View Annual Report

Total Page:16

File Type:pdf, Size:1020Kb

View Annual Report 2015 ANNUAL REPORT SUMMARY MESSAGE FROM MANAGEMENT 02 PROFILE OF THE GROUP AND ITS BUSINESSES | FINANCIAL COMMUNICATION 1 AND REGULATORY ENVIRONMENT | RISK FACTORS 05 1. Profi le of the Group and its Businesses 07 2. Financial Communication and Regulatory Environment 41 3. Risk Factors 44 2 SOCIETAL, SOCIAL AND ENVIRONMENTAL INFORMATION 47 1. Corporate Social Responsibility (CSR) Policy 48 2. Key Messages 55 3. Societal, Social and Environmental Indicators 62 4. Verifi cation of Extra-Financial Data 95 3 INFORMATION ABOUT THE COMPANY | CORPORATE GOVERNANCE | REPORTS 101 1. General Information about the Company 102 2. Additional Information about the Company 103 3. Corporate Governance 116 4. Report by the Chairman of Vivendi’s Supervisory Board on Corporate Governance, Internal Audits and Risk Management – Fiscal year 2015 158 5. Statutory Auditors’ Report, prepared in accordance with Article L.225-235 of the French Commercial Code, on the Report prepared by the Chairman of the Supervisory Board of Vivendi SA 167 FINANCIAL REPORT | STATUTORY AUDITORS’ REPORT ON THE CONSOLIDATED FINANCIAL 4 STATEMENTS | CONSOLIDATED FINANCIAL STATEMENTS | STATUTORY AUDITORS’ REPORT ON THE FINANCIAL STATEMENTS | STATUTORY FINANCIAL STATEMENTS 169 Selected key consolidated fi nancial data 170 I - 2015 Financial Report 171 II - Appendix to the Financial Report: Unaudited supplementary fi nancial data 193 III - Consolidated Financial Statements for the year ended December 31, 2015 194 IV - 2015 Statutory Financial Statements 280 5 RECENT EVENTS | OUTLOOK 325 1. Recent events 326 2. Outlook 327 6 RESPONSIBILITY FOR AUDITING THE FINANCIAL STATEMENTS 329 1. Responsibility for Auditing the Financial Statements 330 ANNUAL REPORT 2015 ANNUAL REPORT RAPPORT ANNUEL 2015DOCUMENT DE RÉFÉRENCE The Annual Report in English is a translation of the French “Document de référence” provided for information purposes. This translation is qualifi ed in its entirety by reference to the “Document de référence”. 01 ANNUAL REPORT 2015 MESSAGE from Management ROLLING OUT THE NEW VIVENDI “Going farther and faster in Vivendi’s transformation”: this was the ambition we set for ourselves in this same report in 2014. A year later, this goal has been met: a new industrial group has taken shape, one that is more homogenous and more integrated, where the value of the whole is greater than the sum of its parts. From left to right : Simon Gillham, Member of the Management Board and Chairman of Vivendi Village, Senior Executive Vice President, Communications of Vivendi - Vincent Bolloré, Chairman of the Supervisory Board - Frédéric Crépin, Member of the Management Board and Group General Counsel - Arnaud de Puyfontaine, Chairman of the Management Board - Stéphane Roussel, Member of the Management Board and Chief Operating Officer - Hervé Philippe, Member of the Management Board and Chief Financial Offi cer . 02 ANNUAL REPORT 2015 MESSAGE FROM MANAGEMENT he acquisition of Dailymotion, investments (Radionomy) and live shows (L’Olympia and t he Finally, this year Vivendi decided to acquire in cinema and television, equity interests in Théâtre de l’Œuvre). In just one year, Vivendi interests in Ubisoft and Gameloft, two French Telecom Italia and Ubisoft/Gameloft… 2015 Village has taken its rightful place within Vivendi’s companies with globally recognized expertise in was a year rich in developments for Vivendi, ecosystem. While continuing to grow, it perfectly video games. These investments demonstrate Twhich has laid the foundation for a new, world- fits its role as a laboratory of ideas for digital our desire to develop paths into other creative class cultural entertainment group. and as an incubator linking the group’s various industries, and especially in the video game