text:
Eastern New Mexico University
Cheryl Dozier is the author of " Responsive Literacy Coaching : Tools for Creating and Sustaining Purposeful Change" published by Stenhouse Publishers out of Portland, Maine. The book also has a forward by Peter H. Johnston, many appendices and references and resources. IT also contains guided reading observation forms for learners and teachers, websites and some children's literature resources.
Cheryl is an assistant professor in the Department of Reading at the University of Albany. She has experience teaching kindergarten, and second and third grade in urban schools. She received the Reading Educator of the Year Award in 1996 from the New York State Reading Association and has also written Critical Literacy/Critical Teaching published by Teachers College Press which was co-authored by Peter Johnston and Rebecca Rogers. In this interview, Cheryl discusses the book, and the concept of " responsive literacy coaching".
1) First of all, how do you define "responsive literacy coaching"?
Responsive literacy coaches focus first on the strengths of the learner and then use these strengths as anchors to extend and reconsider literacy and literacy instruction. Responsive literacy coaches respond to the needs, interests, and developing understandings of the teachers they are supporting. As coaches engage with teachers and build from teachers' strengths, teachers, in turn, then focus on students' strengths. Responsive coaching leads to responsive teaching.
2) What do you mean by sharing our literacy lives?
When teachers engage in a dialogue and share their literate lives, together they examine how their literacy histories inform and influence their teaching. By investigating our literacy experiences—both positive and negative-- we consider and analyze how these varying experiences shape both our teaching and our expectations for learners. Through these conversations, we explore and examine teaching and learning from the lens of learners and come to recognize the diversity of learners and needs. These conversations then lead us to consider literacy practices in our classrooms and ways we support (or don't) student engagement.
3) Joint productive activities are referred to quite often in your book. What do you mean by this?
Joint productive activities are shared experiences or events between coaches and teachers to collaboratively generate new learning. These can include teaching side by side, analyzing student work together, sitting side by side to administer and analyze Running Records. Through joint productive activities, coaches and teachers work side by side and learn together, inquire together, co-construct knowledge, and share their understandings of literacy and literacy development.
4) Why should teachers and parents "examine their language?"
We use language to make sense of our selves and our world. Our language choices can empower or disenfranchise learners. Does our language invite teachers to participate?
We also want to support students' strategic learning by noticing and naming their literate behaviors and competencies. In this way, our careful and deliberate language choices will extend students' strategic knowing. When we engage in sustained dialogue about our language choices, we can make more purposeful instructional practices.
5) What are self-extending systems?
Self-extending systems generate and sustain learning as teachers engage in problem solving to make ongoing strategic and powerful teaching decisions. Through collaborative inquiry and conversations, coaches and teachers build sustaining learning communities to envision new possibilities and new instructional practices. Teachers then transfer these understandings from their coaching exchanges to new contexts. When teachers' self-extending systems are in place, the learning is generative as they discover, question, wonder, challenge, and engage in continuous deliberation. As coaches, we want to assist teachers to develop self-extending systems just as we ask teachers to foster self-extending systems for children as learners.
6) What are some of the most frequently asked questions that you encounter about coaching?
Some of the questions I am routinely asked include how to build relationships with teachers and how to gain teachers' trust. Coaches often ask how to get invited into teachers' classrooms and how to schedule time efficiently and effectively to work with teachers. Many coaches want to know how to avoid evaluating teachers and want suggestions for working with administrators who may have a different view of a coach's role.
7) I love the first line of your forward. "These are trying times for teachers". How will your book help some of these exasperated teachers, and what do you see as some of the things that have contributed to these "trying times"?
In many schools, teachers are being asked to engage in instruction that is prescriptive. Teaching is complex and cannot be simply reduced to scripts. I've heard from readers that the book has sparked renewed interest in and support of their professionalism. I think the book offers a range of ways for coaches and teachers to engage thoughtfully and deliberately to develop a repertoire of instructional practices to meet the needs of learners in classrooms. Each learner is unique. Each teacher is unique. As coaches and teachers we want to start first from each learner's strengths. The book offers multiple ways to do this.
8) What do you hope readers will walk away with after reading the book?
First, I hope readers engage with this book as a conversation. Responsive literacy coaching is about learning together and creating learning communities – collaborating with colleagues, reflecting on our teaching, and creating spaces for continued and sustained inquiry. Responsive literacy coaching involves starting first from learner's strengths and placing the learner at the forefront of literacy instruction so all learners can be successful.
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text:
Ballots were being delivered to emergency shelters, buses were transporting people to polls and voting rules were relaxed in both New York and New Jersey to allow residents affected by Sandy to cast their votes at any polling station.
TOMS RIVER, N.J. — One storm-battered New Jersey county was delivering ballots to emergency shelters Monday while New York City was lining up shuttle buses to ferry people in hard-hit coastal areas to the polls. With the presidential election looming just a week after Superstorm Sandy's devastation, authorities were scrambling to make voting as manageable as possible while election watchers warned any shortcuts could compromise the integrity of the balloting.
Election officials in both New Jersey and New York were guardedly optimistic that power would be restored and most polling places would be open in all but the worst-hit areas for Tuesday's election. In West Virginia, officials relocated a handful of polling precincts because of continuing power outages from Superstorm Sandy.
Voters will not, however, be able to vote in so-called "down-ballot" local elections, if they are voting in a district other than the one in which they are registered.
"We have more than 500 municipalities, and that means we would have to have 500 different ballots at each voting location," said Ernie Lines, spokesman for New Jersey Lt. Gov. Kim Guadagno. "It's just not possible."
In New York state, voters living away from their home will be able to vote for president and U.S. Senate from any polling place in the state. Voters will be able to vote for candidates for Congress, state Senate and Assembly only if they are voting in the same district where they live, New York Gov. Andrew Cuomo said.
"Compared to what we have had to deal with in the past week, this will be a walk in the park when it comes to voting," Cuomo said.
Cuomo's order will permit voters displaced by Sandy to sign a sworn statement that they're legally registered to vote in the presidential and state races.
That could play a role in several tight state Senate races in Queens, Long Island and in the Hudson Valley. The races that are close, according to recent polls and to the campaigns, could result in deciding majority control of the Senate. Republicans currently have a 33-29 majority, having wrested control from Democrats two years ago.
But authorities were also sensitive to concerns about potential disenfranchisement and were taking steps to ensure voters were kept informed of continued problems or changes to their voting locations.
Ernie Landante, a spokesman for the New Jersey Division of Elections, said fewer than 100 polling places around the state were without power compared to 800 just days ago, and that the state has abandoned its earlier plan to use military trucks as makeshift polling places. Most voters will be able to cast ballots at their regular polling sites, he said.
