@ - Danielle Defortescu

Alors que le magazine Sciences et Avenir publie un palmarès des maternités, un plan annoncé par Bernard Kouchner prévoit la fermeture des établissements qui effectuent moins de trois cents accouchements par an. Seul le journal L'Humanité prend la défense des petites structures hospitalières.

Les petites maternités vont devoir fermer
Après un palmarès des hôpitaux français qui avait fait beaucoup de bruit (lire aussi "Kiosque à la une: Statistiques") le mensuel scientifique Sciences et Avenir crée à nouveau l'événement en publiant un palmarès des maternités. L'ensemble de la presse reprend, sans vraiment les commenter, les différents "classements" effectués par le magazine, avec notamment la liste des établissements "à risque". Seul L'Humanité dénonce, dans un article virulent, ces classements "qui semblent n'avoir comme but que de fermer des petites structures hospitalières". Comme pour les hôpitaux, Sciences et Avenir se voit reprocher ses critères de jugement, en l'occurrence le nombre d'accouchements et le nombre de césariennes pratiqués dans les établissements. Pour les plus petits, ceux qui pratiquent moins de trois cents accouchements par an, l'enquête conclut que "la sécurité n'est que médiocrement assurée pour les accouchements pathologiques et périnataux".
Critères contestés
"Que ces établissements n'aient pas vocation à traiter les grossesses pathologiques laisse complètement indifférent le magazine", s'indigne l'Humanité. Le manque de personnel dans ces petites structures est aussi mis en avant. Le Figaro explique en effet que "les rares obstétriciens disponibles (du fait de la pénurie), sont peu enclins à rejoindre ces petits établissements et préfèrent les structures plus dynamiques".
"Les rapports sont faussés, explique à L'Humanité Danielle Defortescu, du syndicat CGT-Santé. Une petite maternité effectue peut-être moins d'accouchements, mais comme le personnel est moins important que dans les grands centres, il est amené, au quotidien, à pratiquer plus d'interventions". Le deuxième critère de jugement de Sciences et Avenir est le nombre de césariennes. En France, 16 % en moyenne des enfants naissent par cette méthode, mais certaines maternités dépassent les 20 %, "un seuil considéré par les experts comme très élevé, sauf recrutement particulier de femmes à haut risque obstétrical, précise Le Figaro [...] Dès lors, comment justifier dans des maternités censées, pour la plupart, n'accueillir que des accouchement simples, des taux parfois plus élevés que la moyenne?" Objection de L'Humanité à travers le témoignage du docteur Alexis Dussol, président de la conférence nationale des directeurs de centres hospitaliers: "Les pratiques médicales sont tellement différentes d'une équipe à l'autre qu'on ne peut pas dire qui est dans le vrai ou qui est dans le faux." Et le quotidien communiste reprend les propos ­ parus dans Le Figaro! ­ du professeur J.H. Ravina, qui attribue l'extension de la césarienne à une "pression des futures mères" On le constate, rien n'est simple. Pour Le Figaro, "le mérite de Sciences et Avenir est de démontrer chiffres à l'appui que les efforts de réorganisation du système hospitalier sont insuffisants, un an après une première enquête similaire parue en octobre 1997".
L'exemple de la Seine-Saint-Denis
Ces réorganisations vont devenir une réalité. Bernard Kouchner, secrétaire d'Etat à la Santé, a en effet fait paraître deux décrets au Journal Officiel. Le Monde en donne les principales dispositions. Le couperet tombe pour les quatre-vingt-onze "petites maternités" qui pratiquent moins de trois cents accouchements par an, elles vont devoir fermer, sauf exception "pour des raisons géographiques particulières" ­ sans plus de précisions ­, ou s'organiser en réseaux. Elles sont en fait "condamnées à changer", comme le titre Le Figaro, car elles pourront se reconvertir en "centres périnataux de proximité" qui assureront le "suivi des grossesses", mais pas les accouchements. Pour les autres établissements, trois niveaux de soins ont été établis. Au niveau 1, les établissements réservés aux soins néo-nataux de l'enfant "ne présentant pas de problèmes particuliers". Au niveau 2 : une unité de néo-natalogie est associée à la maternité "en vue d'assurer vingt-quatre heures sur vingt-quatre, la surveillance des nouveaux-nés à risque ou ceux dont l'état s'est déstabilisé après la naissance". Au niveau 3 : l'établissement comportera une unité de réanimation néo-natale associée à une unité de soins intensifs pour les nouveaux-nés "qui présentent des détresses graves ou des risques vitaux nécessitant des soins de réanimation". Le "plan Kouchner" sonne donc probablement le glas des établissements de proximité, dans une certaine indifférence. Il n'y a guère que L'Humanité pour prendre leur défense et dénoncer l'équation "petit= dangereux". Le quotidien remarque que "la Seine-Saint-Denis, qui a réduit la mortalité périnatale de 49% en sept ans de 1988 à 1995, n'a pas fermé un seul établissement de proximité". Bien plus, le département, qui n'a pas attendu les décrets gouvernementaux pour mettre en place des réseaux de soins, s'est aperçu au terme d'une longue enquête que "le taux de mortalité ne différait pas selon la taille des maternités".

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Fédération de la santé et de l'action sociale C.G.T.
  Le bureau fédéral

Secrétaire générale : Nadine PRIGENT
Administrateur : Nadine PRIGENT
Secrétaires fédéraux :
• Jean-Yves Baillon (secrétaire général de l'UFAS)
• Annie Bertelle (secrétaire générale de l'UFMICT)
• Maryse Dullier (secrétaire générale de l'U.F.R.).
• Marie-Cécile Rivalland (secrétaire générale de l'U.F.S.P.).
• Patricia Arbieu.
• Danielle Defortescu.
• Roger Devillechaise.
• Caroline Ferreira.
• Françoise Geng.
• Viviane Girotti.
• Bruno Jardin.
• Olivier Jouchter.
• Line Martinez,
• Yves Pillet,
• Marie-Cécile Rivalland,
• Dominique Robert.

  PAYS DE LOIRE
Suivi de région membre du bureau fédéral : Danièle DEFORTESCU

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Les Institutions Nationales A.N.F.H.
(Association Nationale pour la Formation Permanente du Personnel Hospitalier)

BUREAU NATIONAL
 Président : M.G.VALLET. Vice-Président : Mme D.DEFORTESCU. Secrétaire général : M. J.-C.COGNET. Membres : M. B. HENIN, M. R. LE MAO, Mme B. THEBAUD-DEVIGE. 
DIRECTION
Directeur : M. Michel RIPOCHE Directeur Adjoint : Mme M.-C. DUBOIS. Mme B.ROUVET

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National Institutions. A.N.F.H.
(Association Nationale pour la Formation Permanente du Personnel Hospitalier)
(National Hospitals Staff Training Association)

BUREAU NATIONAL
 Président : M. J. LE CAMUS. Vice-Président : M. A. BROUSSEAU. Secrétaire général : M. J.-F. LANOT. Membres : Mme D. DEFORTESCU, M. A. VASSEUR, M. J.-C. COGNET. 
DIRECTION
Directeur : M. Michel RIPOCHE Directeur Adjoint : Mme M.-C. DUBOIS.