activities to one another. industry. As of December 2015, Vivendi held In May 2015, Vivendi completed the sale of 13.98% of Ubisoft and 28.65% of Gameloft. its interests in Numericable-SFR and GVT, its Because our ambition is to build a major media Brazilian telecommunications subsidiary. These and content company over the long-term, we While the foundation has now been laid, creating two transactions, which were completed on will give our businesses all the resources they the new Vivendi can only be viable if the necessary satisfactory fi nancial terms, have given the group need for their development. While seeking to talent is secured. With its ability to manage signifi cantly more room to maneuver. Our net cash preserve overall fi nancial equilibrium, Vivendi thus exceptional creative expertise and know-how, position of €4.6 billion at year-end 2014 rose to anticipates a period of potentially high investment Vivendi strives more than ever to be the home for €6.4 billion at year-end 2015. in 2016 and 2017. Our goal is specifically to talent in music, audiovisual content and comedy. strengthen the foundations of Canal+’s publishing The goal is to extend our reach throughout the First, this new fi nancial position has allowed us activities (cinema, sports, series and entertainment entire talent chain: identification, production, to distribute the dividend amounts requested broadcasts) to regain the perceived value of its promotion… L’Olympia brand will spearhead by our shareholders. Indeed, Vivendi committed subscriptions. In 2015, major investments were this effort. to a significant return of capital to them: it made in original creations (including the well- anticipates paying out €6.6 billion (€4 billion of known series Versailles ), in television (26.2% As the true unifying element among our various which has already been distributed) by 2017 and interest in the new Banijay Group) and in cinema business lines, talent is the cementing factor in implementing a share repurchase program valued (30% interest in Mars Films). our integrated industrial group building p rocess. at a maximum of €2.7 billion. In September 2015, all Vivendi companies (UMG, ”With its ability to manage Canal+ Group, Vivendi Village and Dailymotion) Further, our financial capacities have been exceptional creative expertise and worked together to organize a historic concert directed at strengthening our core businesses, in Conakry (Guinea), bringing together a dozen which are facing rapid and signifi cant changes in know-how, Vivendi more than ever African stars with a total attendance of 80,000. their respective sectors. Universal Music Group strives to be the home for talent“ This event was also the occasion to lay the (UMG) is at the forefront of the evolution in media cornerstone of a theatrical venue for film and consumption toward streaming by subscription, As part of our strategic growth, proceeds events called CanalOlympia – the combination whereas the pay-TV activities of Canal+ are from sales have allowed us to make targeted of the impertinence of Canal+ and the legend of experiencing a particularly diffi cult economic and acquisitions and investments in certain businesses L’Olympia – which will be replicated in several competitive environment in France. where particular opportunities presented Central and Western African countries in 2016. themselves. Vivendi’s deployment in content, These investments have given support to the production and distribution has taken various Driven by a new corporate culture enhancing the operational performance of our brands. This year, forms. common potential of all its assets, Vivendi can UMG consolidated its global leadership position in look confi dently toward the future. While a number recorded music, with excellent album sales by both First, the group acquired a 90% interest in