But Landante also said the state had taken extra steps to make sure people displaced by Sandy's destruction would be able to vote, like allowing "authorized messengers" to pick up as many mail-in ballots as they request for people in shelters or away from their homes.
"We are doing everything we can in this extraordinary situation not to disenfranchise voters displaced by Sandy. Their voices and their votes will be heard no differently than anyone else's," Landante said.
New Jersey has also set up a text messaging system for people who don't know where their polling place is. Residents are being instructed to text the word "WHERE" to 877-877 for instructions on where they can vote.
But an additional directive announced by Gov. Chris Christie allowing displaced New Jersey residents to vote through email and fax has drawn criticism from some voting-rights advocates who warned of potential fraud.
Under the directive, voters will be allowed to request and file a ballot electronically. The state's military personnel and residents living overseas also vote that way, but they are also required to file paper ballots — a rule that election watchers said must be applied to voters displaced by the storm as well.
Penny Venetis, a professor at Rutgers School of Law-Newark, said she and other advocates planned to file a lawsuit asking a judge for clarification that if the state does not adopt the paper ballot rule.
"We think it's great that the governor's office is thinking of ways that people are displaced can vote," Venetis said, but added that safeguards must be put in place to protect against fraud.
Larry Norden, a voting-rights advocate at New York University's Brennan Center for Justice, said the email and fax option wouldn't be viable for voters still without power.
"My biggest concern about all this is confusion. These places need to take statewide action to make sure people who have been displaced know there is some way they can vote," Norden said.
Some regions most affected by Sandy were seeking creative ways to help residents cast their ballot.
In Ocean County along the New Jersey coast, officials hired a converted camper to bring mail-in ballots to shelters in Toms River, Pemberton and Burlington Township. Some 75 people in Toms River alone took advantage of the service on Monday, officials said. The camper will either continue to serve the shelters or be converted into an emergency voting precinct on Tuesday.
"It's great. This is one less thing I have to think about," said Josephine DeFeis, who fled her home in storm-devastated Seaside Heights and cast her ballot in the camper on Monday.
In New York City, authorities planned to run shuttle buses every 15 minutes Tuesday in storm-slammed areas to bring voters to the polls.
Elections Commissioner J.C. Polanco said the buses would service parts of Staten Island, the Rockaways and Breezy Point in Queens, and the Coney Island section of Brooklyn.
"An election on a normal day in New York is difficult as it is. Think of how difficult it is after a hurricane," Polcano said
Just 60 of the city's 1350 polling sites were unusable and residents who vote in those places would be directed elsewhere, Polcano said. He said if a voter relocated to another polling site didn't show up on the list of people eligible to vote, he or she would be given a provisional ballot.
In a city of 4.6 million voters, bumps were inevitable.
In Brooklyn, workers Monday were still pumping water out of Middle School 211, which was supposed to serve as a polling place. The neighborhood's new polling site, Canarsie High School, is a few blocks away, but there were no signs posted at either school alerting voters to the change.
Staten Island resident Paul Hoppe said he probably wouldn't vote. His home, a block from the beach, was uninhabitable, his family was displaced and their possessions were ruined.
"We've got too many concerns that go beyond the national scene," Hoppe said.
More information:
New Jersey Division of Elections
New York State Board of Elections
Beth Fouhy reported from Washington. Associated Press writers Geoff Mulvihill in New Jersey and Karen Matthews, Michael Hill, Michael Gormley and Bebeto Matthews in New York contributed to this report.

subset: commoncrawl


text:
LANSING (WKZO) -- The state Senate has repealed the personal property tax for manufacturers in the state.
The Senate made some minor changes to the 12-bill package that had been passed last week by the House before voting 23-to-14 in favor of the measure Wednesday. The revised package is expected to be approved by the House and then head to the governor for his signature.
Under the law, the tax would start to be phased out over a ten year period beginning in 2013. Opponents are concerned, in part, over the fact that there is no solid plan to replace the revenue.


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Kim Kardashian may be a scaredy-cat when it comes to taking a stand on the Middle East, but she's not afraid to speak her mind on a report that Kourtney and Scott Disick are engaged -- she says it ain't so.
Kim flew in from NYC last night and after telling photogs the story was false, she was peppered with questions about the Middle East -- go figure. Predictably, she had nothing to say.
Someone just blew her chance to replace Hillary Clinton.
My Mom said get out there and create some FALSE publicity. As much as I pay TMZ to post these fairy tales ALL of you girls need to keep them coming...
she was also quoted saying "i like urine."
Here we go again, KMZ, you guys must have chapped lips by now,
Wow. Only two photographers following her and no one paying attention to her in the airport. How embarrassing for her.
Oh my god, who...the... hell....cares???
OOOOOOOOOOOOOOOHHH!SAINTS AND 49 ERS Sunday.This is going to be one of the best games this year.GO SAINTS!
Their relationship seems bogus, so this fits.
Actually,there were several photographers.What IS the fatal attraction? Ludicrous! What would we do without Kim and her Krew? Lol!
why this family of PR S*** and Hype continues to get attention is beyond me..IS our country so ignorant and stupid to believe all this krap is real? how much do their publicist pay you? pay Huffington Post to post their stories EACH AN EVERY FRIGGIN SING:E DAY
why should they get married. Scott has his cow and his milk.
or what ever that saying is. ;)
Kourtney feels free to breed,without the benefit of marriage.The question of engagement is rather a moot point, don't you think? That horse was out of the barn long ago! Because of their great wealth, they feel free to snub the morality of decent society.
Total ditz!
Why would anybody care?
Please, please, please, TMZ. Write stories about Michael Jackson´s ghost or overdosing rappers or some starlet´s boobs or anything ---- just STOP writing stories about these stupid Kardashians.
Kourtney will not marry Scott,because she does not want to relinquish her power over him. If she refuses to marry him, he must remain her slave boy & resident breeder.She is like the black widow spider who devours her mate,it is only a matter of time.


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Work @ DTC
Dallas Theater Center is an Equal Opportunity Employer (EOE). Qualified applicants are considered for employment without regard to age, race, color, religion, sex, national origin, sexual orientation, disability, or veteran status. If you need assistance or an accommodation during the application process because of a disability, it is available upon request. The company is pleased to provide such assistance, and no applicant will be penalized as a result of such a request.
PATRON SERVICES MANAGER (posted September 27, 2014)
Click to download the job description
Please email cover letter and resume to firstname.lastname@example.com. No phone calls or Tweets, please.
