More: www.benheine.com
Showing posts with label business. Show all posts
Showing posts with label business. Show all posts
Artists Must Do...
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I quickly made this graph (personal interpretation) to show all the things I have to deal with on a daily basis as a solo artist... And I think it can be useful for those who want to learn how the system works. It usually goes from step 1 to 9. Definitely it's the art production I like the most. Some companies have a bunch of people for each of these tasks. Artists should try to manage their own business. Get a print of the above graph at this link.
iCanvasART
.jpg "icanvasart - ben heine - usa - buy canvases")
I'm very pleased to announce my new collaboration with iCanvasART, the #1 source for canvas wall art. Get my artworks and photos printed on the highest quality and coolest canvases in the world (many sizes and prices available + worldwide shipping!). Check my online gallery here and order some great canvases to decorate your walls.
Eat, sleep, work... no way. No more routine! Escape the madness, escape the system. The character is a mix of James Bond, Sherlock Holmes, Tintin and King Kong, lol! I took this photo recently in Barcelona subway. I also made the illustration in colors. If you wish, you can view the sketch in progress and 2 details HERE. (This is part of "Pencil Vs Camera Beta Version": colored sketches on black paper.
At the Sagrada Família, Barcelona, Spain, Feb 2012K. M. Rehan Salahuddin: Everybody around the world knows who is Benjamin Heine, but would you please introduce yourself to your fans and readers of our website?
Ben Heine: Thank you. I’ll try to be short for the introduction. I’m a Belgian visual artist, I’ve started drawing when I was a child, I went on with traditional and digital painting when I was a teenager and I started photography a couple of years after. I never stopped producing graphic art. I have a degree in Journalism and I briefly studied History of Art, Painting and Sculpture as well but I’m mainly a self-taught person in Drawing and Photography.
I’ve launched a creative series in 2010 called “Pencil Vs Camera”, it’s somehow a new and powerful form of expression that mixes drawing and photography, imagination and reality. I’m also known for 2 other creative series started in 2010 and 2011: “Digital Circlism” and “Flesh and Acrylic”.
My photos have been published in newspapers, magazines and websites all over the world and I started exhibiting limited edition prints (Diasec finishing) of my creations in well-known galleries and art fairs in different European countries since 2010.
I’m not sure what I’m going to do next, I’m still searching and working hard everyday to do more innovative and powerful art, I’m in a constant evolution and development in my new artistic projects, I’m never satisfied and I try to take fresh directions most of the time. Although my series may look different, there is always a connection between all the images I share.
Why have you chosen this profession? In this world nowadays people are all running behind glory and money, but you have made yourself very unique, would you please tell us the story of your early days?
I would say “the profession chose me”. But you’re so right, we live in a very competitive world. There are so many corrupted people in our current system. But is it really their fault? From a very early age, we’re told to be merciless and ready for action and good results. This is not easy for many artists to be different and unique and to find their place in such an aggressive global structure.
But I think everybody can do it with hard work and determination. We need to be aware of the system’s failures and we need to do our best to improve every angle of the world, as much as we can. We need more solidarity and more love. Finally, there is also a bit of chance and unexpected events happening in someone’s life. It is fortunately or unfortunately impossible to plan everything in advance.
You have a degree in Journalism, how do you connect journalism with drawing and cartoons?
I really liked Journalism, I know how important it is for artists to have their works published and promoted in newspapers. Creators need journalists to talk about their work and journalists also need creative minds to have something funny and original to talk about in their paper. Although I barely worked as a journalist after my degree, my journalistic academic background helped me a lot to get in touch more easily with the media, because my brain works like a journalist’s brain, I’m one of them somehow. In some cases, I’m the journalist and the artist at the same time, which is strange. I’m trying now to focus on my visual projects exclusively. I feel more confident and I prefer it this way.
Would you please tell us about "The Limits of Freedom of Speech in Political Cartoons", the final thesis paper that you have written at the end of your studies?
I see you are well informed. This is a sensitive subject. For your information, I’m no longer doing political work since 2009, I’m no longer doing "cartoons" neither.
I think every artist needs some freedom and space to express their ideas and thoughts. Provocation can be useful to shake people’s mind, but we are not allowed to offend anybody’s feelings or personal convictions. A clever image shouldn’t harm, accuse or take anybody’s side, it should rather make everybody think in an objective and neutral way. This doesn’t mean we can’t have an opinion, it just means that we need to be careful and think twice before doing or saying something. My freedom ends where your freedom begins.