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Commission exécutive fédérale

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http://www.sante.cgt.fr/spip.php?page=recherche&recherche=defortescu




http://www.actubenin.com/2011/?Cooperation-decentralisee-France

Galleries Staff

The Bunbury regional Art Galleries has seven permanent staff members, supported by numerous casual workers in specific roles.
Director  Sonya Dye  08 9721 9656  sdye@brag.org.au   The Director is responsible for all day to day operations of the Galleries, including managing the exhibition schedule. The Director is the appropriate contact point for exhibition queries, the establishment of partnerships and the management of sponsorship.
Acting Audience Development Officer  Elle Dixon  08 9721 6390  edixon@brag.org.au
This Officer manages the Galleries’ educations programmes, marketing and promotion. Please contact the Audience Development Officer with queries regarding services to schools and classes and courses. All media enquiries should also be directed to this Officer in the first instance.
Administrator  Samantha Wilks   08 9721 8616  swilks@brag.org.au
Exhibitions Manager  Simon Long  08 9721 8226  slong@brag.org.au
The Exhibition Manager is responsible for the co-ordination of the gallery spaces and the installation of exhibitions. He is available from Monday to Wednesday, and will respond to queries regarding the capacity of the exhibition spaces and the installation of works.
Indigenous Arts Development Officer  Megan Corby  08 9791 1413  mcorby@brag.org.au
This Officer is responsible for the development, management and implementation of the Bunbury Regional Art Galleries’ Indigenous Arts Development Programme. She is available Monday to Thursday.
Finance Officer  Fiona Verbrugge  08 9791 6730  fverbrugge@brag.org.au   The Finance Officer manages all payments and accounts of the Galleries. She is available to address queries regarding payments on Mondays, Tuesdays and Thursdays.
Gallery Assistant  Donna Fortescue  08 9721 8226  dfortescue@brag.org.au
All general customer service is provided by the Gallery Assistant. She will respond to all general enquiries between 10am and 4pm, Monday to Friday. Casual Gallery Assistants are available on weekends during the same hours. 

 
The Nottingham Trent University Department of Student Support Services is pleased to announce the second (in a series of three) seminars focusing support for Deaf Students in Higher Education
This seminar is being co-ordinated by The Nottingham Trent University, Department of Student Support Services, through its HEFCE - funded project "Building on Strengths". It is the second of three annual seminars addressing issues of quality in the provision of support services for Deaf students in Higher Education.
Presentations and workshops will be led by members of CHESS (Consortium of Higher Education Support Services for Deaf Students) and external contributors
'ENSURING QUALITY PROVISION FOR DEAF STUDENTS IN HIGHER EDUCATION'
FRIDAY 8 MAY 1998
Programme >From 9.30 Registration and refreshments * Welcome * Tradition of Quality - Rachell Bastikar O'Neill * Quality Assurance in HE - Rosemary Turner (eQuip) * Technology Exhibition * Workshops Quality and the Support Team - Louise Colebourne, University of Derby Quality Language in Interpreting - Frank Harrington, University of Central Lancashire Involving Students in Quality Assurance - Dianne Fortescue, South Nottingham College * Plenary 4.00 pm Finish
Lunch and refreshments will be provided. BSL interpreters and Infra Red Enhanced Hearing System Seminar fee; stlg 25 per person For further information regarding the programme and to request a booking form contact Anna Barrett 0115 9486394 (voice only) 0115 9486358 (fax) or Chris Baxter 0115 9486395 (voice only) 0115 9486357 (minicom answerphone) email: anna.barrett@ntu.ac.uk - chris.baxter@ntu.ac.uk                          Chris Baxter Service/Project Co-ordinator Disability Support The Nottingham Trent University Burton Street Nottingham NG1 4BU
0115 9486395 Voice 0115 9486357 minicom 0115 9486358 fax email chris.baxter@ntu.ac.uk http://www.ntu.ac.uk/acs/dissupp.html

Dolls House Porcelain Doll - Countess Fortescue

Porcelain Doll - Countess Fortescue
The Countess, ( standing to the left!) is a picture of gracious dignity. She has a dove grey gown with rows of ivory lace, silk embroidering and pleating to the hem, with bows and gold roses. Her matching hat has a wispy white feather.Her chestnut hair is dressed in neat curls and she is holding a lace trimmed parasol.
( These dolls are fully jointed. They are finely made – particularly the hands. They will stand alone with patience but I found it a lot easier with blu-tac. The Countess stands 5.5" (140mm) tall.)

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U.S. Exporters Men's Softball Team

Division C & Masters- Arlington, Virginia

MOST VALUABLE PLAYERS

 
FALL 1996 DAVE FORTESCUE, DAVE CAMMAROTA

BEST GLOVE AWARDS

 
FALL 1996 DAVE CAMMAROTA (OF), DAVE FORTESCUE (P)

ROOKIE OF THE YEAR AWARDS

 
FALL 1995 DAVE FORTESCUE
 

british-cars.org.uk
 MG - News 
 

Class 3 - Midget, Sprite, MG1100, MG1300, Metro, 6R4 and MGF

Motorsport
Final Awards for the 1998 MGCC Moss International Speed Championship

1998 Overall MGCC Speed Champion & winner of the Windmill & Lewis Trophy: John Dignan
Northern Series Awards Series Champion & winner of the NORWESTER Cup: Simon Stretch Acequip Class A: 1st David Fortescue, 2nd Andy Wolf Standard Midget: 1st Michael Marsland Standard MGB: 1st David Beresford, 2nd Terry Pigott, 3rd Tony MacIntyre Standard MGF: 1st John Dignan, 2nd John Thomas Road-going Mod. Metro: Souvenir award Paul Savoury Road-going Mod MGB & Maestro: 1st Peter Dignan, 2nd Ian Beresford, 3rd Steve Moore Road-going Mod Midget: 1st Allan Inwood, 2nd Clive Pearce Road-going Mod. T-Type: 1st Peter Edney Road-going Specials: 1st Simon Stretch, 2nd Tony Bolton Modified Midget: 1st Paul McAllister, 2nd John Hawley Modified MGF & Racing Specials: 1st Graham Askew

Final points scores

Donald Fortescue
"My original training in the arts was as a furniture designer and maker. For many years I pursued this career in Australia working to commission for private clients, collaborating with architects and producing my own product lines. Increasingly, my work tended towards the sculptural and abandoned traditional furniture forms. My Masters studies in Sculpture accelerated this trend. The work produced for my MFA thesis consisted of gallery-wide installation of 'furniture forms' produced in limited series and having a strong mutual resonance."

The Plimsoll Gallery Program 2001

6 July - 29 July International Artists-in Residency exhibitions Scottish Artist in Residence exhibition: Natalie de Briey
An exhibition highlighting works by the seventh recipient of the joint Scottish Arts Council/Tasmanian School of Art at Hobart and Canberra School of Art overseas artist-in-residence initiative. Between: Donald Fortesque August, 2001 Mirror Images: Self-portraiture and its contemporary context This exhibition will explore the work of several contemporary artists who investigate the domain of self-portraiture. The exhibition is planned to coincide with a weekend symposium on portraiture which will be presented by the University of Tasmania and the National Portrait Gallery, Canberra. It is likely that the National Portrait Gallery will sponsor the visit of an international artist investigating the theme of portraiture as part of the symposium. To be curated by Jonathan Holmes for the Plimsoll Gallery.
STEPHANIE ASHENFELDER
LALO CERVANTES
PIKI CHAPPELL
KIRSTEN COLE
MARILYN DONAHUE
DONALD FORTESCUE
STEPHANIE JOHNSON
JENNIFER KAUFMAN
TIMOTHY KELLY
ALISON KIBBEY
ANDREW LYNDON
RUTH MARBLESTONE
ERIK MORTENSEN
PETER PIEROBON
ILASAHAI PROUTY
MICHAEL RUTCHIK
JEFFREY SCANLAN
AMOS SCULLY
REX TAYLOR SMITH
KARA SPELLMAN
LAURENCIA STRAUSS
BANKER WHITE

haresbreath.com










HEART VESSEL ARTIST: DONALD FORTESCUE & PETER PIEROBON MEDIA: DOUGLAS FIR DIMENSIONS: 78" X 40" X 40"


EDUCATION

1993-95
Master of Creative Arts (Sculpture), University of Wollongong.
1986-87
Associate Diploma Visual Arts (Design in Wood), Canberra School of Art, Australian National University.
1975-79
Bachelor of Science (Honors in Botany), University of New South Wales, Sydney.
 