OVERHIRE MASTER CARPENTER - Seasonal (posted September 9, 2014)
The Overhire Master Carpenter is part of the Production Department and is responsible for seeing that the technical design is carried out to the Technical Director's specifications. This person will oversee the build and installation of an assigned production. He/she is the link between the TD office and the carpenters. The MC should be informed on how all scenic elements are built and how they relate to each other. Duration of seasonal employment is approximately 9 months.
Candidates must have extensive experience in woodworking, finish carpentry, metal working/welding, and stage rigging. Experience in automation is a plus but not required. Extensive experience and knowledge of theatrical procedures, scenic construction, tools and theatrical materials is a must. Candidates must also have the ability to lift 50lbs, safely operate forklifts, genies and skyjacks. Working as a team member and maintaining a positive attitude in times of stress are essential.
Touring and extensive load in/out experience preferred.
Please submit applications through the link below:
No phone calls or Tweets, please.
Dallas Theater Center seeks an experienced Sound Staff Technician. This individual will work in conjunction with the Sound Supervisor and Sound Designers to execute designs and run productions and events. This position requires experience on productions ranging from large-scale musicals to smaller straight plays and extensive knowledge and experience with audio equipment and systems.
The Staff Sound Technician shall function as the deck technician for the Sound Department, primarily repsonisble for maintaining and distributing the wireless microphones and serves as secondary board operator for DTC producions. The Sound Staff Technician reports to the Sound Supervisor.
BA desired in Audio Design or Theatrical Production
Please email cover letter and resume to firstname.lastname@example.com. No phone calls or Tweets, please.
Whether at our Production Facility or one of our world-renowned venues, the professionals working in Production at Dallas Theater Center are constantly challenged by a unique and dynamic work environment, and the award-winning visiting artists and designers that work with us. If you are looking for an exciting and fulfilling role at one of this country's leading regional theaters, then this is a perfect opportunity for you.
Candidates for all disciplines should have a dynamic approach with the ability to be proactive, resourceful, and flexible in a collaborative, fast moving environment.
Click the link above to apply to our pool of candidates for the following departments:
* This application link is NOT for any currently open position.
**No direct emails or phone calls, please.
There are no artistic internship opportunities currently available at DTC. Please check at a later date - new opportunities may become available.
Stage Management Observers
Dallas Theater Center seeks Stage Management Observers for our 2013-2014 season. SM Observers will assist the Stage Management staff and have the opportunity to observe and participate in DTC rehearsals and tech rehearsals. This is a volunteer position and it is best suited, but not limited, to those interested in pursuing Stage Management as a career. Appropriate applicants may seek professional internship credit with his/her current college or university (as appropriate). There are multiple openings for this position. Scheduling is part time, flexible and may be short or long term, but a commitment is required. Dallas/Fort Worth locals are encouraged to apply as housing is not provided. Résumés, references and cover letters may be sent to Eric Tysinger. No phone calls, please.


text:
|Monolith Productions
Day 1 Studios (X360 & PS3)
|Sierra Entertainment
Warner Bros. Interactive Entertainment (PC)
|Vivendi Universal Games (2005–2006)
Vivendi Games (2006–2008)
Activision Blizzard
(2008, 2014–present)
Warner Bros. Interactive Entertainment (2008–2014)
|Craig Hubbard
|Lithtech Jupiter EX
Havok (physics engine)
|Release date(s)
|Microsoft Windows
NA October 18, 2005
JP December 2, 2005
Xbox 360
EU April 20, 2007
|First-person shooter
|Single-player, multiplayer
|Optical disc, download
F.E.A.R.: First Encounter Assault Recon is a first-person shooter psychological horror video game developed by Monolith Productions and published by Sierra Entertainment and the first game in the F.E.A.R. series. It was released on October 18, 2005, for Microsoft Windows,[1] and ported by Day 1 Studios to the PlayStation 3 and Xbox 360.[4] Timegate Studios has released two expansion packs, F.E.A.R. Extraction Point in October 2006[5] and F.E.A.R. Perseus Mandate in November 2007. Both the expansions were ported to the Xbox 360 packed under the title F.E.A.R. Files. A direct sequel titled F.E.A.R. 2: Project Origin, was released by Monolith Productions in February 2009. A second sequel, F.E.A.R. 3, was released on 21 June 2011.
The game's story revolves around supernatural phenomena, one of which F.E.A.R. (an acronym for First Encounter Assault Recon)—a fictional US special forces team—is called to contain. The player assumes the role of F.E.A.R.'s Point Man, who possesses superhuman reflexes, and must uncover the secrets of a paranormal menace in the form of a little girl.
F.E.A.R. was released on Steam on May 21, 2010, and includes both expansions and the Director's Edition bonus content.
F.E.A.R. simulates combat from a first-person perspective. The protagonist's body is fully present, allowing the player to see their character's torso and feet while looking down. Within scripted sequences, when rising from a lying position or fast-roping from a helicopter for example, or climbing ladders, the hands and legs of the protagonist can be seen performing the relevant actions.
A prominent gameplay element is "reflex time", which slows down the game world while still allowing the player to aim and react at normal speeds. As the player progresses through the game they will be able to pick up injections that will increase the amount of health, and reflex time they have.[6] Reflex time is used to simulate the character's superhuman reflexes. Reflex time is represented by stylized visual effects, such as bullets in flight that cause air distortion or interact with the game's particle effects. F.E.A.R. lead designer Craig Hubbard stated that Monolith Productions' primary goal was "to make combat as intense as the tea house shootout at the beginning of John Woo's Hard Boiled." He continued on to say that "defeat[ing] ... enemies ... with style" was crucial to this goal and that reflex time plays a large role in "mak[ing] the player feel like they are an action movie hero."[7]
The game contains weapons based on non-fictional firearms, such as pistols, assault rifles, and submachine guns, as well as entirely fictional armaments like particle beam weapons. Each firearm differs in terms of ammunition type, accuracy, range, fire rate, damage, and bulkiness. The latter characteristic is crucial, as more powerful/specialized weapons tend to be more cumbersome and slow the player's maneuvers. F.E.A.R. does not scale guns on a curve, so any firearm is potentially deadly in most situations. Monolith Productions stated that it aimed for "... a balanced arsenal where each weapon serves a specific function", rather than "... just going with a bunch of real-world submachine guns and assault rifles."[8] F.E.A.R.'s heads-up display crosshair's size dynamically shows where shots will fall based on movement, aim, and the weapon in use. The player may carry only three firearms at a time; thus, strategy is required when using and selecting weapons.