How do you react when you see a lot of terrorism and corruption around the world? Do you have any plan to do any set/series of creative artworks on this topic?
No, I really don’t want to get involved in this. Terrorism belongs to the political sphere, not to the artistic one. All I can say is that I condemn any kind of terrorism. I just really hope all the innocent victims of terrorism won’t have died in vain and that they will be remembered forever.
"Pencil Vs Camera" how did you come up with this idea? Do you want to restrict other artists from doing similar things by owning the creative copyrights of this concept?
Good question... This concept is the fusion of two disciplines I’ve practiced since many years. It came very naturally and legitimately. I’m honored and happy to notice it’s becoming a new form of expression for many artists. I just don’t want people to “steal” this powerful and eye-catching “invention” I initiated and popularized without being credited. To be honest, I’m a bit mad when big companies use “Pencil Vs Camera” images for commercial purposes without even telling me. This is not fair. I understand Pencil Vs Camera has become universal and popular. It’s hard to keep control over it. But I wish I could be part of every new turn this concept is taking. People need to remember every image of this series is copyrighted and the name “Pencil Vs Camera” is trademarked.
Ben Heine is a cartoonist, an artist, a photographer and a lot more. In your heart, who are you? Who do you want to be?
I don’t see myself as a cartoonist anymore, I’m more of an “illustrator”; I try to illustrate every step of my life in a surreal and timeless way, with simple tools (camera, pencils, brushes…). To be honest I might do something a bit different soon. I’ll be a "creative and productive" person all my life, but I’ll never hesitate to take atypical and unexpected directions when I’ll need it. Surprise is always nice.
(*) Interview by K M Rehan Salahuddin. It was first published on sortoflife.com in February 2012. Sort of Life™ is a website about art, design and lifestyle.
Ben Heine: Thank you. I’ll try to be short for the introduction. I’m a Belgian visual artist, I’ve started drawing when I was a child, I went on with traditional and digital painting when I was a teenager and I started photography a couple of years after. I never stopped producing graphic art. I have a degree in Journalism and I briefly studied History of Art, Painting and Sculpture as well but I’m mainly a self-taught person in Drawing and Photography.
I’ve launched a creative series in 2010 called “Pencil Vs Camera”, it’s somehow a new and powerful form of expression that mixes drawing and photography, imagination and reality. I’m also known for 2 other creative series started in 2010 and 2011: “Digital Circlism” and “Flesh and Acrylic”.
My photos have been published in newspapers, magazines and websites all over the world and I started exhibiting limited edition prints (Diasec finishing) of my creations in well-known galleries and art fairs in different European countries since 2010.
I’m not sure what I’m going to do next, I’m still searching and working hard everyday to do more innovative and powerful art, I’m in a constant evolution and development in my new artistic projects, I’m never satisfied and I try to take fresh directions most of the time. Although my series may look different, there is always a connection between all the images I share.
Why have you chosen this profession? In this world nowadays people are all running behind glory and money, but you have made yourself very unique, would you please tell us the story of your early days?
I would say “the profession chose me”. But you’re so right, we live in a very competitive world. There are so many corrupted people in our current system. But is it really their fault? From a very early age, we’re told to be merciless and ready for action and good results. This is not easy for many artists to be different and unique and to find their place in such an aggressive global structure.
But I think everybody can do it with hard work and determination. We need to be aware of the system’s failures and we need to do our best to improve every angle of the world, as much as we can. We need more solidarity and more love. Finally, there is also a bit of chance and unexpected events happening in someone’s life. It is fortunately or unfortunately impossible to plan everything in advance.
You have a degree in Journalism, how do you connect journalism with drawing and cartoons?
I really liked Journalism, I know how important it is for artists to have their works published and promoted in newspapers. Creators need journalists to talk about their work and journalists also need creative minds to have something funny and original to talk about in their paper. Although I barely worked as a journalist after my degree, my journalistic academic background helped me a lot to get in touch more easily with the media, because my brain works like a journalist’s brain, I’m one of them somehow. In some cases, I’m the journalist and the artist at the same time, which is strange. I’m trying now to focus on my visual projects exclusively. I feel more confident and I prefer it this way.
Would you please tell us about "The Limits of Freedom of Speech in Political Cartoons", the final thesis paper that you have written at the end of your studies?
I see you are well informed. This is a sensitive subject. For your information, I’m no longer doing political work since 2009, I’m no longer doing "cartoons" neither.