 
 

EMPLOYMENT

1997-2000
Associate Professor, Chair of Wood/Furniture program, California College of Arts and Crafts, San Francisco, USA.
1994-96
Head of Furniture Design, Jam Factory Craft and Design Centre, Adelaide, South Australia.
1994
Lecturer, Foundation Studies, Canberra School of Art, Australian National University.
1993
Lecturer, School of Industrial Design, Faculty of Environmental Design, University of Canberra.
1992
Lecturer, Foundation Studies, Canberra School of Art, Australian National University.
1988-94
Self-employed furniture designer-maker .
1988
Employee, Finedesign Furniture, Queanbeyan, NSW.
 
 
 

ASSOCIATED PROFESSIONAL EXPERIENCE

1997
Emigrated to the USA.
1995-6
Study tour of USA (4 months) including Residency at the Australia Council's Studio in Greene St., Soho, New York.
1991
Churchill Fellowship - Study tour of Japan and the United Kingdom for 7 months.
Japan - studying traditional lacquer and woodworking with Prof. Makoto Fujisaki (Kyoto Univ. of Fine Arts) and Mr. Kenkichi Kuroda,
and papermaking with 'living national treasure' Mr. Minoru Fujimori.
UK - Studio assistant to Alan Peters OBE and Richard La Trobe-Bateman.
1990
Established the 'Decorative Arts Workshop' furniture design studio near Canberra, with Antoon Meerman and Diane Smith.
1982-83
19 months traveling and working in Japan.
 
 
 

PROFESSIONAL EXPERIENCE

1999
Member of Advisory Board of the Furniture Society.
1998-9 Member of Board of Trustees of the Furniture Society. Co-chair of the conference committee.
1998
Co-ordinator of Furniture 98: East meets West, the 2nd National Conference of the Furniture Society, San Francisco.
International correspondent for OBJECT magazine, Australia.
1996
Peer of the Visual Arts and Craft Board of the Australia Council, the Australian Governmen's arts funding and policy advisory body.
State co-ordinator for Design Australia to be held at Westweek 1997. Pacific Design Centre, Los Angeles.
1995
Co-ordinator of 'Furniture Design Link'. A federally funded project to establish links between furniture designer-makers and the mainstream furniture manufacturing industry.
1992-3
Member of Visual Arts Committee of the ACT Cultural Council, the ACT State Government's arts policy advisory body.
 
 
 

HONORS AND AWARDS

1999
Professional Development Grant, Visual Arts and Crafts Fund of the Australia Council - towards a new body of work, catalogue and touring exhibition to be held in Sydney and San Francisco in 2001.
1998
Professional Development Grant, California College of Arts and Crafts.
1994
Professional Development Grant, ACT Arts and Special Events.
1993
Australia Council Residency, Greene Street Studio, New York.
1995-1996
Prototype Award, Australis Cognita, National Furniture Design Competition.
1992
Professional Development Grant, ACT Arts and Special Events.
1990
Traveling Grant, Commonwealth Dept. of Foreign Affairs and Trade.
Churchill Fellowship, the Winston Churchill Memorial Trust.
Individual Grant, the Capital Arts Patrons Organisation (CAPO).
1989
Individual Grant, the Arts Development Board of the ACT Community Development Fund.
1987
Craft Training Grant, the Visual Arts and Craft Board of the Australia Council.
 
 
 

PUBLIC COLLECTIONS

Wollongong City Gallery, Wollongong.
Art Gallery of South Australia, Adelaide.
Powerhouse Museum, Sydney.
Library, AGSM, University of NSW, Sydney.
 
 
 

SOLO EXHIBITIONS

2001
Empty Vessels, John Elders Gallery, New York.
1995
'AGROUND' at Jam Factory Craft and Design Centre, Adelaide. Canberra Contemporary Art Space, Canberra. Wollongong City Gallery, Wollongong.
1990
Distelfink Gallery, Melbourne.
1989
'Full Circle'. Narek Galleries, Cuppacumbalong, Tharwa, ACT.
 
 
 

GROUP EXHIBITIONS

United States
2000
'Form Follows'. University of California, Davis.
1999
'Add/Drop'. Oliver Arts Center, Oakland.
'The Measure of All Things'. The Great Hall. San Francisco.
1998
John Elders Gallery, New York.
SOFA (Sculpture, Objects and Functional Art), Navy Pier, Chicago.
Collectors of Contemporary Wooden Vessels, Sculpture and Furniture Conference. Parc 55 Hotel, San Francisco.
Furniture '98 - CCAC Student, Faculty and Alumni. Bruce Gallery ,CCAC, San Francisco.
Furniture '98 - Members Gallery. Bruce Gallery, CCAC, San Francisco.
1997
Design Australia. Westweek 1997. Pacific Design Centre, Los Angeles.
1996
SOFA (Sculpture, Objects and Functional Art), Navy Pier, Chicago.
1995
SOFA (Sculpture, Objects and Functional Art), Navy Pier, Chicago.
1994
SOFA (Sculpture, Objects and Functional Art), Navy Pier, Chicago.
 
International
1998
The Somatic Object. Dr. Earl Lu Gallery, Lasalle College of the Arts, Singapore.
1997
The Somatic Object. National Museum of History, Taipei, Taiwan.
1994
Art of the Object. Craft Australia touring exhibition of South America. Montevideo, Uruguay and Santiago, Brazil. Australia
1997
The Somatic Object. Ivan Dougherty Gallery, Sydney.
1996
New Furniture. Jam Factory Craft and Design Centre, Adelaide.
Detail Contemporary Furniture Gallery, Melbourne.
Design '96. Artists + Industry, Melbourne. South Australia.
Crucible of Design. Jam Factory Craft and Design Centre, Adelaide.
Re: Covering Manhattan. Correct Exposure, Adelaide.
1995
Beyond the Spiral Staircase. Jam Factory Craft and Design Centre, Adelaide.
Detail 6. Detail Contemporary Furniture Gallery, Melbourne.
Design '95. Artists + Industry, Melbourne.
Ektozone; Objects from the outer limits. Gallery on 7, David Jones, Sydney.
1994
Celebrate! the Jam Factory Craft and Design Centre. Twenty-one years. Jam Factory Craft and Design Centre, Adelaide.
ACT in the Rocks. Crafts Council Gallery, Canberra; Craftspace Gallery, The Rocks, Sydney.
1993
Executive Office Furniture Incorporating Merino Leather. Narek Galleries, Cuppacumbalong, Tharwa, ACT.
Crossing Over. Crafts Council of the ACT Gallery, Canberra. Alice Craft Acquisition 1993. Araluen Craft Centre, Alice Springs.
The Ethereal Edge. Jam Factory Craft and Design Centre, Adelaide.
1992
Addressing the Chair. Canberra Contemporary Art Space.
On Tray. Jam Factory, Adelaide.
Alice Craft Acquisition 1992. Araluen Craft Centre, Alice Springs.
Furniture of the Boudoir. David Jones, Canberra.
1991-92
The Light Fantastic. Canberra Contemporary Art Space; Distelfink Gallery, Melbourne; Sturt Craft Centre Gallery, Mittagong.
1990
2nd National Woodwork Exhibition. Royal Exhibition Buildings, Melbourne.
Annual Exhibition, Woodcraft Guild of the ACT. Crafts Council of the ACT Gallery, Canberra. Qdos Gallery, Lorne, Victoria.
1989
Craftsmanship in Wood. Crafts Council of the ACT Gallery, Canberra.
Woodworks. Blaxland Gallery, Sydney.
1988
Five Years On. Crafts Council Gallery, The Rocks, Sydney.
National Woodwork Exhibition. Royal Exhibition Buildings, Melbourne.
1987
Canberra School of Art Graduating Students Exhibition. CSA Gallery, Canberra.
Appreciating Wood. Melville Hall, ANU, Canberra. Held in conjunction with the Third National Wood Conference.
The Canberra Collection 2. Link Gallery, Canberra Theatre.
Designer Makers in Wood. Narek Galleries, Cuppacumbalong, Tharwa, ACT and Goulburn Regional Gallery.
Woodcraft Revisits the Opera. Exhibition Hall, Sydney Opera House.
1986
Beauty and Utility in Wood. Crafts Council of the ACT Gallery, Canberra.
The Canberra Collection. Meat Market Craft Centre, Melbourne.
 