Compared to other shooters where melee is usually a last resort, F.E.A.R.'s melee is a viable instant-kill alternative for taking down enemies. The stocks of all firearms can be used in close combat. Lighter weapons, while being less powerful, allow the player to move around more quickly, increasing their chances of melee. Movement speed is maximized if a player holsters their weapon, which also allows them to engage in hand-to-hand attacks with maneuvers including punches, kicks, and slides.
F.E.A.R.'s artificial intelligence allows computer-controlled characters a large degree of action. Enemies can duck to travel under crawlspaces, jump through windows, vault over railings, climb ladders, and push over large objects to create cover. Various opponents may act as a team, taking back routes to surprise the player, using suppressive fire or taking cover if under fire. The game's artificial intelligence is often cited as being highly advanced,[9][10] and its efficiency helped the game win GameSpot's "2005 Best AI Award",[11] and earn the #2 ranking on AIGameDev's "Most Influential AI Games."[12]
F.E.A.R.'s multiplayer component includes mainstay gameplay modes, such as deathmatch, team deathmatch, capture the flag, and last man standing.[13] "Control" and "Conquer All" gametypes were later added through a patch. Some gametypes in F.E.A.R.'s multiplayer use the "reflex time" effect: SlowMo deathmatch, SlowMo team deathmatch, and SlowMo capture the flag. Only one player can use/carry the reflex power-up; when fully charged they can activate it and give themselves (and the rest of their team if applicable) a speed advantage over opposing players. However, the one carrying the power-up will have a bluish glow, and they will show up on a foe's HUD.[13]
On August 17, 2006, F.E.A.R.'s multiplayer component was retitled F.E.A.R. Combat and made available for free download.[14] Downloaders of F.E.A.R. Combat and owners of F.E.A.R.'s retail edition may play together online.[15]
The PC version of the game uses the PunkBuster program to prevent cheating. However, in December 2007, Even Balance discontinued PunkBuster support for F.E.A.R. in favor of the second expansion, F.E.A.R. Perseus Mandate.[16] While PunkBuster-enabled servers will still check for and protect against known cheats, the program will no longer automatically update. Because of this, many players with an outdated version of PunkBuster are unable to play in PunkBuster-enabled servers without being automatically kicked from the game.[17] However, this can be fixed by disabling PunkBuster security with an in-game command, or by downloading the latest PunkBuster files from a third-party source.
Later a player by the name of Sinew developed an unofficial server patch called SEC WenisShieldBeta which was later updated to V1.2.0. This SEC patch addressed several cheat fixes and added several new console commands.
With the release of F.E.A.R. 3, CD keys are no longer available for F.E.A.R. Combat. The game itself can still be downloaded from the Warner Bros's F.E.A.R. Combat site but the CD-Key registrations does not work, it simply gives an HTTP Status 500 internal server error.
In March 2012, several players from the F.E.A.R. Community got together and developed a new unofficial server patch which they called appropriately SEC2, which addressed several issues in the original SEC WenisShieldBeta patch but more Importantly it offers new FEAR CD Keys, these keys enable new players to play on all servers running the SEC2 patch. They started up a new website called fear-community.org where players can get access to these new keys and also download the game.
There they have also just completed a new installer that will allow you to get FEAR Combat 1.08 in a single file, with support for new keys from install. SEC2 is 100% backwards compatible with existing keys and the current 1.08 client.
The Xbox 360 and PlayStation 3 versions, just like the PC edition, only have online multiplayer. There is no split-screen local play.
The Steam version of the game states on the store page that the multiplayer service was shut down and that the game is single-player only.
Master Servers[edit]
On December 19, 2012 Gamespy Industries announced the end of its Gamespy Open Program. This Program was designed to broaden the field of game development by providing access to GameSpy's services at low or no cost to small independent developers. Consequently, many games that used this service, including F.E.A.R. Combat, exhibited an issue in which the multi-player in-game server list showed up empty.
As a result of this, the FEAR community worked on a replacement master server for the PC version and continues to manage the key authentication process using SEC2 keys. The community further went on to develop a Game Patch that fixes the problems caused by the GameSpy Master Server shutdown and restores the server list functionality, CDKey verification and fixed other bugs. Alternatively a launcher to use the old unpatched game was developed too, allowing to search and join servers and to download and install the game translation to 10 languages (English, Spanish, French, Czech, Italian, Polish, Russian, Chinese, Japanese, German). Since the old CDKeys no longer work in the new master server, each player can get a new one by registering at the fear-community.org site. Also downloads for the new installer, patches and dedicated server packages are provided.
A core element of F.E.A.R. is its horror theme, which is heavily inspired by Japanese horror.[18] The design team attempted to keep "[the] psychology of the encounter" in the player's mind at all times, in order to "get under [the player's] skin", as opposed to the "in your face 'monsters jumping out of closets' approach".[19] Lead designer Craig Hubbard stated in an interview that "horror is extremely fragile ... you can kill it by spelling things out too clearly and you can undermine it with too much ambiguity". He remarked that he attempted to strike a balance with the narrative elements of F.E.A.R., to give players "enough clues so that [they] can form [their] own theories about what's going on, but ideally [they will] be left with some uncertainty".[8] Lead level designer John Mulkey stated, "Creating expectation and then messing with that expectation is extremely important, predictability ruins a scary mood".[19]
The main source of the game's horror is Alma, a ghostly little girl. Craig Hubbard remarked that "a guy in a mask chasing co-eds with a meat cleaver can be scary, but on some level you're thinking to yourself you could probably kick his ass if you got the drop on him...but when a spooky little girl takes out an entire Delta Force squad [1], how are you supposed to deal with that?"[7] While Alma has been compared to the character Samara from The Ring,[20][21] Craig Hubbard stated that she "... was born out of a tradition of eerie, faceless female ghosts ..." and not "... as an answer to any specific movie character."[7] Hubbard acknowledged that Alma "... admittedly bears some visual resemblance to the ghosts in Dark Water or Séance", but "... creepy little girls have been freaking [him] out since The Shining."[7] Developers Dave Matthews and Nathan Hendrickson say the name 'Alma' comes from the character Alma Mobley in Peter Straub's novel Ghost Story.[22]
F.E.A.R.'s audio was designed in the style of Japanese horror films, with the sound engineers using inexpensive equipment to create sound effects, using methods including dragging metal across different surfaces and recording pump sounds.[18] Monolith Productions commented, "The sound designers had to be concerned with avoiding predictability", since "[l]isteners are smart ... they will recognize your formula quickly and then you won't be able to scare them anymore."[18] Silence is present in order to "... allow players to fill in the space, which lets their imagination create their own personal horror".[18]
Monolith Productions composed F.E.A.R.'s music in reaction to scenes, instead of "... creating a formula that would consistently produce music throughout the game".[18] The design team called F.E.A.R.'s music structure "... more cerebral and tailored to each individual event", and continued that "... sometimes the music is used to ratchet up the tension to toy with players ... [it] will build to a terrifying crescendo before cutting off without a corresponding event, only to later have the silence shattered by Alma, when players least expect it."[18]
F.E.A.R.'s horror theme was praised by critics. Game Informer claimed that "... the frequent spooky head trips that Monolith has so skillfully woven together make an experience that demands to be played."[23] IGN opined that "... the environment has been so well-crafted to keep you edgy and watchful ... [that] playing the game for a few hours straight can get a little draining." GameSpot reacted similarly, calling F.E.A.R.'s horror "... exceedingly effective", and agreeing that it "... can leave you a bit emotionally exhausted after a while."