I think every artist needs some freedom and space to express their ideas and thoughts. Provocation can be useful to shake people’s mind, but we are not allowed to offend anybody’s feelings or personal convictions. A clever image shouldn’t harm, accuse or take anybody’s side, it should rather make everybody think in an objective and neutral way. This doesn’t mean we can’t have an opinion, it just means that we need to be careful and think twice before doing or saying something. My freedom ends where your freedom begins.
How do you react when you see a lot of terrorism and corruption around the world? Do you have any plan to do any set/series of creative artworks on this topic?
No, I really don’t want to get involved in this. Terrorism belongs to the political sphere, not to the artistic one. All I can say is that I condemn any kind of terrorism. I just really hope all the innocent victims of terrorism won’t have died in vain and that they will be remembered forever.
"Pencil Vs Camera" how did you come up with this idea? Do you want to restrict other artists from doing similar things by owning the creative copyrights of this concept?
Good question... This concept is the fusion of two disciplines I’ve practiced since many years. It came very naturally and legitimately. I’m honored and happy to notice it’s becoming a new form of expression for many artists. I just don’t want people to “steal” this powerful and eye-catching “invention” I initiated and popularized without being credited. To be honest, I’m a bit mad when big companies use “Pencil Vs Camera” images for commercial purposes without even telling me. This is not fair. I understand Pencil Vs Camera has become universal and popular. It’s hard to keep control over it. But I wish I could be part of every new turn this concept is taking. People need to remember every image of this series is copyrighted and the name “Pencil Vs Camera” is trademarked.
Ben Heine is a cartoonist, an artist, a photographer and a lot more. In your heart, who are you? Who do you want to be?
I don’t see myself as a cartoonist anymore, I’m more of an “illustrator”; I try to illustrate every step of my life in a surreal and timeless way, with simple tools (camera, pencils, brushes…). To be honest I might do something a bit different soon. I’ll be a "creative and productive" person all my life, but I’ll never hesitate to take atypical and unexpected directions when I’ll need it. Surprise is always nice.
(*) Interview by K M Rehan Salahuddin. It was first published on sortoflife.com in February 2012. Sort of Life™ is a website about art, design and lifestyle.
"Art Brussels"
Contemporary Art Fair
Photo Report
Contemporary Art Fair
Photo Report
.
"Artbrussels" is a contemporary art fair happening every year in Belgium. I was there for the 27th edition and made this little photo report. Considering the huge amount of artworks that were exhibited, this represents only a little insight of what I saw. For more information on the exhibitors and artists, please visit Artbrussels' official site: www.artbrussels.be
Every year in April, Artbrussels opens its doors and welcomes more than 30 000 professionals, collectors and art lovers from all over the world. Artbrussels is the European platform for upcoming talents in the field of contemporary art and focuses as well on strong established galleries representing a selection of their highest-quality paintings, sculptures, photography, video and installations.
Artbrussels attracts art enthusiasts, including a considerable number of art collectors, critics, journalists, curators and other decision makers; one in five visitors comes from outside Belgium. A VIP Privilege programme welcomes over 300 collectors from throughout the world, treating them to free overnight accommodation and a stimulating off-programme.
Artbrussels offers a strong selection of 172 galleries, nominated in accordance with a rigorous quality-based selection procedure. The international selection committee places particular emphasis on the work of young creatives in contemporary art. The fair has a most international profile, with 80% of its participants coming from over 20 countries.
The major part of the fair is dedicated to numerous established art galleries with both international profiles and programmes.
Every year in April, Artbrussels opens its doors and welcomes more than 30 000 professionals, collectors and art lovers from all over the world. Artbrussels is the European platform for upcoming talents in the field of contemporary art and focuses as well on strong established galleries representing a selection of their highest-quality paintings, sculptures, photography, video and installations.
Artbrussels attracts art enthusiasts, including a considerable number of art collectors, critics, journalists, curators and other decision makers; one in five visitors comes from outside Belgium. A VIP Privilege programme welcomes over 300 collectors from throughout the world, treating them to free overnight accommodation and a stimulating off-programme.
Artbrussels offers a strong selection of 172 galleries, nominated in accordance with a rigorous quality-based selection procedure. The international selection committee places particular emphasis on the work of young creatives in contemporary art. The fair has a most international profile, with 80% of its participants coming from over 20 countries.
The major part of the fair is dedicated to numerous established art galleries with both international profiles and programmes.