 
 

MAJOR COMMISSIONS

In the United States
1998
Design Copyright consultant for Owen, Wickersham and Erickson, P.C. San Francisco.
 
At Jam Factory Craft and Design Centre
1994-6
Lectern for the Wollongong City Gallery, Wollongong.
Lounge furniture and low tables for Fauldings International Corporate Headquarters, Adelaide.
'Technology Hub' interactive display centre for Primary Industries South Australia.
Restaurant fit-out for Botanic Dining Room, Adelaide. Tables, chairs, waiter's stations and wine racks.
Design of public seating for Rundle Mall, Adelaide. Collaboration with Steve Greive and Assoc. Architects.
Reception area furniture for David Deakin Davies & Co., Solicitors, Adelaide.
Winner of Design Institute of Australia (SA Chapter), Design Award, 1995.
Development of the 'Greef' chair for 'Workspace' and 'Art Images' with Kestie Lane and Martin Murray.
 
At Decorative Arts Workshop
1990-4
Construction of Assembly Table and Speaker's Desk for the ACT Legislative Assembly.
Boardroom Tables for the Meat Research Corporation, Sydney. Including development of Merino leather and testing its potential applications in furniture.
Design of all furniture and fabrication of sanctuary pieces for St. Michael's Parish Church, Kaleen, ACT. DAW collaboration.
 
At Finedesign
1988
Involved in all aspects of the fabrication and installation of the Leader of the Opposition's and the President of the Senate's Suites for the New Parliament House, Canberra.
Refurbishment of the Canberra Theatre Foyer.
 
 
 

BIBLIOGRAPHY

Publications
Kelsey, John & Mastelli, Rick. eds. Furniture Studio: The Heart of the Functional Arts. The Furniture Society. 1999. p.30.
Rowley, Sue. ed. Craft and Contemporary Theory. Allen and Unwin. 1997.
Ioannou, Norris. Master's of Their Craft. Craftsman House. 1997.
Zimmer, Jenny (Ed.). Contemporary Craft Review 1: Collected essays on issues and themes in contemporary craft. Craft Victoria. 1996. pp.21-3.
Cochrane, Grace. The Crafts Movement in Australia: A History. UNSW Press. 1992. pp.399-400.
Artfile, 1992. Craft Arts International. pp. 290-291.
 

Reviews and articles

'Australian furniture design; no pain, no gain'. Monument 13, July 1995. p.96.
Jinman, Richard. 'Home-made has wood on imports'. Weekend Australian, 21 October 1995. p 5.
Outlaw, Anne. 'Re: furnishing memory'. Broadsheet 24.3. Spring '95. p.23.
Fortescue, Christopher. 'Aground - a review'. Object 2.95. Object 1.95. p.2.
Hinchliffe, Meredith. 'Metal and sand mix in design challenges'. Canberra Times, 26 July 1995. p.C9.
Vogue Living. 4.1995. Aug.-Sept. 1995. p.28.
SA Crafts. 2:1995 Radok, Stephanie. 'Memory and the carnivore'. Adelaide Review, June 1995. pp.31-2.
Ioannou, Noris. 'Showing personal view with a room'. Adelaide Advertiser, 26 May 1995. p.21.
SA Crafts. 3; 1994. Hinchliffe, Meredith. 'Beauty and design in the boudoir'. Canberra Times, 11 March 1992. p.26.
'Light sauce', Object, Summer 1992. p.18.
Geissler, Marie. 'Club Fed'. Craft Arts 23, November 1991/ January 1992.
Geissler, Marie. 'Club Fed'. Design Ink 6 , September 1991.
Barron, Sonia. 'Pleasures of finely crafted furniture'. Canberra Times, 29 May 1991. p.25.
Uhlman, Amanda. 'Heavenly pieces of art by precision craftsmen'. Canberra Times, 16 May 1991. p.20.
Leveson, Kenneth. 'Wood works are exercises in pure design'. The Age (Melb.), 7 August 1990.
Collenette, Peter. 'Freedom and a living - the best of two worlds'. The Age (Melb.), 24 July 1990.
Raffan, Richard. 'Design for living'. Craft Arts 19, July/September 1990.
Wallace, Sue-Anne. 'Furniture with natural grace'. The Canberra Times, 27 March 1989.
Australian Woodworker, Nov./Dec. 1988. p.41.
Hinchliffe, Meredith. 'Work of a higher standard'. Canberra Times, 2 December 1987. p.27.
'The whole world in their hands'. Canberra Times, 15 November 1987.
 
Catalogues
'The Somatic Object'. UNSW Press. 1997.
'AGROUND'. 1995.
'Celebrate! Jam Factory Craft and Design Centre. Twenty-one years'. 1994.
'The Art of The Object', Craft Australia. 1994.
'The Light Fantastic'. 1991.
 
Non-print media
'Imagine', episode 26. SBS TV. 1994.
 
Published writing
'The Fire Within - a review'. Object 4.96.
'A Winter's Tale from New York'. Object 3.96.
'The Art of the Maker - a review'. Object 1.95.
''For Tomorrow' - seems like only yesterday'. Object 4.93.
'A fresh ride on the sheep's back'. Object 3.93.
'Group Mono Mono; a model for practice?'. Object 2.93.
'A Flowering of the Arts'. Craft Arts 27, 1993.
'Notes from the North: a short series of personal reflections on the current designer-making scene in the UK'. Woodworkers Association of NSW Newsletter, several editions 1992.
 
 
 

LECTURES AND WORKSHOPS

1999
University of Wisconsin, Madison Wisconsin. Visiting lecturer and critic.
University of Tasmania, Hobart, Australia. Visting lecturer and doctoral thesis examiner.
Rhode Island School of Design. Visiting critic.
1998
'Breaking Barriers '98', Saskatchewan Crafts Council. Emma Lake, Saskatchewan, Canada. Invited artist.
San Diego State University. Visiting lecturer and critic.
1995
SOFA, Chicago. Lecture.
Rhode Island School of Design. Visiting lecturer and critic.
Philadelphia University of the Arts. Visiting lecturer.
1991
School for Craftsmen in Wood, Parnham House, UK. Visiting lecturer.
Royal College of Art, London. Visiting lecturer and critic.
 
