also discuss the groundwork of our attendance tracking Android mobile application that is suitable for much larger classes.
Keywords: Attendance, Tracking, Android, Pilot
In , we described the initial view of our attendance tracking system. Our motivation for building the system came from The Science Student Success Centre (SSSC) at Carleton