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Coca-Cola Emphatically
Denies Human Rights Violations
in Its China Businesses
By Thomas Wilkins
Denies Human Rights Violations
in Its China Businesses
By Thomas Wilkins
The Coca-Cola Company denied and protested emphatically charges of dangerous work conditions and human rights abuse in China at its annual stockholder’s meeting in Georgia. A shareholder proposal from a California investment firm cited publications and reports claiming Coca-Cola used prison labor in China and the company, its bottlers and suppliers “have been associated with human rights controversies.”
Mr. Neville Isdell, outgoing Chairman of the Board, denied these claims, saying the cited reports were not updated . He also said regarding China: “We take labor practices seriously. Our internal investigations found no use of prison labor.”
The heated exchange between Ray Rogers, director of Corporate Campaign Inc was a fire storm as shareholders considered whether to vote yes or no on a proposal by a shareholder connected with Harrington Investments of Napa, California. This organization has pressed for shareholder advocacy over a twenty five year period. It claims to have persuaded 120 publicly traded corporation to expand economic, social and environment accountability and responsibility. Another stockholder was evicted from the meeting hall of an estimated one thousand in attendance after he refused to stop propelling charges against Coca-Cola management.
The California advocacy firm has campaigned since the early 2000’s to ensure that the rights of Chinese workers and citizens be protected by asking companies to sign the China Business Principles. This is a code of conduct written by Amnesty International, the International Labor Rights Fund and Global exchange.
Mr. Neville Isdell, outgoing Chairman of the Board, denied these claims, saying the cited reports were not updated . He also said regarding China: “We take labor practices seriously. Our internal investigations found no use of prison labor.”
The heated exchange between Ray Rogers, director of Corporate Campaign Inc was a fire storm as shareholders considered whether to vote yes or no on a proposal by a shareholder connected with Harrington Investments of Napa, California. This organization has pressed for shareholder advocacy over a twenty five year period. It claims to have persuaded 120 publicly traded corporation to expand economic, social and environment accountability and responsibility. Another stockholder was evicted from the meeting hall of an estimated one thousand in attendance after he refused to stop propelling charges against Coca-Cola management.
The California advocacy firm has campaigned since the early 2000’s to ensure that the rights of Chinese workers and citizens be protected by asking companies to sign the China Business Principles. This is a code of conduct written by Amnesty International, the International Labor Rights Fund and Global exchange.
>>> Read the full report
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Over-Consumption...
Planet Earth in Danger !
Planet Earth in Danger !
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Fast Food
.
By Richard Thompson
.
By Richard Thompson
Big mac, small mac, burger and fries
Shove 'em in boxes all the same size
Easy on the mustard, heavy on the sauce
Double for the fat boy, eats like a horse.
Fry them patties and send 'em right through
Microwave oven going to fry me too
Can't lose my job by getting in a rage
Got to get my hands on that minimum wage.
Shove it in their faces, give 'em what they want
Got to make it fast, it's a Fast Food Restaurant.
Shake's full of plastic, meat's full of worms
Everything's zapped so you won't get germs
Water down the ketchup, easier to pour on
Pictures on the register in case you're a moron.
Keep your uniform clean, don't talk back
Blood down your shirt going to get you the sack
Sugar, grease, fats and starches
Fine to dine at the golden arches.
Shove it in their faces, give 'em what they want
Got to make it fast, it's a Fast Food Restaurant.
Baby thrown up, booth number 9
Wash it down, hose it down, happens all the time
Cigarettes in the coffee, contact lens in the tea
I'd rather feed pigs than humanity.
Shove it in their faces, give 'em what they want
Got to make it fast, it's a Fast Food Restaurant.
(The poem appeared on compsci.rice.edu)
.Shove 'em in boxes all the same size
Easy on the mustard, heavy on the sauce
Double for the fat boy, eats like a horse.
Fry them patties and send 'em right through
Microwave oven going to fry me too
Can't lose my job by getting in a rage
Got to get my hands on that minimum wage.
Shove it in their faces, give 'em what they want
Got to make it fast, it's a Fast Food Restaurant.
Shake's full of plastic, meat's full of worms
Everything's zapped so you won't get germs
Water down the ketchup, easier to pour on
Pictures on the register in case you're a moron.
Keep your uniform clean, don't talk back
Blood down your shirt going to get you the sack
Sugar, grease, fats and starches
Fine to dine at the golden arches.
Shove it in their faces, give 'em what they want
Got to make it fast, it's a Fast Food Restaurant.
Baby thrown up, booth number 9
Wash it down, hose it down, happens all the time
Cigarettes in the coffee, contact lens in the tea
I'd rather feed pigs than humanity.