 
 

CONFERENCES

2000
Furniture 2000. 4th National Conference of the Furniture Society, Toronto, Canada. Presenter.
1999
AICAD Symposium on Critique. Corcoran College of Art and Design, Washington D.C.
'Furniture 99: The Circle Unbroken'. The 3rd National Conference of the Furniture Society. Appalachian Center for the Arts. Smithville, Tenessee.
1998
'The 2nd Annual Conference for Collectors of Contemporary Wooden Vessels, Sculpture and Furniture'. San Francisco. Speaker.
'Breaking Barriers 98', Saskatchewan Crafts Council. Emma Lake, Saskatchewan, Canada. Invited artist..
'Furniture 98: East meets West'. 2nd National Conference of the Furniture Society. CCAC, San Francisco and the Oakland Museum of California. Co-ordinator.
1997
'Furniture 97'. 1st National Conference of the Furniture Society. Puchase College, SUNY, New York.
'Beyond Function'. CCAC, San Francisco, California. Convenor. 1996
'Intersections'. National Conference of the Royal Australian Institute of Architects (RAIA), Adelaide.
1995
'Making Culture'. 2nd National Crafts Conference, Melbourne. Panelist.
1994
'Surround' Conference, Dept. of Interior Design, RMIT, Melbourne.
1992
'Craft 2000', the First National Crafts Conference, Perth.
'Interventions' Conference, University of Wollongong, Wollongong.
1987
2nd National Wood Conference, Canberra.
 

Papers by Donald Fortescue

THE WELL SPRING
aspects of the creative process

MATERIAL AND MEMORY
the construction of aesthetics in contemporary sculpture and craft

TOWARDS A PICTOGRAPHY OF DESIGN
analysis of the meaning inherent in the designed and made object

AGROUND
a review of the exhibition by Chris Fortescue first published in Object 2.95. pp. 17-18.

RE:FURNISHING MEMORY
a review of the exhibition Aground by Anne Outlaw first published in Broadsheet 24.3. Spring '95. p.23.

Cath Kenneally
a commissioned essay for the Aground catalogue, 1995.

PORTFOLIO
EARLY WORK
. .. .
grid - fatmen - fathy - between the lines

.
grid bedside - zafu - zephyr


'AGROUND' 1995
. .
installation view - installation view - crossing - assay

. .
bask - buoy - scorch


EMPTY VESSELS, JOHN ELDER GALLERY, 2001

. . .
pike 1 & 2 - pike (basking) - pip - plumb - self-contained






ARTISTS REPRESENTED
updated 1/26/01
 Contemporary Studio Furniture: 
 TO CONTACT THE GALLERY 
email us at mail@johnelder.com
or call (212) 462-2600. 

"Art, Exceptionally Crafted"

The John Elder Gallery showcases museum-quality contemporary decorative art -- works that combine artistic vision with the artisan’s joy of making.

The Gallery, which opened in November 1997, represents artists who create contemporary studio furniture, ceramics, and glass.  These artists share the conviction that art should be inspired, finely executed -- and an everyday affair.   Not only do their works bridge the gap between art and artisanry, they bring art home -- literally. Though many of the artists have pieces in the permanent collections of the world’s premier art museums, their work is, first and foremost, intended to be contemplated, touched, used -- incorporated into everyday life.  The Gallery exhibits works including studio furniture by ............., Donald Fortescue, ..........

The Gallery is dedicated to assisting these artists in bringing their individual messages and art to others’ homes. The John Elder Gallery plans both solo exhibits and additional group shows; will  sponsor ongoing lecture series, and host an annual exhibit of work by emerging artists. The John Elder Gallery is located at 529 West 20th Street, seventh floor west, New York, NY 10011.  Gallery hours are Tuesday through Saturday, 11am - 6pm.      Tel.:  212.462.2600  Fax:  212.462.2510 
.....

Empty Vessels

Donald Fortescue has a long career in the art/furniture field.  Trained in Australia as a fine furniture maker and designer, over the last few years his work has veered away from the strictly functional.  In spite of this move to more purely sculptural work he continues to draw heavily from traditional design and (ooh, dare we say it) craft.
The show will have two distinct components.  Entitled “Empty Vessels”,  a small group of large laminated Finish birch plywood hollow forms will dominate one area.  These are human-scaled or larger, meticulously made stacked plywood vessels.  They are fabricated with traditional and largely outdated techniques:  coopering (used in barrel-making), pattern-making techniques in stack laminations, and segmented turning. 

There is a clear connection with the process and an attention to the impact of the finished object that ties this work firmly to the traditional world of design and craft.  These over-scaled forms have a strangely overpowering but friendly presence.  While each resembles a traditional closed vessel like a seedpod, their scale pushes the objects into a curious zone.

The centerpiece of the other installation, called “Self-Contained”, is a Pod that is over six feet tall and resembles a highly abstracted human from.  The surface is compulsively covered with burned-in tally marks.  One stroke for each hour of the average life – over 600,000 marks!  Numerous smaller  bowl forms, called “Hulls”, which are both functional and conceptual, surround this central “figure”. 
Fortescue is very interested in the “utility” of his pieces but the utility is intentionally vestigial.  He feels the potential for a work to carry meaning is enhanced by physical interaction with the work.  The pieces make reference to traditional vessel forms but their scale confounds easy associations. The attention to process, materials, and surface encourage touch and a subtle haptic appreciation of form.

DropShipCommand - Air Know what it is to command

David Fortesque

The uniforms glistened. Three hundred and fifty soldiers, one chaplain, ten captains and one admiral, all dressed in their finest ceremonial uniforms. The honor guard, consisting of ten of the most picturesque men and women aboard the ship, had been issued the ceremonial assault rifles common to burial details, polished until they shone enough to blind the naked eye.
Several propaganda teams silently hovered around the edge of the procession, their bright blue and yellow suits subtly but nevertheless obviously robbing the funeral of whatever credibility it had had before their arrival.
In the center of it all, the casket stood.
It was nearly three metres long, a cylinder of titanium and silver, covered from head to toe with engravings describing the passenger’s illustrious career. The entire procession paraded past it, to line up on the far side of the launching bays, whom had been cleared out for this ceremony alone.
David looked at the casket with a thin smile on his face and disbelief in his mind. He felt and almost overwhelming urge to scream. At the head end, a small portrait had been chiseled out; high, thin cheekbones, friendly but weary eyes, and a constant smile that had been his trademark in life.

All of this, he thought as he marched past the casket, for a coward.
In just two days, David Fortesque, formerly the aide de camp of Captain Michael Drake, had gone from reverence to hate.
Uncontrollable images flashed inside his head.
An enormous, thundering boom.
His arms, blurry in the side of his vision as he sprinted for Drake’s quarters.
The body, limbs splayed out, gun in the right hand, half the damn wall covered in blood and something gray-
His own weak voice, whispering for a medic, and then the trample of boots and brutal hands that dragged him from Drake’s quarters.
“A training accident”, they had told him, “Nothing more than a freak accident.”
They assumed, wrongfully, that he understood why.
According to the unofficial board of inquiry that had reviewed the case, David Fortesque was guilty of criminal negligence. Having failed to report the captain’s severely deteriorated mental health, as they had so nicely put it, he was partially responsible for the captain’s demise. Laughter had been his only response to the charges, and they had never been put into effect as the whole affair had been covered up to avoid the prowling eyes of the independent news agencies.
Several nights had been spent on the observation deck since then, guilt as always being the most wonderful motivator of them all. The weeks were rewinded inside his head, again and again and again, trying to find a clue, the single clue that would confirm the growing suspicion in his head.
When the cigarettes were gone, the bottle of vodka finally exhausted, he faced the same, horrifying answer every night: he hadn’t seen it.
How could he have missed it?