The story of F.E.A.R. is presented in such a way that only a few minor elements are revealed in the game's beginning, thus allowing players to experience the adventure as "... the hero[es] in [their] own spine-tingling epic of action, tension and terror".[24] The manual briefly mentions the player character's recent induction as "Point Man" to F.E.A.R., a secret special ops group of the U.S. government specialized in dealing with paranormal threats. The character's extraordinarily reactive reflexes are described as well, hinting that the government is interested in his abilities.[25] When the game begins, the player witnesses a man named Paxton Fettel taking command of a battalion of telepathically controlled clone supersoldiers, seizing control of Armacham Technology Corporation (ATC) headquarters, and killing all its occupants.[26]
Point Man attends a briefing held by Commissioner Rowdy Betters, in the company of his F.E.A.R. team-mates Spen Jankowski and Jin Sun-Kwon. The team's mission is to eliminate Fettel, operating in conjunction with the Delta Force.[27]
Fettel is located by means of a satellite tracking device and hunted by F.E.A.R. and Delta Force over several locations.[28] While the villain evades capture by the special forces, Point Man witnesses unexplained, and occasionally life-threatening, paranormal phenomena, including hallucinations that frequently afflict him, all of which revolve around a red-dressed little girl named Alma. Laptops found in the course of the mission, remotely hacked by Commissioner Betters, provide details regarding the background story; Point Man learns how Fettel was raised to become a telepathic military commander,[29] that he is the son of Alma, who is described as being a powerful psychic as part of Project Origin,[30] and the existence of another child of Alma, who was born before Fettel.[31]
All clues lead F.E.A.R. to believe Fettel is under control of Alma,[32] who was locked in the Origin facility when ATC closed down the project owing to the danger the woman posed; Fettel is searching for that same facility to free his mother.[33] Point Man goes to the abandoned structure, fighting back both the clone soldiers and ATC guards, who have received orders to cover up the whole affair.[34] When Point Man comes to finally face Fettel, he is drawn into a hallucination where the player learns how the Point Man is Alma's first son and is thereafter enabled to kill Fettel himself.[35] The story does not end here, however, as Alma is nonetheless freed when her storage chamber is opened by ATC researcher and leader of Project Origin, Harlan Wade, who felt guilty over the company's treatment of Alma and who actually was her father.[36] Point Man is then called to sabotage the structure's reactor,[37] running a gauntlet against Alma's ghosts before the whole location explodes. In the aftermath of the detonation, a Delta Force Black Hawk helicopter extracts the Point Man from the rubble, rescuing him. While he and the survivors of the F.E.A.R team survey the results of the explosion from the helicopter, Alma makes one last sudden appearance over the side of the helicopter, preparing to pull herself up into the cabin: the destruction of the Origin facility has not stopped her quest for revenge.[38]
After the credits, the player can listen to a phone call between a mysterious senator and ATC president Aristide, which offers some further explanation: the woman considers the project under control and deems the "first prototype" a success.[39]
Characters and organizations[edit]
During the course of the game, the player interacts with a number of different characters from various organizations. Some of them are allies, such as the F.E.A.R. and Delta Force team members, while others are hostile, such as Fettel's replica soldiers and some ATC personnel. The player's character never speaks, and instead participates in one-sided discussions with other characters. On occasion your character, the Point Man, is required to hand a communicator to other characters, allowing them to speak over the F.E.A.R. team radio. No artificial intelligence-controlled characters fight alongside the player in F.E.A.R., except for some sequences in the expansions Extraction Point and Perseus Mandate.
F.E.A.R. was announced at an E3 2004 pre-show,[40] though its existence as an untitled project was revealed prior to this announcement.[40] The game's first trailer later premiered at E3 2004 and was well received by critics.[41][42] During the E3 2004 showing, F.E.A.R.'s lead designer, Craig Hubbard, stated that the game "... evolved out of a concept we started developing right after Shogo that we've been dying to work on."[42] Monolith Productions' director of technology, Kevin Stephens, later elaborated that this concept was "... to make an action movie in a first-person shooter, where you really feel like an action star."[43] To this effect, the team focused on immersing the player, using elements like a silent, nameless protagonist with an unknown background,[43] and allowing the player to see the protagonist's body when looking down or sideways.[44]
During 2005, F.E.A.R. made playable appearances at Consumer Electronics Show, Game Developers Conference and E3, all of which were well received.[45][46][47] Its showing at E3 garnered it the Game Critics Award for "Best Action Game."[48] After the release of a single-player demo,[49] Vivendi allowed gaming journalists to play through the first four levels of the game, which received even more positive reaction than before.[50][51] F.E.A.R. eventually released on October 18, 2005.[1] Alongside the basic CD-ROM edition, a "Director's Cut" DVD version of F.E.A.R. was released with a number of extra features.[52] A Dark Horse Entertainment comic book and a series of live action vignettes help clarify a number of plot elements depicted in the game, while the "Making of F.E.A.R." and "Developers' commentary" documentaries offer several insights and trivia into the game's development through interviews with employees of Monolith Productions and Vivendi. Also included is the exclusive first episode of the F.E.A.R. machinima, PANICS, created by Rooster Teeth Productions.