of tasks await us in the coming year: expanding established artists (Taylor Swift and Maroon 5) Dailymotion, one of the largest aggregation the international reach of our distribution and new acts (Sam Smith and The Weeknd). The and digital distribution platforms in the world. networks, in particular through partnerships with breakthrough of its new talents (Louane and Kendji With some 3.5 billion videos viewed each month telecom operators; accelerating the broadcast Girac in France) has even allowed Universal Music and 300 million visitors per month , Dailymotion of our content, particularly with the support to gain a 45% market share in France. allows Vivendi to digitally distribute its music of Dailymotion; continuing to invest heavily and audiovisual content. In return, Vivendi gives in exclusive content, talent and live shows… 2015 was also marked by significant success at Dailymotion the possibility to accelerate its W e are nevertheless confi dent that we have the Canal+ Group. Its international pay-TV operations international growth and development. Although ability to successfully implement this roadmap and continue to grow, particularly in Africa where the 85% of videos currently consumed in the world create long-term value. Through our innovative two-million subscribers threshold was passed. are less than six minutes long, Dailymotion’s skills, position in corporate social responsibility (CSR), Free-TV in France is also seeing a positive growth combined with those of UMG and Canal+ Group, this value creation will go beyond the strictly trend, driven in particular by D8, which has are crucial in helping us to imagine and develop fi nancial framework and will benefi t all the group’s established itself as the leader in DVB. Finally, new formats, shorter and more closely tailored to stakeholders. boosted by the box-office success of the films new digital consumer uses. Paddington, The Imitation Game, Shaun the Sheep In an
Recommended publications
  • An N U Al R Ep O R T 2018 Annual Report
    ANNUAL REPORT 2018 ANNUAL REPORT The Annual Report in English is a translation of the French Document de référence provided for information purposes. This translation is qualified in its entirety by reference to the Document de référence. The Annual Report is available on the Company’s website www.vivendi.com II –— VIVENDI –— ANNUAL REPORT 2018 –— –— VIVENDI –— ANNUAL REPORT 2018 –— 01 Content QUESTIONS FOR YANNICK BOLLORÉ AND ARNAUD DE PUYFONTAINE 02 PROFILE OF THE GROUP — STRATEGY AND VALUE CREATION — BUSINESSES, FINANCIAL COMMUNICATION, TAX POLICY AND REGULATORY ENVIRONMENT — NON-FINANCIAL PERFORMANCE 04 1. Profile of the Group 06 1 2. Strategy and Value Creation 12 3. Businesses – Financial Communication – Tax Policy and Regulatory Environment 24 4. Non-financial Performance 48 RISK FACTORS — INTERNAL CONTROL AND RISK MANAGEMENT — COMPLIANCE POLICY 96 1. Risk Factors 98 2. Internal Control and Risk Management 102 2 3. Compliance Policy 108 CORPORATE GOVERNANCE OF VIVENDI — COMPENSATION OF CORPORATE OFFICERS OF VIVENDI — GENERAL INFORMATION ABOUT THE COMPANY 112 1. Corporate Governance of Vivendi 114 2. Compensation of Corporate Officers of Vivendi 150 3 3. General Information about the Company 184 FINANCIAL REPORT — STATUTORY AUDITORS’ REPORT ON THE CONSOLIDATED FINANCIAL STATEMENTS — CONSOLIDATED FINANCIAL STATEMENTS — STATUTORY AUDITORS’ REPORT ON THE FINANCIAL STATEMENTS — STATUTORY FINANCIAL STATEMENTS 196 Key Consolidated Financial Data for the last five years 198 4 I – 2018 Financial Report 199 II – Appendix to the Financial Report 222 III – Audited Consolidated Financial Statements for the year ended December 31, 2018 223 IV – 2018 Statutory Financial Statements 319 RECENT EVENTS — OUTLOOK 358 1. Recent Events 360 5 2. Outlook 361 RESPONSIBILITY FOR AUDITING THE FINANCIAL STATEMENTS 362 1.