How?
And now this. This…So called funeral.
If they wanted another suicide, their wish might come true faster than they thought. The heavy black piece of metal in his holster, cold and uncaring, eagerly reminded him of the opportunity with every step he took towards his place in the line.
What would a gun want more, His mind snapped in sudden animation from its half-slumber, than to kill its own creators?
Then the order was given, and his body moved to attention without really needing the troubled soul to react properly.
Impressive. That he could react so precisely, no thought, no conscious effort, just pure reflexes…
It almost frightened him.
Almost.
It was time for the ceremony to begin.

Yngwie's Personal Thanks:
A 'from the bottom of my heart' special thanks to my beautiful wife and son, April Malmsteen and Antonio Yngwie Johann Malmsteen, for inspiration and understanding. I Love You! Personal thanks to: my father and sister, Lennart & Louise Lannerbach, my inlaws Yilmaz & Inci Solmaz +Denize & Greg Love (Let's go to the Pub!), Nicolo Paganini, J.S.Bach, C.P.E. Bach, Antonio Vivaldi, Tomaso Albinoni, Ludwig van Beethoven, W.A.Mozart, Pyotr Thaikovsky, Antonin Dvorak, Leonardo Da Vinci, Enzo Ferrari, Leo Fender, Jim Marshall, H.P.Lovecraft, Clive Barker, Stephen King, Sven Hassel, Daniel Fortesque, Uli Jon Roth, Brian May, Ritchie Blackmore, Frank Rizzo, Ronnie James Dio, Larry DiMarzio, Steve Blucher, Jim Dunlop, Mike Spitzer, Anne Petty & the International Fan Club (Splendid Job!), Mark, Mats, John & Brian, Alex Perez, Dan Smith, Jamie Crompton & all of you at Fender (You're simply the BEST!!), Michael Johansson, Dibe Martin, Laurie Soriano, Laurence Herrup, Charles Kuiper and all at Warner Chappell, Paul Bibeau, Rick Meuser and everyone at Spitfire Records, Jun Sato, Tets Maruo, Yushi Onishi, Masa Fukumoto and all the others at Pony Canyon Records, Martin Hooker, Liz Fairweather and all of you at Dream Catcher Records, Tatsu Hirano and everyone at Watanabe, Yama & Kai and all at Young Guitar, Koh Sakai & Kazuo Hirose and all at Burrn! Magazine, Jun Nakabayashi, Sam Seki Hara. Many thanks to the following companies: Fender Musical Instruments USA (Guitars, Basses & Strings),Fender Japan, DiMarzio Inc. (Pickups, Straps, Cables & more), Marshall Amplification (STACKS), Dunlop Manufacturing Inc.(Picks, Cry Babies, Frets, etc.),Ovation Guitars/Kaman Music Corp., Carvin Inc., Alvarez Yairi acoustics, Digitech (DOD), Celestion Loudspeakers, JJ Tesla Tubes (Valves), St. Louis Music (Ampeg Bass Amps, Alvarez), Gordon D. Sokoloff & Staff No Pain!, and Korg Instruments. Thanx to my old-time pal Joe Lalaina & Guitar World for your steady support since 1984. This is just the beginning!!!! And of course, last but not least; to all my fans worldwide: THANK YOU!!!!

Il y a très longtemps dans le royaume èloigné de Gallowmere, vivait l'arrogant sorcier Zarok. Haïssant la tranquilité des concitoyens, il leva une armée et partit à la conquète du royaume.Sir Daniel FORTESQUE,le plus vaillant chevalier du roi, mena les troupes à la victoire mais périt d'une flèche dans l'oeil droit. Zarok fut éliminé.Son nom fut dès lors associé à celui du héros de Gallowmere....

...Un siècle plus tard, le sorcier réapparait. En subtilisant les âmes des habitants de Gallowmere, Zarok veut reconstituer une armée d'êtres maléfiques. Il redonne vie aux cadavres du cimetière sans se douter un seul instant que son pire cauchemar, le célèbre chevalier, va tout faire pour stopper ses agissements diaboliques. Par chance, celui-ci n'est pas sous l'emprise du sorcier...
Le joueur assume le rôle de Sir Daniel Fortesque, un héros vieilli, atrophié, squelettique et pourtant, toujours aussi agile...

liberation
Le 4 décembre 1998
Nouvelle vague
Par Olivier Séguret

L'univers des jeux vidéo doit beaucoup de son charme à son immaturité. Marché ultra-expansionniste mais encore loin de la saturation, le pays des jeux vidéo est un monde de plâtre frais dont l'avenir s'invente chaque jour sous la forme de produits sondes lâchés dans l'espace public. Aussi, dès qu'un jeu affiche une ambition plus originale que les autres, il faut l'étudier de près pour voir non seulement ce qu'il offre mais encore ce qu'il promet. La saga Tomb Raider, dont nul n'ignore que le troisième épisode est prêt, fournit un modèle canonique de ce processus: les premières aventures de Lara Croft avaient toutes les apparences d'une percée expérimentale mais la grammaire spécifique que le jeu élaborait est depuis devenue une référence obligatoire de la catégorie aventure-action. C'est donc à ce titre qu'on s'intéressera au passionnant MediEvil, qui relève du même genre mais le déplace aux confins du RPG (Role Playing Game ou jeu de rôles) et l'augmente de nouvelles perspectives: une atmosphère d'abord, toute en cimetières nocturnes et cryptes visqueuses mais beaucoup moins Halloween-gnangnan qu'on ne pouvait le craindre; une esthétique timburtonienne ensuite, juste milieu entre la poésie fêlée de l'Étrange Noël de Mr Jack et le gore rigolo-poisseux du hit nippon Resident Evil; un héros bizarre enfin, le chevalier Sir Fortesque, mort voici cent ans, dont l'orbite gauche abrite un ver de terre... Ni perversement retors ni trop facile, MediEvil plante durablement sa drôle de cahute dans l'imaginaire du joueur, l'enivre d'effets lumineux éblouissants et, au prix de l'apprentissage de certaines techniques (comme celle, indispensable, qui permet de changer l'axe du champ de vision en cours de saut), lui assure un plaisir de jeu rapidement obsessif. Les affinités culturelles entre le monde du cinéma et celui du jeu vidéo ne sont plus à démontrer mais un joli petit produit du studio britannique Core-Eidos (producteur de Tomb Raider) en fournit une nouvelle illustration: Ninja, l'ombre des ténèbres qui a toutes les qualités d'un film bâtard de série B. Ici, pas de trouvailles techno mais de l'efficacité brute. On frappe, tire, bastonne et on avance. Il n'y a rien à en dire de plus: ce Ninja a du nerf et du style et c'est déjà pas mal.
 www.liberation.fr

cplus

Fan de Tim Burton, et de " Beetlejuice ", et surtout de " Líétrange Noël de monsieur Jack ", éloignez-vous le plus vite possible de votre Playstation, parce que voilà un jeu qui risque fort de vous envoûter pendant des semaines ! Les programmeurs de Medievil eux aussi aiment Tim Burton, et ça se voit !

L'univers de Medievil est peuplé de zombies, de citrouilles tueuses, et de serpents géants, les décors offrent des perspectives complètement tordues, et la musique vous collerait presque des frissons
 Quant au héros, Sir Daniel Fortesque, il síagit díun preux chevalier tombé au champ díhonneur, qui rejaillit díoutre tombe pour flanquer une nouvelle fois la pâtée aux forces du mal ! Courageux, notre ami níhésite pas à síarracher líos du bras pour cogner sur ses ennemis avec ! Mais heureusement, Sir Dan découvrira au fil de son périple des armes un peu plus pratiques, comme une arbalète qui tire dans les coins, ou un énorme gourdin, qui peut parfois servir à enflammer des objets ou des personnagesÖ Le gros de líaction est constitué de bonnes vieilles bagarres avec toutes sortes de monstresÖ Et díun peu de jeu plates-formes où votre adresse sera mise à rude épreuve. Mais vous devrez aussi faire preuve díun peu díastuce pour débloquer certains passages.