Over the course of the "Developer's roundtable commentary", producer Chris Hewitt reveals, "We had a whole level in the game where we had this car chase sequence [...] we spent about two months on that thing...." "[B]ut the car chase sequence didn't work the way we hoped it would", adds designer Craig Hubbard, commenting on the choice to remove that level from the game.[53] Hewitt also comments that, "Actually we started off with two villains, and [Fettel] was one of them until we merged them together...." Craig Hubbard also remarks that "... his jacket actually used to belong to another villain we had in the game named Conrad Krieg, whom we combined with Fettel pretty literally."[53]
Engine technology[edit]
F.E.A.R. is the first game developed using the newest iteration of Monolith's Lithtech engine. Codenamed "Jupiter EX", the F.E.A.R. engine is driven by a DirectX 9 renderer and has seen major advancements from its direct precursor, "Jupiter". The new engine includes both Havok physics and the Havok "Vehicle Kit", which adds support for common vehicle behavior.[54] The latter feature goes mostly unused in F.E.A.R., as no vehicles appear outside of scripted sequences.
Graphically, F.E.A.R. uses normal mapping and parallax mapping to give textures a more realistic appearance; the latter is used to give the appearance of depth to flat bullet hole sprites on walls. Volumetric lighting and lightmapping are included with the addition of a per-pixel lighting model, allowing complex lighting effects to be developed. Vertex, pixel and high-level shaders, including a host of additional special effects, are also featured in Jupiter EX.[54]
F.E.A.R. received mostly positive reviews. Aggregating review websites GameRankings and Metacritic gave the PC version 88.94% and 88/100,[55][58] the Xbox 360 version 84.19% and 85/100[56][59] and the PlayStation 3 version 73.29% and 72/100.[57][60] The New York Times called it "as thrilling and involving as Half-Life."[61] A "Director's Edition" DVD version of the game was also released. The DVD included a "Making of" documentary, a director's commentary, a short live-action prequel and the exclusive first episode of the promotional P.A.N.I.C.S. machinima. A related Dark Horse comic book was also packaged with the DVD. Along with the Director's Edition, F.E.A.R. Gold Edition was released. Gold Edition included the Director's Edition and Extraction Point. F.E.A.R. Platinum Edition features the original game and two expansion packs.
Prior to release, F.E.A.R. generated large amounts of hype from video game journalists.[46][62] Upon release, F.E.A.R. received critical acclaim, with Computer Gaming World calling it "... one of the year's top single-player shooters ..."[63] and PC Gamer regarding it as "... the first game to convincingly channel the kinetic exhilaration of 'John Woo violence' in the FPS format."[64]
IGN claimed that "Monolith forges new shooter territory with some truly freaky elements, challenge, fun, and beauty."[65] GameSpy praised the game's plot,[66] later awarding it their "Best Story" Game of the Year award.[67] The New York Times thought differently, stating "I was never quite clear on what was going on in the game. I knew my goal—track down a psychic, escort a corporate executive's daughter out of danger—but I didn't ever care who these people were nor did I understand their motives."[61] The game has also received criticism for its system requirements, which called for an extremely powerful PC for its time.[68]
The game also received acclaim for its "context-sensitive" AI, which was considered very advanced and smart for the time of its release, thanks to varied and unpredictable enemy behavior, tactical strategies and the great interaction with the environment. It is now considered one of the greatest AI ever and is taken as an example by many, particularly in FPS, to draw comparisons in terms of enemy behavior and challenge.
The Xbox 360 port has also received positive reviews, almost as favorable as the PC version. The multiplayer and instant-action mode were praised for better gameplay, but the control scheme was negatively viewed. Reviews have also stated that it lacked bonus features, despite the new mission included in the game. GameSpot gave the game 8.6.[68] while IGN rated it 9.1[69]
The PlayStation 3 port received less favorable reviews than the other two versions, but still had positive reviews overall. It contained the bonus mission exclusive to the Xbox 360 port, but the chief complaints of the negative reviewers were downgraded graphics and long loading times. GameSpot has given the port a 7.1,[70] making it the third lowest rating of the F.E.A.R. franchise in GameSpot.
Later developments[edit]
Monolith Productions announced a sequel to F.E.A.R., which is titled F.E.A.R. 2: Project Origin after Monolith and Warner Bros. regained the rights to the F.E.A.R. name.[71] Prior to September 2008, the sequel was not to be titled F.E.A.R. 2 due to Vivendi's ownership of the F.E.A.R. name.[72] The game was instead to be called Project Origin, which is a name derived from a contest to name the sequel. The follow-up will stay in the game's existing universe, retaining the original storyline and characters.[72] Monolith Productions required a new publisher for the game, since they were purchased by Warner Brothers Interactive Entertainment in 2004 while development of F.E.A.R. was under way, after which Vivendi Universal was dropped as publisher.[72] Vivendi Universal published the Xbox 360 and PlayStation 3 ports of the original game,[4] developed by Day 1 Studios. F.E.A.R. was later dropped, and is no longer able to be updated when downloaded.
Version 1.7 Of F.E.A.R. Combat is now downloadable at www.joinfear.com. When asked to update, it will show that you are not able to patch to version 1.08. F.E.A.R. and F.E.A.R. Files multiplayer games for Xbox 360 are still accessible via Xbox Live, however, the additional maps made available as DLC for the original F.E.A.R. were removed in an update; some of these maps are available in F.E.A.R. Files multiplayer, but a total of four maps sold as F.E.A.R. DLC are not on the F.E.A.R. Files disc. This removal was done at the behest of Warner Brothers, once ownership of the F.E.A.R. property was returned in order for Monolith to continue working with F.E.A.R. 2. Once F.E.A.R. 2 was made available for sale, all reference to F.E.A.R. DLC and F.E.A.R and F.E.A.R. Files demos were removed from the Xbox Live marketplace.
An expansion pack titled F.E.A.R. Extraction Point was released by TimeGate Studios on October 24, 2006.[5] The second expansion pack, F.E.A.R. Perseus Mandate, also from TimeGate Studios, was released in November 2007. F.E.A.R. Files was released simultaneously for the Xbox 360, consisting of both Extraction Point and Perseus Mandate.[73]
- ^ a b c "F.E.A.R. release dates (Windows)". GameSpot. Retrieved 2008-02-18.
- ^ "F.E.A.R. release dates (Xbox 360)". GameSpot. Retrieved 2008-02-18.
- ^ "F.E.A.R. release dates (PlayStation 3)". GameSpot. Retrieved 2008-02-18.
- ^ a b Surette, Tim (2007-03-29). "Europe feels the F.E.A.R. early". GameSpot. Retrieved 2007-04-20.
- ^ a b "F.E.A.R. Extraction Point at GameSpy". GameSpy. Retrieved 2006-10-02.
- ^ "F.E.A.R., a Horror Game That Gets it Right!". 2010-06-01. Retrieved 2006-08-01.
- ^ a b c d Bramwell, Tom (2005-10-12). "The F.E.A.R. Effect". Eurogamer. Retrieved 2006-10-04.