    [Show full text]
  • Annual Report
    ANNUAL REPORT 2014 Management Message 02 At the center of our businesses 04 12 Group Profi le | Businesses | Societal, Social and Litigation | Risk Factors 07 Environmental Information 41 1. Group Profi le 09 1. Corporate Social Responsibility (CSR) Policy 42 2. Businesses 20 2. Societal Information 47 3. Litigation 32 3. Social Information 62 4. Risk Factors 38 4. Environmental Information 77 5. Verifi cation of Non-Financial Data 85 3 Information about the Company | Corporate Governance | Reports 91 1. General Information about the Company 92 2. Additional Information about the Company 93 3. Corporate Governance 106 4. Report by the Chairman of Vivendi’s Supervisory Board on Corporate Governance, Internal Audits and Risk Management – Fiscal Year 2014 147 5. Statutory Auditors’ report, prepared in accordance with Article L.225-235 of the French Commercial Code, on the Report prepared by the Chairman of the Supervisory Board of Vivendi SA 156 4 Financial Report | Statutory Auditors’ Report on the Consolidated Financial Statements | Consolidated Financial Statements | Statutory Auditors’ Report on the Financial Statements | Statutory Financial Statements 159 Selected key consolidated fi nancial data 160 I - 2014 Financial Report 161 II - Appendices to the Financial Report: Unaudited supplementary fi nancial data 191 III - Consolidated Financial Statements for the year ended December 31, 2014 195 IV - Vivendi SA - 2014 Statutory Financial Statements 294 56 Recent events | Outlook 337 Responsibility for Auditing 1. Recent events 338 the Financial Statements 341 2. Outlook 339 1. Responsibility for Auditing the Financial Statements 342 ANNUAL REPORT 2014 The Annual Report in English is a translation of the French “Document de référence” provided for information purposes.
    [Show full text]
  • Avente a Oggetto La Richiesta Di Conferimento Della Rappresentanza
    PROSPETTO INFORMATIVO SOLLECITAZIONE DI DELEGHE DI VOTO avente a oggetto la richiesta di conferimento della rappresentanza per l’esercizio del diritto di voto nell’Assemblea degli Azionisti Ordinari di Telecom Italia S.p.A., convocata per il giorno 4 maggio 2017, ore 11.00, in unica convocazione, in Rozzano (Milano), Viale Toscana n. 3 PROMOTORE Vivendi S.A. EMITTENTE Telecom Italia S.p.A. SOGGETTO INCARICATO D ELLA SOLLECITAZIONE E RACCOLTA DELLE DELEGHE E DELEGATO ALLA MANIFESTAZIONE DEL V OTO NELL ’ASSE MBLEA DEGLI AZIONIST I Morrow Sodali Per informazioni è possibile contattare il numero verde n. ovvero per chiamate dall’estero: +39 0645212875 attivo dal lunedì al venerdì dalle ore 10.00 alle ore 19.00 o consultare il sito internet : www.sodali-transactions.com o mandare una e-mail a: [email protected] La presente sollecitazione di deleghe è disciplinata dagli articoli 136 e seguenti del decreto legislativo del 24 febbraio 1998, n.58, come successivamente integrato e modificato (“ TUF ”) nonché dagli articoli 135 e seguenti del Regolamento Consob n. 11971 del 14 maggio 1999 come successivamente integrato e modificato (“ Regolamento Emittenti ”). Il presente prospetto è datato 13 aprile 2017 DOMANDE E RISPOSTE SULLE FINALITÀ DELLA SOLLECITAZIONE PROMOSSA VIVENDI S.A. E SULL’ASSEMBLEA TELECOM ITALIA S.P.A. DEL 4 MAGGIO 2017 1. Perché vi chiediamo la delega? L’attuale Consiglio di Amministrazione di Telecom Italia è in scadenza e l’Assemblea Ordinaria (l’“ Assemblea ”) per il rinnovo è stata convocata per il 4 maggio 2017. Tenuto conto dell’attuale entità della partecipazione detenuta da Vivendi ( i.e.