Platform: PSX Reviewed by: ANT Nomad Category: Platformer Maker: Sony Computer Entertainment Europe Imagine a land where the sun never rises and the dead walk the earth.  Imagine a land where stone gargoyles speak secrets and rebel pumpkins turn on their farmers.  Imagine a land where terror and humor combine in a playful and twisted scarecrow's smile. The land is Gallowmere, and it is the eerie setting for SCEA Europe's MediEvil.  Although Tim Burton didn't have any direct input into this title, MediEvil draws from the same dark vein as his Nightmare Before Christmas.  If there ever was a game meant to be played on Halloween, this is it. MediEvil puts you in the role of Sir Daniel Fortesque, a knight whose legendary deeds have far surpassed his true skills.  Though stories tell of Sir Dan giving his life to defeat the sorcerer Zarok on the battlefield, the not-so-mighty knight died in the battle's first charge and Zarok escaped unharmed.  However, since Zarok never returned, Dan's reputation grew as his body rotted in a hero's tomb. But Dan was not destined to rest in peace.  The game begins 100 years after the original battle, when Zarok reappears and transforms peaceful Gallowmere into a deformed wonderland.  However, the power of Zarok's spell also awakens Sir Dan from his eternal slumber.  Though now only an one-eyed skeleton, Dan sets out to justify his fame and restore Gallowmere. You, of course, take on the role of Dan and the task of defeating Zarok's monstrous hordes.  MediEvil is yet another attempt to port the classic third-person, 2-D action genre into 3-D-- you go from level to level fighting bad guys, avoiding traps and obstacles, and picking up items. Fighting is simple.  You pick a weapon and, as enemies pop up (sometimes literally), you hack, smash, or shoot them until they die.  Dan doesn't have any special moves or fighting combos to learn, but most of his weapons at least have two different functions.  Depending on the weapon, these can be pretty cool-- the club, for instance, can be set on fire and used to torch enemies, and Dan can throw his left arm like a boomerang to attack enemies at a distance.  Each weapon has its own strengths and weaknesses, and as Dan's arsenal grows you can choose the most effective equipment for each situation. Despite the fun of MediEvil's weapons, the gameplay would get old and boring quickly if Dan did nothing more than fight.  Luckily, there's a lot of variety in MediEvil's level design to keep you on your toes.  There are more than a few puzzles scattered about Gallowmere, and while most of them are simple 'move the block' affairs, they do make you pause in your slashing spree and do a little thinking. But what MediEvil's gameplay lacks the most is depth, and extra puzzles and obstacles just don't provide that.  Gallowmere is an enticing environment-- if it were just a little bit more interactive, there would be no way to escape its grasp. There's also a lot of missed potential in level progression.  You can, and sometimes must, return to levels you've already passed through.  However, levels completely reset once you return, meaning that any bosses you destroyed must be destroyed again, and any keys (or, as used in MediEvil, runes) you need must be collected again, etc.  This is certainly annoying, and it detracts from the reality of the game.  Even though Gallowmere is a strange and magical land, it just doesn't make sense that its strongest creatures keep reappearing no matter how many times you destroy them. However, gameplay is not MediEvil's strongest point.  Instead, the only real reason to play this game is to feed on its rich atmosphere.  MediEvil's graphics are beautiful-- in fact, they reminded me of the stunning visuals in Spyro the Dragon.  Unlike the sharp, angular polygons that make up a lot of PSX titles, MediEvil's 3-D structures are rounded and twisted in innumerable ways to give them the perfect, bizarre touch. Characters and enemies are also nicely rendered, and more importantly, well designed.  There's a wonderful consistency in MediEvil's levels and the fiends who populate them.  The game also makes great use of colors and lighting effects to evoke the perfect mood. Unfortunately, MediEvil's designers sometimes sacrificed playable camera angles for great looking sets.  Although you can rotate the camera and scope out levels using a first-person point of view in most places, the game won't let you change angles in tight spots.  Unfortunately, that's usually where you need to shift your view most.  Apparently, SCEA also preferred looking at this game to playing it. Sound, however, is almost perfect.  The music truly meshes right in with the graphics-- it's got the right mix of creepiness and humor.  Sound effects are detailed and entertaining.  My favorite was the bonk sound used whenever Sir Dan hit his head at the top of a jump-- he is a skeleton, after all.  Full voice is used at several times in the game, and both the acting and the dialogue are excellent.  Helpful gargoyles speak in quirky, archaic English, while Zarok sneers with every word.  Best of all was Sir Dan's garbled, unintelligible voice, courtesy of his missing lower jaw. If you enjoy mixing the playful with the twisted, rent MediEvil and see how it suits you.  However, if you don't like that mood, you won't find any other reason to like this game.  If MediEvil could have expanded its gameplay and managed to add some depth, it could have been a great game.  As it stands, MediEvil is the perfect thing to play on Halloween-- and no other time.

MediEvil Review
By: E.M. Vazquez

R.I.P. is suppose to mean "Rest In Peace". Yet, their is no rest for the wicked, just ask Sir Dan, the star of Sony's newest game to hit the PSX, Medievil. As Sir Daniel Fortesque, your brought back to life to stop the evil wizard Zarok (who, in part is responsible for you being dead, in the first place!) and his legion of zombie warriors from conquering the entire Kingdom.
The game looks and plays like a cross between Crash Bandicoot and the old Capcom game Ghost & Ghouls. The graphics are nicely done and the levels are pretty large, so you'll have to be sure to look everywhere for Life potions, coins (which can be used to purchase weapons if you can find the appropriate Headstone or shops) and other items that Sir Dan will need to complete his quest (on the off chance that Sir Dan looses his sword or runs out of weapons, he can always pull off his arm and beat his enemies to death with it!).
The basic gameplay consist of having Sir Dan run a- round every level locating the Rune Keys scattered throughout to advance and complete any mini-quest that he may have to complete. There are also certain weapons on some levels that will make it easier for you to defeat the bosses as you encounter them. If you don't have these weapons, don't fret. Just be sure to have plenty of life-potions and other weapons at hand. The levels are quite challenging and the bosses are quite impressive (especially the "Stain Glass" boss. Remember the stain-glass warrior in the movie "Young Sherlock Holmes"? Then you'll have a good idea how this boss looks!).
Sure sometimes the camera angle is not the best when the undead attack in droves. The best strategy is to back up, and use the L2 button to quickly move the camera to a position that best suits the situation. The game also supports analog control for those of you that invested in Sony's new analog controller.
If you enjoyed games like Crash Bandicoot, Herc's Adventures or the humorous Abe's Odyssey, then I'm sure you'll throughly enjoy Medievil.
Just the type of game to play Halloween night, or anytime of the year.
Rating (On a Scale of 1-5)
Graphics: 4.0
Gameplay: 4.0
Controls: 3.5
Replay Value: 4.0
Overall: 4.0

www.consoledomain.com

Medievil 2
Reviewer : Peter Oliver
Back in 1998, Medievil turned a few heads with its strong visual style, inspired by the likes of Tim Burton’s Nightmare Before Christmas. Compelling explore and hack gameplay helped to collect a number of favourable reviews, leading to surprisingly good quantities of sales. As is the way in today’s commercially driven software market, a sequel was inevitable. And here it is.