- ^ a b "F.E.A.R. Q&A - Story, Weapons, Multiplayer". GameSpot. 2005-04-01. Retrieved 2006-10-04.
- ^ Orkin, Jeff (2006-03-23). "Three States and a Plan: The A.I. of F.E.A.R." (PDF). Game Developers Conference 2006. Retrieved 2006-10-04.
- ^ "Assaulting F.E.A.R.'s AI: 29 Tricks to Arm Your Game". AIGameDev. Archived from the original on 2008-01-30. Retrieved 2008-02-15.
- ^ "GameSpot's 2005 Best AI Award". GameSpot. Retrieved 2006-10-11.
- ^ "Top 10 Most Influential AI Games". AIGameDev. Retrieved 2008-02-15.
- ^ a b "F.E.A.R. - First Encounter Assault Recon" game manual (2005)
- ^ Thorsen, Tor (2006-08-17). "F.E.A.R. Combat is H.E.R.E.". GameSpot. Retrieved 2006-09-30.
- ^ "F.E.A.R. Combat Announcement". Sierra.com. 2006-08-08. Retrieved 2006-10-02.
- ^ "The end for punkbuster support in F.E.A.R. Retail/Combat - DS-Game Solutions Forum". 2007-12-22. Archived from the original on April 11, 2008. Retrieved 2008-01-17.
- ^ "PB INIT failure (FEAR COMBAT) temporal fix". 2007-12-24. Retrieved 2008-01-17.
- ^ a b c d e f "Music to your F.E.A.R.s". GameSpot. 2005-10-04. Retrieved 2006-10-04.
- ^ a b "Level design - it's scary". IGN. 2005-10-04. Retrieved 2006-10-04.
- ^ Todd, Brett (2005-10-23). "F.E.A.R. review at FiringSquad". FiringSquad. Retrieved 2006-10-09.
- ^ Kuo, Li C. (2006-05-04). "F.E.A.R. Official for Xbox 360". Retrieved 2007-06-27.
- ^ "Ask the Developers: Round 3". Project Origin. Retrieved 2009-06-15.
- ^ "Game Informer review of F.E.A.R.". Game Informer. Archived from the original on October 11, 2007. Retrieved 2006-10-04.
- ^ "F.E.A.R. Game Information". Sierra Entertainment. Retrieved 2006-10-13.
- ^ F.E.A.R. - First Encounter Assault Recon" game manual (2005)
- ^ Genevieve Aristide: There was an uprising. Fettel has taken command of the prototypes.
- ^ Betters: This wacko's name is Paxton Fettel. He's the key. If we contain him, we contain the situation. / Jin Sun-Kwon: What's his story? / Betters: Property of Armacham Technology Corporation. They're working on a military contract to develop an army of clones that respond to a psychic commander. Top secret, of course. Fettel was one of the commanders.
- ^ Jin Sun-Kwon: How do we find him? / Betters: That's easy. He's got a transmitter embedded in his head that'll lead us right to him.
- ^ Betters (reading from an ATC laptop): Well, this confirms the point of Perseus was to train telepathic commanders to work with cloned soldiers, although Paxton Fettel was the only commander of the program. The weird thing is they refer to him as the second prototype.
- ^ Betters (reading from an ATC laptop): More info on Origin: the genetic reference they used for the program was apparently a powerful psychic. Makes sense. If you want a telepathic commander, you need a telepath. And it was a woman. Says here she gave live birth to the prototypes. Seems Wade wasn't convinced the psychic characteristics were genetic. He figured there was better chance they'd be passed along if the fetus gestated inside the subject. So they put her in a coma, made her carry a genetically engineered baby to term, then induced labor.
- ^ Betters (reading from an ATC laptop): Here's some more info about Fettel: he's developed as part of a project called Origin. It says the first prototype didn't work out, Fettel was the second, and there was never a third. They just pulled the plug a few years after he was born.
- ^ Betters (reading from an ATC laptop): I figured out what a synchronicity event is. There was an incident when they lost control of Fettel, he just suddenly started freaking out. He was only about ten years old at the time, but I guess he killed a few people. In the investigation, they discovered that there had been a telepathic link between Fettel and Alma even though she was in a coma. They concluded that she was influencing him. That's must've been why they pulled the plug on Origin.
- ^ Betters: It's starting to make sense. The name of the woman they used for Origin is Alma. That's who Fettel's looking for.
- ^ Betters (reading from an ATC laptop): She was just a kid. Says here Alma was eight years old when Origin started up. They used a little girl. No wonder they're so fucking anxious to keep a lid on this mess.
- ^ Fettel: We are brothers, you and I. [...] You and I were born from the same mother.
- ^ Wade: They want to destroy her. But I think she's suffered enough. We put her in there two days before her eighth birthday. She died six days after we pulled the plug.
- ^ Mapes: You have to destroy this facility, before he lets her out. There are four pylons. Damage the reactor cells and you'll trigger a chain reaction. Blow the whole place to hell, where it belongs.
- ^ Holiday: We still don't know the extent of the damage. / Jin Sun-Kwon: We haven't been able to get through to anyone since the explosion. What about Alma? What happened to her? (After a loud crash is heard) What was that sound?
- ^ Genevieve Aristide: I just wanted to assure you that the Origin situation has been resolved. / Senator: But so much for discretion. / Genevieve Aristide: It was unavoidable. There is some good news, however: the first prototype was a complete success.
- ^ a b Adams, Dan (2004-05-12). "E3 2004: F.E.A.R.". IGN. Retrieved 2006-10-03.
- ^ Adams, Dan (2004-05-12). "E3 2004: F.E.A.R. Impressions". Retrieved 2006-10-05.
- ^ a b Accardo, Sal (2004-05-11). "F.E.A.R. Preview". GameSpy. Retrieved 2006-10-05.
- ^ a b Bramwell, Tom (2005-01-24). "Setting the scene for F.E.A.R". Eurogamer. Retrieved 2006-10-05.
- ^ Reed, Kristan (2005-03-17). "F.E.A.R And Loving In San Francisco". Eurogamer. Retrieved 2006-10-05.
- ^ Blevins, Tal (2005-05-17). "E3 2005: F.E.A.R. Single-Player Hands-On". IGN. Retrieved 2006-10-08.
- ^ a b Shoemaker, Brad (2005-01-06). "F.E.A.R. Hands-On at GameSpot". GameSpot. Retrieved 2006-10-09.
- ^ Park, Andrew (2005-03-09). "F.E.A.R. Updated Hands-On - Single-Player". GameSpot. Retrieved 2006-10-08.
- ^ "2005 Winners". Game Critics Awards. Archived from the original on 2007-05-18. Retrieved 2009-06-15.