    [Show full text]
  • P28-32.Qxp Layout 1
    Established 1961 Lifestyle THURSDAY, NOVEMBER 2, 2017 People attend the Annual Halloween parade after a man driving a rental truck struck and killed eight people on a jogging and bike path on October 31, 2017 in New York City. — AFP Modern tech, rising middle class drive cinema revival in Africa ike the plot in an old-fashioned movie, cinemas in sters who have never been before,” she adds. “The first “four projects to renovate theatres with digital technolo- Africa are making a third-reel comeback after results are encouraging.” gy” around the country, according to Hugues Diaz, the Lyears of worrying decline. In many countries south To succeed, Canal Olympia is betting on mixed pro- culture ministry official responsible for cinema. On the of the Sahara, digital technology, strong investment and gramming of American, African and European films, far side of the continent, in Kenya the renewal of cinema modern theatres are bringing about a major revival of notably the productions of the Canal+ Group, another began about a decade ago. The east African nation has movie-going, ending years of cinema closures. But this Vivendi company playing a major role in cinema as well some 10 modern cinemas, usually located in shopping good news for film-lovers also comes with a drawback: as television. The new venues are intended to host con- malls, in place of the small venues of yore. the new cinema complexes tend to give precedence to certs and popular shows, as well as being available to South Africa and Nigeria-whose thriving Hollywood blockbusters rather than films made by hire as business conference centers, to make the net- “Nollywood” industry made the 2016 romantic comedy African directors.
    [Show full text]
  • L'expression Musicale De Musulmans Européens. Création De Sonorités Et
    Revue européenne des migrations internationales vol. 25 - n°2 | 2009 Créations en migrations L’expression musicale de musulmans européens. Création de sonorités et normativité religieuse The Musical Expression of European Muslims. Creation of Tones in the Event of the Religious Norms La expresión musical de musulmanes europeos. Creación de sonoridades a la luz de las normas religiosas Farid El Asri Édition électronique URL : http://journals.openedition.org/remi/4946 DOI : 10.4000/remi.4946 ISSN : 1777-5418 Éditeur Université de Poitiers Édition imprimée Date de publication : 1 octobre 2009 Pagination : 35-50 ISBN : 978-2-911627-52-1 ISSN : 0765-0752 Référence électronique Farid El Asri, « L’expression musicale de musulmans européens. Création de sonorités et normativité religieuse », Revue européenne des migrations internationales [En ligne], vol. 25 - n°2 | 2009, mis en ligne le 01 octobre 2012, consulté le 17 mars 2021. URL : http://journals.openedition.org/remi/4946 ; DOI : https://doi.org/10.4000/remi.4946 © Université de Poitiers Revue Européenne des Migrations Internationales, 2009 (25) 2 pp. 35-50 35 L’expression musicale de musulmans européens Création de sonorités et normativité religieuse Farid EL ASRI* La présence musulmane en Europe est, pour une grande partie, originellement issue de l’immigration (Göle, 2005 ; Modood, Triandafyllidou, Zapata-Barrero, 2006 ; Nielsen, 1984 ; Nielsen, 1995 ; Parsons et Smeeding, 2006). Cette présence est également alimentée par des conversions à l’islam1 (Alliévi, 1998 ; Alliévi, 1999 ; Alliévi and Robert Schuman Centre, 2000 ; Minet, 2007 ; Rocher et Cherqaoui, 1986). Ses origines ne sont certainement pas monolithiques. Elle est originaire de nombreuses aires culturelles musul- manes.
    [Show full text]
  • Piano Recital Prize and Arnold Schoenberg
    1 Welcome to Summer 2015 at the RNCM As Summer 2015 approaches, the RNCM Our orchestral concerts are some of our most prepares for one of its most monumental concerts colourful ones, and more fairytales come to life to date. This is an historic moment for the College with Kodaly’s Hary Janos and Bartók’s Miraculous and I am honoured and thrilled to be welcoming Mandarin as well as with an RNCM Family Day, Krzysztof Penderecki to conduct the UK première where we join forces with MMU’s Manchester of his magnificent Seven Gates of Jerusalem Children’s Book Festival to bring together a feast at The Bridgewater Hall in June. This will be of music and stories for all ages with puppetry, the apex of our celebration of Polish music, story-telling, live music and more. RNCM Youth very kindly supported by the Adam Mickiewicz Perform is back on stage with Bernstein’s award- Institute, as part of the Polska Music programme. winning musical On the Town, and our Day of Song brings the world of Cabaret to life. In a merging of soundworlds, we create an ever-changing kaleidoscope of performances, We present music from around the world with presenting one of our broadest programmes to Taiko Meantime Drumming, Taraf de Haïdouks, date. Starting with saxophone legend David Tango Siempre, fado singer Gisela João and Sanborn, and entering the world of progressive singer songwriters Eddi Reader, Thea Gilmore, fusion with Polar Bear, the jazz programme at Benjamin Clementine, Raghu Dixit, Emily Portman the RNCM collaborates once more with Serious and Mariana Sadovska (aka ‘The Ukranian as well as with the Manchester Jazz Festival to Bjork’).