Shove it in their faces, give 'em what they want
Got to make it fast, it's a Fast Food Restaurant.
(The poem appeared on compsci.rice.edu)
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"Planet Health" for Obesity Reduction
in School Children—Readily Accepted
and Cost-Effective
.in School Children—Readily Accepted
and Cost-Effective
"Planet Health"
- Physical activity and nutrition lessons woven into existing middle school curriculum
- Effective in reducing TV viewing time in both boys and girls and decreasing obesity in girls
- Readily adopted by teachers; Boston Public Schools expand its use
- Cost-effective and projected to save money in later life
"Background"
Between 1980 and 1999 the prevalence of overweight in the United States nearly tripled (from 5% to 14%) among adolescents and nearly doubled (from 7% to 13%) among children 6 to 11 years of age. This trend forecasts an increase in chronic disease as the younger generation ages. Little is known about effective ways to reverse this alarming trend, although its root cause of insufficient physical activity in relation to excess calories consumed is well known. Because most children spend a substantial portion of their day in school, the school environment is a promising venue for educational and experiential lifestyle interventions.
Context
Focusing on how to increase physical activity and improve dietary habits, researchers at Harvard University’s CDC-supported Prevention Research Center (PRC) developed* an interdisciplinary curriculum (called Planet Health) for public middle schools, in explicit collaboration with teachers and school principals. The curriculum was designed to fit easily into existing language, math, science, social studies, and physical education classes; to foster basic educational competencies required by the state of Massachusetts; and to provide materials easy for teachers to use. The content emphasizes increasing consumption of fruits and vegetables, decreasing consumption of high-fat foods, decreasing television viewing, and increasing physical activity.
Methods and Results
Phase I
A 2-year randomized controlled trial* of the curriculum in 10 public middle schools in Boston yielded a significant reduction in television watching for both girls and boys, and a significant decrease in the prevalence of obesity among girls.
Phase II
After the Boston Public Schools (BPS) expressed interest in disseminating Planet Health, a partnership was formed to pilot test how feasible and sustainable the curriculum could be in public school settings where resources are constrained. Using the model of community-based participatory research, a project advisory board representing the key stakeholders within the BPS and the Harvard PRC guided the partnership from its inception. The BPS selected a sample of six inner-city middle schools to participate, while the PRC provided the Planet Health curriculum, training workshops for more than 100 teachers, small stipends for teacher coordinators within each of the participating schools, and research expertise to assess diffusion of the program.
The diffusion study demonstrated that 76% to 100% of teachers found the curriculum highly acceptable and 78% to 100% planned to continue using it. More than 90% found the curriculum effective and believed that it made a positive contribution to their classes.
Consequences
Satisfied that its criteria for success were met, BPS endeavored to sustain and expand use of the Planet Health curriculum through independent funding. It first secured funding from the U.S. Department of Education’s Physical Education for Progress for pilot expansion to 12 schools in 2002–2003. Subsequently, BPS received financial support for further expansion from the Boston Public Health Commission under the auspices of the new STEPS to a Healthier U.S. project, sponsored by the U.S. Department of Health and Human Services.
Impact and Potential Impact
Planet Health is being implemented in more than 120 schools in Massachusetts, and in the past two years, more than 1,000 teachers have been trained to use it. In addition, 2,000 copies of the curriculum have been purchased by interested parties in 48 states and 20 countries, potentially benefiting many thousands of children.
An independent economic analysis of Planet Health was conducted based on an estimated program cost of $14 per student per year and an obesity reduction of 1.9% persisting into adulthood among girls. Based on these assumptions, the program was found to be highly cost-effective—in fact, more cost-effective than commonly accepted preventive interventions such as screening and treatment for hypertension. Furthermore, the program was projected to save money via avoided medical costs and productivity losses later in life. For every dollar spent on the program in middle school, $1.20 in medical costs and lost wages would be saved when the children reach middle age.
Planet Health has demonstrated effectiveness, feasibility, acceptability, and sustainability in a public school environment. The curriculum has been found to be cost-effective and, dollar for dollar, to save society money in the long run.
*The original efficacy study was conducted under the auspices of the National Institutes of Health.
References
Gortmaker SL, Peterson K, Wiecha J, Sobol AM, Dixit S, Fox MK, Laird N. Reducing obesity via a school-based interdisciplinary intervention among youth: Planet Health. Archives of Pediatrics and Adolescent Medicine 1999;153:409–18.