Unsurprisingly, Medievil 2 is very much a case of more of the same. There’s trouble brewing again, so the undead, but rather goofy, Sir Daniel Fortesque is risen from his slumber. It’s 500 years on from the previous game, making for a Victorian setting – somewhat strange for a game entitled ‘Medievil’. Throughout the game, he’s guided by a Casper impersonating ghost who provides tips and save points. Pausing only to rip off one of his arms to use as an impromptu club, Fortesque embarks upon another 3D action/adventure game.
Bigger levels, new baddies, and a longer quest are the most noticeable improvements over the original Medieval. There’s some new moves in there – climb walls, side step out of danger – and an improved inventory system which allows you to change weapons with greater ease. An interesting twist in the gameplay comes when Sir Fortesque removes his head and places it upon an Adams family-esque walking hand. This allows access to new areas and forms a break from the standard action. Clashes with big, bad boss characters have also been improved and are one of the best aspects of the game. The first level finishes with you battling a massive dinosaur skeleton and requires a bit of lateral thinking to defeat.

In-game combat is handled remarkably well, with a number of handheld and ranged weapons. The charm of the original game has been retained with a motley crew of relatively amusing creatures to attack. You don’t have to be Albert Einstein to solve most of the in-game puzzles, but they break up the action well. Despite its mix of playing styles and varied locations, Medievil 2 still feels like a very average PlayStation game at times – it lacks that certain edge that makes a decent game into a truly great game.

The original Medievil caused a bit of a stir with its distinctive, high-resolution graphics. However, with the dawn of a new millennium, standards have improved somewhat and the ageing PlayStation 3D hardware conspires to make the game somewhat of an under-whelming visual experience. The now familiar labels of ‘lego vision’, ‘block master’, and ‘polygon tear ‘em up’ apply as much to Medievil 2 as the next PlayStation game. Don’t get me wrong – the visual design is strong, with distinctive characters and locations – it’s just the PlayStation lacks the 3D oommph to make visual tour de forces nowadays.

It’s not all bad news for Medievil 2. It’s a solid, well-designed and relatively interesting game. The main problem is that it never manages to drag itself out of the crowd – there are so many PlayStation games out there that there’s no real reason for you to go for this one over many others. If you’re a big fan of the original, then you’ll probably enjoy this. If you’re looking for a truly inspiration gaming experience, then look elsewhere!

Games Connection
Playstation
Vigilante 8 : Second Offense

Dan Fortesque está de volta do mundo dos mortos para salvar a humanidade, o herói-esqueleto que salvou o mundo das garras de Lord Zarok .
A história começa 500 anos depois de sua primeira aventura, quando o perverso mágico Lord Palethorn um criminoso londrino que não está satisfeito com a prosperidade de sua cidade e convoca um exército de mortos-vivos para ajudá-lo a conquistar o mundo
Ele enfrenta Lord Palethorn, , no ano de 1888. Palethorn gosta de uma magiazinha e acaba encontrando o livro mágico de Zarok. Com a ajuda ele, aumenta o seu poder e quer destruir o mundo.
O exército de mortos-vivos, que já havia aparecido em Medievil, está de volta. O jogo é uma corrida contra o tempo cheia de novidades.
A ação é parecida com a do primeiro game e será preciso enfrentar diversos inimigos em fases bem diferenciadas e resolver uma série de enigmas para prosseguir em sua jornada.

Sony Playstation MediEvil

for the PlayStation by Sony

Challenge the powers of darkness and untold magic as Sir Daniel Fortesque returns from the grave to battle an evil sorcerer's plans of demise.

With MediEvil, a huge arsenal of weapons, fiendish puzzles and riddles, ghoulish enemies, and killer soundtrack await you in this 3-D, third-person action epic.

This gothic game of spine-tingling will set you on a mystical trail of darkness into a land of the undead -MediEvil.

DailyRadar.com Preview

Sir Daniel Fortesque returns in this sequel to the hack-'n-slash platformer MediEvil I. In many sequels, the villain from the first episode returns, perturbed but not truly damaged by the initial defeat. Such is not the case here. Sir Dan knows his business, and the evil Zarok from MediEvil I is out of the picture for good. He's toast. Alas, Zarok's spellbook is in a still-in-the-picture, untoasted state. It has fallen into the hands of the crabby and unhygienic Lord Palethorne, who now uses it to wreak havoc on Victorian England. It's up to Sir Dan to prevent such wreaking, and he'll have plenty of help. His arsenal in MediEvil II includes the blades, broomsticks and magical weapons from the first game, as well as new additions such as a crossbow, a blunderbuss and a Gatling gun.

Our hero has new allies, as well. Winston, a Casperesque fellow, dispenses advice with a thick Cockney accent. The Mad Professor directs Sir Dan's efforts, providing him with new weapons from time to time. The Spiv, who is frankly a trenchcoated weirdo, sells much needed items and ammunition. There is even a love interest -- a sexy mummified princess. While we are doubtful about how "sexy" a "mummified princess" can be, we recognize that the years have not been kind to our hero, and any action he can get is a victory for us all. You gotta support a brutha's efforts.

MediEvil Brings Fiendish Fun
By John Erickson

The high tech world of video games has spawned dark tales of monsters and the undead. Some, like MediEvil for Playstation (Sony, Computer Entertainment) take a lighter look at the ghastly. The player controls Sir Daniel Fortesque as he rises from the grave ready to engage in battle in this morbidly funny video game.

The controls are mostly straight forward and responsive, but the camera control takes some getting used to. Once mastered however, it becomes a useful tool in exploring the beautifully designed levels. Characters and animations are humorously exaggerated. These are some of the best gothic video game visuals I've seen since Nightmare Creatures.
Gameplay in MediEvil consists of sword fighting action and some simple puzzle solving. The only major problem with this game is a lack of difficulty. Only the first few levels are included in the demo I played, so it's possible the later levels get more difficult. Other than that, all the elements in MediEvil come together for a fiendishly lighthearted undead adventure.

In the realms of the undead, one mighty hero and warrior reigns supreme – Sir Daniel Fortesque, the peg-toothed skeletal central figure in the hit Playstation game Medievil and now reincarnated once more to battle evil wherever it may rear its ugly head. 
MEDIEVIL 2 sees that ugly head take the form of arch-criminal and wannabee magician Lord Palethorne. He’s discovered a few pages from the spell book of Zarok, villain from the first chapter, and simply couldn’t resist trying a couple out. ‘The spell of eternal darkness’ was the first step in a bid to take over the world and its invocation resurrects the dead for miles around. Fortunately, Sir Daniel was also within the spell’s range, lying, as he was, among the other relics in a London museum.  
500 years have passed since he returned to his tomb following his last successful battle against evil. It is now late in the Victorian era, 1888, and, as the magical wave surges over him, he awakens into a very different but hauntingly familiar world. Familiar in the sense that it’s once again packed with evil undead creatures after his desiccated skin and even more puzzles to solve. Zombies seem to be in abundance initially but, being in a museum, guess what else is reanimated? Yep…! Dinosaurs…! 
At first only a few little tiddlers come after you – usually three at a time – but they aren’t too difficult to get rid of. It’s only after you reach the first save point that you enter an aptly named section called ‘Tyrannosaurus Wrecks’. Then the fun really starts – especially as at this early stage you only have your trusty sword and a rather antiquated pistol. Fortunately there are a few special ‘fountains’ that can replenish depleted health and, later, you do come across more weapons including axes and hammers and, I believe, a rather powerful steam-driven Gatling gun. There are also a couple of interesting characters that you become, including a disembodied hand…! 
If you think you can steer Sir Dan towards another world rescuing victory, get MEDIEVIL 2.

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