    [Show full text]
  • La Bataille Se Poursuit,Les Points Clés Des
    Jeux TV : les marques installées laissent peu de place aux nouveautés Un plateau, plusieurs candidats et une somme d’argent à la clé, le jeu TV constitue un genre historique phare en France comme à l’étranger. Installées parfois depuis plusieurs dizaines de saisons, certaines marques tendent à se renouveler à travers de nouvelles mécaniques, de nouveaux visages, sans systématiquement rencontrer le succès. NPA Conseil analyse l’évolution de l’offre de jeux de plateau, les performances du genre, avant de s’intéresser à sa programmation à l’international. Les chaînes de la TNT n’ont pas réussi à imposer le genre En l’espace d’une saison, l’offre de jeux TV a évolué différemment en fonction des chaînes de diffusion. On observe ainsi un volume à la hausse sur les chaînes historiques, alors qu’il est en déclin sur les chaînes de la TNT. Sur la saison 2016-2017, les jeux représentent 204 heures soit 0,2% de l’ensemble de la programmation de l’univers TNT, un recul de 0,6 point comparé à la saison précédente, soit une chute de 580 heures de jeux à l’antenne. On peut expliquer cela, notamment par les déprogrammations multiples de marques qui ont peiné à s’imposer, ne dépassant pas pour certaines la phase du pilote. Ce fût le cas deL’académie des 9, jeu animé par Benjamin Castaldi en début de saison 2015-2016 en quotidienne, puis en hebdomadaire avant de s’absenter totalement de la grille des programmes de C8 la saison suivante. Autre jeu absent des grilles en 2016-2017, Le grand match…, proposé en Prime Time sur la même chaîne une saison auparavant.
    [Show full text]
  • MEDIA POLARIZATION “À LA FRANÇAISE”? Comparing the French and American Ecosystems
    institut montaigne MEDIA POLARIZATION “À LA FRANÇAISE”? Comparing the French and American Ecosystems REPORT MAY 2019 MEDIA POLARIZATION “À LA FRANÇAISE” MEDIA POLARIZATION There is no desire more natural than the desire for knowledge MEDIA POLARIZATION “À LA FRANÇAISE”? Comparing the French and American Ecosystems MAY 2019 EXECUTIVE SUMMARY In France, representative democracy is experiencing a growing mistrust that also affects the media. The latter are facing major simultaneous challenges: • a disruption of their business model in the digital age; • a dependence on social networks and search engines to gain visibility; • increased competition due to the convergence of content on digital media (competition between text, video and audio on the Internet); • increased competition due to the emergence of actors exercising their influence independently from the media (politicians, bloggers, comedians, etc.). In the United States, these developments have contributed to the polarization of the public square, characterized by the radicalization of the conservative press, with significant impact on electoral processes. Institut Montaigne investigated whether a similar phenomenon was at work in France. To this end, it led an in-depth study in partnership with the Sciences Po Médialab, the Sciences Po School of Journalism as well as the MIT Center for Civic Media. It also benefited from data collected and analyzed by the Pew Research Center*, in their report “News Media Attitudes in France”. Going beyond “fake news” 1 The changes affecting the media space are often reduced to the study of their most visible symp- toms. For instance, the concept of “fake news”, which has been amply commented on, falls short of encompassing the complexity of the transformations at work.