Wang LY, Yang Q, Lowry R, Wechsler H. Economic analysis of a school-based obesity prevention program. Obesity Research 2003;11:1313–24.
Wiecha JL, El Ayadi AM, Fuemmeler BF, Carter JE, Handler S, Johnson S, Strunk N, Korzec-Ramirez D, Gortmaker SL. Diffusion of an integrated health education program in an urban school system: Planet Health. Journal of Pediatric Psychology 2004;29:467–74.
---------------------
--> The above study appeared on www.cdc.gov (Center for Disease Control and Prevention)
.
Context
Focusing on how to increase physical activity and improve dietary habits, researchers at Harvard University’s CDC-supported Prevention Research Center (PRC) developed* an interdisciplinary curriculum (called Planet Health) for public middle schools, in explicit collaboration with teachers and school principals. The curriculum was designed to fit easily into existing language, math, science, social studies, and physical education classes; to foster basic educational competencies required by the state of Massachusetts; and to provide materials easy for teachers to use. The content emphasizes increasing consumption of fruits and vegetables, decreasing consumption of high-fat foods, decreasing television viewing, and increasing physical activity.
Methods and Results
Phase I
A 2-year randomized controlled trial* of the curriculum in 10 public middle schools in Boston yielded a significant reduction in television watching for both girls and boys, and a significant decrease in the prevalence of obesity among girls.
Phase II
After the Boston Public Schools (BPS) expressed interest in disseminating Planet Health, a partnership was formed to pilot test how feasible and sustainable the curriculum could be in public school settings where resources are constrained. Using the model of community-based participatory research, a project advisory board representing the key stakeholders within the BPS and the Harvard PRC guided the partnership from its inception. The BPS selected a sample of six inner-city middle schools to participate, while the PRC provided the Planet Health curriculum, training workshops for more than 100 teachers, small stipends for teacher coordinators within each of the participating schools, and research expertise to assess diffusion of the program.
The diffusion study demonstrated that 76% to 100% of teachers found the curriculum highly acceptable and 78% to 100% planned to continue using it. More than 90% found the curriculum effective and believed that it made a positive contribution to their classes.
Consequences
Satisfied that its criteria for success were met, BPS endeavored to sustain and expand use of the Planet Health curriculum through independent funding. It first secured funding from the U.S. Department of Education’s Physical Education for Progress for pilot expansion to 12 schools in 2002–2003. Subsequently, BPS received financial support for further expansion from the Boston Public Health Commission under the auspices of the new STEPS to a Healthier U.S. project, sponsored by the U.S. Department of Health and Human Services.
Impact and Potential Impact
Planet Health is being implemented in more than 120 schools in Massachusetts, and in the past two years, more than 1,000 teachers have been trained to use it. In addition, 2,000 copies of the curriculum have been purchased by interested parties in 48 states and 20 countries, potentially benefiting many thousands of children.
An independent economic analysis of Planet Health was conducted based on an estimated program cost of $14 per student per year and an obesity reduction of 1.9% persisting into adulthood among girls. Based on these assumptions, the program was found to be highly cost-effective—in fact, more cost-effective than commonly accepted preventive interventions such as screening and treatment for hypertension. Furthermore, the program was projected to save money via avoided medical costs and productivity losses later in life. For every dollar spent on the program in middle school, $1.20 in medical costs and lost wages would be saved when the children reach middle age.
Planet Health has demonstrated effectiveness, feasibility, acceptability, and sustainability in a public school environment. The curriculum has been found to be cost-effective and, dollar for dollar, to save society money in the long run.
*The original efficacy study was conducted under the auspices of the National Institutes of Health.
References
Gortmaker SL, Peterson K, Wiecha J, Sobol AM, Dixit S, Fox MK, Laird N. Reducing obesity via a school-based interdisciplinary intervention among youth: Planet Health. Archives of Pediatrics and Adolescent Medicine 1999;153:409–18.
Wang LY, Yang Q, Lowry R, Wechsler H. Economic analysis of a school-based obesity prevention program. Obesity Research 2003;11:1313–24.
Wiecha JL, El Ayadi AM, Fuemmeler BF, Carter JE, Handler S, Johnson S, Strunk N, Korzec-Ramirez D, Gortmaker SL. Diffusion of an integrated health education program in an urban school system: Planet Health. Journal of Pediatric Psychology 2004;29:467–74.
---------------------
--> The above study appeared on www.cdc.gov (Center for Disease Control and Prevention)
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