- ^ "F.E.A.R. for PC Downloads". GameSpot. Retrieved 2006-09-30.
- ^ Adams, Dan (2005-08-16). "F.E.A.R. Hands-on". IGN. Retrieved 2006-10-08.
- ^ Park, Andrew (2005-08-12). "F.E.A.R. Exclusive Single-Player Hands-On - The First Four Levels with Spoilers". GameSpot. Retrieved 2006-10-08.
- ^ MacNamara, Tom (2005-09-02). "F.E.A.R. Director's Edition Unveiled". IGN. Retrieved 2006-10-09.
- ^ a b Monolith Productions (2005). F.E.A.R. Developer's Commentary (DVD). Vivendi Universal.
- ^ a b "Jupiter EX Technology Brochure" (PDF). Touchdown Entertainment. Archived from the original on 2005-10-13. Retrieved 2009-06-15.
- ^ a b "F.E.A.R. (PC) reviews at". GameRankings. 2011-06-28. Retrieved 2011-06-28.
- ^ a b "F.E.A.R. (Xbox 360) reviews at". GameRankings. 2011-06-28. Retrieved 2011-06-28.
- ^ a b "F.E.A.R. (PlayStation 3) reviews at". GameRankings. 2011-06-28. Retrieved 2011-06-28.
- ^ a b "F.E.A.R. (PC) reviews at". Metacritic. 2011-06-28. Retrieved 2011-06-28.
- ^ a b "F.E.A.R. (Xbox 360) reviews at". Metacritic. 2011-06-28. Retrieved 2011-06-28.
- ^ a b "F.E.A.R. (PlayStation 3) reviews at". Metacritic. 2011-06-28. Retrieved 2011-06-28.
- ^ a b Herold, Charles (2005-10-29). "If Looks Could Kill...and Here They Do". The New York Times. Retrieved 2006-09-30. Registration required.
- ^ Green, Jeff (2005-08-18). "F.E.A.R. PC preview". 1up.com. Retrieved 2006-10-09.
- ^ Elliott, Shawn (2005-12-01). "F.E.A.R. PC Review". Computer Gaming World. Retrieved 2006-10-09.
- ^ PC Gamer November 2005 issue, p.48
- ^ McNamara, Tom (2005-10-12). "F.E.A.R. review at IGN". IGN. Retrieved 2006-10-09.
- ^ Accardo, Sal (2005-10-27). "F.E.A.R. Review at GameSpy". GameSpy. Retrieved 2006-10-09.
- ^ "GameSpy's Game of the Year 2005". GameSpy. Retrieved 2006-10-02.
- ^ a b Ocampo, Jason (2006-11-01). "GameSpot Xbox 360 review". GameSpot. Retrieved 2006-11-01.
- ^ Brudvig, Erik. "Xbox 360 port review on IGN". IGN. Retrieved November 2006.
- ^ Ocampo, Jason (2007-04-26). "GameSpot PlayStation 3 review". GameSpot. Retrieved April 26, 2007.
- ^ Ocampo, Jason (2008-09-08). "Project Origin is Now F.E.A.R. 2". IGN. Retrieved 2009-06-15.
- ^ a b c Surette, Tim (2006-02-21). "Monolith scaring up new F.E.A.R.s". GameSpot. Retrieved 2006-10-02.
- ^ Burnes, Andrew (2007-07-11). "F.E.A.R. Files & F.E.A.R. Perseus Mandate Announced; Screenshots". Voodoo Extreme. Retrieved 2009-06-15.
External links[edit]
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- First-person shooters
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|Detailed view
|Article in peer-reviewed journal
|Tectonics 27 (2008) TC2006
|Attached file list to this document:
|Middle Oligocene extension in the Mediterranean Calabro-Peloritan belt (Southern Italy). Insights from the Aspromonte nappes-pile.
|Thomas F. Heymes1Jean-Pierre Bouillin1Arnaud Pecher1Patrick Monié2R. Compagnoni3
|The Calabro-Peloritan belt constitutes the eastward termination of the southern segment of the Alpine Mediterranean belt. This orogenic system was built up during the convergence between the Eurasian and the African plates, roughly directed North-South since the Upper Cretaceous. It was subsequently fragmented during the opening of the Western Mediterranean basins since Oligocene times. The curved shape of the Calabro-Peloritan belt was acquired during the opening of the Tyrrhenian basin since Tortonian. The origin, kinematics and significance of the Calabro-Peloritan tectonic pile are still debated. Our data in the Aspromonte Massif of Southern Calabria reveal an Alpine history marked by two main superimposed kinematic regimes. (i) A first phase corresponds to the piling up of basement nappes with a top-to-the-SE vergence, i.e in a direction orthogonal to the belt trend and towards the Adriatic foreland. This external vergence is similar to what is observed in both Northeastern Sicily and Northern Calabria. In Sicily, the age of nappe piling is Alpine, as evidenced by pinched slices of Mesozoïc sediments. In the Aspromonte Massif, thrusting age is less constrained. Our data suggest remnants of late Hercynian structuration before the Alpine stacking. (ii) A second phase corresponds to the thinning of the continental crust, dated at around 30 Ma by both geochronological and stratigraphical data. This extension is mainly localized on two low-angle detachment contacts, with top-to-the-NE displacement. The lower one corresponds to the reworking of the former main nappe contact. The upper one is a large detachment fault cutting across the pile from upper sedimentary levels down to metamorphic basement. Extension of similar Alpine age and similar internal vergence has been already recognized in other parts of the Calabro-Peloritan Arc: in the basement nappes of Northeastern Sicily and in the ophiolitic units of Northern Calabria. Coming back to the original geometry and position of the Calabro-Peloritan belt, before its bending and the opening of the Liguro-Provençal and Tyrrhenian basins, we evidence a homogeneous Oligocene NE-SW extension all along the Calabro-Peloritan segment of the Alpine Mediterranean belt. This tectonometamorphic history is best explained within the framework of the continuous Tertiary westward dipping subduction of the Tethyan oceanic domain below the European active margin and the progressive eastward retreat of the Apennine trench since Oligocene times.
|LGCA - Laboratoire de géodynamique des chaines alpines
|GM - Géosciences Montpellier
|Dipartimento di Scienze Mineralogiche e Petrologiche
|convergence – extension – southern Calabria – Mediterranean region – Alpine tectonics – Oligocene – Aspromonte
|hal-00283182, version 1
|From: Thomas Heymes
|Submitted on: Thursday, 29 May 2008 11:27:33
|Updated on: Monday, 2 June 2008 14:48:47