    [Show full text]
  • Welcome to the Summer Season at the RNCM
    Sonic art, laser beams and technology ignite our artistic programme, with the first-ever RNCM and Welcome FutureEverything collaboration, creating Tools for Unknown Futures – a festival combining innovative art and performance with new devices, insightful discussion and playful social to the experimentation (28 Mar – 1 Apr). Contrast, social debate and fast-changing Summer politics lie at the core of all of this, permeating our entire Summer programme with Zoe Trope (5 Apr), I Came and I Vanished (27 Apr), Youth Perform’s presentation of the post-WW1 season at socio-political Brecht/Weill collaboration, The Threepenny Opera (23 – 26 Apr), and culminating in the music of the salons and the RNCM concert halls between 1890 – 1900, in our Day of Song at the Royal Exchange Theatre (27 Apr). Opera Scenes are back (27, 29 May, 6, 13 Jun) covering a rich and diverse repertoire and RNCM Opera goes to the Capitol Theatre with a fantastic production of Stephen Sondheim’s Company (25 Jun – 4 Jul) Our International Artist Diploma recitals feature the beautiful tenor voice of Kang Wang in Ludwig van Beethoven’s An die ferne Geliebte (30 Apr), as well as the Zelkova Quartet (13 Jun) with Beethoven and Bartók String Quartets; while Chester Cathedral welcomes our International Artist Diploma Concerto Weekend (5 – 7 Jun) featuring Mozart’s glorious, yet wistful, Piano Concerto in E flat major (Yasmin Rowe), Rossini’s rarely performed Bassoon Concerto in B flat major (Alejandra Rojas), Ibert’s high-spirited, yet lyrical Flute Concerto (Helen Wilson) and Schumann’s spontaneously romantic Cello Concerto in A minor (Mikhail Nemstov).
    [Show full text]
  • Osez Bashung
    WWW.Arte.tv 28 MAI › 3 JUIN 2011 | LE PROGRAMME TV D’ARTE N° 22 OSEZ BASHUNG L’hommage de Christophe, Vanessa Paradis, Gaëtan Roussel, -M-, les BB Brunes… Jeudi 2 juin CONRAD AU CONGO DIE NacHT / LA NUIT FESTIVAL MAHLER LA SYMPHONIE DES MILLE ARTE LIVE WEB ARTE LIVE WEB PARTENAIRE DU FESTIVAL DE FÈS MUSIQUES SaCRÉES DU MONDE DU 3 AU 12 JUIN 2011 Ben Harper, Youssou Ndour, Abd Al Malik, Maria Bethânia... Retrouvez les concerts sur arteliveweb.com LES GRANDS RENDEZ-VOUS SAMEDI 28 MAI › VENDREDI 3 JUIN 2011 “Ainsi pénétrions- nous plus avant chaque jour au cœur des ténèbres.” Joseph Conrad dans Die Nacht / La Nuit, mardi 31 mai à 0.50 Lire pages 6-7 et 19 SOULOY / GAMMA BASHUNG Une évocation inspirée du chanteur de “La nuit je mens”, à travers les voix de l’album hommage Tels - Alain Bashung : Christophe, Vanessa Paradis, -M-, Gaëtan Roussel, les BB Brunes... Jeudi 2 juin à 22.20 Lire pages 4-5 et 23 LA SYMPHONIE DES MILLE DIRIGÉE PAR RICCARDO CHAILLY Pour le concert de clôture du Festival Mahler de Leipzig, Riccardo Chailly ILS SE MARIÈRENT dirige la Symphonie n° 8 du composi- PATHÉ teur disparu il y a tout juste cent ans. ET EURENT BEAUCOUP Dimanche 29 mai à 18.15 Lire page 12 D’ENFANTS La crise de la quarantaine perturbe le quotidien de Vin- cent et Gabrielle, tout comme celui de leurs amis. Une comédie d’Yvan Attal drôle et touchante qui vous cueille sans prévenir. Avec Charlotte Gainsbourg, lumineuse. Jeudi 2 juin à 20.40 Lire page 22 N° 22 – Semaine du 28 mai au 3 juin 2011 – ARTE Magazine 3 EN COUVErtURE ARÈME C UDOVIC L BASHUNG PAR LES BB BRUNES C’est l’une des plus belles promesses de la scène rock française.
    [Show full text]
  • Russell Simmons Russell Simmons Has Been the Leader in Bringing The
    Russell Simmons Russell Simmons has been the leader in bringing the powerful influence of hip-hop culture to every facet of business and media since its inception in the late 1970s through current day, in which its integration into mainstream American Culture means an entirely new, post-racial, progressive America. Simmons' businesses have always been rooted in giving a powerful voice to emerging creative and social movements, and integrating them into the American psyche. His business successes have spanned music, film, television, fashion, the jewelry industry, video games, online and financial services; his activism has encompassed all of the areas touched by his businesses, including poverty, education and ignorance. From producing and/or managing such early hip-hop artists as Kurtis Blow, Run DMC, Will Smith and the Beastie Boys to signing seminal luminaries like Jay Z, LL Cool J and Ludacris to his iconic record label, Def Jam Recordings, Simmons’ groundbreaking vision and the cultural revolution became the international phenomenon now known as hip-hop. Following his departure from Def Jam, in 1999, Russell created a fashion empire in Phat Farm, which begat Baby Phat and Run Athletics, and put the definitive stake in the ground for urban streetwear, to which others followed including: Roc-A-Wear, Sean John, Derion, Enyce, Ecko and many others. His film and television production company with partner Stan Lathan, Simmons Lathan Media Group, created the wildly successful HBO series, “Def Comedy Jam “ (8 million DVDS sold), “Russell Simmons Presents Def Poetry,” and “HBO Presents Brave New Voices,” the Hollywood box office success “The Nutty Professor,” the Tony Award-winning stage production “Russell Simmons Presents Def Poetry Jam on Broadway,” the international hit on MTV “Run’s House,” and most recently the successful first season of “Running Russell Simmons.” In 2003, Simmons co-founded Unirush Financial Services with consumer debt investor David Rosenberg.
    [Show full text]
  • An Introduction to Cybersecurity Ethics MODULE AUTHOR: Shannon Vallor, Ph.D
    An Introduction to Cybersecurity Ethics MODULE AUTHOR: Shannon Vallor, Ph.D. William J. Rewak, S.J. Professor of Philosophy, Santa Clara University TABLE OF CONTENTS Introduction 2-6 PART ONE: What are the important ethical issues in cybersecurity? 7-12 Case Study 1 13-15 PART TWO: Common ethical challenges for cybersecurity professionals 15-21 Case Study 2 21-24 Case Study 3 24-28 PART THREE: What are cybersecurity professionals’ obligations to the public? 29-34 Case Study 4 34-38 PART FOUR: What ethical frameworks can guide cybersecurity practice? 38-47 PART FIVE: What are ethical best practices in cybersecurity? 48-56 Case Study 5 57-60 Case Study 6 60-61 APPENDIX A: Relevant Professional Ethics Codes & Guidelines (Links) 62 APPENDIX B: Bibliography/Further Reading 63-65 1 An Introduction to Cybersecurity Ethics MODULE AUTHOR: Shannon Vallor, Ph.D. William J. Rewak, S.J. Professor of Philosophy, Santa Clara University 1. What do we mean when we talk about ‘ethics’? Ethics in the broadest sense refers to the concern that humans have always had for figuring out how best to live. The philosopher Socrates is quoted as saying in 399 B.C. that “the most important thing is not life, but the good life.”1 We would all like to avoid a bad life, one that is shameful and sad, fundamentally lacking in worthy achievements, unredeemed by love, kindness, beauty, friendship, courage, honor, joy, or grace. Yet what is the best way to obtain the opposite of this – a life that is not only acceptable, but even excellent and worthy of admiration? How do we identify a good life, one worth choosing from among all the different ways of living that lay open to us? This is the question that the study of ethics attempts to answer.
    [Show full text]